From a design by Ford Madox Brown (British 1820-1893) in “Dalziel’s Bible Gallery” – 69 wood-engraved illustrations of subjects from the Old Testament after various artists. Printed on india paper pasted down on larger sheets. Engraver: Dalziel Brothers. Publisher: George Routledge & Sons London. Printer: Camden Press London. 1881.
15 Heinrich Hofmann. Emmaus. Gedenke Mein – Bild 13. Original drawing in pencil. Luke 24:13,15-35.
In the second colourisation the rustic hat of one of the disciples has been replaced by a turban – a nod, perhaps, in the direction of the orientalism of Bible illustrators Tissot, Hole and Copping, all of whom brought first-hand observations of the Holy Land to their work.
14 Heinrich Hofmann. Am Auferstehungs-Morgen. Kommet zu Mir – Bild 13. Original drawing in pencil. John 20:11-18.
In both of these colourisations a limited palette (each at the opposite end of the spectrum) sets the tone of quiet restraint of dawn’s early light – Noli me tangere – in contrast to the garish hues expressing the hands-on grief of the artificially-lit Entombment.
05 Heinrich Hofmann. Jüngling zu Nain. Kommet zu Mir – Bild 7. Original drawing in pencil. Luke 7:11-17.
Chromolithograph based on re-drawn image derived from the photogravure of the pencil drawing. Possibly by Stemler.
This re-draft of Hofmann’s image well illustrates the tendency of the colourisers to simplify the scene and concentrate on the inter-action between the core characters. This was partly to reduce the labour in redrafting, and partly to provide broader areas for colour. Here six members of the arrested funeral procession have been eliminated: one figure is deemed adequate to suggest the awe of any witness to the miracle. By way of compensation the glimpse of a landscape of Nain in the background of the drawing has been developed into a vista of a walled town (fortifications only suggested in close-up by Hofmann through arches with heavy masonry). In the drawing the boy’s erstwhile status as a corpse is suggested by the cowl which had presumably covered his face. The colouriser may have felt that this item was too suggestive of female attire; it has been removed in his re-draft to reveal the boy’s hair – short as dictated by modern convention. Instead, the presence of a white pall is indicated by the different colour of the boy’s robe. Thus the colouriser has remained true to the artist’s original intent.