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| 6.AT.9. OTHER POLYHEDRA
New section. Stuart Robertson. The twenty-two cuboids. Mathematics Review 1:5 (May 1991) 18-21. This considers polyhedra with six quadrilateral faces and determines what symmetries are possible -- there are 22 different symmetry groups. 6.AU. THREE RABBITS, DEAD DOGS AND TRICK MULES See S&B, p. 34. Loyd's Trick Mules has two mules and two riders which can only be placed correctly by combining each front with the other rear. Earlier forms showed two dead dogs which were brought to life by adding four lines. The resulting picture is a pattern, generally called 'Two heads, four children' and can be traced back to medieval Persian, Oriental and European forms. The three rabbits problem is: "Draw three rabbits, so that each shall appear to have two ears, while, in fact, they have only three ears between them." Until about 1996, I only knew this from the 1857 Magician's Own Book and the many books which copied from it. Someone at a conference at Oxford in 1996 mentioned that the pattern occurs in a stained glass window at Long Melford, Suffolk. Correspondence revealed that the glass is possibly 15C and the pattern was apparently brought from Devon about that time. More specifically, it comes from the east side of Dartmoor and inquiries there have turned up numerous examples as roof bosses from 13 16C. Totally serendipitously, I was reading a guide book to Germany in 1997 and discovered the pattern occurs in stonework, possibly 16C, at Paderborn, Germany. A letter led to receiving a copy of Schneider's article (see below) which described the pattern occurring at Dunhuang, c600. I am indebted to Miss Y. Yasumara, the Art Librarian at the School of Oriental and African Studies, for directing me to several works on Dunhuang. However, I have not examined all these works in detail (the largest is five large volumes), so I may not have found all the examples of this pattern. Miss Yasumara also directed me to Roderick Whitfield, of the School of Oriental and African Studies, who tells me there is no other example of this pattern in Chinese art, and to Susan Whitfield (no relation), head of the International Dunhuang Project at the British Library. However, Greeves (see his articles, below) has found other examples of the pattern in Europe, Iran and Tibet and found that modern carpets with the pattern are being made in China. A student of his recently went to Dunhuang and the locals told her that the pattern came from 'the West', meaning India, which opens up a whole new culture to examine. In 1997, I visited the Dartmoor area, seeing several examples and finding a reference (Hambling, below) to Tom Greeves' article. In 2000, I again visited the area, seeing more churches and meeting Tom Greeves and his associate Sue Andrew. Later in 2000, I visited Paderborn. Later in 2000, I showed this material to Wei Zhang and Peter Rasmussen, leading collectors of Chinese puzzles and they have begun to investigate the Chinese material much more thoroughly than I have done -- see below. In 2001, I went again to the area. I have read that rabbits were introduced to England in 1176 by the Normans and became common in the 13C, though I believe they weren't really wild for some time after that. E.g. [J. A. R. Pimlott; Recreations; Studio Vista, 1968, p. 18] says: "The rabbit was not known in Britain until the thirteenth century and did not become plentiful until the fifteenth", citing Elspeth M. Veale; The English Fur Trade in the Later Middle Ages; 1966. I have read that hares were introduced between -500 and +500, but I have just seen a mention that bones of a hare found in Ireland have been carbon dated to 26,000. So it is probable that the animals in many of the images are hares, though some of the images are distinctly more rabbit-like than hare-like. The material in this section has grown so much that it is now divided into seven subsections: China; Other Asia; Paderborn; Medieval Europe; Modern Versions of the Three Rabbits Puzzle; Dead Dogs; Trick Mules. I have about a dozen letters and emails which have not yet been processed. Rabbits going clockwise: Dunhuang (14 caves -- all except 407 & 420); Goepper; St. Petersburg; Iranian tray; Paderborn; Münster; Bestiary; Lyon; Throwleigh; Valentine; Clyst Honiton; Hasloch am Main; Michelstadt; Collins; Greeves letterhead; Urumqi; Rabbits going anti-clockwise: Dunhuang (2 caves -- 407 & 420); Corbigny; Lombard's Gloss; North Bovey; Long Crendon; Chester; Widecombe; Long Melford; Chagford; Best Cellars, Chagford; Tavistock; Broadclyst; Sampford Courtenay; Spreyton; Paignton; South Tawton; Valentine; Schwäbisch Hall; Baltrušaitis Fig. 97; Child; Magician's Own Book et al; Warren Inn; Best Cellars, Chagford; Newman; Lydford; Trinity Construction Services; The choice of clockwise versus anticlockwise seems to be random! Except the Chinese clearly preferred clockwise. FOUR RABBITS versions. Baltrušaitis; Wilson; Goepper. Bestiary; Andrew/Lombard; Lyon; Hamann-MacLean; MORE FIGURES. Chichester Cathedral. Boxgrove Priory.
[Huang Zu'an ?? -- Schneider, below, gives this author, but there is no mention of an author in the entire issue.] Dunhuang -- Pearl of the Silk Road. China Pictorial (1980:3) 10-23 with colour photo on p. 22. 9th article in a series on the Silk Road. Colour photo of the three rabbits pattern with caption: "A ceiling design. The three rabbits with three ears and the apsarases seem to be whirling. Cave 407. Sui Dynasty." The Sui dynasty was from 581 to 618, so we can date this as c600. The image is rather small, but the three hares can be made out. There is no discussion of the pattern in the article. Chang Shuhong & Li Chegxian. The Flying Devis of Dunhuang. China Travel and Tourism Press, Beijing, 1980. Unpaginated. In the Preface, we find the following. "What is particularly novel is the full-grown lotus flower painted in the centre of the canopy design on the ceiling of Cave 407. In the middle of the flower there are three rabbits running one after the other in a circle. For the three rabbits only three ears are painted, each of them borrowing one ear from another. This is an ingenious conception of the master painter." From this, it seems that this pattern is uncommon. The best picture of the pattern that I have located is in this book, in the section on the Sui period. I have now acquired a copy with its dust jacket and find a painting of the pattern is on the back of the dust jacket -- this is the painting also given in Li Kai et al, below, p, 27. [Incidentally, a devi or apsaras is a kind of Buddhist angel. The art of Dunhuang is quite lovely.] The Dunhuang Institute for Cultural Relics. The Mogao Grottos of Dunhuang. 5 vols. + Supplement. Heibonsha Ltd., Tokyo, 1980-1982. (In Japanese, with all the captions given in English at the end of the Supplementary volume. Fortunately the plate and cave numbers are in western numerals. A Chinese edition was planned.) Vol. 2, plate 94, is a double-page spread of the ceiling of Cave 407, with the page division running right through the middle of the rabbits pattern! Vol. 2, plate 95, is a half-page plate of the ceiling of Cave 406, and shows the rabbits pattern, but it seems rather faded. The English captions simply say "Ornamental ceiling decoration". R. Whitfield & A. Farrer. Caves of the Thousand Buddhas. British Museum, 1990, esp. pp. 12 & 16. Though cited by Greeves, these pages only have general material on Dunhuang and the book does not mention any of the relevant caves. Duan Wenjie. Dunhuang Art Through the Eyes of Duan Wenjie. Indira Gandhi National Centre for the Arts, Abhinav Publications, New Delhi, 1994. This gives much more detail about the caves. Pp. 400-401 describes Caves 406-407. Peter Rasmussen examined the book in detail and found it mentions 12 other caves with the pattern. Peter has found that the book is accessible on-line at www.ignca.nic.in/ks_19.htm. This provides the facility to download a font which will display diacritical marks and this is worth doing before you start to browse. In late 2002, Peter Rasmussen and Wei Zhang were able to inspect 10 caves that they hadn't seen before. Peter sent notes of their impressions of 12 caves on 24 Nov 2002 and I will add some of Peter's comments and additions in [ ] and marked PR. This will make the following list the basic list of all sixteen of the caves.
Cave No. 139. Late Tang. "The ceiling shows the three rabbits (joining as one) and lotus designs in the centre." [PR: this is a small cave off the entry to Cave 138. Tan on light green, going clockwise, in excellent condition. "Rabbits beautifully drawn in pen-like detail, showing toes, eyes (with eyeballs!), all four legs, tail, nose, mouth, outline of thigh muscle, and hair on stomach, breast, legs and top of head." Peter says this is by far the finest of the images; he is applying to get it photographed.] Cave No. 144. Middle and Late Tang (renovated during the Five Dynasties and Qing). "The centre of the ceiling shows the three rabbits (joining as one) and floral designs." [PR: white on aqua green, going clockwise.] Cave No. 145. Late Tang (renovated during the Five Dynasties and Song). "The ceiling of the niche on the west wall shows lotus and three rabbits (joining as one), chess board and floral patterns." [Zhang & Rasmussen's letter of 1 Jun 2001 says the rabbits are going clockwise.] Cave No. 147. Late Tang. "Main Hall: The ceiling shows three rabbits (joining as one) and lotus designs in the centre". [PR: tan or turquoise green, going clockwise. Paint on ears has peeled off.] Cave No. 200. Middle Tang. "The ceiling shows three rabbits (joining as one) and round petalled lotus designs in the centre". [PR: white on turquoise green, going clockwise.] Cave No. 205. Early and High Tang (renovated during Middle Tang and the Five Dynasties). Main Hall: "The ceiling has the three rabbits (joining as one) designs drawn in Early Tang". [Zhang & Rasmussen's letter of 1 Jun 2001 says the rabbits are going clockwise.] Cave No. 237. Middle Tang (renovated in Western Xia and Qing). Main Hall: "The ceiling shows the three rabbits (joining as one) and round petalled lotus designs in the centre." [Zhang & Rasmussen's letter of 1 Jun 2001 says the rabbits are going clockwise.] [PR: Cave No. 305. Sui (renovated during the Five Dynasties and Qing). "Rabbit paint is gone (only white silhouette remains on faint rusty red background)." See: Decorative Patterns in the Dunhuang Art; Li Kai et al; Zhang & Rasmussen's letter of 1 Jun 2001, which says the rabbits are going clockwise] Cave No. 358. Middle Tang (renovated during the Five Dynasties, Western Xia and Qing). "Main Hall: The caisson ceiling shows the three rabbits (joining as one) and round petalled lotus in the centre." [PR: white on turquoise, going clockwise, faded.] Cave No. 383. Sui (renovated during Song, Western Xia and Qing Dynasties). "Main Hall: The centre of the caisson ceiling shows the three rabbits (joining as one) and lotus flower designs". [PR: brown with white outlines, going clockwise, fair condition.] Cave No. 397. Sui and Early Tang (renovated during the Five Dynasties and Qing). "Main Hall: The caisson ceiling shows the three rabbits (joining as one) and lotus in the centre". [PR: white on peeled-off aqua green, going clockwise. Poor to fair condition.] Cave No. 406. Sui (renovated in Song and Qing). "The centre of the caisson ceiling shows four designs of a set of three rabbits (joining as one) and lotus". I don't quite understand his phrasing -- there is a picture of a pattern of three rabbits in the centre of a lotus, as in Cave 407, but perhaps there are other patterns which are not reproduced?? [PR: white on tan, going clockwise, faded, fair condition. Peter says nothing to clarify Duan's text.] Cave No. 407. Sui (renovated in Song and Qing). "Main Hall: The caisson ceiling is covered with the three rabbits, lotus designs and flying figures drawn in Sui." [PR: Black with white outline on turquoise green background, going anticlockwise, good to excellent condition.] [PR: Cave No. 420. Sui. Zhang & Rasmussen's letter of 1 Jun 2001 says the rabbits are going anticlockwise.] Cave No. 468. Middle Tang (renovated during the Five Dynasties). "Main Hall: The centre of caisson ceiling has three rabbits (joining as one) and a lotus design". [PR: white on turquoise, going clockwise.] CHRONOLOGY Tang is 618-907, but there is a Later Tang (923-936). Sui (581-618, so c600): 305, 383, 406, 407, 420. Sui and Early Tang (c620): 397. Early/Mid Tang (7-8C): 205. Mid Tang (8C): 200, 237, 358, 468. Mid/Late Tang (8-9C): 144. Late Tang (9-10C): 127, 139, 145, 147.
Decorative Patterns in the Dunhuang Art. 1996. This has no English text except for the book title. The dust jacket has a colour picture of a painting of the ceiling of cave 407. Otherwise it gives only black and white drawings of patterns. P. 31 is an introduction to a section and has an unidentified three rabbits pattern, probably from cave 407. P. 32 is cave 305. P. 33 is cave 397. Li Kai, chief designer; Zhao Le Nin & Luo Ke Hua, eds. The Selections of Copied Art Works of Dun Huang Sunk Panel. 1997. This presents various artists' paintings of the ceiling panels. Plate 21 is: Sui Dynasty "three rabbits and lotus flower" sunk panel (cave number 305). Plate 26 is: Sui Dynasty "three rabbit and flying Apsarase" sunk panel (cave number 407) copied by Duan Wen Jie. Plate 27 is: Sui Dynasty "three rabbits and flying Apsarase" sunk panel (cave number 407) copied by Guo Shi Qing and Chang Sha Na. This is reproduced on the cover of the book, but it has been reversed in printing in both places. The difference in coloration and even in the outlines show the difficulty of seeing what is present in a rather faded and damaged cave where the early artists had only daylight. Neither of these is the same as the cover of the previous item! See also Shuhong & Chegxian above for another version. Plate 32 is: Sui Dynasty sunk panel (the cave number is not recorded). Plate 26 is: Tang Dynasty sunk panel (cave number 205). Wei Zhang & Peter Rasmussen. Letter of 1 Jun 2001 reporting on their research and visit to Dunhuang. They have made good contacts there and were given a lengthy special tour. They have now found the three rabbits pattern occurs in 16 caves: 127, 139, 144, 145, 147, 200, 205, 237, 305, 358, 383, 397, 406, 407, 420 and 468, all in the Mogao caves and all as central ceiling panels. They were able to see 145 (late Tang, 848-906), 205 (Early Tang, 618-704), 237 (mid Tang, 781-847), 305 (Sui, 581-618), 407 (Sui, 581 618), 420 (Sui, 581-618). In the first four, the rabbits are going clockwise, in the last two, they are going anticlockwise. They also visited the Western Thousand Buddha Caves, but there was no sign of the three rabbits there. However, none of the researchers there has investigated the three rabbits pattern. Unfortunately, photography is not allowed, but they sent the previous two books and two reproductions from an otherwise unidentified book: Dunhuang of China (2000). P. 20 is: Hall With Inverted Funnel Shaped Ceiling Shape of Cave 305 (Sui Dynasty) and gives a good impression of the shape of these caves -- this one is roughly cubical with several statues, apparently life-size, on a central plinth, with a decorated ceiling with the Three Rabbits in the centre. The central part of the ceiling usually is a panel which is sunk into the ceiling, i.e. higher than the rest of the ceiling, but some have two steps and some are more rounded. [Greeves (2001)] suggests this is to represent a cloth canopy. Pp. 40-41 is: Pattern (ceiling) Cave 407 (Sui Dynasty), showing the whole ceiling and the tops of the walls.
In the Museum für Islamische Kunst, Berlin, is a glass medallion with the Three Hares pattern, attributed to Afghanistan. It is 52mm in diameter. The museum purchased it from a dealer and there is no record of its origin. Peter Rasmussen & Wei Zhang were shown it in mid 2002 by Dr. Jens Kröger, the Curator of Islamic Art at the museum. [Email from Rasmussen, 17 Aug 2002.] There is a description of it in Kröger's book and in Stefano Carboni; Glass from Islamic Lands; Thames & Hudson, 2001, pp. 272-280. This also describes a fragmentary glass piece with four rabbits in the al-Sabah Collection in Kuwait, supposed to come from Ghazni, Afghanistan. [Email from Rasmussen, 20 Aug 2002.] Eva Wilson. Islamic Patterns (British Museum Pattern Books). British Museum Publications, 1988. Plate 42, bottom picture, is a four rabbits pattern. The notes on p. 19 say: Engraved design in the centre of a brass plate. Diameter 7cm. Iran, 12th century. British Museum, London (1956 7 26.12). [Greeves (2000)] reports a light blue glass seal from Afghanistan, c1200. In the Hermitage Museum, St. Petersburg, is an oriental silver flask of 12/13C with the three rabbits on the base. Discussed and illustrated in Hamann-MacLean, below. A small illustration is in Baltrušaitis (Fig. 96D), cf under China, above, who says it comes from near Perm and has a Kufic inscription on it. Cf next entry. Vladislav P. Darkevich. Khudozhestvennyi metall Vostoka VII XIII. Nauka, Moskva, 1976, 195 pp. ??NYS – described by Peter Rasmussen [email of 8 Jan 2002] and photocopy of pl. 34 sent by him. See pp. 16, 17, 115 and Таблуца 34: Серебряные чаша у флакон 5 - 8: Селянино Озеро (No. 19) [Tablutsa 34: Serebryanye chasha u flakon: 5 - 8: Selyanino Ozero (Plate 34: Silver basin and flagon: 5 - 8: Salt(?) Lake)]. This is the Hermitage Museum silver flask. Fig. 5 is an overall view; fig. 6 is the bottom, which is rounded, rather like part of a sphere and has the three rabbits pattern; figs. 7 & 8 are the Kufic inscriptions. [Greeves (2000)] reports a fine metal tray from Iran, c1200, in the Keir Collection and gives a fine photo of it. He notes that Sassanian culture is believed to have spread outward and could have been the source for the Himalayan and Chinese versions as well as the western versions. Sue Andrew tells me that similar trays are in the Victoria and Albert Museum, London. [Greeves (2000)] reports that the pattern has been found in Nepalese temples and in c1200 wall paintings at the temple complex of Alchi in Ladakh, Jammu & Kashmir. I can't find Alchi on maps, but a guide book says it is on the Indus about 1½ hours drive from Leh. Roger Goepper. Alchi: Buddhas, Göttinnen, Mandalas: Wandmalerei in einem Himalaya Kloster. DuMont Buchverlag, Köln, 1982, 110 pp. ??NYS -- photocopies sent by Peter Rasmussen. Another version appeared in 1996 -- ??NYS, described by Rasmussen [email of 21 Dec 2001], see below -- but the earlier book has different pictures. Rasmussen says this is about Sumtsek, the Buddhist temple at Alchi, Ladakh, presumably the temple mentioned by Greeves, above. Goepper dates the temple as c1200, but another author suggests 11C or 12C [Lionel Fournier; The Buddhist Paradise: The Murals at Alchi; 1982]. On p. 127 of the 1996 book is a photo of a 4.63 m high statue of Maitreya (the Buddha) wearing a dhoti on which Rasmussen finds no less than 50 (fifty!) examples of the three hares pattern. A close-up on p. 128 shows three complete examples. Goepper refers to these examples as 'three or four deer-like animals, the three long ears being shared ...', but Rasmussen could not see any examples with four animals and the text only refers to three ears. However, plate 7 of the 1982 book shows the same two roundels as on page 128 of the 1996 Alchi, but this illustration shows FOUR rabbits (sorry, hares) or deer or bulls (take your pick) in the upper left corner above Maya that were cropped out of the 1996 illustration, so Goepper's reference on page 126 of his 1996 book to "three or four deer like animals" was correct. In a note on p. 278 of the 1996 book, Goepper says the occurrence of the same pattern at Paderborn is 'hardly anything more than a coincidence'. Rasmussen finally notes that Goepper said the photographer, Jaroslav Poncar, and his group took about 3000 transparencies, a 'virtually complete documentation of the Alchi murals', but only 300 occur in the 1996 book. I have seen a B&W copy of Plate 7 of the 1982 edition. This has two images, each of a central character in a roundel surrounded by four frames in the form of a Greek cross with extra squares at the corners. (The colour image from the 1993 book, see below, shows these are adjacent, indeed overlapping, images.) These frames contain patterns of three and, in one case, four animals, but the identity of the animals is not clear. The four-fold pattern seems to be rabbits sharing ears, but others seem to be horses (or bulls) sharing ears or deer sharing antlers or possibly bulls sharing horns. All the animals are going clockwise. Sue Andrew has been in contact with Goepper & Poncar. Goepper said "just about a week ago I hinted at the 'intercultural' character of this strange motif during my lectures at Cologne University". Pratapaditya Pal. A Buddhist Paradise: The Murals of Alchi Western Himalayas. Ravi Kumar for Visual Dharma Publications Ltd., Hong Kong, 1982, 67 pp. ??NYS -- described by Peter Rasmussen [email of 4 Jan 2002]. Plate S9 shows Maitreya's full dhoti, S10 and S11 are closeups of the individual legs, and S12 and S13 are closeups of details. Lionel Fournier's photography is very poor in comparison to Poncar's. On pp. 51 52, Pal states "Interspersed with the rondels [sic] are little cruciform blocks adorned with leaping bulls, whose exact function is not clear, but which remind one of similar though more naturalistic bulls on the ceilings of Ajanta." So Goepper's deer are Pal's BULLS!!! But the interesting part of the sentence is the reference to the ceilings of Ajanta. It's not clear whether Pal means the Ajanta bulls are leaping in threes, but this statement reminded us that Terese Bartholomew of the San Francisco Asian Art Museum told us she thought she remembered the three animal motif being somewhere in the Ajanta caves. In an email of 8 Jan, Rasmussen reports that he has gone through all the Ajanta books at UC Berkeley and could only find an image of four deer sharing a single head -- details are in the Dead Dogs section. Roger Goepper. The 'Great Stupa' at Alchi. Artibus Asiae 53:1/2 (1993) 111-143. ??NYS -- photocopy sent by Peter Rasmussen. Figure 9: Deities in outer triangles of the ceiling. Photo by Poncar. This shows a number of three and four beast roundels forming a decorative band going out of the picture. as with the other Alchi images, it is hard to tell whether the beasts are rabbits, hares, bulls, etc., but they are clearly sharing ears here. all the beasts are going clockwise. James C. Y. Watt & Anne E. Wardwell. When Silk Was Gold Central Asian and Chinese Textiles. The Metropolitan Museum of Art in Cooperation with The Cleveland Museum of Art, dist. by Abrams, nd [mid 1990s?, after 1993]. Section 45: Cloth of gold with rabbit wheels, p. 158, with a colour plate opposite (no number on my copy). This shows a square array of circles with four rabbits in each circle. The direction of the rabbits alternates from one row of circles to the next. It is from the 'Eastern Iranian world, second quarter to mid-13th century', i.e. c1240. The cloth has a green-gold colour, while the patterns are outlined with red silk, giving red-gold lines. A footnote says to consult Roes 1936-37, pp. 85 105 for the history of the motif of the animal wheel. Other notes cite Dunhuang, metalwork in Khurasan (1150-1225), the dhoti of the Maitreya at Sumtsek Temple in Alchi and the ceiling paintings of the Great Stupa in Alchi. The section goes on to discuss the 'two heads, four boys' motif - see under Dead Dogs, below. Sue Andrew, via Peter Rasmussen [email of 26 Dec 2001], reported finding this, but only gives Wardwell as author - perhaps she wrote this part, but this is not indicated on the photocopies sent by Rasmussen. Peter Rasmussen [email of 4 Jan 2002] says Wardwell's main source was Baltrušaitis, under China, above. However, Baltrušaitis doesn't mention several of the cited areas. [Greeves (2001)] reports a pre-Islamic Mongol coin from north Iran, dated 1281, with the three hares on one side. Jurgis Baltrušaitis. Le Moyen Age Fantastique,.... Op. cit. under China, above. Pp. 132 139 of the 1981 edition have many examples of three and four rabbits, four boys, etc. After discussing Dunhuang, he says the motif was taken on by Islam and cites the Petersburg cup. He says there is a Mogul (school of Akbar) miniature with the pattern. Roger Goepper. Alchi Ladakh's Hidden Buddhist Sanctuary. Serindia Publications, London, nd [1993?]. Colour image sent by Peter Rasmussen showing the two overlapping images of the dhoti of Maitreya shown in his 1982 book, above. However, this image is more centralised and hence shows only one of the three animals patterns completely, with parts of several others. In Cairo, the Museum of Islamic art has a fragment from the bottom of a bowl with a three rabbits pattern using three colours! It is their item 6939/1, coming from Egypt or Syria in the 12-13C. In 2001-2002, it was a featured item at the exhibition: L'Orient de Saladin L'Art des Ayyoubides at the Institut du Monde Arabe, Paris. It is reproduced in the catalogue: Éric Delpont et al. L'Orient de Saladin L'Art des Ayyoubides. [Catalogue for] Exposition présentée à l'institut du monde arabe, Paris du 23 octobre 2001 au 10 mars 2002. Institut du monde arabe / Éditions Gallimard, Paris, 2001. Item 111, p. 123, is 'Tesson aux trois lièvres'. A black on yellow version was adopted as the logo of the exhibition and hence appeared on many other items associated with the exhibition and on the advertisements for it. PADERBORN In the cloister (Kreuzgang) of the Cathedral (Dom) of Paderborn, Nordrhein-Westfalen, Germany, is the "Three Hares Window" (Dreihasenfenster), with hares instead of rabbits. This faces the outside, i.e. into the central garden of the cloister. I learned of this from the Michelin Green Guide - Germany (Michelin et Cie, Clermont-Ferrand, 1993, p. 229) and wrote a letter of enquiry. A response from Dr. Heribert Schmitz in the Archbishopric states that the present form of the cloister dates from the early 16C and this is the date given on a postcard he included (and in a local guidebook). ([Greeves (2000); Greeves (2001)] says probably 15C.) He also included a guide to the Cathedral, a poster and a copy of the parish magazine with the article by Schneider, see below. On 12 Jul 2000, I was able to visit Paderborn, see the window, meet Dr. Schmitz and obtain much more material. The image is actually carved stone tracery in the arch over one of the triple windows of the cloister, and is about 3 ft (1 m) across. The central stone image is supported only by the three rear feet of the hares which are on a circular rim -- the intermediate spaces are filled with leaded glass. The local guidebook refers to the mason as 'crafty', perhaps implying that he saved having to carve three more ears. Several of the photos show the bodies of the hares supported by metal rods, but there are presently no rods. Later inquiry revealed that the original version is now in the Cathedral Museum and the version in the cloister is a recent copy. The Cathedral guidebook refers to the 'well known' window and says the symbol is an old land-mark of the city and the poster describes it as a famous landmark to be studied and developed in a workshop for children. One guide book shows three people dressed as hares who are a regular feature of parties and celebrations. The Cathedral guidebook says the 'motif is also to be found in other buildings, but elsewhere is mostly smaller and less conspicuous', but no references are given and Dr. Schmitz's letter says that he knows of no other examples than Long Melford and the article by Schneider. Greeves, below, notes that St. Boniface, the Apostle of the Germans, came from Crediton, Devon, some 10 mi east of Dartmoor! Further, he consecrated a bishop at Paderborn. Hans Schneider. Symbolik des Hasenfensters in Nordwestchina entdeckt. Die Warte (Heimatzeitschrift für die Kreise Paderborn und Höxter) 32 (Dec 1981) 9. This was kindly provided by Dr. Schmitz of the Archbishopric of Paderborn. First Schneider gives various interpretations of the symbolism of the three hares pattern: old German fertility symbols from the myths of the gods; the Easter rabbit as a symbol of the eternal power of nature; a symbol of the Trinity. In recent years, it has been connected to the patron saint of Paderborn, St. Liborius, by viewing his name as Leporius, which means 'hare man'. But Schneider has discovered the article of Huang and gives a B&W reproduction of the picture. Schneider notes that Paderborn had connections with the Islamic world -- e.g. Achmed el Taruschi and a delegation came to Paderborn in 970, [and we know Charlemagne's court had contacts with Constantinople, Córdoba and Baghdad]. Hence it is possible that the Chinese symbol could have been transmitted to Paderborn [and elsewhere]. A small illustration is in Baltrušaitis (Fig. 96D), under China, above. On 12 Jul 2000 I was able to visit Paderborn and meet Dr. Schmitz. The way to the Dreihasenfenster is clearly signposted in the Cathedral and we found images of it elsewhere in the town, and the local guidebook mentions further locations, e.g. the Drei Hasen restaurant at 55 Königstrasse. I got an English version of the Cathedral guide and a children's guide to the Cathedral. I obtained two more postcards featuring the window and several multi-image postcards of Paderborn with the window as one image. I also bought a stained glass roundel of the pattern, 225mm (8 3/4") across. The city information office has the pattern on many of their guide books and I also got stickers, transfers, etc. I had met Michael Freude from Münster and he had recalled there was an example in Münster and that there was a children's rhyme about it, though he could not remember it, nor could his family. We stayed with Michael Freude and Hanno Hentrich in Münster and they had located the example in Münster, which is a roof boss in the southwest corner of the south transept of the Dom (Cathedral) (St. Paul's), over the organ. It is very high and I was unable to get a good picture of it. [Greeves (2000)] notes that it is stunning, but he told me that he also had been unable to get a good picture. Since the Dom was much restored after the War, I thought it might be a post-war addition, but Hentrich checked in a Münster history and photos showed this part of the Dom had survived. [Greeves (2000)] says it is early 16C. I told Dr. Schmitz of this example when I visited him and he did not know of it. Freude & Hentrich thought it likely that the Paderborn example was a replacement after the War. [Greeves (2000)] says there is an example in the cloisters of a former monastery at Hardehausen, S of Paderborn (but I can't locate this on my maps). Theodore Fockele & Ewald Regniet. Domführer für Jungen und Madchen. Metropolitan-Kapitel, Paderborn, (1982), 6th ptg, 1999. On p. 21 is a brief description and a drawing with caption being the rhyme: "Der Hasen und der Löffel drei, / und doch hat jeder Hase zwei." [The hares and ears are three, / and yet each hare has two[, you see].] This rhyme also occurs in the local guidebook and on one of the available postcards. Verkehrsverein Paderborn [Paderborn Tourist Information]. Paderborn A short guide to the old city. Paderborn, 1998, p. 13 and back cover. This says the window is early 16C and gives an English version of the rhyme: "Count the ears. There are but three. But still each hare has two, you see?" and I have now inserted 'you see' into my translation above. The pattern is printed on the outside covers of this booklet One of the postcards available in Paderborn has a longer poem.
Und hier ging jedem eins verloren. Das Soll ist sechs, das Ist nur drei. Und Schein und Sein sind zweierlei. Was führt der Steinmetz wohl im Schilde? Welch ein Gedanke liegt im Bilde? Die Ohren sitzen an der Stirne, Gehörtes fliess in drei Gehirne. Drittselbst wird hier somit bedacht, was Sorgen oder Freude macht. Vereint geht manches leichtes eben im Hasen- wie in Menschenleben. Und überdies ist, was ihr seht, 'ne Spielart von der Trinität. [With united powers and ears Every hare has two ears. And here each has lost one. There should be six, there are only three. And appearance and being are different. How can the stone mason make an emblem? What thought is in the picture? The ears sit on the forehead, which flow into three heads. A third itself is here thus considered, which makes fear or joy. United, many things go easily even in the life of hares as in the life of men. And moreover this is, as you see, a playful image of the Trinity.] Annemarie Schimmel. The Mystery of Numbers. (As: Das Mysterium der Zahl; Eugen Diederichs Verlag, Munich, 1984. Based on: Franz Carl Endres (1878-1954); Das Mysterium der Zahl, last edition of 1951. It's not clear when Schimmel's work was done -- the Preface is dated Sep 1991 and her © is dated 1993, so perhaps 1984 refers to the last printing of the original Endres book??) OUP, 1993, p. 63 has a drawing of the Paderborn three hares, but with no indication of the puzzle aspect. "Hares, symbols of the tri-unity that is always awake, seeing and hearing everything. Their ears form a triangle.". MEDIEVAL EUROPE There are 17 churches with 28 roof bosses of the Three Rabbits in Devon. The dating of these is not very exact and is not always given in the church guides. I have now discovered Cave's 1948 book which mentions many of these. See also Jenkins' book of 1999. Carl Schuster & Edmund Carpenter. Patterns That Connect Social Symbolism in Ancient & Tribal Art. Abrams, NY, 1996. Pp. 158-159, fig. 453, is a 12C European wind chart with a central demon face with four mouths, but it has four pairs of eyes. A stone boss supposed to come from a church demolished c1200 is built into a cellar of a house in Corbigny, Nièvre, Bourgogne, about 50km NE of Nevers. [Greeves (2000) with colour photo.] [Greeves (2001)] changes the name to Corbenay, but this is not in my French atlas.] [Greeves (2000); Greeves (2001)] says the pattern occurs on a bell from the early 13C in the great abbey church at Kloster Haina. I can't locate this on my maps, but there is a Haina, Hessen, about 40km SW of Kassel. Bestiary. MS Bodley 764, 1220-1250. ??NYS. Translated by Richard Barber as: Bestiary Being an English version of the Bodleian Library, Oxford M.S. Bodley 764 with all the original miniatures reproduced in facsimile; Folio Society, 1992; The Boydell Press, Woodbridge, Suffolk, 1993; PB, 1999. Pp. 66-67, the entry for hare is preceded by a 'four rabbits' pattern. There were many medieval versions of the bestiary and the BL MS Harley 4751 is very similar to this. However, Barber [p. 13] notes that the entry for the hare is not in earlier texts and rarely reappears in later texts. Thanks to Sue Andrew for this reference and a copy of the photo she had done from the original MS. Sue Andrew also showed me an illuminated initial Q, also with four rabbits, from a c1285 MS, a French copy of Peter Lombard's Gloss on the Psalter, Bodleian MS Auct.D.2.8. f. 115r, commentary on Psalm 51. A roof boss in the south choir aisle of Chichester Cathedral, dated to the first half of the 13C, shows six 'Green Men' sharing eyes. The Green Men have foliage coming out of their mouths. My thanks to Marianna Clark for noticing this and sending me an example of the colour postcard of it which is labelled: Six heads with six eyes between them. Colin Clark, the Chief Guide to the Cathedral, told me of the example in Boxgrove Priory. See Cave, 1930 & 1948. A roof boss in Boxgrove Priory is roughly contemporary with that in Chichester Cathedral, but shows eight faces sharing eyes. Photo 300 in Cave, who includes it on a page of Foliate Heads. On p. 184, he says alternate heads have a stem from the mouth, but this is very small, leading one to wonder if the foliage has been broken off. [Jenkins, pp. 686-687] says: "The second boss from the altar is so crafted that each of eight faces comes complete with two eyes, yet there are only eight eyes in all." See Cave, 1948. A roof boss in the Chapter House of a former Benedictine Abbey, now the sacristy of the church of Saints Peter and Paul, Wissembourg, Bas-Rhin, Alsace, is dated to c1300. Nearby bosses include a Green Man, one of the common figures in Devon bosses. [Greeves (2000); Greeves (2001).] On the right side of the southern west doorway of St. John's Cathedral (Primatiale St-Jean) in Lyon, there is a quatrefoil panel with four rabbits, from about 1315. The rabbits are going clockwise. Discussed and illustrated in Hamann-MacLean, below, and in Baltrušaitis (Fig. 96A), cf under China, above. I photographed this in Lyon and my picture is much better than that in Hamann-MacLean, possibly because his photograph was taken before the facade was cleaned in 1982. However, there is no postcard of the pattern and I could not find a picture in any of the material available -- but see the next item. John Winterbottom & Diana Hall have sent a photo of a similar four rabbits pattern, but going anti-clockwise, at Bord du Forêt, near Lyon. Here the rabbits are leaping upward, so the central square of ears is smaller and tilted by about 30o. N. Reveyron. Primatial Church of Saint-John-the-Baptist, Cathedral of Lyon. Translated by Valérie Thollon & Diana Sarran. Association Lyon Cathédrale, Lyon, nd [c2000]. Pp. 22-29 describe the western doorways, saying the sculptures were made during 1308 1332. The South doorway is described on pp. 28-29, and the third section, on p. 28, headed Bestiary, includes: "The four hares, arranged like a swastika." This is the only time I have seen the four rabbits pattern compared to a swastika and I don't think there is any similarity! In the Church of St. John the Baptist, North Bovey, Devon, there is a carved wood roof boss of the Tinners' Hares which possibly dates to the 13C. The leaflet guide to the Church says the pattern was an emblem of the tin-miners of the 14C and is thought by some to refer to the Trinity. The symbol is used by a number of local firms as a logo -- though I didn't see any on my visit in 1997. Thanks to Harry James, Churchwarden, for his letter of 25 Apr 1997, his drawing of the pattern and a copy of the guide. In the Church of St. Mary the Virgin, Long Crendon, Buckinghamshire, about halfway between Aylesbury and Oxford, is a mid-14C tile showing the Three Rabbits pattern. About a third of it is missing. It is just at the altar step, which has preserved it somewhat from wear. The church guide says the tile was made in nearby Penn and is unique. This is an encaustic tile with the rabbits in yellow on a pale orange background. (This church is generally locked; try telephoning the Vicar on 01844-208363 or the Churchwarden on 01844-208665 if you want to get in. My thanks to Avril Neal, the Churchwarden, for letting me in.) The pattern is reproduced in B&W in Carol Belanger Grafton; Old English Tile Designs; Dover, 1985 [selected from Haberly, cf below], p. 91, but there is no text or indication of the source of it. My thanks to Sue Andrew for finding the tile and the Grafton reproduction. She has persuaded a potter to make facsimiles of the tile. The potter is Diana Hall, Anne's Cottage, Wimborne St. Giles, Dorset, BH21 5NG; tel: 01725 517475. I have now purchased some of these and they are very fine. Loyd Haberly. Mediaeval English Pavingtiles. Blackwell for Shakespeare Head Press, Oxford, 1937. Shows the complete pattern in red and white on the TP. Shows it in B&W as fig. CXIII on p. 168, saying it occurs in Long Crendon Church and Notley. "The design is also found elsewhere in glass and carved on stone. Some say it symbolizes the Trinity, others the Trivium, or three Liberal Arts of Grammar, Rhetoric and Logic. The conies, these say, represent the scholars, a feeble folk, who have an ear for each of the three Arts. One writer thinks the donor of the this design was therefore a man of academic distinction." Thanks to John Winterbottom and Diana Hall for copies of this material. [Greeves (2000)] discusses this and says it is the earliest known British example, presumably because the North Bovey example is not precisely dated. [Greeves (2001)] thinks this is roughly contemporary with the Chester tile, see below, and another tile in Anglesey. In the Grosvenor Museum, Chester, is a floor tile from the Cathedral with an inlaid design of the Three Rabbits pattern. Sue Andrew has found that this is shown in Jane A. Wight; Mediaeval Floor Tiles; John Baker, London, 1975 and she has kindly sent a photocopy. On p. 48 is fig. 15: "Trinity Rabbits: Narrow inlaid design of linked rabbits, symbolising the Holy Trinity, in Chester Cathedral. (About 5⅜ inches square.)" These are just outline rabbits, looking much as though Matisse had drawn them. The outer edges of the ears are curved to produce a circle, so the usual delta shape is here very curved. On pp. 12 13, Wight discusses the pattern. Some signs are ambiguous, hovering between religion and magic, like the three rabbits or hares linked by their shared ears, that may act as a symbol of the Holy Trinity. In The Leaping Hare by George Ewart Evans and David Thomson (1972) it is pointed out that these are correctly hares, 'joined in a kind of animated Catherine-wheel' and 'another instance of a pre-Christian symbol being adopted by the church'. (On roof bosses in the Dartmoor churches, financed by money from the stanneries or mines, the creatures appear as the craft-badge of the tin-miners.) This 'Holy Trinity' is found on tiles in Chester Cathedral and in Buckinghamshire. It is clear that Wight and Evans & Thomson have no knowledge of the puzzle aspect of the pattern. The connection with the tin miners is now known to be a modern myth -- see Greeves, below. Hares certainly have pre-Christian associations, but I don't know of any pre-Christian example of the Three Rabbits pattern except at Dunhuang and possibly St. Petersburg, see above. [Greeves (2000)] mentions this example and gives more non-Christian examples. [Greeves (2001)] suggests this is early 14C, roughly contemporary with the Long Crendon example and gives a photo of the actual tile on p. 62 -- this is slightly damaged in the middle, but does not have the circularity I noted above which is thus an artist's liberty. Greeves, Andrew & Chapman recently visited Chester, but the only tiles shown to them were from excavations in the Cathedral nave in the 1990s, which makes us wonder if the tile described by Wight is still somewhere in the Cathedral?? Sue Andrew (Nov 2002) reports that Diana Hall has learned of a 14C tile from the Stadion's Prebendary Court in Constance, now in the Zurich Schweizerisches Landesmuseum. In St. Pancras Church, Widecombe, Devon, is a roof boss of the three rabbits pattern, probably from the late 14C. The guide book to the church says it is "a symbol of the Trinity connected with tin-mining." This is shown on a postcard by Judges of Hastings, card number c11933X, where it is called the Hunt of Venus. A separate guide to the roof bosses also calls it the Hunt of Venus and suggests the tinners took the imagery from either the mines being like rabbit burrows, or from Venus, the goddess of Cyprus, the island which produced the copper that the tin was combined with. Thanks to the Rector of the Church, Derek Newport, for the material. [Jenkins, 1999, p. 142] says: "This rare symbol of the Trinity is formed of three animal heads sharing just three ears." At The Great Church of the Holy Trinity, Long Melford, Suffolk, there is an example of the three rabbits pattern in the 15C(?) stained glass. Christopher Sansbury, the Rector, wrote on 3 Jun 1996 that the motif is common on the east side of Dartmoor and that it may have been brought to Suffolk by the Martyn family c1500. He says it is old glass, older than the church, which was built in 1484, but doesn't specify a date for it, nor does the commercial postcard (Jarrold & Sons, Norwich, no. CKLMC 6). The pattern is considered to be an emblem of the Trinity. In a later latter, he cited Chagford, North Bovey and Widecombe as churches with the pattern near Dartmoor and cites Greeves' article. Greeves, below, says the pattern seems to be about 5.5cm in diameter, but I wonder if he is measuring a picture as when I visited the Church, it seemed to be perhaps 5" or 6". Sansbury wrote that it was less than a foot across. Greeves also says that the Cornish merchant family of Martin came to Long Melford c1490, so the glass is more likely to be 16C. [Jenkins, 1999, pp. 658-659.] The Church of St. Michael the Archangel in Chagford, Devon, has a roof boss in the chancel depicting the Tinners' Rabbits, from the 15C. My photo is not very clear. The Rector, P. Louis Baycock, states that there are one or two other bosses in the wooden ceilings, but they are dark and were obscured by the lighting so I was unable to locate them. On a later visit, I managed to see one at the top of the aisle vault a bit to the left of the entrance door -- one needs to shield one's eyes from the light bulb near by. There is a kneeler in the church with the pattern and it figures at the lower right of a large modern embroidery 'Chagford through the ages' hanging at the back of the church (postcard and explanatory leaflet available). The leaflet says that a 'rabbit' was a tool used in tin-mining. On a later visit, I found also a pew seat cover with four examples of the pattern on it. James Dalgety tells me that there was a gift shop called Tinners' Rabbits in Chagford some years ago. [Mary Gray; Devon's Churches; James Pike Ltd, St. Ives, 1974, pp. 7 & 15] only mentions the pattern at Chagford, describing it as 'the old tinners' design'. The local wine shop, called Best Cellars, has the pattern on its window. On my 2001 visit, the owner said the shop had previously been the Tinners' Rabbits. The Newsagent's in the main square sells a Chagford plate featuring the Tinners Rabbits and with the usual mythology on the back. There is a new building, Stannary Place, with a modern crest of three rabbits over the doorway, on New Street going away from the Church. The 15C house of Cardinal Jouffroy at Luxeuil-les-Bains, Haute-Saône, Franche-Comté, about 40km NW of Belfort, has the pattern carved under a balcony. [Greeves (2000); Greeves (2001).] The church of St. Andrew, Sampford Courtenay, Devon, has two roof bosses in the Three Rabbits pattern. A letter from D. P. Miles says these date from c1450. Cf [Jenkins, 1999, pp. 137-138.] St. Michael's Church, Spreyton, Devon, has a roof boss of the Three Rabbits pattern. The sign at the entrance to the churchyard is a large and beautiful version of the pattern painted by Helen Powlesland, the nicest I have seen. Thanks to Rev. John Withers for information. Mrs. Powlesland informs me that the roof boss is 15C. [Greeves (2000); Greeves (2001)] says the roof is dated 1451. [Greeves (2001)] has a photo. Spreyton has produced a Millennium cup showing the school and an inscription surrounded by small squares containing the three rabbits pattern in white on blue and blue on white -- sent by Helen Powlesland. In 2003, they produced a cup for the Church with one side having the three rabbits pattern -- kindly sent by Helen Powlesland. Cave, p. 211, says there are two bosses, one in the chancel and one in the nave, and that there is an inscription on the roof of the chancel dated c1450. The Chapel of Saints Cyr and Julitta (now called St. Anne and St. Catherine), Cotehele House, Cornwall, was built in 1485-1489 and has an example of the pattern as a roof boss -- see [Greeves (2000); Greeves (2001)]. The boss is on the midline, one in from the E end of the Chapel. A chandelier hangs from it. It is unpainted and so dark that one really needs binoculars to make out the pattern. One can get a better view from a squint off the South Room on the first floor. In Scarborough, North Yorkshire, there is a c1350 building in Sandgate (or Sandside) on the seafront of South Bay called the King Richard III Inn because he is reputed to have stayed there. On the ceiling of one of the upper rooms is a 'Three Rabbits' pattern, but this is in the landlord and landlady's rooms and the landlady was unwilling to let me see it. Inquiry to the Scarborough Museums and Gallery Officer elicited a photo held by the Planning Department in which the pattern can just be discerned (though I can't see which way it is going) and the information that it is in 16C plasterwork apparently done by Italian workers. [Greeves (2000)] describes this and notes that Richard III's wife's family (the Nevills) owned the manor of North Bovey in the early 16C. Greeves, Andrew & Chapman have been to see and photograph it -- the pattern has been painted red. [Greeves (2000)] reports two occurrences of plaster ceilings with the pattern in Devon. A 16C example at Treasbeare Farm, near Clyst Honiton, and a mid-17C(?) example at Upcott Barton, Cheriton Fitzpaine. [Greeves (2001)] says the Clyst Honiton example is 17C and gives a fine photo of it. Baltrušaitis. Op. cit. below. Fig. 97 is a 1576 Dutch engraving of three rabbits. In Throwleigh, Devon, a few miles from Chagford, there is a roof boss of the Tinners' Rabbits in the 16C north aisle of the Church of St. Mary the Virgin. (Thanks to the Rector of Chagford and Throwleigh, P. Louis Baycock, for directing me to this site.) Photo in Sale, below, p. 63. [Greeves (2000)] has a picture of the example in the parish church, Tavistock, Devon, but only dated as medieval. [Greeves (2000)] reports there is a fine stone lintel from Charmois-L'Orgueilleux (I can't locate this) in the Musée d'Art Ancien et Contemporain in Epinal, Vosges, Lorraine, dated as 16C, but Greeves thinks the carving may be more primitive than 16C. He also reports two medieval stone roof bosses at Ingwiller, Bas-Rhin, Alsace, about 35km NW of Strasbourg, and Xertigny, Vosges, Lorraine, about 15km S of Epinal. Greeves says there are other French examples: in the chapel of the Hotel de Cluny (= Cluny Museum), Paris ([Greeves (2001)] says this is 15C; I have a good photo); at Vienne, Isère, Rhône-Alpes; at St. Bonnet le Chateau. Loire, Rhône-Alpes; and that potters at Soufflenheim, Bas-Rhin, Alsace, use the pattern in current production. In 1997, an old trunk and crates in the Statens Museum for Kunst (National Gallery), Copenhagen were opened and found to contain over 20,000 prints which had been stored during re-organization in the 1830s. One of these is a three rabbits engraving, very similar to the 1576 Dutch engraving shown in Baltrušaitis, below. Here the rabbits are going clockwise. This material is the basis of an exhibition continuing until 16 Feb 2003. This picture is being used to advertise the exhibition and appears in Copenhagen This Week for Jan 2003 with a short English text, on www.ctw.dk/Sider/Articles.html . The museum's site is www.smk.dk , but I cannot see an English catalogue available. Information and photo from Diana Hall and John Winterbottom -- John's son saw it in Copenhagen on a stopover at the airport. The Church of St. John the Baptist, Broadclyst, Devon, has nine roof bosses of the Three Rabbits pattern. (Greeves (1991) erroneously has eight.) They were made in 1833 but are said to be careful plaster copies of the medieval examples, but my sources give no date for the originals. There is one three rabbits boss in the central aisle -- Chris Chapman thinks some of the bosses in the central aisle may be originals, but this one has been recently painted and doesn't look old to me. [Greeves (2000); Greeves (2001)] mentions two early 17C plaster ceilings with the pattern at Burg Breuberg in the Odenwald (I can't locate this on my maps, but the Odenwald is where Hessen, Baden-Württemberg and Bayern meet) and at Seligenstadt, Hessen, about 20km SE of Frankfurt. Basil Valentine. (He may be catalogued as Basilius Valentinus (or Valentis) and entered under B rather than V.) De Macrocosmo, oder von der grossen Heimlichkeit der Welt und ihrer Artzney, dem Menschen zugehorig. c1600. ??NYS -- reproduced and briefly discussed in Greeves. This shows the Hunt of Venus, with three hares going clockwise, but with each hare pursued by an unconnected dog and Greeves notes that the dogs are an essential part of a hunt symbol. Inside the triangle of ears is the astrological/alchemical symbol for Mercury, which is claimed to be similar to a symbol used for tin (or Jupiter) -- but I have now looked at a book on alchemy and there is no similarity; further both symbols are included in the surrounding text and they are clearly distinct. The pattern is drawn inside a circle of text which contains the astrological symbols of all seven planets and hence is rather cryptic -- see Roob, below, for the text. The top of the picture has a flaming heart pierced by an arrow and the legend VENUS. So there is no real connection with tin, though this is the source cited by the first book on Dartmoor to mention the symbol, in 1856. Greeves notes that the three ears produce a delta-shape and this has connotations of fertility, both as the Nile delta and as the female pubic triangle. Valentine is a (semi-?) mythical character. He was allegedly a Benedictine monk of the early 15C, but no trace of his writings occurs before the 17C. (However, de Rola (below) asserts that Antonius Guainerius (d. 1440) praised Valentine and that Valentine himself says he was a Benedictine monk at the monastery of St. Peter in Erfurt. But his real name is unknown and so he cannot be traced in the records of the monastery or at Erfurt. De Rola quotes a 1675 report that Valentine was at St. Peter's in 1413.) Legend says his works were discovered when a pillar in the Cathedral of Erfurt split open (a variant of a story often used to give works a spurious age) -- cf the next item. Despite their uncertain origin, the works were well received and remained popular for about 200 years, with the pictures of his 'Die zwölff Schlüssel' (The Twelve Keys) being used to the present day. He was probably an alias of Johann Thölde (fl. 1595-1625). The work cited may occur in his Last Will and Testament (1st English ed of 1657) or in his Chymische Schriften (Gottfried Liebezeite, Hamburg, 1700). Basilius Valentinus. The Last Will and Testament of Basil Valentine, Monke of the Order of St. Bennet ... To which is added Two Treatises: .... Never before Published in English. Edward Brewster, London, 1671. ??NYS -- seen in a bookdealer's catalogue, 2003. Basilius Valentinus. Letztes Testament / Darinnen die Geheime Bücher vom groffen Stein der uralten Weifen / und anderen verborgenen Geheimnüssen der Natur Auss dem Original, so zu Erfurt in hohen Altar / unter einem Marmorsteineren Täflein gefunden worden / nachgeschrieben: Und nunmehr auf vielfältiges Begehren / denen Filiis Doctrinæ zu gutem / neben angehengten XII. Schlüsseln / und in Kupffer gebrachten Figuren ie. deffen Innhalt nach der Vorrede zu sehen / zum vierdtenmahl ans Liecht gegehen / deme angehänget ein Tractätlein von der ALCHIMIE, Worinnen von derselben Usprung / Fortgang und besten Scriptoribus gehandelt / auff alle Einwürffe der Adversariorum geantwortet / und klar bewiesen wird / dass warhafftig durch die Alchimie der rechte Lapis Philosophorum als eine Universal Medicin Könne bereitet werden / von Georg Philips Nenter. Johann Reinhold Dulssecker, Strasburg, 1712. This has several parts with separate pagination. About halfway through is a new book with TP starting: Von dem Grossen Stein der Uhralten / Daran so viel tausend Meister anfangs der Welt hero gemacht haben. Neben angehängten Tractätlein / derer Inhalt nach der Vorrede zu finden. Den Filis doctrinæ zu gutem publicirt / und jetzo von neuen mit seinen zugehörigen Figuren in Kupffer and Leight gebracht. Strassburg / Im Jahr M. DCC. XI. Part V. of this is: Von der grossen Heimligkeit der Welt / und ihrer Artzney / dem Mensche zugehörig -- from Greeves, it appears this is also called Macrocosmo. On p. 140 is a smaller and simpler version of the three hares picture, with 'folio 222' on it. This has the hares going anticlockwise, the only example of Basilius' picture with this feature that I have seen. Further, the word 'recht' is missing from the text around the picture and has been written in. Below the picture is a lengthy poem, starting "Ein Venus-Jagt ist angestallt". I translate the first part as: "A Hunt of Venus is prepared. The hound catches, so the hare will not now grow old. I say this truly that Mercury will protect well when Venus begins to rage, so there occur fearfully many hares. Then Mars guards with your [sic, but must be his] sword, so that Venus does not become a whore." Part II. of Von dem Grossen Stein der Uhralten is Die zwölff Schlüssel ... and Der neundte Schlüssel is on p. 51, with 'folio 70' on it. In the centre of the circular part of this is a pattern of three hearts with serpents growing out of them and biting the next heart. Above this are a man and a woman, each nude and in a sitting position, with bottoms almost touching. Baltrušaitis mentions this in his discussion of 'two heads, four bodies' pictures, but I don't feel this is really a picture of that type. A different and less clear version of this picture in reproduced in the following. Stanislas Klossowski de Rola. The Golden Game Alchemical Engravings of the Seventeenth Century. Thames & Hudson, 1998. This reproduces the entire Twelve Keys from: Michael Maier; Tripus aureus; Lucas Jennis, Frankfurt, 1618, and gives some discussion. P. 119 is the title page of the Valentine; p. 103 includes the Ninth Key; pp. 125-126 give explications of the Keys. Roob (below), p. 678, from: D. Stolcius v. Stolcenberg; Viridarium chymicum; Frankfurt, 1624. Adam McLean. The Silent Language The Symbols of Hermetic Philosophy Exhibition in the Bibliotheca Philosophica Hermetica. In de Pelikaan, Amsterdam, 1994, p. 47, reproduced from: Johann Grasshoff; Dyas chymica tripartita; Lucas Jennis, Frankfurt, 1625. Baltrušaitis, above, Fig. 103, but he cites: B. Valentino; Les Sept Clefs de Sagesse; vers 1413; via an 1891 book. This three heart/serpent pattern is known as the Ouroboros or Ouroborus. McLean explains that man has three hearts: physical, soul and spiritual. Basilius Valentius. Chymische Schriften. Hamburg, 1717. ??NYS -- reproduced in: Alexander Roob; Alchemie & Mystik Das Hermetische Museum; Taschen, Köln, et al., 1996, p. 676. Same picture as in De Macrocosmo, with some descriptive text. The circle of text is translated as: "Sol and Luna and Mars mit Jupiter jagen / Saturnus muss die Garne trage / Steltt Mercurius recht nach dem Wind / so wird Frau Venus Kind" (Sun and Moon and Mars hunt with Jupiter / Saturn must carry the net (or decoy) / Place Mercury correctly according to the Wind / then Frau Venus captures a child) and Roob says this is an alchemical description of the preparation of the 'Universal Medicine' from copper vitriol, which Basilius called the highest of all salts. Externally it is green, but inside it is fiery red from its father Mars, an oily balsam. He then gives lines 5-8 of the poem and says the hare is a known symbol for the fleetness of Mercury. At Schwäbisch Hall, Baden-Württemberg, about 60km NE of Stuttgart, the pattern appears painted on the ceiling of a synagogue, from 1738/9 [Greeves (2000); Greeves (2001), with picture.] Sol Golomb notes that the commandment against making graven images is interpreted as referring to solid images and excepts decorative patterns even if they use animals. The town of Hasloch (am Main), Bayern, about 70km SE of Frankfurt, uses the pattern as its town crest (colour photo of an 1842 example in [Greeves (2000)]). C. J. P. Cave. The roof bosses in Chichester Cathedral. Sussex Archaeology 71 (1930) 1-9 & plate opp. p. 1. Photo 11 is a B&W picture, but not as sharp or clear as the current postcard. Discussion on p. 6 says the Boxgrove example is 'more boldly and better carved'. See Cave, 1948. Jurgis Baltrušaitis. Le Moyen Age Fantastique,.... Op. cit. under China, above. Pp. 132 139 of the 1981 edition have many examples of three and four rabbits, four boys, etc. Fig. 96 gives small rabbit illustrations from Dunhuang (10th c.), Islamic vase from the Hermitage Museum (12th 13th c.), Lyon Cathedral (1310 20), Paderborn (15th c.), and Fig 97 is a large Dutch engraving, Lièvres a Oreilles Communes, of 1576 in the BN, Paris, with rabbits going anti-clockwise. He cites examples at Saint-Maurice de Vienne (15C); at the Hôtel de Cluny, at Saint-Benoit-le-Château (Loire) and says it is frequent in the east of France (Thiélouse, Xertigny), Switzerland (Abbey of Muototal), and in Germany (Munster, Paderborn). He cites a 1928 book for the pattern being a symbol of the Trinity. By the beginning of the 16C, he says it was used as a vignette by the printer Jacques Arnollet and as the sign of the Three Rabbits Inn (L'Hostellerie aux trois lapins). He gives some lines from a poem of the time: Tournez et retournez et nous tournerons aussi, Afin qu'a chacun de vous nous donnions du plaisir. Et lorsque nous aurez tournés faites compte de nos oreilles, C'est là que, sans rien déguiser, vous trouverez une merveille. and says these or similar occur frequently in prints of the 16C and 17C, referring to the large Dutch engraving which has similar lines in Dutch and French around the border - but his reproduction (or the original) is truncated on the left. He cites an 1879 history of inn signs and seems to say this inn is in Lyon and that the author had also seen a version with three deer. See Dead Dogs for further material. C. J. P. Cave. Roof Bosses in Medieval Churches An Aspect of Gothic Sculpture. CUP, 1948. This has several hundred B&W plates. I have a reference to Cave's collection of photographs of roof-bosses and an index thereof at the Society of Antiquaries, so I looked up Cave at the Warburg and found this book. Chapter VI: Beasts, birds and fish, pp. 69-75. On p. 71, he says: "There are a few rabbits or hares, it is difficult to tell which; the most curious are the three rabbits with only three ears between them, each rabbit sharing an ear with its neighbours; this device is found at Broadclyst, North Bovey (49), Chagford, Sampford Courtenay (182), Spreyton, South Tawton, Tavistock, and Widecombe-in-the-Moor, all villages on or not far from Dartmoor; at Selby there is a similar arrangement, but there is a fourth rabbit unconnected with the three.1 1 The three rabbits occur in stained glass at Long Melford. The same motif occurs in Paderborn Cathedral in Germany, on a window known as the Hare Window; see Walter Hotz, Mittelalterliche Groteskplastic (Leipsig), p. 47 (text) and p. 68 (plate); this window is even mentioned in Baedeker's Guide to North Germany." Plate 1. Tickencote. This has three heads in a circle, but there is no interconnection. Plate 30. Bristol Cathedral, north transept: Fish. This has three fish arranged in a triangular pattern, each overlapping the next. Plate 49. North Bovey; rabbits. Plate 182. Sampford Courtenay. Rabbits. Plate 200. Selby. Triple face. [This has three faces looking forward, a bit to the right and a bit to the left, sharing four eyes. I have a photo of a similar keystone in Citta di Castello where the side faces are facing directly right and left. This seems to be a development from the Roman double-sided heads of Janus.] Plate 300. Foliate Heads. Boxgrove. Appendix I List of churches containing roof bosses. Pp. 181-222. He begins with a note: This list does not aim at completeness, .... Names of places which I have not visited personally are in square brackets.] He lists 208 sites, including: Bovey (North); Boxgrove Priory; Broadclyst ('evidently modern copies of old designs', but he doesn't say how many there are); Chagford ('two bosses ..., one much restored'); Cheriton Bishop; Chichester Cathedral (cites his: The roof bosses in Chichester Cathedral, Sussex Archaeological Collections, vol. LXXI, 1940, above); Havant ('Two early thirteenth-century bosses in the chancel with affinities to those as Chichester and Boxgrove.' ??); Oxford, Christ Church ('four lion's bodies joined to one head'); Portsmouth Cathedral ('Two bosses in the north aisle of the quire in the Chichester-Boxgrove style.' ??); Portsmouth, SS John and Nicholas (Garrison Chapel) ('The first and third bosses are early conventional foliage in the Chichester-Boxgrove style.' ??); Sampford Courtenay (cites two examples, in the chancel and the nave); Selby Abbey (says many bosses are medieval, but says nothing about the Triple face (plate 200)); Spreyton (cites two examples, in the chancel and the nave); Tavistock; Tawton (South); Widecombe-in-the-Moor. The nine three rabbits examples were known, but Chichester and Boxgrove are new and there are a number of possibles that seem worth investigating, but Plates 1 and 30, now added above, are the only previously unnoted pictures of marginal interest. Richard Hamann-MacLean. Künstlerlaunen im Mittelalter. IN: Friedrich Möbius & Ernst Schubert, eds.; Skulptur des Mittelalters; Hermann Böhlaus Nachfolger, Weimar, 1987, pp. 385-452. The material of interest is on pp. 400-403. He discusses and illustrates: the Paderborn example, saying it is 15C; the silver flask in the Hermitage; the four rabbit pattern at Lyon. He notes that the last cannot be considered a symbol of the Trinity! He mentions a cave painting in Chinese Turkestan, 10C?, which is probably the Dunhuang example. He gives a number of references to earlier articles -- ??NYS. Tom Greeves. The Tinners' Rabbits -- chasing hares?. Dartmoor Magazine 25 (Winter 1991) 4-6. This was certainly the most informative discussion of the topic until his later articles. Greeves is an archaeologist and an authority on the Dartmoor tin industry. He has now been joined in this research by Sue Andrew and the photographer Chris Chapman, comprising the Three Hares Project. Greeves says that it is claimed to be the emblem of the medieval tinners, and various connections between tinners and rabbits have been adduced, e.g. it is claimed that the pattern was the medieval alchemical symbol for tin. It is also called the Hunt of Venus and/or an emblem of the Trinity. However, the earliest reference to the pattern on Dartmoor is an 1856 description of Widecombe Church which only says that the roof was connected with the tinners and that the pattern had an alchemical connection. Later guides to Dartmoor are still pretty vague, e.g. a 1956 writer connects the symbol with copper, not tin. It is not until 1965 that the symbol is specifically called The Tinners' Rabbits. See his 2000 article for more early references. There is no particular Dartmoor mythology connected with rabbits, but there is much mythology of hares. See the note at the beginning of this section about the introduction of rabbits to Britain. Three unconnected rabbits do occur in some English crests. Greeves reproduces and discusses the c1600 Valentine picture -- see above. Since no list of occurrences of the pattern had ever been compiled, Greeves examined almost all the churches in the area and discovered roof bosses with the pattern in 12 churches -- see [Greeves (2000)] for a longer list). These are all on the east side of Dartmoor or to the north, except Tavistock is on the west side and Broadclyst is some 20 mi further east. Bridford, Iddesleigh, Sampford Courtenay and Spreyton have no significant tin-mining connections. No examples are known from the much more important tin-mining area of Cornwall, but Greeves has since found an example at Cotehele, just over the border into Cornwall. Greeves then discusses the examples at Long Melford and Paderborn, giving comments which are mentioned above. He then briefly describes the Dunhuang example, citing Whitfield & Farrar, and then the St. Petersburg example. He then notes some modern versions: a wooden teapot stand from Scandinavia and a Victorian(?) carving in Holy Trinity, Fareham, Hampshire. Early Christianity took over many pagan symbols and the three hares or rabbits (like the Green Men) could have been adapted to represent the Trinity. In a letter of 3 Jun 1997, Greeves says he has located further examples of the three rabbits in Cheriton Bishop and Paignton in Devon, Cotehele in Cornwall and in Wales, Scarborough (North Yorkshire), France, Germany, Switzerland, Bohemia and modern China, where the pattern is still woven into carpets. See [Greeves (2000); Greeves (2001)] for more details of these. See below for the continuation articles [Greeves (2000); Greeves (2001)]. Paul Hambling. The Dartmoor Stannaries. Orchard Publications, Newton Abbott, 1995, pp. 38-39. This gives a short summary of Greeves' work. He adds that a story is that the tinners adopted the rabbit as their emblem in allusion to their common underground mode of life. Tinners are also said to have been responsible for some rabbit warrens, but there were lots of other warrens and they would have been too common to be specifically associated with the tinners. He notes that the symbol of three intertwined fishes was a common Christian symbol. Simon Jenkins. England's Thousand Best Churches. Allen Lane, 1999; slightly revised, Penguin, 2000. This mentions the Three Rabbits pattern in several churches. Boxgrove, pp. 686-687. "The second boss from the altar is so crafted that each of eight faces comes complete with two eyes, yet there are only eight eyes in all." Long Melford, pp. 658-659. "... three rabbits sharing three ears, representing the Trinity." Sampford Courtenay, pp. 136-137. Widecombe in the Moor, pp. 142. "This rare symbol of the Trinity is formed of three animal heads sharing just three ears." Richard Sale. Dartmoor The Official National Park Guide. Photos by Chris Chapman. Pevensey Guides (David & Charles), 2000. Pp. 63-64 says the symbol of 'three rabbits each with only one ear' was adopted by the tinners and may be an allusion to the Holy Trinity. He also says the rabbits became a pest and myxomatosis was introduced in 1954 and rabbit warrening was abolished in 1956. P. 63 has a photo of the boss at Throwleigh. Tom Greeves. Chasing three hares. Dartmoor Magazine No. 61 (Winter 2000) 8-10. P. 11 contains several advertisements for hotels and tours featuring the three rabbits motif. This reports on information discovered since his previous article -- see above. Many bits of information are incorporated above, citing this as Greeves (2000). The earliest known connection of the pattern with the tinners is given in the Torquay Directory (25 Nov 1925), but the first popular usage seems to be Sylvia Sayers' The Outline of Dartmoor's Story (1925), p. 24. He now has found 17 Devon churches with 28 examples of the pattern: Ashreigney, Bridford, Broadclyst (9 examples from 1833 said to be careful copies of medieval bosses -- Greeves (1991) erroneously has 8), Chagford (2 examples), Cheriton Bishop, Iddesleigh, Ilsington, Kelly (2 examples, one a modern copy), Newton St. Cyres, North Bovey, Paignton, Sampford Courtenay (2 examples), South Tawton, Spreyton (2 examples), Tavistock, Throwleigh, Widecombe(-in-the-Moor). Excepting the recent copies, there are 19 medieval (i.e. pre-1500) examples, all wooden roof bosses. These stretch well beyond the Dartmoor area into mid and east Devon. Many of these sites have no significant tin-mining connections. No examples are known from the much more important tin-mining area of Cornwall, except an example at Cotehele, Cornwall, just over the Cornish border. There are also examples, probably 15C, on the roof of the Lady Chapel in St. David's Cathedral, St. David's, Pembrokeshire, and on an arch of St. Aidan's church, near Llawhaden, Dyfed. Greeves writes that his group are organising an exhibition on the pattern at the High Moorland Visitor Centre, Princetown, Devon, for several weeks from 22 Nov 2001. Tom Greeves. Three hares -- a Medieval Mongol Mystery. Devon Today (Apr 2001) 58-63. Many bits of information are incorporated above, citing this as Greeves (2001). Notes that Easter is believed to derive from the festival of the pagan goddess Eastre, whose familiar spirit was the hare. Reports a possibly 15C example at Corfe Mullen, Dorset. Says the pattern was used in 18C Slovakian pottery. Gives photos of examples at Paignton and South Tawton and of a modern carpet from Urumqi. MODERN VERSIONS OF THE THREE RABBITS PUZZLE Child. Girl's Own Book. Puzzle 10. 1833: 163; 1839: 143; 1842: 264; 1876: 221. "Can you draw three rabbits, so that they will have but three ears between them; yet each will appear to have the two that belongs to it?" (1839, 1842 and 1876 have belong instead of belongs.) Magician's Own Book. 1857. Prob. 7: The three rabbits, pp. 269 & 293. "Draw three rabbits, so that each shall appear to have two ears, while, in fact, they have only three ears between them." The drawing is similar to, but reasonably different than that in Girl's Own Book. Book of 500 Puzzles. 1859. Prob. 7: The three rabbits, pp. 83 & 107. Identical to Magician's Own Book. Illustrated Boy's Own Treasury. 1860. Practical Puzzles, No. 3, pp. 395 & 436. Identical to Magician's Own Book, prob. 7. Boy's Own Conjuring Book. 1860. Prob. 6: The three rabbits, pp. 230 & 255. Identical to Magician's Own Book. The Drei Hasen hotel, Michelstadt, Hessen, about 40km NE of Heidelberg, uses 19C and later versions of the pattern. [Greeves (2000); Greeves (2001) has a photo of a 19C stained glass window.] Hanky Panky. 1872. P. 87: The one-eared hares. Very similar to Magician's Own Book. Wehman. New Book of 200 Puzzles. 1908. The three rabbits, p. 21. c= Magician's Own Book. Collins. Book of Puzzles. 1927. The Manx rabbit puzzle, p. 153. Says it was invented by a Manxman. Shows three rabbits, each with two ears, and one has to assemble them to have just three ears. The Warren House Inn is at one of the highest passes over Dartmoor, Devon, on the B3212 about halfway between Princetown and Moretonhampstead. The pub sign shows the Three Rabbits and they sell a polo shirt with the pattern. [Thanks to Tom Greeves for directing me to this.] Marjorie Newman. The Christmas Puzzle Book. Hippo (Scholastic Publications, London, 1990. Kangaroos' ears, pp. 69 & 126. Like Magician's Own Book, prob. 7, but with kangaroos. The Castle Inn, Lydford, Devon, has a fine stained glass window of the Three Rabbits by James Paterson (1915-1986). ??NYS -- described and illustrated in colour in Greeves (2000). Jan Misspent (??sp). Design Sources for Symbolism. Batsford, 1993, p. 18. Shows the three rabbits, going anticlockwise, among other examples of three-fold rotational symmetry. Sent by Diana Hall. Tom Greeves (see above) uses a three rabbits logo as his letterhead. Holy Trinity Church, Long Melford, Suffolk, uses a version of their stained glass as a letterhead. Trinity Construction Services, London and Essex, uses a three rabbits logo as their letterhead. A former director saw the pattern in Devon and liked it. Laurie Brokenshire reports that the chaplain at HMS Raleigh, the naval training station near Plymouth, has a vestment with the three rabbits emblem. He saw it many years ago in the area and thought it was an excellent symbol of the Trinity and had the vestment made, probably for use on Trinity Sunday. Martin and Philip Webb run a company called Fine Stone Miniatures (www.finestoneminiatures.com) which makes miniatures of medieval beasties from cathedrals, etc. They have recently introduced two versions of the three rabbits. DEAD DOGS G. Yazdani. Ajanta Monochrome Reproductions of the Ajanta Frescoes Based on Photography Part I. 1930; reprinted by Swati Publications, Delhi, 1983. Photocopies sent by Peter Rasmussen. P. 3 has the following. "A good example of the artistic fancy of the sculptors of Ajanta is the delineation of four deer on the capital of a column in this cave (Plate XLb). They have been so carved that the one head serves for the body of any of the four. The poses of the bodies are most graceful and absolutely realistic, showing close study of nature combined with high artistic skill." He dates the cave to the end of the 5C. Footnote 1 says the motif of the four deer also occurs in a cave at Ghatotkach, which have an inscription dating them to the end of the 5C. Plate IV is a general view of Cave I, but I cannot recognise the image in it. Plate XLb is "Four deer with a common head" but very unclear. Narayan Sanyal. Immortal Ajanta. Hrishikes Barik, Calcutta, 1984. Photocopies sent by Peter Rasmussen. P. 18, fig. 4.1, is a Plan of Cave I with Exhibits. P. 19 has a List of Exhibits in Cave I -- entry 17 is "Four deer with one head" and notes that it is shown in Yazdani. On the plan, 17 points to the two middle columns on the right side. P. 38 describes this: "On another [pillar-capital] there are four deer with a common head. The local guide would often invite the attention of the tourist to this and similar freaks. But the magnanimity of Ajanta lies not in such frivolities ...." Benoy K. Behl, text and photographs. The Ajanta Caves Artistic Wonder of Ancient Buddhist India. Abrams, NY, 1998, 255pp. [= Benoy K. Behl, text and photographs. The Ajanta Caves: Ancient Paintings of Buddhist India. Thames and Hudson, London, 1998, 256pp.] P. 18 has a colour photo of a relief of four deer sharing a single head. Peter Rasmussen sent a B&W copy, which is not good, and then an enlarged colour picture which does show the effect, but it is still not very good. Behl says " Inside the main hall on the right-hand side one of the capitals is subtly carved to create the illusion of four recumbent and standing deer sharing a single head." This is apparently the only example at Ajanta as other authors refer to it as 'artistic fancy', 'freaks', 'frivolities'. The Ajanta Caves date from -2C to 6C. Carl Schuster & Edmund Carpenter. Patterns That Connect Social Symbolism in Ancient & Tribal Art. Abrams, NY, 1996. P. 34, fig. 68, shows a painted pottery pattern from Panama with two heads and four legs, but rather more like Siamese twins than our 'two heads, four boys' pattern. The Peterborough Psalter, Brussels. c1310. At the bottom of f. 48v, Psalm 68, is a somewhat crude example of 'two heads, four horses', where the two vertical horses have their front and back hooves touching so they are very curved while the horizontal horses have bellies on the ground. B&W in: Lucy Freeman Sandler; The Peterborough Psalter in Brussels and Other Fenland Manuscripts; Harvey Miller, London, 1974, plate 45, p. 28 (see p. 9 for the date of the MS). Also in Baltrušaitis. below. Anna Roes. "Tierwirbel" in JPEK: Jahrbuch für prähistorische und ethnographische Kunst: Jahrgang 1936/37. De Gruyter, Berlin, 1937, 182 pp. ??NYS -- described by Peter Rasmussen [email of 8 Jan 2002]. Pp. 85 105 gives a history of the animal wheel motif, with many illustrations, but none with three hares. Jurgis Baltrušaitis. Le Moyen Age Fantastique,.... Op. cit. under China, above. Pp. 132 139 of the 1981 edition have many examples of three and four rabbits, four boys, etc. He discusses the animal wheel motif where several animals share the same head. This sort of image is rather more common than either the Three Rabbits or the Dead Dogs type of image and I have not tried to chronicle it. But I will include a few early examples. Baltrušaitis shows (Fig. 98) several examples of three fish with one head: from Egypt (XVIII-XX dynasty, i.e. c 1500); by Villard de Honnecourt, c1235; a pavement at Hérivaux, 13C; an Arabised plate from Paterna, 13C-14C. He cites examples in Italian and French ceramics. He then goes on to 'two heads, four animals' patterns, showing (Fig. 99) a version of 'two heads, four horses' by the Safavid artist Riza Abbasi, signed and dated 20 Oct 1616, though the authenticity of the signature and date have been disputed. He notes that another version is in the Boston Museum of Fine Arts (cf below) and there are definite differences in the two versions. He then shows (Fig. 99) the example of 'two heads, four horses' in the Peterborough Psalter. His note 160 cites J. van den Gheyn, op. cit., pl. xxi. Considerable searching finds the citation as part of note 68: J. van den Gheyn; Le Psautier de Peterborough; Haarlem, nd, ??NYS. There are a number of Peterborough Psalters, including one in the Society of Antiquaries in London, one now MS. 12 in the Fitzwilliam Museum, Cambridge, and the famous example in Brussels (which seems to be the one studied by van den Gheyn). Baltrušaitis then shows (Fig. 100) an example of 'two heads, four men' from the Library Portal of the Cathedral of Rouen, 1290-1300. This is a relief, nicely enclosed in a quatrefoil frame. In his text, the author says the pattern also occurs on a misericord in the Cathedral and on the Palace of Justice in Rouen. These are now the earliest known examples of this idea. Baltrušaitis cites an expert on Iranian art who says the tradition is very old in Iran and could well have inspired these examples. Baltrušaitis says the pattern also occurs: in the Church at Rosny, Aube (15C); on a cathedral stall at Vendôme; at New College, Oxford. He then shows the Two Apes on Horseback (Fig. 101), apparently the form 1985n of Schreiber. He says several engravings of the 15C show these musical apes with the movable centre and his note cites similar examples with 'amours' and men by Cornelius Reen (1560) and Adrien Herbert (1576) and very frequently in the 17C. He then has a photo (Fig. 102) of a oriental scrollweight, and says it undoubtedly comes from the same Islamic source as the other compositions with interchangeable elements. He then shows the Ninth Key of Basil Valentine, cf under Medieval Europe, above, but I don't feel it is a picture of the present type. He then reproduces (Fig. 104) Reen's picture, Symbol d'un Amour Inconstant, from the BN, dated as c1561, with two cherubs. And then he gives (Fig. 105) a 'two heads, four men' picture with a drinking man and a harlequin horn-player. This is another 1576 Dutch engraving in the BN, in a circular frame with French and Dutch text. Zwei Affen als Kunstreiter (Verwandlungsbild). This has two apes on a horse with a small bit of paper on a pivot which shifts the mid-body connections so either head is connected to either legs. Two versions described in W. L. Schreiber; Handbuch der Holz- und Metallschnitte des XV.Jahrhunderts. Band IV: Holzschnitte, Nr. 1783-2047. Verlag Karl W. Hiersemann, Leipzig, 1927. P. 120. Schreiber pasted up examples of all the woodcuts and metalcuts described in his Handbuch in four mammoth volumes. This unique set was presented to the Warburg Institute, where they are RR 240 1-4. The following plates are in plate vol. 3. Schreiber describes coloured examples of each version, but he only has uncoloured examples in his plate volume. 1985m. This was supposedly found in Ulm when a small church was demolished. Schreiber says the painting points to a Swiss origin and guesses a date of 1460-1480. His example shows the rotating piece in one of its positions. He describes a coloured example in the Germanisches Museum, Nürnberg. [This picture is used in: Jasia Reichardt, ed.; Play Orbit [catalogue of an exhibition at the ICA, London, and elsewhere in 1969 1970]; Studio International, 1969, p. 45. It is described as "Paper toy from an Ulm woodcut, 1470." No further details are given in Reichardt and she tells me that it was found by a research assistant, probably at the V&A. However, it seems likely it was found at the Warburg, though it is possible that the V&A also has an example of the same print.] [Ray Bathke [email of 20 Aug 1998] says the Ulm woodcut, 1470, appears in: Karl Gröber; Children's Toys of Bygone Ages; Batsford, 1928, 1932. ??NYS.] 1985n. Basically the same picture, but elaborated and with much more decorative detail, clearly added to an earlier version (an extra column lacks a base), again probably from Switzerland, but Schreiber makes no estimate of a date. His copy lacks the rotating piece and shows no indication of its existence. He describes a coloured version at Zürich Zentralbibliothek. Baltrušaitis, above, gives a version as Fig. 100. Wolfgang Brückner. Populäre Druckgraphik Europas Deutschland Vom 15. bis zum 20.Jahrhundert. (As: Stampe Popolari Tedesche; Verlag Electra, Milan, 1969); Verlag Georg D. W. Callwey, München, 1969. Pp. 24-25 (Abb. 17 is on p. 25), 203. Coloured example of 1985n from Zürich Zentralbibliothek, described as Swiss, 1460/80. Cites Schreiber. He says there is a replica at Nürnberg, but this must be confusing it with 1985m. This example is slightly different than Schreiber's picture in that the circle where the rotating piece would rotate does show, but the print is pasted to another sheet and one back line of an ape has been drawn in on the backing sheet. I have a slide. Thomas Eser. Schiefe Bilder Die Zimmernsche Anamorphose und andere Augenspiele aus den Sammlungen des Germanischen Nationalmuseums [catalogue of an exhibition in 1998]. Germanisches Museum, Nürnberg, 1998, pp. 86-87. The picture is a B&W version of a coloured example of 1985m, from the Museum Graphische Sammlung, H5690, Kapsel 8. This is probably the same example described by Schreiber, but is described as a coloured woodcut, Swiss or Schwabian, 1460/70 and probably the oldest surviving example of a picture which the viewer can change. He cites Schreiber and Brückner. Barbara Maria Stafford & Frances Terpak. Catalog for the exhibition Devices of Wonder, at the Getty Museum, early 2002. ??NYS - information sent by William Poundstone. This shows (in colour) and discusses an oil painting of Hermes and Aphrodite, like the above apes image, with a rotating piece in the middle which covers one of the pairs of waists. It dates from early 17C Bohemia, probably the school of Prague some time after Rudolf II's death in 1612. James C. Y. Watt & Anne E. Wardwell. When Silk Was Gold Central Asian and Chinese Textiles. The Metropolitan Museum of Art in Cooperation with The Cleveland Museum of Art, dist. by Abrams. Section 45: Cloth of gold with rabbit wheels, p. 158. After discussing the four rabbits textile (see above under Other Asia), this goes on to discuss the 'two heads, four boys' motif, with Figure 73 showing a Ming example in the Shanghai Museum dated to 16 17 C. These were often used as toggles. This says that the pattern is called 'two boys make four images' and is a rebus for part of a famous line from the Yi-ching: "The primal 'one' [taiji] begets the two opposites [yi], the two opposites beget the four elements [xiang], and the four elements beget the eight trigrams [gua]." The word yi is a homonym for the word for 'boy' in some pronunciations and xiang means both 'element' and 'image'. Rza (or Riza) Abbasi (1587 1628). Drawing: Four Horses. Drawing given in: Kh. S. Mamedov; Crystallographic Patterns. Comp. & Maths. with Appls. 12B:1/2 (1986) [= I. Hargittai, ed., Symmetry -- Unifying Human Understanding, as noted in 6.G.] 511 529, esp. 525 526. Two heads and four bodies. This seems to be an outline made from the original, probably by Mamedov? See below for a possible original version. Cf Baltrušaitis, above. Early 17C Persian drawing: Four Horses: Concentric Design. Museum of Fine Arts, Boston. Reproduced in: Gyorgy Kepes; The New Landscape in Art and Science; Paul Theobold, Chicago, 1956, fig. 44 on p. 53 with caption on p. 52; and in: S&B, p. 34. This picture and the drawing above differ in the position of the feet and other small details, so it is not clear if the above has been copied from this picture. Seckel, 1997 (op. cit. in 6.AJ), reproduces it as 6 and says it is 18C. Baltrušaitis (Fig. 99), above, has a similar, but different version. Itsuo Sakane. A Museum of Fun (in Japanese). Asahi Shimbun, Tokyo, 1977. Chap. 54-55, pp. 201-207. Seven examples, but I haven't had the text translated. Itsuo Sakane et al. The Expanding Visual World -- A Museum of Fun. Catalogue of a travelling exhibition with some texts in English. Asahi Shimbun, Tokyo, 1979. Section IV: Visual Games, no. 12-15, pp. 96-99, with short texts on p. 170. Seven examples, mostly the same as in the previous book, including the following. I give the page numbers of the previous book in ( ) when the picture is in both books. IV-12, p. 96 (p. 205), both B&W. Sadakage Gokotei. Five Children, Ten Children. Edo era (= 1603-1867). Seckel, 1997 (op. cit. in 6.AJ), reproduces it in colour as 5 with the same data and Seckel, 2000 (op. cit. in 6.AJ), reproduces it in colour as fig. 44, p. 55 (= 2002a, fig, 44, p. 55), with no data. However, the same picture is reproduced in colour in Julian Rothenstein & Mel Gooding; The Paradox Box; Redstone Press, London, 1993; with a caption by James Dalgety, saying that it is a painting by Yamamoto Hisabei, c1835, based on an earlier Chinese image, and giving the title as Ten Children with Five Heads. Unnumbered, p. 97 (pp. 202-203, figs. 2, 3, 4), both B&W, but the titles have no English versions. Though no credit is given, the top item is is the early 17C Persian drawing in the Museum of Fine Arts, Boston. The second item seems to be from Renaissance Europe and can be called 'three heads, seven children'. There are three heads and upper bodies alternating with three legs and lower bodies in a flattened hexagonal pattern so the the top head can also connect to the bottom legs giving a third arrangement of the pieces, though the other two children occur in the previous arrangements, so one gets a total of seven children rather than nine. I have only recently discovered this is a European item and Bill Kalush has an example of a lead medallion with the same pattern which is dated to c1610 Prague -- I have a photo. Edward Hordern's collection has a wooden box with this pattern on the cover, dated as 16C, but it looks later to me, though I have only seen photos. The third item is a version of the 'five heads, ten chldren' picture described above. However, the references to this chapter mention Lietzmann and I have found it there, where it is stated to be a Japanese matchbox -- see below. IV-14, p. 99 (colour) (p. 207, B&W). Kuniyoshi Ichiyusai [= Utagawa Kuniyoshi]. Stop Yawning. Late Edo era [mid 19C]. IV-15, p. 98 (colour). Anon. Four Heads, Twelve Horses. Probably Persian. This item belongs to Martin Gardner, having been left to him by M. C. Escher. It seems to be a leather cushion cover, probably Persian. Seckel, 1997 (op. cit. in 6.AJ), reproduces it as the 6 and says it is 18C. Seckel, 2000 (op. cit. in 6.AJ), reproduces it as fig. 88, pp. 99 & 122 (= 2002b, fig. 86, pp. 97 & 120) and says sometime in the 17C. Metal scrollweights of the 'two heads, four children' pattern have been made in China since at least the 17C. I have three modern examples which Peter Hajek obtained for me in Hong Kong. Edward Hordern's collection has a version from c1680 and a porcelain version, about six or eight inches across, among other examples -- I have the date somewhere. James Dalgety also has an example of the porcelain version. "Three Boys -- Nine Torsos". Anonymous painting on silk from 1700-1710 in City Palace Museum, Jaipur, India. Edward Hordern's collection has a modern replica. This is similar to the Three Heads, Seven Children version mentioned above. I have photos from Hordern's replica and a copy of his information sheet on it and another painting. Reproduced from Hordern's example in: Rothenstein & Gooding, below, p. 16. Mohammad Bagheri has sent me some souvenir material from the Museum, now named the Maharaja Sawai Man Singh II Museum, City Palace, Jaipur. This shows a different version of the pattern, with the same basic geometry but very different figures and colours. Family Friend 1 (1849) 148 & 178. Practical puzzles -- No. 3 -- Dead or alive? "These dogs are dead you well may say:-- Add four lines more, they'll run away!" Answer has "See now the four lines. "Tally-ho!" We've touch'd the dogs, and away they go!" Julian Rothenstein & Mel Gooding. The Playful Eye. Redstone Press, London, 1999. They include a number of Japanese prints. There are brief notes on p. 100. P. 16. "Three Boys -- Nine Torsos". Photo from Hordern's facsimile, see above. P. 20. Three heads, six bodies. Woodblock print, 1860s. P. 20. Five heads, ten bodies, similar to the version given by Sakane, above, but with different costumes. Woodblock print, 1860s. P. 21. Two or three bodies, one head. Woodblock print, c1855. This has six groups of bodies where one head or hat can be associated with two or three of the bodies. There is a set of four upper bodies which can be associated with one pair of legs. P. 22. Five heads, ten bodies, almost identical to the version given by Sakane, above, but in colour with MADE IN JAPAN on the bottom edge. The notes say it is a Japanese matchbox label, c1900. P. 22. Six heads, twelve bodies. Two rings of three heads, six bodies, with elephants. Japanese matchbox label, c1900. P. 24. Five heads, ten bodies, similar to the version given by Sakane, above, but with women. Woodblock print, c1850. Parlour Pastime, 1857. = Indoor & Outdoor, c1859, Part 1. = Parlour Pastimes, 1868. Mechanical puzzles, no. 5, p. 177 (1868: 188): Alive or Dead. "These dogs are dead, perhaps you'll say; Add four lines and then they'll run away." Magician's Own Book. 1857. Prob. 27: The dog puzzle, pp. 275 & 298. "The dogs are, by placing two lines upon them, to be suddenly aroused to life and made to run. Query, How and where should these lines be placed, and what should be the forms of them?" S&B, p. 34. Book of 500 Puzzles. 1859. Prob. 27: The dog puzzle, pp. 89 & 112. Identical to Magician's Own Book. Illustrated Boy's Own Treasury. 1860. Practical Puzzles, No. 33: Dead or Alive, pp. 401 & 441 "These dogs are dead you well may say:-- Add four lines more, they'll run away!" Boy's Own Conjuring Book. 1860. Prob. 26: The dog puzzle, pp. 237 & 261. Identical to Magician's Own Book. Leske. Illustriertes Spielbuch für Mädchen. 1864? Prob. 583-7, p. 285. Dead dogs. Magician's Own Book (UK version). 1871. The solution drawing is given at the bottom of p. 231, apparently to fill out the page as there is no relevant text anywhere. The drawing is better than in the 1857 US book of the same name. Elliott. Within Doors. Op. cit. in 6.V. 1872. Chap. 1, no. 6: The dog puzzle, pp. 28 & 31. "By connecting the dogs with four lines only they will suddenly start into life, and commence running. Where should the lines be placed?" However, he omits to give a picture! Hoffmann. 1893. Chap. 10, no. 32: The two dogs, pp. 348 & 387 = Hoffmann-Hordern, pp. 244-245. No poetry, but the solution notes that you have to view the dogs sideways. Mr. X [cf 4.A.1]. His Pages. The Royal Magazine 9:5 (Mar 1903) 490-491. Trick donkeys. "Here are two apparently very dead donkeys. To bring them to life it is only necessary to fill in the dotted lines and then turn the page half way round." Benson. 1904. The dead dogs puzzle, pp. 256 257. Prose version. Pearson. 1907. Part III, no. 83: Rousing dead dogs -- A good old puzzle, p. 83 . "These dogs are dead, we all should say; Give them four strokes, they run away." Wehman. New Book of 200 Puzzles. 1908. The dog puzzle, p. 22. c= Magicians Own Book. W. Lietzmann. Lustiges und Merkwürdiges von Zahlen und Formen. 1922. I can't find it in the 2nd ed. of 1923. 4th ed, F. Hirt, Breslau, 1930, p. 208, unnumbered figure, shows the 'five heads, ten children' pattern mentioned as the third item on p. 97 of the Sakane book above, labelled: Japanese Matchbox How many people, how many heads, how many legs, how many arms are in this picture? The material is also in the 6th ed., 1943, p. 200, fig. 46; 7th & 10th eds., 1950 & 1969, p. 196, fig. 37. Collins. Book of Puzzles. 1927. The dead dogs puzzle, p. 152. A two bodied woman. In Seckel, 2002a, op. cit. in 6.AJ, fig. 2, pp. 11 & 44 (= 2002b, fig. 144, pp. 161 & 194). A real photo of Lady Bird Johnson greeting a woman friend which shows just one head on two embracing bodies. TRICK MULES Loyd. P. T. Barnum's Trick Mules. 1871. Loyd registered this in 1871 and sold it to Barnum shortly thereafter. Barnum used it in his Advance Courier. See S&B, p. 34, for an illustration of Barnum's version and two recent versions. See SLAHP: Out for a gallop, pp. 65 & 110. See Gardner, SA (Aug 1957) c= 1st Book, chap. 9. In a 1907 interview, it was stated that thousands of millions of copies of the puzzle had been printed, with Loyd taking orders for a million at a time! Gaston Tissandier. Jeux et Jouets du jeune age Choix de récréations amusantes & instructives. Ill. by Albert Tissandier. G. Masson, Paris, nd [c1890]. Le mulet rigolo, pp. 36-37, with elegant coloured plate. No reference to its history. Mel Stover. 1980s?? Trick zebras puzzle. This has two identical cards with two zebras and two riders. The instructions say to cut one card into three parts along the dotted lines and put the riders on the zebras. However, one zebra is facing the opposite way to the usual case and it takes some time to realise how to solve the problem. Seckel, 2000 (op. cit. in 6.AJ), gives a nice colour version as fig. 105, pp. 116 & 122 (= 2002b, fig. 103, pp. 114 & 120), but only says it is due to Loyd. Yüklə 2,59 Mb. Dostları ilə paylaş:
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