If you are reading this, you have survived another difficult year. Covid-19 and its many variants have not gone away. Plans have been made, rescheduled and cancelled, causing a lot of frustration and disappointment. Yet, here we are. We survived.
I found 2021 a challenging year. After months/years of chronic pain, the doctor diagnosed me with hypermobility syndrome. Not only are my joints extra “bendy”, but they are also very weak and often in pain. On some days, I can function like a “normal” human being, but on others, even getting out of bed is a physical challenge. I am so tired!! I would like to congratulate myself for keeping this blog going throughout the year, in spite of the fatigue and pain. I thank you. *Bows*
Last month, my world felt like it was turned upside down when my best friend, honorary family member and favourite Martin was diagnosed with Bowel Cancer. Thankfully, an operation to remove the cancer went ahead before Christmas, and Martin is making good progress every day. Six months of chemotherapy may begin in the new year to stop it from coming back. I felt a bit helpless after Martin’s diagnosis because I could not “fix” him, so I started a fundraiser on Facebook for Bowel Cancer UK. Without research by charities like Bowel Cancer UK, the quick diagnosis and operation Martin received would not be available. With generous donations from friends, family and Gants Hill United Reformed Church, I raised £750.
It is always important to reflect on the positives, even during challenging, upsetting times:
Blogs Written: 53
Word Count: approximately 156,807 (not including this post)
Visitors to My Blog: over 17,500
Most Popular In: USA (over 9200 visitors) and UK (over 7900 visitors)
Concerts attended: Collabro: Greatest Hits Tour (London Palladium)
Theatre shows attended:Les Misérables (Sondheim Theatre), The Phantom of the Opera (Her Majesty’s Theatre) and Frozen (Theatre Royal)
This year, I started writing quiz questions for QuizzClub.com. This involves writing an explanation about the answer as well as inventing the questions and answers. At the time of writing, over 460 of my questions have been reviewed and accepted. I also had one of my questions featured in Jay’s Virtual Pub Quiz 2 by Jay Flynn.
On Christmas Day, I posted my Christmas card design, but that is not the only drawing I have done this year. I have tried to draw birthday cards for all my friends and family. Here are some of my favourites.
Goals for 2022 Continue blogging Write more book reviews Read the 40+ books littering my bedroom floor Go to exhibitions in London (with Martin when he is well enough) Go on holidays with friends (ditto)
Thank you for reading my blogs this year. I wish you all a positive new year. Be gentle with yourself.
Two years ago, the former minister of Gants Hill United Reformed Church asked me to write a series of articles about the importance of certain colours in the Christian Bible. I posted about the colours red, crimson, scarlet and green two weeks ago. Here are the remaining colours in the original series.
Blue is the third primary colour, along with red and yellow. The word comes from the Middle English bleu, which means shimmering or lustrous. Of the colours on the visible spectrum of light, blue has one of the shortest wavelengths. As a result, when sunlight passes through our atmosphere, the blue waves are scattered more widely than other colours, making the sky appear blue. It would take a scientist to explain this theory, but as Einstein said it was true, we can accept it as thus.
Apart from naturally occurring blues, blue was not used in art or referenced in literature until much later than the other colours. This is because it was much harder to produce a blue dye, and the minerals from which it was made were much more expensive, for example, indigo, lapis lazuli and azurite. No ancient cave paintings contain blue pigment. One of the earliest uses is thought to be on the funeral mask of King Tutankhamun (1323 BC).
The Ancient Egyptians associated the colour blue with the sky and divinity. They believed the god Amun could turn his skin blue to fly, invisible, across the sky. They also believed blue could protect against evil, which is why many people in the Mediterranean wear blue amulets to protect them from misfortune.
The Romans often used blue for decorations. The walls of Pompeii were reportedly decorated with frescoes of blue skies. Later, in the Byzantine era, blue was often used in churches, and the Virgin Mary was usually depicted in dark blue clothing in artworks. In Islam, blue is Muhammad’s favourite colour.
In the Middle Ages, blue became the colour of poor people who used poor-quality dyes made from the woad plant to colour their clothes. In the western world, blue did not appear in churches until the 1130s, when the Saint-Denis Basilica installed a cobalt coloured stained glass window. This colour became known as bleu de Saint-Denis. Although the Byzantine Empire had depicted Mary in blue, the western church did not take up this practice until the 12th century. Before that, the Virgin wore blacks, greys and greens.
King Louis IX of France (1214-70), now known as Saint Louis, was the first king to dress in blue. After this, many nobles followed suit. As a result, paintings of the legendary King Arthur show him dressed in blue. In the years to follow, blue became a sign of the wealthy and powerful in Europe.
During the Renaissance, merchants devised a way to produce blue dyes more cheaply. This led to several blue dye industries in cities across Europe. Eventually, blue pigments became widely available, and the colour began to appear regularly in paintings. By the 18th and 19th centuries, blue had become a popular colour amongst artists, particularly impressionists.
In contemporary English, blue represents sadness, for example, “She was feeling blue.” Alternatively, blue can represent happiness or optimism, for instance, blue skies. On the other hand, in Germany, to be blue means to be drunk. Also, in Germany, a naïve person is said to look upon the world with a blue eye.
In Turkey and some parts of Asia, blue represents mourning. In China, blue is the colour of ghosts, torment and death. It is common in Chinese opera for the villain to wear blue face paint. In Thailand, the colour blue represents Friday.
Although some societies are trying to eradicate gender stereotypes, it is common to associate blue with boys and pink with girls. Yet, before the 1900s, it was the other way around. Blue was the colour for girls because it corresponded with the blue of the Virgin Mary’s clothes. Boys were pink due to its closeness to red, a masculine colour.
Many countries throughout the world use the colour blue on their flags. Countries include Scotland, Finland, Greece, Israel, Argentina, Uruguay, Estonia, Romania, Barbados, Russia, Serbia, Norway, Iceland, New Zealand, Thailand and the United Kingdom. In politics, blue represents the Conservative Party in the UK and the Democratic Party in the USA.
In Christianity, blue is associated with the Virgin Mary, although there is no evidence she wore this colour in the Bible. In Hinduism, many of the gods have blue skin, including Vishnu, the preserver of the world. In the Bible, the colour blue is mentioned several times, mostly in verses related to the Tabernacle. In Judaism, the colour blue represents God’s glory.
The colour blue first appears in Exodus 25:4, in which the Lord asks Moses to tell the Israelites to give him a gift of gold, silver and bronze; “blue, purple and scarlet yarn and fine linen; goat hair,” rams skins and so on. After this, between chapters 26 and 39, there are a further 33 mentions of the colour blue.
Exodus 26 contains God’s instructions for the construction of the Tabernacle. In the first verse, He requests ten linen curtains made from blue, purple and scarlet yarn, which have loops of blue material along the bottom (verse 4). Another curtain containing blue yarn is instructed in verse 31 and one more for the entrance to the tent in verse 36. Exodus 27 continues God’s instructions for the Tabernacle. The entrance to the courtyard of the tabernacle required “a curtain twenty cubits long, of blue, purple and scarlet yarn and finely twisted linen.” (verse 16)
Exodus 28 records God’s wishes for the priestly garments. These include a breast piece, an ephod, a robe, a tunic and a sash, all made from gold and blue, and purple and scarlet yarn. The breast piece and ephod were tied together with a blue cord, and the robe was made entirely from blue cloth but decorated with balls of blue, purple and scarlet yarn. A blue cord attached a seal onto the priest’s turban, which read, “Holy to the Lord”.
Exodus 35 requests the Israelites to donate gold, silver and bronze, and blue, purple and scarlet yarn and fine linen for the construction of the Tabernacle. The actual building of the Tabernacle commences in chapter 36. The Lord chose Bezalel, son of Uri, for the task of constructing the gold, silver and bronze elements, and Oholiab, son of Ahisamak, for the ability to teach others to work with the yarn and linen. The chapter goes on to record the production of the curtains mentioned earlier in the book.
Next, Exodus 38 records the construction of the courtyard, complete with a blue, purple and scarlet curtain for the entrance. Finally, Exodus 39 explains how the Israelites made priestly garments. The chapters are all rather repetitive, but they emphasise the importance of the colour blue, as well as purple and scarlet.
Blue continues to be important to the Israelites in the Book of Numbers. Chapter four records God’s instruction to Moses and Aaron to take a census of all the Levite clans. The Kohathite clan is responsible for covering the Tabernacle curtain with a “durable leather” and to “spread a cloth of solid blue over that and put the poles in place.” (verse 6). They are also instructed to lay a blue cloth over plates, dishes and bowls, the lampstand, the gold altar and any articles used for ministering in the sanctuary.
Finally, we move away from the Tabernacle when we reach Numbers 15:38: “Speak to the Israelites and say to them: ‘Throughout the generations to come you are to make tassels on the corners of your garments, with a blue cord on each tassel.’” The tassels, or tzitzit, are still worn by orthodox Jews today. There have been several opinions about the significance of this blue cord (tekhelet), including representing the noonday sky and that it is the colour of God’s glory.
The next mention of the colour blue occurs in 2 Chronicles. A large part of the book focuses on the construction of Solomon’s Temple. 2 Chronicles 2:7 states, “Send me, therefore, a man skilled to work in gold and silver, bronze and iron, and in purple, crimson and blue yarn, and experienced in the art of engraving, to work in Judah and Jerusalem with my skilled workers, whom my father David provided.” These are the same colours (except crimson instead of scarlet) used for the Tabernacle.
A man named Huram-Abi was sent to work on the Temple by Hiram. He was “trained to work in gold and silver, bronze and iron, stone and wood, and with purple and blue and crimson yarn and fine linen.” (verse 14) In the following chapter, a curtain of blue, purple and crimson yarn is recorded.
The next book of the Bible to feature the colour blue is Esther. Chapter one, which focuses on the deposition of Queen Vashti, also describes the citadel of Susa. Verse 6 tells us, “The garden had hangings of white and blue linen, fastened with cords of white linen and purple material to silver rings on marble pillars. There were couches of gold and silver on a mosaic pavement of porphyry, marble, mother-of-pearl and other costly stones.”
The book of Esther contains the story of Haman, the enemy of the Jews. By chapter 8, he has been defeated, and King Xerxes gives Queen Esther Haman’s estate. Mordecai was also rewarded by the king, and “When Mordecai left the king’s presence, he was wearing royal garments of blue and white, a large crown of gold and a purple robe of fine linen. And the city of Susa held a joyous celebration.” (Esther 8:15)
The book of Jeremiah mentions the colour once. On this occasion, the blue does not reference God as it may have done in the curtains of the Tabernacle. Instead, in chapter ten, God warns the Israelites of the dangers of false gods and idols. He reports that skilled workers hammer gold and silver, then “What the craftsman and goldsmith have made is then dressed in blue and purple”. (Jeremiah 10:9) God tells them that he is the true God and any other god or idol will perish.
Ezekiel 23 talks about Assyrian warriors “clothed in blue, governors and commanders, all of them handsome young men, and mounted horsemen.” (verse 6) In this instance, the colour blue has moved away from representing God’s glory and become an indication of importance – similar, in a way, to Mordecai’s garments in the book of Esther.
Yet, Ezekiel 27 reveals that clothing yourself in blue fabric does not give you the same status as God. In a lament, God reminds the people of Tyre that “Fine embroidered linen from Egypt was your sail and served as your banner; your awnings were of blue and purple from the coasts of Elishah.” (verse 7) Yet, Tyre has now fallen. “In your marketplace they traded with you beautiful garments, blue fabric, embroidered work and multicoloured rugs with cords twisted and tightly knotted.” (verse 24) Still, Tyre was destroyed.
This leaves one final mention of the colour blue. “The horses and riders I saw in my vision looked like this: Their breastplates were fiery red, dark blue, and yellow as sulphur. The heads of the horses resembled the heads of lions, and out of their mouths came fire, smoke and sulphur.” (Revelation 9:17)
Except for the latter, all fifty-odd references to the colour blue relate to God, the service to God and godly living. The building of the Tabernacle and construction of the Temple occurred when blue dyes were harder to come across, so they were only used for something special, and what is more special than God? As time went on, people began to use the colour blue to signify their rank and importance, but God put them back in their place.
With this meaning in mind, it is clear why artists chose to use blue for Mary’s clothing in the Nativity Scene. She was chosen by God to be the mother of his son and is, therefore, important in his eyes.
Today, the colour blue has lost this sacredness. No one looks at blue paint, blue curtains, blue books or a blue football shirt and thinks of God. Fortunately, unlike the people of Tyre, we are not attempting to elevate ourselves to God’s level by using this colour. We use it because it is now readily available.
Purple is a secondary colour made by combining red and blue. The word was first used in English in the year 975 AD, although it was spelt purpul. Many shades get confused as purple, for example, violet and lilac, but purple has its place on the traditional colour wheel. The confusion arises from the term Tyrian purple, which ranged from crimson to bluish purple. To make things more confusing, each country tends to have a different definition of purple, resulting in a variety of shades. In France, purple is described as “a dark red, inclined toward violet,” and in German, the word Purpurrot means “purple-red”.
Confusion aside, it is generally agreed that purple is the colour of kings, nobles, priests and magistrates. This idea formed as early as 950 BC, and it is believed the kings of Ptolemaic Egypt wore purple, as did Alexander the Great. The Roman custom of wearing purple togas may have stemmed from this or may have been introduced by the Etruscans. An Etruscan tomb painting from the 4th century BC shows a nobleman wearing deep purple.
The Byzantine Empire continued to use purple as the imperial colour. In Western Europe, Charles the Great, also known as Charlemagne, was buried in a purple shroud. After the fall of Constantinople to the Ottoman Empire, the colour lost its imperial status and was replaced with scarlet.
Throughout the medieval and Renaissance eras, purple was phased out of royal clothing and cardinals were no longer allowed to wear the colour on the orders of Pope Paul II (1417-71). On the other hand, purple robes became the standard among students of divinity.
The colour purple regained its popularity during the 18th and 19th centuries. Paintings of Catherine the Great (1729-96) show her wearing a light purple dress, although some may call this mauve. Queen Victoria (1819-1901) wore a gown of a similar colour to the Royal Exhibition of 1862, which encouraged factories to produce purple dyes, making them readily available to everyone and not just royalty.
Purple became a popular choice of colour amongst Pre-Raphaelite artists, and it was said to be the favourite colour of the Austrian painter Gustav Klimt (1862-1918). George VI (1895-1952) wore purple for his official portrait, and his daughter, Elizabeth II (b. 1926), used the colour on the invitations to her coronation.
At the beginning of the 20th century, the Suffragettes adopted purple, white and green as the colours of women’s liberation. On a less positive note, in Nazi concentration camps, non-conformist religious groups were required to wear a purple triangle.
Purple is less naturally occurring than other colours, but there are a few animals described as purple. These include purple frogs, purple queenfish, purple sea urchins, purple herons, purple finches, purple honeycreepers and one of the colours of the imperial amazon parrot. The latter is the national bird of Dominica and appears on their flag, making it the only flag to contain the colour purple. Purple plants include hydrangeas, pansies, copper beech trees, irises, alfalfa, alpine asters, wisteria and lavender.
There are several “Purple Mountains” around the world, some of which are so named due to the colour of the rock, and others because of the shade the clouds form at dawn and dusk. These mountains can be found in Nanjing (China), Ireland, Wyoming, Alaska, Oregon, Washington and Colorado.
Although the colour purple had been phased out of imperial families, the British Royal Family continues to use the colour on ceremonial and special occasions. In Roman Catholic Liturgy, purple symbolises penitence, and priests may wear a purple stole when they hear a confession. They also wear a purple stole or chasuble during the periods of Lent and Advent.
In other traditions, purple is associated with vanity and extravagance. This is because it is a colour that attracts attention. It is a colour associated with the artificial and unconventional due to the infrequency of its appearance in nature. It was also the first colour to be synthesised.
In the past, purple was a sign of mourning in Britain. The first year after a death, mourners traditionally wore black, and in the second year, they wore purple. This may have stopped being common practice after Queen Victoria decided to wear black for the rest of her widowhood.
In China, purple represents awareness, physical and mental wellbeing, strength, and abundance. In some cases, it also symbolises luck. In Japan, it is the colour of wealth and privilege. On the Thai solar calendar, it is associated with Saturday. Grieving widows in Thailand wear purple as a sign of mourning.
The colour purple is also significant in the Bible. It appears roughly thirty times in the book of Exodus when describing the decoration of the tabernacle. The Israelites were instructed to make several curtains “twenty cubits long, of blue, purple and scarlet yarn and finely twisted linen.” (Exodus 27:16)
Later, in the book of Numbers, the Kohathite tribe are instructed to “remove the ashes from the bronze altar and spread a purple cloth over it” (Numbers 4:13) every time the tabernacle is moved.
Purple also appears in the books of Esther and Jeremiah. The garden of the palace of Susa was decorated with blue linen and cords of white and purple. (Esther 1:6) When King Xerxes rewarded Mordecai after the death of Haman, Mordecai was dressed in royal garments of blue and a purple robe of fine linen. (Esther 8:15) In Jeremiah, we are told that people had started to dress in blue and purple, believing themselves to be as important as God, but God put them back in their place.
In the book of Judges, we are told that purple garments are the clothing of kings. In the book of Daniel, King Belshazzar announces that whoever interprets the strange writing on the wall will be awarded purple clothing.
Judges 8:26: The weight of the gold rings he asked for came to seventeen hundred shekels, not counting the ornaments, the pendants and the purple garments worn by the kings of Midian or the chains that were on their camels’ necks.
Daniel 5:7: The king summoned the enchanters, astrologers and diviners. Then he said to these wise men of Babylon, “Whoever reads this writing and tells me what it means will be clothed in purple and have a gold chain placed around his neck, and he will be made the third highest ruler in the kingdom.”
Daniel 5:29: Then at Belshazzar’s command, Daniel was clothed in purple, a gold chain was placed around his neck, and he was proclaimed the third highest ruler in the kingdom.
The epilogue of Proverbs 31 tells of the wife of a noble character. The chapter tells us she is worth more than rubies and should be honoured. She provides for her husband and looks after her household. She makes sure there is always something for her family to eat, but also, “she is clothed in fine linen and purple,” (Proverbs 31:22), a noble, respected colour.
On the other hand, the poem in Lamentations 4 reveals that wearing purple does not equate to godly status. The colour does not protect people from God’s wrath or entitle them to sin without punishment. “Those brought up in royal purple now lie on ash heaps.” (Lamentations 4:5) These self-important people, clothed in royal colours, have become the victims of God’s anger.
The most noteworthy use of purple occurs in two of the Gospels, Mark and John. Although purple is a royal colour, it is used negatively in these books. After Jesus was arrested, he was crowned with thorns and mocked for being the “King of the Jews.” What is often missed out of this story is the purple robe in which they dress him.
Mark 15:17: They put a purple robe on him, then twisted together a crown of thorns and set it on him.
Mark 15:20: And when they had mocked him, they took off the purple robe and put his own clothes on him. Then they led him out to crucify him.
John 19:2: The soldiers twisted together a crown of thorns and put it on his head. They clothed him in a purple robe
John 19:5: When Jesus came out wearing the crown of thorns and the purple robe, Pilate said to them, “Here is the man!”
Purple was the colour of kings, the colour of important people, but the Romans used the colour as a way to mock and torment Jesus.
Purple is also mentioned in the Gospel of Luke, however, not in relation to Jesus’ arrest and crucifixion. “There was a rich man who was dressed in purple and fine linen and lived in luxury every day.” (Luke 16:19) This is the opening line of one of Jesus’ teachings. A beggar named Lazarus died outside the rich man’s home. Later, the rich man died, but in the afterlife, or Hades, as the NIV states, the rich man notices Lazarus has been honoured with a place next to Abraham. When questioning why he did not also receive this honour, the rich man was told, “Son, remember that in your lifetime you received your good things, while Lazarus received bad things, but now he is comforted here and you are in agony.” (Luke 16:25) This is an example of the colour purple representing extravagance and vanity.
There are four more mentions of the colour purple in the Bible. They each indicate someone’s wealth and status, but only one has positive connotations:
Acts 16:14: One of those listening was a woman from the city of Thyatira named Lydia, a dealer in purple cloth. She was a worshiper of God. The Lord opened her heart to respond to Paul’s message.
Revelations 17:4: The woman was dressed in purple and scarlet, and was glittering with gold, precious stones and pearls. She held a golden cup in her hand, filled with abominable things and the filth of her adulteries.
Revelation 18:12: fine linen, purple, silk and scarlet cloth; every sort of citron wood, and articles of every kind made of ivory, costly wood, bronze, iron and marble
Revelation 18:16: Woe! Woe to you, great city,dressed in fine linen, purple and scarlet,and glittering with gold, precious stones and pearls!
Overall, the colour purple is symbolic of God. Although bad things happened to some people who wore purple, it is not the colour that was the cause but their actions. Purple is a colour that represents royalty, wealth and nobility, but unless we put God first, it does not matter what we wear.
Some may argue that black is not a colour, but Wikipedia describes it as the darkest colour. It is an achromatic colour, which means it has no colour hue. White and grey are two other achromatic colours. Symbolically, black is used to represent darkness, but there are several other meanings associated with the colour.
Black was the first colour used in cave paintings. Palaeolithic cave paintings produced between 18,000 and 17,000 years ago used charcoal or burnt bones to produce the colour black. The ancient Latin and Greek words for black also translate as “to burn”.
The Ancient Egyptians believed black was the colour of fertility due to the colour of the soil that had once been flooded by the River Nile. The Ancient Greeks, on the other hand, associated black with death and the underworld because they believed the waters of the River Acheron, that separated Hades from the living world, were black.
Initially, in Ancient Rome, craftsmen and artisans wore the colour black, but by the second century, the colour had been adopted by Roman magistrates when attending funeral ceremonies. Thus, black became a symbol of death and mourning.
By the 12th century, black was the traditional colour of Benedictine monks as a sign of humility and penitence. Yet, two centuries later, the meaning of black changed once again. Due to more expensive processes of producing black dyes, the colour became common amongst the wealthy and signified their importance and position in society. This change spread from Italy to France, eventually reaching England during the reign of Richard II (1367-1400). By the end of the 16th century, almost all monarchs and royal courts in Europe wore black.
Although black was the colour worn by members of the Catholic clergy, it later became the colour of the Protestant Reformation and the English Puritans. John Calvin (1509-64), amongst other Protestant theologians, denounced the richly coloured interiors of Catholic churches, claiming they represented luxury and sin. Ironically, around the same period, the colour became associated with witchcraft and the devil. People feared that the devil would appear at midnight during a ceremony known as Black Mass or Black Sabbath in the form of a goat, dog, wolf or bear, accompanied by black creatures, such as cats or snakes.
During the Industrial Revolution, black became associated with the colour of dirt, coal and smog. In literature, it became the colour of melancholy, and in politics, the colour of anarchism. In the 20th century, it was adopted by fascism and intellectual and social rebellion. On the other hand, it had an alternative meaning in fashion. Black became the colour of evening dress for men, and Coco Chanel popularized the little black dress.
The Black Power movement and the slogan “Black is Beautiful” fought for equal rights for African Americans during the 1950s. In the 1990s, the Black Standard became the banner of many Islamic extremists groups. Black is also associated with subcultures, such as Goths.
Today, the colour black has different meanings all over the world. In China, it represents water, which is one of their five fundamental elements. It also represents the direction north, which is symbolised by a black tortoise. In Japan, black means mystery, the night, the supernatural, the invisible and death. A black belt in Japanese martial arts symbolises experience. In Indonesia, black represents demons, disaster and the left hand.
In Islam, Muhammad’s soldiers carried a black banner, hence, the Black Standard of some Islamic groups. In Hinduism, the goddess of time and change is called Kali, which means “the black one”. According to mythology, she destroys anger and passion.
With so many variants on the meaning of the colour black, what does it represent in the Bible? In Christian mythology, black was the colour of the universe before God created light. Occasionally, the devil is known as “the prince of darkness”, a term that was used in John Milton’s Paradise Lost and Shakespeare’s King Lear.
The colour black appears less than twenty times in the Bible, and, on some occasions, the NIV translates the word as “dark” or “darkness”. These Bible verses tend to refer to famines, wars and sorrow. An example of this is Job 30:30: “My skin grows black and peels”. Job is lamenting his fate and refers to “blackness” many times throughout the book; however, it is only in reference to the colour of his skin as a result of lack of nourishment that he uses the word “black”.
The colour black also represents the deceitful treatment of Job’s friends, although the NIV quotes “darkness”. Similarly, black or darkness symbolises God’s judgement and punishment of sins. A handful of times, black horses were used as a symbol of sorrow and famine. In Zechariah 6, four chariots are pulled by different coloured horses. Each travels in a different direction, the black one going north, i.e. Babylon, where punishment will be given out. Verses involving black horses include:
Zechariah 6:2: The first chariot had red horses, the second black.
Zechariah 6:6: The one with the black horses is going toward the north country, the one with the white horses toward the west, and the one with the dappled horses toward the south.
Revelation 6:5: When the Lamb opened the third seal, I heard the third living creature say, “Come!” I looked, and there before me was a black horse! Its rider was holding a pair of scales in his hand.
Another symbol of God’s judgement is the darkening of the sky.
Deuteronomy 4:11: You came near and stood at the foot of the mountain while it blazed with fire to the very heavens, with black clouds and deep darkness.
1 Kings 18:45: Meanwhile, the sky grew black with clouds, the wind rose, a heavy rain started falling and Ahab rode off to Jezreel.
Revelation 6:12: I watched as he opened the sixth seal. There was a great earthquake. The sun turned black like sackcloth made of goat hair, the whole moon turned blood red.
In the latter example, the black sun would result in total darkness, like the universe before God created light. It is an absence of God.
Not all references to the colour black have negative connotations. In some instances, black represents good health. Whilst, yellow hair in a wound was a sign of uncleanliness or leprosy, a black hair, i.e. a natural coloured hair, gave the afflicted a clean bill of health. “If, however, the sore is unchanged so far as the priest can see, and if black hair has grown in it, the affected person is healed. They are clean, and the priest shall pronounce them clean.” (Leviticus 13:37)
If a wound contains no black hair, the priests were instructed to isolate the person in case an illness developed. “But if, when the priest examines the sore, it does not seem to be more than skin deep and there is no black hair in it, then the priest is to isolate the affected person for seven days.” (Leviticus 13:31) Deuteronomy 14:12-13 states the same virtually word for word.
There are many black animals in the world, including, bears, spiders, snakes, panthers and birds. Two black birds are listed as unclean animals that the Israelites were unable to eat. “These are the birds you are to regard as unclean and not eat because they are unclean: the eagle, the vulture, the black vulture, the red kite, any kind of black kite.” (Leviticus 11:13-14) Another black bird is mentioned in Song of Songs as a simile to describe the hair colour of “the beloved”. (Song of Songs 5:11)
A final mention of black hair occurs during the Sermon on the Mount. Jesus warns people not to break an oath or even make an oath in the first place. “All you need to say is simply ‘Yes’ or ‘No’.” It is wrong to swear things on heaven for it belongs to God. Jesus also instructs people to not swear by their head. “And do not swear by your head, for you cannot make even one hair white or black.” (Matthew 5:36)
So, what does black represent in the Bible? Most examples relate to sin, judgement and “dark times”. There is no getting away from the fact that black has negative connotations. On the other hand, the other verses show that not all black things are bad. There are naturally occurring black things in the world that have not come about due to sin, for example, ravens and hair. We must not be quick to judge something by its colour; we should not be so black and white (pardon the pun) about the world. This way of thinking can debunk many thoughts, ideas and stereotypes about the world, for instance, assumptions about a Goth’s choice of clothing, and no one should ever be judged by their skin colour.
Like black, white is an achromatic colour. The word derives from the same roots as “bright” and “light”, which describe the colour white. Along with black, white was one of the first colours used in cave paintings. Palaeolithic artists used chalk or calcite to produce white markings.
In Ancient Egypt, white was connected with the goddess Isis who, according to myth, resurrected her dead husband. The priestesses of Isis dressed only in white linen, and Egyptians used the same material to wrap mummies. In Ancient Greece, white represented life and nourishment, particularly concerning a mother’s milk. The Ancient Greeks and other civilisations also saw white as a counterpart to black in terms of light and darkness.
In Ancient Roman, Vesta, the goddess of the hearth and family, was said to wear white linen robes. Thus, white became a symbol of purity, loyalty and chastity. White was also worn at ceremonial occasions by Roman citizens between the ages of 14 and 18. A man who wished to be elected to public office wore a white toga known as a toga candida. This is from where the word candidate originates.
The early Christian church adopted the Roman concept of white representing purity and virtue. Priests were expected to wear white during mass, and it became the colour of the Cistercian Order and the official colour worn by the Pope. Similarly, in the secular world, a white unicorn was used as a symbol of purity, chastity and grace. Legend said only a virgin could capture a unicorn.
Whereas black is the traditional colour of mourning today, before the 16th century, widows commonly wore white. Later, in the 18th century, white became a fashionable colour for both men and ladies. White wigs and stockings became a typical part of male dress for the upper classes. There was also an unwritten rule that all underwear and bed linen must be white. These items were washed more than others, so more likely to fade and wear out.
According to science, we see the colour white when an object reflects all light and colour wavelengths. Snow is white because the ice reflects the sunlight. Clouds are white because the water droplets do not absorb any wavelengths. The White Cliffs of Dover are white because they are made of limestone, which reflects lights. White beaches occur when the sand is made up of limestone or quartz particles, from which light is reflected.
Many animals use the colour of their skin, fur or feathers as a means of camouflage. White animals are particularly good at hiding in the winter when the land is covered in snow. White animals include ermine, stoats, polar bears, the Beluga whale, and white doves. The latter have become an international symbol of peace.
There are many interpretations of the meaning and symbolism of the colour white. In Western cultures, white usually represents innocence and purity. It is also associated with beginnings and is why babies and children are usually baptised wearing white. Queen Elizabeth II wears white at the opening of each British Parliament session. Debutantes wear white at their first ball. White has been the traditional colour of wedding dresses since the 19th century.
White is a sign of cleanliness. Objects to be kept clean are typically white, for example, dishes, refrigerators, toilets, sinks, bed linen, towels, doctors’ coats and chefs’ outfits. White can also mean peace or surrender. Originating during the Hundred Years’ War, a white flag is used to request a truce or indicate surrender.
In the Bible, white is also a symbol of purity, innocence, honesty and cleanliness; but there are other meanings. One repeated representation is illness, particularly concerning skin disease. When someone is ill, they usually look pale or white, particularly in the hands and face. Verses that refer to this idea include:
Exodus 4:6: Then the Lord said, “Put your hand inside your cloak.” So Moses put his hand into his cloak, and when he took it out, the skin was leprous—it had become as white as snow.
Leviticus 13:4: If the shiny spot on the skin is white but does not appear to be more than skin deep and the hair in it has not turned white, the priest is to isolate the affected person for seven days.
Leviticus 13:10-26: (10) The priest is to examine them, and if there is a white swelling in the skin that has turned the hair white and if there is raw flesh in the swelling… (13) the priest is to examine them, and if the disease has covered their whole body, he shall pronounce them clean. Since it has all turned white, they are clean… (16-17) If the raw flesh changes and turns white, they must go to the priest. The priest is to examine them, and if the sores have turned white, the priest shall pronounce the affected person clean; then they will be clean… (19-21) and in the place where the boil was, a white swelling or reddish-white spot appears, they must present themselves to the priest. The priest is to examine it, and if it appears to be more than skin deep and the hair in it has turned white, the priest shall pronounce that person unclean. It is a defiling skin disease that has broken out where the boil was. But if, when the priest examines it, there is no white hair in it and it is not more than skin deep and has faded, then the priest is to isolate them for seven days.
Leviticus 13:38-43: (38-39) When a man or woman has white spots on the skin, the priest is to examine them, and if the spots are dull white, it is a harmless rash that has broken out on the skin; they are clean… (42-43) But if he has a reddish-white sore on his bald head or forehead, it is a defiling disease breaking out on his head or forehead. The priest is to examine him, and if the swollen sore on his head or forehead is reddish-white like a defiling skin disease.
Numbers 12:10: When the cloud lifted from above the tent, Miriam’s skin was leprous—it became as white as snow. Aaron turned toward her and saw that she had a defiling skin disease.
2 Kings 5:27: Naaman’s leprosy will cling to you and to your descendants forever.” Then Gehazi went from Elisha’s presence and his skin was leprous—it had become as white as snow.
Joel 1:7: It has laid waste my vines and ruined my fig trees. It has stripped off their bark and thrown it away, leaving their branches white.
The example from Joel talks about plants rather than humans. Joel speaks about a plague of locusts that have destroyed his vines and fig trees, stripping them of their bark. The inner layers of many trees are white, as mentioned in the book of Genesis: “Jacob, however, took fresh-cut branches from poplar, almond and plane trees and made white stripes on them by peeling the bark and exposing the white inner wood of the branches.” (Genesis 30:37)
Sometimes, the writers of the Bible used the colour white to describe something’s appearance. In these cases, they may not contain hidden meanings but rather a way of helping the reader picture the scene.
Genesis 49:12: His eyes will be darker than wine, his teeth white from milk.
Exodus 16:31: The people of Israel called the bread manna. It was white like coriander seed and tasted like wafers made with honey.
Leviticus 11:18: the white owl, the desert owl, the osprey
Deuteronomy 14:16: the little owl, the great owl, the white owl
Judges 5:10: You who ride on white donkeys, sitting on your saddle blankets, and you who walk along the road.
There are many examples of white as a symbol of purity. A couple of these refer to the repentance of sin, for example:
Ecclesiastes 9:8: Always be clothed in white, and always anoint your head with oil.
Isaiah 1:18: “Come now, let us settle the matter,” says the Lord. “Though your sins are like scarlet, they shall be as white as snow; though they are red as crimson,they shall be like wool.”
Other references to white as a symbol of purity appear in verses about Jesus, particularly after his resurrection or during his transfiguration.
Matthew 17:2: There he was transfigured before them. His face shone like the sun, and his clothes became as white as the light.
Matthew 28:3: His appearance was like lightning, and his clothes were white as snow.
Mark 9:3: His clothes became dazzling white, whiter than anyone in the world could bleach them.
Mark 16:5: As they entered the tomb, they saw a young man dressed in a white robe sitting on the right side, and they were alarmed.
John 20:12: and saw two angels in white, seated where Jesus’ body had been, one at the head and the other at the foot.
Acts 1:10: They were looking intently up into the sky as he was going, when suddenly two men dressed in white stood beside them.
In the Book of Esther, the gardens of the palace of Susa contained white hangings and, later, Mordecai was clothed in blue and white. This also refers to purity as well as peace.
Esther 1:6: The garden had hangings of white and blue linen, fastened with cords of white linen and purple material to silver rings on marble pillars. There were couches of gold and silver on a mosaic pavement of porphyry, marble, mother-of-pearl and other costly stones.
Esther 8:15: When Mordecai left the king’s presence, he was wearing royal garments of blue and white, a large crown of gold and a purple robe of fine linen. And the city of Susa held a joyous celebration.
The remaining examples of the colour white all relate to prophesy. White horses symbolise truth and righteousness. The other prophetic uses of the colour likely refer to similar things, although scholars have debated at length over their exact meaning. The majority appear in the book of Revelation.
Daniel 7:9: As I looked, thrones were set in place, and the Ancient of Days took his seat. His clothing was as white as snow; the hair of his head was white like wool.
Zechariah 1:8: During the night I had a vision, and there before me was a man mounted on a red horse. He was standing among the myrtle trees in a ravine. Behind him were red, brown and white horses.
Zechariah 6:3: the third white, and the fourth dappled—all of them powerful.
Revelation 1:14: The hair on his head was white like wool, as white as snow, and his eyes were like blazing fire.
Revelation 2:17: Whoever has ears, let them hear what the Spirit says to the churches. To the one who is victorious, I will give some of the hidden manna. I will also give that person a white stone with a new name written on it, known only to the one who receives it.
Revelation 3:4-5: Yet you have a few people in Sardis who have not soiled their clothes. They will walk with me, dressed in white, for they are worthy. The one who is victorious will, like them, be dressed in white. I will never blot out the name of that person from the book of life, but will acknowledge that name before my Father and his angels.
Revelation 3:18: I counsel you to buy from me gold refined in the fire, so you can become rich; and white clothes to wear, so you can cover your shameful nakedness; and salve to put on your eyes, so you can see.
Revelation 4:4: Surrounding the throne were twenty-four other thrones, and seated on them were twenty-four elders. They were dressed in white and had crowns of gold on their heads.
Revelation 6:2: I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.
Revelation 7:9: After this I looked, and there before me was a great multitude that no one could count, from every nation, tribe, people and language, standing before the throne and before the Lamb. They were wearing white robes and were holding palm branches in their hands.
Revelation 7:13-14: Then one of the elders asked me, “These in white robes—who are they, and where did they come from?” I answered, “Sir, you know.” And he said, “These are they who have come out of the great tribulation; they have washed their robes and made them white in the blood of the Lamb.”
Revelation 14:14: I looked, and there before me was a white cloud, and seated on the cloud was one like a son of man with a crown of gold on his head and a sharp sickle in his hand.
Revelation 19:14: The armies of heaven were following him, riding on white horses and dressed in fine linen, white and clean.
Revelation 20:11: Then I saw a great white throne and him who was seated on it. The earth and the heavens fled from his presence, and there was no place for them.
So ends the brief introduction to The Importance of Colours in the Bible.
Until 22nd March 2022, Tate Britain is exploring the work of William Hogarth and his European contemporaries during the changing times of the 18th century. Hogarth frequently crops up in the history of British art, and a recent exhibition at the Sir John Soane’s Museum focused on Hogarth’s narrative series, including A Rake’s Progress, Marriage A-la-Mode, Four Times of Day and The Happy Marriage. (See my blog about this exhibition) Whilst Tate Britain included these paintings in the extensive display, they also introduced many of Hogarth’s lesser-known paintings.
Recognised for his satirical, scandalous images of London life, William Hogarth (1679-1764) often attempted to show humour in his paintings. The scenes depict the everyday experiences of the audience in 18th-century society. The social changes ultimately led to today’s moral standards, yet many of the themes Hogarth and his contemporaries painted are now considered racist, sexist and xenophobic stereotypes.
In 1750, Hogarth painted The March of the Guards to Finchley for George II (1683-1760), but the king felt insulted at the supposed mockery of his best troops. The painting depicts a fictional scene in Tottenham Court Road as the soldiers march to Finchley to defend London from the Second Jacobite Rebellion of 1745. The uprisings, which began in the late 17th century, aimed to return the Stuart Dynasty to the throne of England after the deposition of James II (1633-1701) during the Glorious Revolution of 1688. Rather than producing a respectful image of the march, Hogarth exaggerated their lack of training and discipline.
Hogarth also satirised the public and their interaction with the troops. A milkmaid is caught in a passionate embrace with one soldier while another woman tries to attract the attention of a drummer. One man urinates against a wall, and nearby a soldier collapses in a drunken stupor. Some troops rob the civilians, whose attention is on an impromptu boxing match between two soldiers.
As well as mocking the English army, Hogarth poked fun at the French soldiers in The Gates of Calais or O, the Roast Beef of Old England (1748). Hogarth painted this scene after returning from Calais, where he had served as an English spy. In the centre, a man carries a joint of British beef to the Lion d’Argent inn, while a group of malnourished French soldiers and a fat friar eye it hungrily. The state of the French troops suggests they fared badly during the war and the large friar indicates the Church focused inwardly rather than helping those in need.
As well as city life, Hogarth painted scenes inside homes and buildings, including a self-portrait showing him at work. The Artist Painting the Comic Muse (1757) depicts Hogarth painting the Muse of Comedy on a canvas. Critics suggest the painting represents Hogarth’s motto “my picture was my stage and men and women my actors.” X-ray analysis reveals Hogarth originally included a small dog relieving himself on a pile of old master paintings, indicating Hogarth thought his work better than his predecessors.
The self-portrait, whilst sparse in terms of decoration, provides an insight into the style of furniture during the 18th century. Hogarth sits on an upholstered chair from the American colonies. Its cabriole legs and vase-shaped splats make the chair appear more suited to a dining room or living room than an artist’s studio. Hogarth’s decision to include the furniture may indicate he made a good living and did not face poverty like many other artists.
In contrast to the suggestion of wealth in Hogarth’s self-portrait is his fictional painting of The Distressed Poet (1736). Whilst the redware teapot on the mantlepiece suggests the family once experienced money, the dishevelled attic room, full of mismatched furniture, indicates a fall in status. Whilst the poet scratches his head in search of inspiration, a milkmaid demands money from his wife for her services, which the couple cannot afford to pay. Meanwhile, a dog steals the last of the family’s food from a plate near the doorway.
Art historians suggest Hogarth took inspiration from Alexander Pope’s (1688-1744) series of narrative poems called The Dunciad (1728-43). The satirical work celebrates the goddess Dulness, and her mission is to convert the world to stupidity. Pope mocks the downfall of several people and societies, including the Hanoverian Whigs and George II. “Still Dunce the second rules like Dunce the first.” Underneath the daring mockery, the poem contains a moral warning that those experiencing wealth and power are not immune to failure.
During the 1760s, London was the most populous city in Europe, with approximately 740,000 inhabitants. As a centre of global trade, it attracted people from all over the country, continent and further abroad. Unfortunately, a large proportion of the city’s wealth came from the slave trade and society’s attitudes towards other ethnicities resulted in the unfair treatment of hundreds of thousands of people. Paris, with a population of 600,000, was poorer than London but had the same attitudes towards other cultures, often appropriating their fashions but refusing to treat people fairly.
Hogarth’s painting of Southwark Fair, originally titled Humours of the Fair, illustrates a fair held in Southwark, London, 1732. The busy scene shows a tradeswoman selling crockery underneath a stage that is starting to collapse. Oblivious to the imminent destruction, she is playing dice while acrobats perform balancing acts on tightropes between buildings and costumed actors mingle with the crowd. Fairs such as these were popular in Hogarth’s time, particularly amongst the lower classes of society. They provided an opportunity for traders to sell their wares and the poor to experience theatre and musical performances without paying extortionate fees.
The painting of Southwark Fair is not geographically accurate but captures the typical amusements and crowds associated with the fair that ran in London since King Edward IV (1442-83) made it official in 1462. For two weeks, the fair featured rope fliers; physical marvels, such as Maximilian Müller, the eight-foot German giant; and magicians, such as Isaac Fawkes (1675-1732). Hogarth’s painting also includes James Figg (1684-1734), a notable boxer and fencer.
The people at the fair are predominantly white, except for a black boy dressed in red and playing the trumpet in the foreground. The boy probably belongs to the drummer woman because it is unlikely he lived freely with his parents. Whilst there is nothing unusual in this considering the social norms of the time, Hogarth mocks the child by painting a dog dressed as a gentleman and walking on its hind legs behind the trumpet player. This racist juxtaposition suggests owners treated their black slaves like dogs or even gave more care and attention to their animals. Since Hogarth frequently mocked people in his artwork, he may not necessarily condone their behaviour. Instead, he pointed out the immoral behaviour of society, leaving it up to the viewer to find it either funny or shocking.
The Age of Enlightenment occurred during the 17th and 18th centuries, benefitting only white upper and middle-class men who endeavoured to learn more about the world. European superiority deepened as a result, with men believing that because they knew more, they were better than people of other nationalities. The Hervey Conversation Piece (1738-40) demonstrates the calibre of men involved in enlightening activities.
John Hervey, 2nd Baron Hervey of Ickworth (1696-1743), an English courtier and political writer, stands in the centre of the painting gesturing to an architectural plan held up by Henry Fox (1705-74), 1st Baron Holland and Surveyor-General of the King’s Works. It is not certain what the plans show, but Fox later built the original Kingsgate Castle near Broadstairs, Kent, in 1760. His brother, Stephen Fox (1704-76), who lived with Hervey, potentially as a lover, sits at a table behind which a clergyman peers through a telescope. The clergyman, perhaps Reverend Dr Conyers Middleton (1683-1750), stands precariously on a chair that Stephen’s walking stick is causing to topple over. This symbolises the tensions between science and the Church and their arguments about the truth.
On the right, Hervey’s colleague Charles Spencer, 3rd Duke of Marlborough (1706-58), wears a red jacket and glances at the plans indicated by Hervey. Spencer is an ancestor of Sir Winston Churchill (1874-1965) and Diana, Princess of Wales (1961-97). The other man is Whig politician Thomas Winnington (1696-1746), who sat in the House of Commons from 1726 to 1746. All six men had some influence in society, although Reverend Middleton often caused controversy and disputes.
Not all paintings of intellectual men depicted them in a favourable light. In Charity in the Cellar, Hogarth shows a group of men drinking from wine bottles in a dimly lit cellar. Their behaviour indicates they have drunk too much alcohol. Several empty bottles litter the floor, proving that upper and middle-class men are by no means saints. The painting may also allude to tax evasion because many wine merchants imported the drink to France via Italy to avoid paying excise tax. The statue of Charity, one of the Christian virtues, watches on as the men partake in activities that are far from charitable.
Alcohol has ruined many a man’s (and woman’s) life throughout history. To deter her husband from drinking, Susan Schutz commissioned Hogarth to paint a portrait of her husband, Francis Matthew Schutz, in bed following a heavy night’s drinking. The hungover man leans over the side of the bed, where he vomits into a chamberpot. As well as trying to curb his drinking habits, Susan may have intended the painting as a form of punishment. Records reveal Schutz had extramarital affairs and later stood trial for committing adultery with his brother’s wife.
During the second half of the 18th century, attitudes towards portrait paintings changed. Instead of rigid, stiff poses, sitters relaxed and artists captured individuals in informal settings. Hogarth’s portrait of The Cholmondeley Family (1732) is an example of the freedom this new method offered sitters. Commissioned by George Cholmondeley, Viscount Malpas (1724-64), as a memorial to his wife, Mary, who passed away from tuberculosis, the painting shows the couple sitting with their youngest child whilst the other children run around and climb on the furniture. The juxtaposition of the posing adults with the playfulness and innocence of the children reflects two different moods. Cholmondeley, who looks over at his wife, mourns her loss, but the children’s happiness shows that, despite losing their mother, they will survive and thrive under their father’s protection.
Ambitious high society portraits were also all the rage in Britain during the 18th century. Between 1732 and 1735, Hogarth painted The Conduitt Piece, which depicts a group of aristocratic children performing John Dryden’s (1631-1700) play The Indian Emperor, or The Conquest of Mexico by the Spaniards. The play tells the tale of the Spanish conquest of the Aztec Empire by Hernán Cortés (1485-1547).
The painting is set in the home of John Conduitt (1688-1737), who took over from Sir Isaac Newton as Master of the Mint in 1727. Due to Conduitt’s prestigious position, he knew many people in parliament and the Royal Family. Some of the younger royals are depicted in the audience.
Although informal portraits grew in popularity, traditional ones did not go out of fashion. Mary Edwards of Kensington (1704-43), one of the richest women in England, commissioned Hogarth to paint her portrait to assert her independence. Edwards allegedly married but later denied any evidence of the ceremony. The painting reflects both Edwards’ financial status and her headstrong personality. Traditionally, only men portrayed these characteristics in portraits. Rather than a lap dog, Edwards’ hand rests on the head of a large hunting hound. In the background, a figurine of Elizabeth I (1533-1603) indicates that women can exert the same amount of power as men. Emphasising this further is a paper on the desk containing the proclamation of individual rights from Joseph Addison’s (1672-1719) play Cato (1712).
Most portrait painters from the 18th century would feel uncomfortable breaking with conformity to paint Mary Edwards in such a manner. Yet, Edwards and Hogarth were good friends, and she often purchased his work. Typically, only men were art patrons, but Edwards did not let this stop her from commissioning artworks, such as Southwark Fair.
Hogarth often painted portraits of people he knew, for instance, his sisters. He also produced an informal study of Heads of Six of Hogarth’s Servants. It is unlikely Hogarth displayed the painting in public, and Tate believes it may have hung in Hogarth’s studio. When visitors or potential sitters entered the studio, they could compare the portraits with the real people and assess Hogarth’s skill. The servants include a young boy, adult women and an older man, proving Hogarth could paint all age groups. Whilst paintings of servants were rare in the 18th century, depicting them in this manner is unique to Hogarth.
One of the final paintings in the exhibition is David Garrick and his wife Eva Marie Veigel (1757-64). Whilst it does not satirise the couple as Hogarth’s earlier works mocked Georgian society, David Garrick (1717-79) disliked the outcome and refused to take it. Garrick was an actor and playwright best known for his role as the king in Shakespeare’s Richard III. Hogarth depicted Garrick with a quill in one hand, as though contemplating what to write on the paper on the table before him. The intentions of his wife, Eva Marie Veigel (1724-1822), are less obvious, as she leans over as though to pluck the quill from Garrick’s hand.
Some suggest Veigel was Garrick’s muse and, rather than plucking the pen from his hand, Veigel is guiding his creativity. Others surmise Veigel was a prankster, preventing Garrick from working. Either way, Garrick disliked the painting. Evidence suggests Garrick and Veigel’s marriage was a happy one, albeit childless, so it is unlikely that Veigel deliberately prevented Garrick from writing. Veigel, nicknamed Violetti by Empress Maria Theresa (1717-80), was a dancer and understood the importance of her husband’s work. Veigel often performed in the royal courts of Europe, and many thought Veigel’s choice of husband beneath her. Perhaps Garrick did not want people to assume his success on and off the stage was due to his wife.
Looking at Hogarth’s work from the beginning to the end of his career provides a different impression than focusing on his popular paintings. The artworks demonstrate the changing ideas of society during the 18th century, particularly concerning race, class and gender. Whilst equality acts were still something in the distant future, changes in attitude were starting to get the ball rolling. Behind Hogarth’s satirical scenes is a documented history of English society that provide just as much insight, if not more, than written descriptions.
Hogarth and Europeis open to the public at Tate Britain, London, until 20th March 2022. Tickets cost £18 but Tate members can visit for free. Advanced booking is recommended.
Two years ago, the former minister of Gants Hill United Reformed Church asked me to write a series of articles about the importance of certain colours in the Christian Bible. How often are colours mentioned, and do they have a particular meaning in scripture? We know that a rainbow of colours was symbolic. In Genesis 9:13, a rainbow symbolised God’s promise that he would never flood the earth again. In Ezekiel 1:27, a rainbow represented the glory of God. Revelation 4:3 records John’s witness of the same rainbow as Ezekiel, but he also saw one above the head of a “mighty angel” who carried a book about the events to occur at the end of time.
The modern understanding of a rainbow was established by Isaac Newton (1643-1727), who divided up the visible wavelengths of light (colours) into seven groups. These are red, orange, yellow, green, blue, indigo and violet. Yet, there is a continuum of colours that fall between these categories.
Red is one of the three primary colours (the others are yellow and blue) and appears on 75% of national flags. In contemporary times, red is associated with several things; for example, when seen on a traffic light or road sign, it means “stop”. Red is one of the colours used to describe fire, which can have both positive and negative connotations. Fire brings warmth and a means of cooking, but on the other hand, it can also signify danger.
In astronomy, Mars is known as the Red Planet, and on Jupiter, there is a Great Red Spot. There are stars known as red giants, red supergiants and red dwarfs. The sky occasionally turns red during sunset or sunrise. This has led to the saying, “Red sky at night, shepherd’s delight; red sky in the morning, shepherd’s warning.” It was believed a red sky signified an approaching storm. The original phrase, however, comes from the Gospel of Matthew:
“He replied, “When evening comes, you say, ‘It will be fair weather, for the sky is red,’ and in the morning, ‘Today it will be stormy, for the sky is red and overcast.’ You know how to interpret the appearance of the sky, but you cannot interpret the signs of the times.” (Matthew 16:2-3, NIV)
Red is one of the autumnal colours that appear on leaves during the lead up to winter. This associates the colour with the end of life; however, it can also represent new life with its appearance in fruit, such as cranberries, apples, cherries and raspberries. Elsewhere in nature, the colour red appears on many woodland creatures, for example, red foxes, red squirrels, robins, grouse, redwings and red setters.
Human blood is red, which symbolises both life (i.e. we need blood to live) and death (in terms of blood being spilt). Two per cent of the world’s population has naturally red hair. The term redhead, or redd hede as it was originally spelt, has been in use since around 1510.
In human and animal behaviour, red sometimes indicates dominance. Wearing red has been linked with success and enhanced performance, especially in sport. Although a more controlled test of this theory suggests this is not entirely true.
Other meanings that the colour red connotes are love (i.e. red roses on Valentine’s day), celebration and ceremony (red carpet), Christmas (Santa Claus), anger (“seeing red”), seduction (red lipstick) and sexuality (red-light district).
In the New International Version of the Bible, the word “red” appears at least fifty times, although some translations use “red” more broadly. There is a wide spectrum of colours, and red is only one small section. Either side of red are similar colours, such as scarlet and crimson, which have separate mentions and meanings in the Bible – at least in the NIV.
On more than one occasion, the colour red is used symbolically to indicate sin or sinfulness. When Israel attacked the wicked Moabites, the “water looked red – like blood.” (2 Kings 3:22) When the city of Nineveh fell, Nahum tells us, “The shields of the soldiers are red.” (Nahum 2:3).
The prophet Ezekiel wrote about a prostitute, a sinner who lusted after a group of men of whom a sketch was drawn on a wall in red. “But she carried her prostitution still further. She saw men portrayed on a wall, figures of Chaldeans portrayed in red.” (Ezekiel 23:14) An interesting thing to note here is the colour red was the first pigment to be used in art. In this instance, it may be a coincidence that the drawing was in the same colour as one representative of sin.
In Zechariah 1, the prophet heard the Lord was very angry with his ancestors. Later on that day, Zechariah had a vision: “During the night I had a vision, and there before me was a man mounted on a red horse. He was standing among the myrtle trees in a ravine. Behind him were red, brown and white horses.” (Zechariah 1:8) The prophet recorded another vision of red horses in Zechariah 6:2.
Another red horse is mentioned in Revelation 6:4 as a sign of war, bloodshed and the end times: “Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make people kill each other. To him was given a large sword.”
A red dragon is used as a similar symbol but also represents Satan’s power and determination to bring about destruction: “Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on its heads.” (Revelation 12:13)
Other mentions of red in relation to the end times are:
Revelation 6:12: I watched as he opened the sixth seal. There was a great earthquake. The sun turned black like sackcloth made of goat hair, the whole moon turned blood red.
Revelation 9:17: The horses and riders I saw in my vision looked like this: Their breastplates were fiery red, dark blue, and yellow as sulphur. The heads of the horses resembled the heads of lions, and out of their mouths came fire, smoke and sulphur.
Proverbs 23:31 says, “Do not gaze at wine when it is red, when it sparkles in the cup, when it goes down smoothly!” This is a warning about the temptation of sin. It may look good but it will have its repercussions. In the book of Job, the colour red is a sign of sorrow, grief and distress. “My face is red with weeping, dark shadows ring my eyes.” (Job 16:16)
Red is also a symbol of death. The Red Sea, which lies between Africa and Asia on the edge of the Indian Ocean, has claimed many people’s lives. Today, the Red Sea is bordered by Egypt, Sudan, Eritrea, Djibouti, Saudi Arabia and Yemen. It is approximately 1400 miles in length and about 220 miles wide.
The most famous Bible passage involving the Red Sea takes place in the book of Exodus. Moses rescued the Israelites from Egypt by parting the waters of the Red Sea. When Pharaoh and his army tried to cross, God caused the waters to return to normal, drowning the entire army.
Exodus 13:18: So God led the people around by the desert road toward the Red Sea. The Israelites went up out of Egypt ready for battle.
Exodus 15:4: Pharaoh’s chariots and his army he has hurled into the sea. The best of Pharaoh’s officers are drowned in the Red Sea.
The Red Sea is also mentioned in the books of Numbers, Deuteronomy, Joshua, Judges, 1 Kings, Nehemiah, Psalms, Isaiah, Jeremiah, Acts and Hebrews.
On a couple of occasions, Biblical characters are given names that mean “red”. “The first to come out was red, and his whole body was like a hairy garment; so they named him Esau.” (Genesis 25:25) “He said to Jacob, “Quick, let me have some of that red stew! I’m famished!” (That is why he was also called Edom.)” (Genesis 25:30)
At least three verses of the Bible mention items being dyed or decorated red. The significance of this, if there is one, is uncertain.
Exodus 25:5: ram skins dyed red and another type of durable leather; acacia wood.
Exodus 26:14: Make for the tent a covering of ram skins dyed red, and over that a covering of the other durable leather.
Jeremiah 22:14: He says, ‘I will build myself a great palace with spacious upper rooms.’ So he makes large windows in it, panels it with cedar and decorates it in red.
In the Roman Catholic Church, the colour red is associated with the fire of Pentecost and the Holy Spirit. It has also been the colour worn by the Cardinals since 1295. In general, red is the colour of Christ’s blood and, therefore, a symbol of his crucifixion. At Christmas, red tape or ribbon is used during Christingle services to represent the blood. The flags of some historically Christian nations still bear a red cross.
The New International Version of the Bible frequently uses the words “crimson” and “scarlet” when other newer versions may use “red”. In the original Hebrew text, there were several other ways to describe a reddish hue. Three of these words are now translated as “crimson”. They are karmity, which means deep red; tola, the maggot from which the dye is derived; and shaniy. The term “scarlet” is a translation of the Greek word Kokkinos, which refers to the shape of the insect from which the dye is extracted.
Crimson is a strong red colour that slightly inclines towards purple on the colour wheel. The colour was originally produced using the dried bodies of the kermes insect found in Mediterranean countries.
In Polish, crimson or Karmazyn is another name for a nobleman. People of high nobility often wore crimson robes. Poland is also one of two countries that have the colour crimson on their national flags – the other country is Nepal. In Denmark, the Grand Hussar Regiment wears a crimson jacket as part of its ceremonial uniform. The King’s Royal Hussars in the British Army still wear crimson trousers, giving themselves the nickname “Cherrypickers”. Likewise, in the USA crimson is the colour of the Ordnance Corps.
The plant rhubarb is poetically referred to as “crimson stalks” for obvious reasons. The crimson sunbird is the national bird of Singapore. In Australia, there is a species of parrot known as the crimson rosella. Occasionally, in places such as Mexico and Florida, a crimson tide occurs when certain algae turn the water red.
In some religions, such as the Bahá’í Faith, crimson stands for tests and sacrifice. But where does it appear in the Bible?
The Second Book of Chronicles, chapter two, tells us about King Solomon’s plans to build a temple in Jerusalem. He requested the help of King Hiram of Tyre, with whom he wished to continue the friendly relationship King David had established. The people of Tyre were known for their dyeing industry, particularly for using crimson and purple dyes. Solomon requested Hiram to send him a man who could assist with the decoration of the temple.
2 Chronicles 2:7: Send me, therefore, a man skilled to work in gold and silver, bronze and iron, and in purple, crimson and blue yarn, and experienced in the art of engraving, to work in Judah and Jerusalem with my skilled workers, whom my father David provided.
2 Chronicles 2:14: whose mother was from Dan and whose father was from Tyre. He is trained to work in gold and silver, bronze and iron, stone and wood, and with purple and blue and crimson yarn and fine linen. He is experienced in all kinds of engraving and can execute any design given to him. He will work with your skilled workers and with those of my lord, David your father.
2 Chronicles 3:14: He made the curtain of blue, purple and crimson yarn and fine linen, with cherubim worked into it.
Thus, the colour crimson is associated with the Temple and praising God.
There are only two other mentions of the word “crimson” in the NIV Bible, and they are both found in the book of Isaiah. In chapter 63, Isaiah writes about God’s day of vengeance and redemption. The first verse says: “Who is this coming from Edom, from Bozrah, with his garments stained crimson? Who is this, robed in splendour, striding forward in the greatness of his strength? ‘It is I, proclaiming victory, mighty to save.’” In this verse, crimson is a sign of splendour and victory, but in an earlier chapter, crimson means something entirely different. It is also an example that distinguishes crimson and scarlet as two separate colours:
Isaiah 1:18 (NIV): “Come now, let us settle the matter,” says the Lord. “Though your sins are like scarlet, they shall be as white as snow; though they are red as crimson, they shall be like wool.
In this example, both crimson and scarlet represent sin. It may not be the colours themselves that denote sin but rather the fact they have obscured the purity of the original whiteness of the snow and wool.
Scarlet lies somewhere between red and orange on the colour wheel, making it weaker than crimson. Nonetheless, the same insects originally produced the scarlet dye. Synthetic scarlet is often called cadmium red and was the standard red of many artists during the 19th and 20th centuries.
In the 20th century, scarlet became associated with revolution. It appeared on revolutionary emblems as a symbol of the blood of martyrs in the French Revolution. It also became the colour of communism, used on the Soviet Union’s flag and is still used on the Chinese flag. In China, red is also a symbol of happiness.
Scarlet is the colour of the traditional academic dress of doctorate students in the United Kingdom. The Foot Guards and Life Guards also wear scarlet for ceremonial purposes. Army regiments across the world use the colour scarlet on their uniforms too. The countries that do this include Australia, Jamaica, New Zealand, Fiji, Canada, Kenya, India, Singapore, Sri Lanka, Pakistan, Brazil and the USA.
In the Roman Catholic Church, scarlet symbolises the blood of Christ and Christian martyrs. In Lutheran tradition, scarlet decorations are displayed from Palm Sunday until Maundy Thursday. Other Christians often associate scarlet with prostitution. This is partly due to the description of an adulterous woman in the Book of Revelations, sometimes referred to as the Great Scarlet Whore.
Revelation 17:3-4: Then the angel carried me away in the Spirit into a wilderness. There I saw a woman sitting on a scarlet beast that was covered with blasphemous names and had seven heads and ten horns. The woman was dressed in purple and scarlet, and was glittering with gold, precious stones and pearls. She held a golden cup in her hand, filled with abominable things and the filth of her adulteries.
As a result, cities in which prostitutes work are named “red-light districts”, and sex worker organisations have titles such as the Scarlet Alliance. The scandalous novel The Scarlet Letter by Nathaniel Hawthorne (1804-64) uses the colour to denote adultery.
Other negative connotations of scarlet in the book of Revelation include:
Revelation 18:12: cargoes of gold, silver, precious stones and pearls; fine linen, purple, silk and scarlet cloth; every sort of citron wood, and articles of every kind made of ivory, costly wood, bronze, iron and marble.
Revelation 18:16: and cry out: “Woe! Woe to you, great city, dressed in fine linen, purple and scarlet, and glittering with gold, precious stones and pearls!”
The first time the word “scarlet” is used in the NIV is in Genesis 38 when Tamar gave birth to twins. A scarlet thread was tied around the wrist of the eldest so that they could differentiate between the two.
Genesis 38:28 (NIV): As she was giving birth, one of them put out his hand; so the midwife took a scarlet thread and tied it on his wrist and said, “This one came out first.”
Genesis 38:30 (NIV): Then his brother, who had the scarlet thread on his wrist, came out. And he was named Zerah.
The colour is most frequently used in the book of Exodus concerning the construction of the Tabernacle. This connects scarlet with God, giving it an entirely different meaning in comparison to the final book of the New Testament. Between Exodus 25 and Exodus 39, the colour scarlet is mentioned over 25 times. Examples include:
Exodus 26:1: Make the tabernacle with ten curtains of finely twisted linen and blue, purple and scarlet yarn, with cherubim woven into them by a skilled worker.
Exodus 26:31: Make a curtain of blue, purple and scarlet yarn and finely twisted linen, with cherubim woven into it by a skilled worker.
Exodus 28:15: Fashion a breastpiece for making decisions—the work of skilled hands. Make it like the ephod: of gold, and of blue, purple and scarlet yarn, and of finely twisted linen.
Exodus 35:25: Every skilled woman spun with her hands and brought what she had spun—blue, purple or scarlet yarn or fine linen.
Leviticus 14 mentions scarlet yarn at least five times in the instructions for the cleansing of defiling skin diseases:
Leviticus 14:4: the priest shall order that two live clean birds and some cedar wood, scarlet yarn and hyssop be brought for the person to be cleansed.
Leviticus 14:6: He is then to take the live bird and dip it, together with the cedar wood, the scarlet yarn and the hyssop, into the blood of the bird that was killed over the fresh water.
Leviticus 14:49: To purify the house he is to take two birds and some cedar wood, scarlet yarn and hyssop.
Leviticus 14:51: Then he is to take the cedar wood, the hyssop, the scarlet yarn and the live bird, dip them into the blood of the dead bird and the fresh water, and sprinkle the house seven times.
Leviticus 14:52: He shall purify the house with the bird’s blood, the fresh water, the live bird, the cedar wood, the hyssop and the scarlet yarn.
Twice, scarlet is mentioned in the book of Numbers:
Numbers 4:8: They are to spread a scarlet cloth over them, cover that with the durable leather and put the poles in place.
Numbers 19:6: The priest is to take some cedar wood, hyssop and scarlet wool and throw them onto the burning heifer.
The second of these is also referenced in Hebrews 9:19. “When Moses had proclaimed every command of the law to all the people, he took the blood of calves, together with water, scarlet wool and branches of hyssop, and sprinkled the scroll and all the people.”
Potentially the most famous mention of scarlet in the Bible occurs during the story of Rahab and the Spies. This is found in the second chapter of the book of Joshua. Rahab was a prostitute but in this story, the colour scarlet is not a reflection of her occupation. Rahab helped Joshua’s spies escape, and in return, they told her to tie a scarlet cord in her window so that when Joshua’s soldiers attack the city, she would be spared.
Joshua 2:18: unless, when we enter the land, you have tied this scarlet cord in the window through which you let us down, and unless you have brought your father and mother, your brothers and all your family into your house.
Joshua 2:2: “Agreed,” she replied. “Let it be as you say.” So she sent them away, and they departed. And she tied the scarlet cord in the window.
Other mentions of the colour scarlet in the Bible are:
2 Samuel 1:24: “Daughters of Israel,weep for Saul,who clothed you in scarlet and finery,who adorned your garments with ornaments of gold.”
Proverbs 31:21: When it snows, she has no fear for her household; for all of them are clothed in scarlet.
Song of Songs 4:3: Your lips are like a scarlet ribbon; our mouth is lovely. Your temples behind your veil are like the halves of a pomegranate.
Jeremiah 4:30: What are you doing, you devastated one? Why dress yourself in scarlet and put on jewels of gold? Why highlight your eyes with makeup? You adorn yourself in vain. Your lovers despise you; they want to kill you.
Nahum 2:3: The shields of the soldiers are red; the warriors are clad in scarlet. The metal on the chariots flashes on the day they are made ready; the spears of juniper are brandished.
Generally, scarlet is a colour associated with wealth and opulence. This meaning is supported with the only mention of the colour in the Gospels. “They stripped him and put a scarlet robe on him.”(Matthew 27:28) The “him” in this verse is Jesus, and the soldiers in the Praetorium are mocking him. They dressed him in a scarlet robe to make him look like a king. As we all know, the soldiers then crowned him with a crown of thorns and put a staff in his right hand whilst jeering, “Hail, king of the Jews!”
Despite the unfortunate connection to prostitution, both crimson and scarlet represent wealth and power, both politically and religiously. Even the verses in Revelation refer to this. By the end times, people were worshipping their wealth and power rather than God.
According to surveys across Europe and the UK, scarlet is also associated with courage, force, passion and joy. Combining this with Biblical meaning, it is ascertained that scarlet is a powerful and positive colour – crimson, too.
There is no mention of the word orange in the Bible. The closest the Bible comes to mentioning the colour in the NIV is Revelation 21:20, which states: “the fifth onyx, the sixth ruby, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth turquoise, the eleventh jacinth, and the twelfth amethyst.” According to the AUV Bible (An Understandable Bible), [sard]onyx is “an orange-coloured stone similar to chalcedony”.
Yellow is the second of the primary colours. It is the colour of canaries, daffodils, lemons, egg yolks, buttercups and bananas. There are yellowtail fish, yellow-fever mosquitos, yellowjackets (wasps), yellow birches and yellow poplars.
The history of the colour yellow is rather intriguing. In Ancient Egypt, yellow was associated with gold, thus considered eternal and indestructible. The skin of gods was believed to be yellow, so the Egyptians used the colour yellow extensively in their tomb paintings. The ancient Romans followed suit, using yellow to represent gold and skin tone.
The meaning of yellow in artwork changed sometime in the centuries following the crucifixion of Jesus. In paintings of Jesus’ disciples, Judas Iscariot often wears yellow, thus the colour has become associated with betrayal, envy, jealousy and greed. From this, the tradition of depicting Jews or other non-Christians in yellow began. Whilst this practice fell out of use, it was briefly reinstated during the 20th-century when Jews living in German-occupied countries were required to wear a yellow badge featuring the Star of David.
In China, the colour yellow represents happiness and wisdom. The first Chinese emperor was known as the Yellow Emperor, and all subsequent emperors were considered a child of heaven. Only the emperor was allowed to wear yellow and, instead of a red carpet, distinguished guests were honoured with a yellow carpet.
In politics, yellow represents liberalism. In the UK, the Liberal Democrats, UKIP, and SNP all use yellow in their campaign materials. In the US, the Libertarian Party is recognised by the colour yellow. In Chinese history, a Daoist sect was known as the Yellow Turbans; they staged a rebellion against the Han Dynasty (202 BC-220 AD).
Yellow has been and continues to be used to represent optimism and pleasure. It is a colour that attracts attention. Yellow is the most visible colour from a distance, and many countries have used the colour on their emergency vehicles. The RAF rescue helicopter is yellow, as are the vehicles used by the Royal Danish Air Force. The colour is frequently used as a warning; for instance, yellow (amber) traffic lights mean slow down, and a yellow card in football is a caution but not expulsion.
The colour yellow is prevalent on national flags across the world. The flags of three of the five most populous countries feature yellow: China, India and Brazil. Other countries include Germany, Bhutan, Ukraine, Belgium, Lithuania, Spain, Colombia, Brunei, Vietnam, Malaysia, Mozambique, Romania, Sweden, the Vatican, the Philippines, Chad and the European Union.
Buddhist and Hindu monks usually wear yellow or saffron robes. The Hindu divinity Krishna was often portrayed in yellow, as is Lord Ganesha. In Islam, yellow is a symbol of wisdom. In the various religions of the islands of Polynesia, yellow is a sacred colour associated with the food of the gods.
In Christianity, yellow is both positive and negative. The latter relates to Judas Iscariot and the former concerns wealth and gold. Similarly, there are both negative and positive connotations of the colour yellow in the Bible. Yellow is used to describe two things; one is gold or something valuable, the other is leprosy.
In Leviticus 13, God gave Moses and Aaron regulations about diagnosing skin diseases, i.e. leprosy. This was the job of the priest, in this case, Aaron, who had to examine all suspected cases of the disease and determine whether the sufferers were unclean.
Leviticus 13:30: the priest is to examine the sore, and if it appears to be more than skin deep and the hair in it is yellow and thin, the priest shall pronounce them unclean; it is a defiling skin disease on the head or chin.
Leviticus 13:32: On the seventh day the priest is to examine the sore, and if it has not spread and there is no yellow hair in it and it does not appear to be more than skin deep.
Leviticus 13:36: the priest is to examine them, and if he finds that the sore has spread in the skin, he does not need to look for yellow hair; they are unclean.
For examples of yellow representing gold or valuable objects, you have to compare the NIV with other versions of the Bible. Take Psalm 68:13, for instance. the NIV says: “Even while you sleep among the sheep pens, the wings of my dove are sheathed with silver, its feathers with shining gold.” The King James Version, on the other hand, says: “Though ye have lien among the pots, yet shall ye be as the wings of a dove covered with silver, and her feathers with yellow gold.”
Often, the word yellow is not cited. Instead, yellow objects or items are named. Frankincense is an off-yellow colour and is mentioned approximately 25 times in the Bible. In Matthew 2:11, one of the gifts Jesus received from the magi was Frankincense.
Many precious jewels are referenced throughout scripture. Chrysolite, a yellow gemstone, is mentioned ten times. In Revelation, chapter 21 tells us about the New Jerusalem. The city’s walls are made of jasper and the city itself from pure gold. There are to be twelve foundations, each one a different gemstone. It is here that chrysolite gets mentioned for the tenth and final time. “The foundations of the city walls were decorated with every kind of precious stone. The first foundation was jasper, the second sapphire, the third agate, the fourth emerald, the fifth onyx, the sixth ruby, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth turquoise, the eleventh jacinth, and the twelfth amethyst.” (Revelation 21:19-20, NIV)
The book of Revelation also contains one mention (in the NIV) of the word yellow. This occurs in chapter nine, in which John writes about the riders of the apocalypse. Verse seventeen describes the breastplates of the riders, which were “fiery red, dark blue, and yellow as sulphur”.
Sulphur is mentioned elsewhere in the Bible, although without the colour yellow attached. As well as Revelation, the yellow chemical element appears in the books of Job, Isaiah and Luke. In each of these cases, sulphur is an indication of destruction, thus giving the colour yellow another negative connotation.
Yellow is a difficult colour to attach meaning to due to its connection with both positive and negative things. In terms of emotion, yellow is generally considered a happy, optimistic colour. Chris Martin, the lead singer from the band Coldplay, said the band wrote the song “Yellow” to reflect “the mood of the band. Brightness and hope and devotion.”
“Look at the stars/Look how they shine for you/And everything you do/Yeah they were all yellow.”
Combining all versions of the Bible, there are almost ninety mentions of the colour green, but only half of them appear in the NIV. The translator of the NIV decided that the word “pasture” was as good as “green field”, and it was not necessary to write “green trees” when “trees” would suffice.
The colour green is between yellow and blue on the visible spectrum. It is a secondary colour produced by mixing two primary colours – blue and yellow. The word “green” comes from the old English word grene, which has the same root as the words “grass” and “grow”. The majority of green we see in the world comes from nature, such as grass, trees, vegetation and so forth.
Green is common in plants because they contain a chemical called chlorophyll, which gives them this colour. Many fish, birds and reptiles are also green and use the chlorophyll green of their surrounding environment as a means of camouflage. Green creatures include frogs, parrots, snakes and the green huntsman spider.
In Ancient Egypt, green was associated with regeneration and rebirth, but it was rarely used in their artworks. The Romans, on the other hand, connected the colour green with Venus, the goddess of gardens, vegetables and vineyards, amongst other things. As a result, green, earthy pigments featured in their artworks. By the second century AD, the Romans had at least ten different words for varieties of greens.
In the Middle Ages and Renaissance era, colour determined people’s rank and profession. Red was reserved for nobility and browns for peasants. Green was used for merchants, bankers, gentry and their family. For this reason, Leonardo da Vinci’s (1452-1519) Mona Lisa wears green in her famous portrait, as does the woman in the Arnolfini portrait by Jan van Eyck (1390-1441).
Green is used as a symbol for a variety of things. In terms of traffic and safety, green grants permission and announces that it is safe to proceed. In most countries, the colour is also associated with nature, health, life, springtime, freshness and hope. Due to this, it has been adopted by organisations, such as Greenpeace and the Green Party. Bins specifically for garden waste are green, and areas in cities designated as a garden or park are referred to as green areas.
In China, green is associated with the east, sunrise, life and growth. In Thailand, they connect the colour with something a little more obscure: a child born on a Wednesday. Many places relate green with youth; for instance, an inexperienced person may be called “green”. Underripe fruit is usually green.
Surveys undertaken around the world reveal that people mostly think of calmness, nature and freshness when confronted with the word green. Other suggestions are less positive, for example, jealousy and envy. William Shakespeare (1564-1616) was the first to use the term “green-eyed monster” in his play, Othello, about jealousy.
Other phrases that include the word green are:
Having a green thumb – being good at gardening
Greenhorn – an inexperienced person
Greenroom – a room in a theatre where actors can rest when not on stage. This term originated from the colour of this room at the Theatre Royal in London.
Green around the gills – someone who is looking a little ill
Going green – a company or person who is participating in activities to preserve the environment, i.e. recycling
The colour green has a few significances in religion. According to Islamic tradition, the robes and banner of Muhammad were green. Al-Khidr, who supposedly met and travelled with Moses, was known as “The Green One”.
In Christianity, clergy may wear green during “ordinary time”, i.e. a Sunday that does not fall within a particular holiday or festival season. In Eastern Catholic Churches, green is usually the colour of Pentecost. Many associate green with Christmas, for instance, Christmas trees and holly leaves. Interestingly, in Scotland and Ireland, green is used to represent Catholics. This is how Catholics are symbolised on the Irish flag, with orange representing Protestants.
In the Bible, there does not appear to be any particular meaning connected to the use of the word “green”. It is mostly used to describe the colour of grass, trees or plants.
Genesis 1:30: “And to all the beasts of the earth and all the birds in the sky and all the creatures that move along the ground—everything that has the breath of life in it—I give every green plant for food.” And it was so.
Genesis 9:3: Everything that lives and moves about will be food for you. Just as I gave you the green plants, I now give you everything.
Psalm 23:2: He makes me lie down in green pastures,he leads me beside quiet waters
Psalm 105:35: they ate up every green thing in their land, ate up the produce of their soil.
Joel 2:22: Do not be afraid, you wild animals, for the pastures in the wilderness are becoming green. The trees are bearing their fruit; the fig tree and the vine yield their riches.
Mark 6:39: Then Jesus directed them to have all the people sit down in groups on the green grass.
The greenness of nature is a positive thing, but many verses in the Bible talk about the lack of green. Exodus 10:15 talks about the result of the plague of locusts sent by God to the land of Egypt: “They covered all the ground until it was black. They devoured all that was left after the hail—everything growing in the fields and the fruit on the trees. Nothing green remained on tree or plant in all the land of Egypt.”
In Job 39:8, God speaks to Job about the animals he created. God tells him he gave the donkey the salt flats as its natural habit where “It ranges the hills for its pasture and searches for any green thing.” Isaiah 15 records a prophecy against Moab. As a punishment, the land will be ruined, destroyed overnight. Verse 6 states, “The waters of Nimrim are dried up and the grass is withered; the vegetation is gone and nothing green is left.”
God reminds Ezekiel of His powers in Ezekiel 17:24: “All the trees of the forest will know that I the Lord bring down the tall tree and make the low tree grow tall. I dry up the green tree and make the dry tree flourish. I the Lord have spoken, and I will do it.” Later, in chapter 20, God speaks via Ezekiel, revealing a prophecy against the South. Verse 47 says, “Say to the southern forest: Hear the word of the Lord. This is what the Sovereign Lord says: I am about to set fire to you, and it will consume all your trees, both green and dry. The blazing flame will not be quenched, and every face from south to north will be scorched by it.”
Of course, the best place to find verses about destruction is in the book of Revelation. In the NIV, the word green only appears once in the book. It concerns the end of the world, thus a distinct lack of green. Revelation 8:7: “The first angel sounded his trumpet, and there came hail and fire mixed with blood, and it was hurled down on the earth. A third of the earth was burned up, a third of the trees were burned up, and all the green grass was burned up.”
In the Gospel of Luke, there is one example of a positive connotation of the colour green, yet used in a negative context. This occurs shortly before the crucifixion of Jesus when he tells the “Daughters of Jerusalem” not to weep for him but their children, predicting devastating times in the future. He ends this short speech with the line: “For if people do these things when the tree is green, what will happen when it is dry?” (Luke 23:31) The green tree in this riddle refers to Jesus himself, the Son of God, the one who came to Earth to save. If people are doing wicked things while he is alive, what will they do once he is dead?
Green plants are often used as an analogy in the Bible. Most commonly, it describes people or entire societies. In some instances, the metaphor talks about people flourishing or bouncing back after a disaster. On the other hand, some refer to the destruction of communities as a punishment for their sins.
2 Kings 19:26: Their people, drained of power, are dismayed and put to shame. They are like plants in the field, like tender green shoots, like grass sprouting on the roof, scorched before it grows up.
Psalm 92:14: They will still bear fruit in old age, they will stay fresh and green
Proverbs 11:28: Those who trust in their riches will fall, but the righteous will thrive like a green leaf.
Isaiah 37:27: Their people, drained of power, are dismayed and put to shame. They are like plants in the field, like tender green shoots, like grass sprouting on the roof, scorchedbefore it grows up.
Jeremiah 17:8: They will be like a tree planted by the waterthat sends out its roots by the stream. It does not fear when heat comes; its leaves are always green. It has no worries in a year of drought and never fails to bear fruit.
Psalm 37:2: for like the grass they will soon wither, like green plants they will soon die away.
Psalm 58:9: Before your pots can feel the heat of the thorns—whether they be green or dry—the wicked will be swept away.
There are, of course, many more instances of the colour green in other versions of the Bible, but they tend to refer to plants, grass or fields rather than anything of significance.
Until 13th February 2022, The Royal Academy of Arts is looking back at the work of one of their graduates, John Constable. Rather than look at all of his paintings, the Academy has chosen examples from the final twelve years of Constable’s life, illustrating his more radical and expressive side. Between 1825 and his death, Constable experimented with plein air painting, dramatic weather phenomena, enthusiastic brush strokes, and the possibilities of printmaking. Despite his connection with the Academy, the RA has never staged a major retrospective of Constable’s work until now.
John Constable was born at East Bergholt House in Suffolk on 11th June 1776 to Golding (1739-1816) and Ann (Watts) Constable (1748-1815). His older brother was intellectually disabled, so Constable’s parents expected John to work in the family corn business. Instead, Constable’s younger brother Abram took over the running of the mills, allowing Constable to wander the Suffolk and Essex countryside making amateur sketches. Constable later said the scenes “made me a painter, and I am grateful.”
After persuading his father to let him pursue a career as an artist, Constable entered the Royal Academy Schools as a probationer in 1799. After a year of studying the Old Masters and attending drawing classes, Constable officially became a Student at the Schools. After graduating, he turned down the position of drawing master at Sandhurst because he wanted to focus on producing art rather than teaching. Instead, Constable concentrated on his first submission to the Royal Academy’s Annual Exhibition of 1802 (now known as the Summer Exhibition).
In 1816, Constable married Maria Bicknell (1788-1828) at St Martin-in-the-Fields, London. Maria’s father, a solicitor to King George IV (1762-1830) and the Admiralty expressed his concern that Constable had no money to his name. Yet, before the marriage went ahead, both of Constable’s parents died, leaving him one-fifth of the family business.
Maria’s poor health was a persistent worry for Constable, but he continued with his painting and participated annually in the Royal Academy’s exhibitions. In 1819, he was elected an Associate of the Royal Academy and exhibited his first “six-footer”. The term refers to six monumental landscapes depicting the River Stour, each painted on a six-foot canvas. Fellow painter Charles Robert Leslie (1794-1859) predicted the first of the six, The White Horse, would be “on many accounts the most important picture Constable ever painted.”
Every year, people admired, talked about, and eventually purchased one of the “six-footers”, including The Hay Wain (1821), which now resides at the National Gallery and remains one of Constable’s most famous paintings. The success continued until 1826 when Constable exhibited his final “six-footer”, The Leaping Horse. It was the only artwork in the series that failed to sell during Constable’s lifetime.
The RA displayed The Leaping Horse next to a full-size sketch that Constable made in situ. Several small drawings also show the artist’s experimentation with elements of the landscape. In the sketch, a small tree stands in front of the horse and rider, but in the final painting, the tree is at the rear. The horse, which leaps over one of the barriers erected along the river path, was walking in Constable’s preparatory work. There is a visible mark where Constable removed one of the trees in the background. He did this after failing to sell the painting at the 1825 Annual Exhibition.
After failing to sell The Leaping Horse, Constable directed his attention away from the River Stour towards lanes, dells and panoramic vistas. Whilst no longer painting canals, Constable did not avoid water scenes. This is evident in his 1826 Annual Exhibition piece, The Cornfield. Constable preferred the name The Drinking Boy to describe this painting, which shows a young shepherd boy quenching his thirst in a pool of water. The boy’s dog waits patiently for his master while the sheep carry on up the path.
The lane depicted in The Cornfield is Fen Lane, which leads from Constable’s childhood home in East Bergholt towards Dedham in Essex. Constable frequently ran along the pathway on his way to and from school, passing through cornfields along the way. Constable grew up surrounded by similar scenes, which explains his preference for these idyllic landscapes and picturesque views.
When Constable’s wife started displaying symptoms of tuberculosis, he purchased lodgings in Brighton where he thought the sea air would help Maria’s condition. The family spent their summers in Brighton between 1824 and 1828, during which time Constable frequently studied and painted the sand, sea and sky. One painting from this period, Chain Pier, Brighton, was exhibited at the 1827 Annual Exhibition.
Erected in 1823, the Royal Suspension Chain Pier was the first major pier in Brighton. It was designed by Captain Samuel Brown of Netherbyres (1776-1852), intending to start boat trips to Dieppe in France. It is fortunate that Constable and other artists captured the pier on canvas because a storm demolished it in 1896.
When not in Brighton, the Constable family lived in Hampstead, London, from where Constable frequently returned to familiar places of his childhood. One such place was Dedham Vale, which Constable painted for the 1828 Annual Exhibition. Constable depicted the view from Gun Hill in Suffolk, which reveals Dedham church in the far distance. Many believe Constable based Dedham Vale on a painting by Claude Lorrain (1600-82) called Hagar and the Angel. The art collector George Beaumont showed Constable the painting before he joined the Royal Academy Schools. Since Beaumont (1753-1827) died a year before Constable painted Dedham Vale, its similarities to Lorrain’s work suggests it is a tribute to the late collector.
The success of Dedham Vale earned Constable the position of a full Royal Academician in 1829, something for which he had yearned for a decade. Unfortunately, Maria passed away in 1828 and did not get to see her husband achieve his goal. Greatly affected by her death, Constable chose to wear black for the rest of his life. In a letter to his brother, he wrote, “hourly do I feel the loss of my departed Angel—God only knows how my children will be brought up…the face of the World is totally changed to me.” As well as continuing with his artwork, Constable needed to care and provide for his seven children: John Charles, Maria Louisa, Charles Golding, Isabel, Emma, Alfred, and Lionel.
The turmoil and distress of Constable’s mind following his wife’s death are evident in his paintings from this period. For the 1829 Annual Exhibition, Constable painted Hadleigh Castle, a ruined fortification in Essex, overlooking the Thames Estuary. He first visited the castle in 1814, where he produced several sketches. From these drawings, he produced a six-foot oil painting of the castle, with stormy clouds in the background. Constable often studied and painted clouds in the early years of his marriage, but they were usually white and fluffy. The clouds in Hadleigh Castle are dark and foreboding, suggesting life without Maria was dark and gloomy.
Constable often referred back to his old sketches when preparing large paintings for the Annual Exhibitions. In 1817, Constable witnessed the opening of Waterloo Bridge in London, commemorating the second anniversary of the Battle of Waterloo. Over the following years, Constable produced many drawings and oil sketches of the bridge and the festivities on opening day.
For the 1832 Annual Exhibition, Constable produced a large oil painting showing the Prince Regent (George IV) boarding the Royal barge at Whitehall stairs, with Waterloo Bridge in the background. As a royalist, Constable wanted to capture the event and the Royal family’s involvement for posterity. In the sky, grey clouds form, either indicating the weather on the day of the event or reflecting Constable’s mental state following the death of his wife.
Many of Constable’s paintings contain bold touches of red to highlight figures or lead the viewer’s eye to the main focus of the artwork. It is unlikely that everyone Constable depicted in his landscapes wore red, but it helped bring the picture to life. When displaying paintings for the Annual Exhibition, some artists added final touches to their canvases. On the wall next to The Opening of Waterloo Bridge hung J.M.W Turner’s (1775-1851) seascape Helvoetsluys. When Turner noticed the red highlights in Constable’s painting, he added a blob of red paint in the centre of his work to draw everyone’s attention away from the neighbouring artwork.
During the early 1830s, Constable began teaching life drawing at the Royal Academy Schools. He also started experimenting with other media, such as watercolour and printmaking. Whilst the majority of Constable’s submissions to the Annual Exhibitions were oil paintings, he occasionally submitted watercolours. Constable discovered printmaking, particularly mezzotints, a powerful way of expressing light and shade. Using his wife’s inheritance money, Constable collaborated with David Lucas, a British mezzotinter, to create 40 prints of his landscapes. Trial and error meant several versions of each design were printed before settling on the final 40 to publish in a folio. Unfortunately, the project was not a financial success, and Constable never saw the money he spent again.
In 1834, illness prevented Constable from working on an oil painting for the Annual Exhibition, so the only piece he submitted was a watercolour called Old Sarum. The scene is based on Constable’s sketches of Old Sarum, a ruined and deserted site of the earliest settlement of Salisbury in Wiltshire. The old settlement is visible on a mound in the distance while grey clouds billow overhead. Constable added a strip of paper on the righthand side to include the hint of a rainbow. Old Sarum is one of the 40 landscapes Constable used in his English Landscape series of mezzotints.
Between 1833 and 1836, Constable delivered a series of lectures about the history of landscape painting. He wished to raise the status of landscapes, which were once considered superior to other art forms but no longer popular. Throughout his career, Constable painted scenes that interested him rather than what other artists and buyers preferred. Whilst this hindered his attempts to become a Royal Academician for many years, it has earned Constable recognition for revolutionising the genre of landscape painting. Since many of his paintings depict the area he lived and grew up in, Suffolk is now known as “Constable Country”.
For the 1835 Annual Exhibition, Constable briefly returned to his earlier style of painting. The Valley Farm, also known as Willy Lott’s House after the landowner, depicts a scene on the River Stour, not far from Constable’s childhood home. It is based on two of his previous paintings of the area, The Ferry (1814) and Willy Lot’s House from the Stour (1816-18). Constable reworked the landscape to make it more expressive than earlier versions and modified the house so that it appeared grander. Whilst Constable felt pleased with the result, critics disapproved of the artist’s adjustments and accused Constable of ruining the natural landscape. Nonetheless, Constable had a buyer before the opening of the Exhibition. The self-made businessman Robert Vernon (1774-1849) paid Constable £300, the largest sum Constable had received for a painting.
Despite returning to some of his earlier themes, Constable continued experimenting with watercolour, as seen in his painting of Stonehenge. The painting, which featured in the Royal Academy’s final Annual Exhibition at New Somerset House in 1836, combined a dramatic sky with a well-known British landmark. Since painting Hadleigh Castle and Old Sarum, Constable’s fascination with ruins grew. These decaying man-made structures succumbing to the elemental power of nature, metaphorically express Constable’s emotions following his wife’s deaths along with two close friends, Archdeacon John Fisher (1788-1832) and John Dunthorne (1798-1832).
Alongside Stonehenge, Constable displayed Cenotaph to the Memory of Sir Joshua Reynolds. Due to poor health, this was the only oil painting Constable completed for the exhibition. It depicts the memorial to Sir Joshua Reynolds (1723-1792), the first President of the Royal Academy, that Sir George Beaumont built in the grounds of his home at Coleorton Hall in Leicestershire. Beaumont planned to erect several monuments to friends and people he admired but died before the project could get underway. In some ways, Constable’s painting is also in memory of Beaumont, who helped him become a professional artist.
Constable visited Coleorton in 1823, where he made pencil drawings of the monument. He only started working on the oil painting ten years later and just finished it in time for the 1836 Annual Exhibition. As well as the cenotaph, Constable included two busts in tribute to the Old Masters, Michelangelo and Raphael. In one of his last lectures, Constable praised Raphael’s artwork. He also called the Royal Academy the “cradle of British art” and received cheers from attending students.
In the early hours of 1st April 1837, Constable died from heart failure at the age of 60. He was buried beside his wife in the family tomb in the graveyard of St John-at-Hampstead Church. His children inherited all their father’s remaining sketches and unsold paintings, which they kept for the rest of their lives. The only artwork they relinquished was Arundel Mill and Castle, which Constable was working on at the time of his death. He had intended to submit it to the Royal Academy’s first Annual Exhibition in Trafalgar Square. Since it looked almost finished, Arundel Mill and Castle was displayed as Constable intended.
In 1888, Constable’s last surviving child, Isabel (1823-1888), gave the remains of her fathers work (95 oil paintings, 297 drawings and watercolours and three sketchbooks) to the South Kensington Museum (V&A). Since then, the artworks have been sold and distributed between several art galleries. The Late Constable exhibition marks the first time the Royal Academy has staged a major retrospective of Constable’s work, bringing together twelve years worth of paintings, drawings and prints. Not only does the exhibition demonstrate Constable’s artistic abilities, but it also reveals how grief and emotions play a part in creative output. Whilst the death of Constable’s wife was tragic, it changed the way Constable tackled his paintings, allowing his audience to see a more versatile side of the artist.
Constable painted the scenes he wanted to paint. The landscapes held meaning for Constable, and he did not concern himself with attempting to please the audience by conforming to modern tastes. Late Constable tells a story about an artist struggling with grief whilst striving to achieve the same accolades as his peers. The Royal Academy is finally giving Constable the recognition he deserved during his career through this retrospective exhibition.
Late Constable is open until 13th February 2022 in the Gabrielle Jungels-Winkler Galleries at Burlington Gardens, Royal Academy of Arts. Tickets cost £19, but Friends of the RA may visit for free. All visitors must book tickets in advance.