Diego Velázquez (Spanish; 1599–1660) Mercury and Argos Oil on canvas, ca. 1659 Museo Nacional del Prado, Madrid, Spain
Before he came in sight, the crafty God His wings dismiss’d, but still retain’d his rod: That sleep-procuring wand wise Hermes took, But made it seem to sight a sherpherd’s hook. With this, he did a herd of goats controul; Which by the way he met, and slily stole. Clad like a country swain, he pip’d, and sung; And playing, drove his jolly troop along.
With pleasure, Argus the musician heeds; But wonders much at those new vocal reeds. And whosoe’er thou art, my friend, said he, Up hither drive thy goats, and play by me: This hill has browz for them, and shade for thee. The God, who was with ease induc’d to climb, Began discourse to pass away the time; And still betwixt, his tuneful pipe he plies; And watch’d his hour, to close the keeper’s eyes. With much ado, he partly kept awake; Not suff’ring all his eyes repose to take: And ask’d the stranger, who did reeds invent, And whence began so rare an instrument? ———————————————————- While Hermes pip’d, and sung, and told his tale, The keeper’s winking eyes began to fail, And drowsie slumber on the lids to creep; ’Till all the watchman was at length asleep. Then soon the God his voice, and song supprest; And with his pow’rful rod confirm’d his rest: Without delay his crooked faulchion drew, And at one fatal stroke the keeper slew. Down from the rock fell the dissever’d head, Opening its eyes in death; and falling, bled; And mark’d the passage with a crimson trail: Thus Argus lies in pieces, cold, and pale; And all his hundred eyes, with all their light, Are clos’d at once, in one perpetual night. These Juno takes, that they no more may fail, And spreads them in her peacock’s gaudy tail. (Ovid, Metamorphoses, Book I; trans. Sir Samuel Garth, John Dryden, et al.)
Annibale Carracci (Italian; 1560–1609), after Portrait of the Lute Player Giulio Mascheroni Red chalk, heightened with white chalk over traces of black chalk on two pieces of light tan laid paper, joined near the top of the head, n.d. Princeton University Art Museum, Princeton, New Jersey
After the original painting (ca. 1593–94) in the Gemäldegalerie Alte Meister, Dresden
Aegidius Sadeler II (Flemish; ca. 1570–1629) after Bartholomeus Spranger (Netherlandish; 1546–1611) Christ Appears as a Gardener to Mary Magdalene (Noli mi tangere) Engraving, ca. 1600 Rijksmuseum, Amsterdam
But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre, And seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. And they say unto her, “Woman, why weepest thou?” She saith unto them, “Because they have taken away my Lord, and I know not where they have laid him.” And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus. Jesus saith unto her, “Woman, why weepest thou? whom seekest thou?” She, supposing him to be the gardener, saith unto him, “Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away.” Jesus saith unto her, “Mary.” She turned herself, and saith unto him, “Rabboni”; which is to say, Master. Jesus saith unto her, “Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God.” (John 20: 11–17)