The real-world version of this painting is closer to five feet wide than fifteen, but it wouldn’t have looked as dramatic that way.
National Gallery, London
Roelant Savery, The Paradise (1626)
On loan from Gemäldegalerie, Berlin
Jany: So this artist used to be your Master?
Blake: Not quite. He was the court painter for the Holy Roman Emperor, Rudolf II — that was my Master.
According to art historians, he had me model for a lot of the paintings. Usually as a human. Can you spot me in this one?
Jany: Hmm . . .
Aha! Here! A big cat that’s not a lion!
I don’t think the artist painted any lizards in this at all . . .
Kara Lynn: His loss.
Yeah, going to add it is amazing how much smaller so many works of art are in real life than how media tends to depict them. Even Mt. Rushmore is like less than half the size they seem to imply it is (still huge, just not that entire mountain huge).
Sunday Afternoon on the Island of La Grande Jatte is exactly as large as the media depicts it.
So, she can say the name of her former master? Or was Rudolf II not the name used in contract?
Yeah, the only name a Being can’t say is the one currently on the Contract.
You know, that kinda raises an interesting question: why aren’t Beings more likely to be found among the rich and powerful? In a sense, they are a the ultimate status symbol, the ultimate servant/slave and in ages past it was quite easy to just kill the previous master to get them.