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• W210002983 abstract "AT THE END OF JOHN LYLY'S 1580 prose narrative, Euphues and His England, there is an epistolary exchange containing Euphues' Glass for Europe, a description of England addressed to the ladies of Italy. Protesting that he could not possibly do justice to the glory of Elizabeth, Lyly says that the Glass is a frame rather than a painting: I hope, that though it be not requisite that any should paynt their Prince in England, that can-not sufficiently perfect hir, yet it shall not be thought rashness or rudeness for Euphues, to frame a table for Elizabeth, though he presume not to paynt hir.(1) Lyly fabricates a classical authority for his frame. The putative source is Pliny, who in a passing reference, notes Alexander's public edict proscribing all depictions of him except those made by specific named artists.(2) But Lyly embellishes the anecdote with a fictive account of Parrhasius, and his frame. When Alexander had commanded none should paint him Appelles, none should carve him Lysippus, none engrave him Pirgotales, Parrhasius a squared everye way twoo hundred foote, which in the borders he trimmed with fresh colours, and limmed with fine golde, leaving all the other roume with-out knotte or lyne, which table he presented to Alexander who no less mervailing at the bignes, than at the barenes, demaunded to what ende he gave him a frame a face, being so naked, and with-out fashion being so great. Parrhasius answered him, Let it be lawful for Parhasius, O Alexander, to shew a wherein he would paint Alexander, if it were not unlawfull, and for others to square Timber, though Lysippus carve it, and for all to cast brasse though Pirgotales engrave Alexander the good minde of Parrhasius, pardoned his boldnesse, and preferred his arte: yet enquyring why the so bygge, answered, that thought that frame to bee little enough for his Picture, when the whole worlde was too little for his personne, saying that Alexander must as well be praysed, as paynted, and that all hys victories and vertues, were not for to bee drawne in the Compasse of a Sygnette, in a fielde. This aunswer Alexander both lyked & rewarded, insomuch that it was lawful ever after for Parrhasius both to praise that noble king and to paint him.(3) What Parrhasius presents to Alexander is not the ornamental quadrilateral of a modern frame, a prepared wooden panel: he framed a Table of immense proportions without knotte or lyne decorated only at the borders and otherwise left blank. He does not presume to paint the table, only to craft it. Following a brief exchange, Alexander, perceiving the good minde of Parrhasius, pardoned his boldness, and preferred his arte. Alexander, seeming to reward the painter as much for his craftiness as for his craft, grants him dispensation both to praise and to paint. If Parrhasius gains through his cunning the right to practice the of praise, his frame is also a reminder that praise is an arte or misterie which, like any other, involves the manipulation of matter. The crafting of this gigantic frame is more like squaring timber than carving it, more like casting brass than engraving it. Drawing the anecdote to a close, Lyly applies the example of Parrhassius to yet another list of artisans whose work is but begun for others to ende, and includes among them Euphues himself. Implicitly acknowledging the hierarchy of trades that privileges intellectual over manual arts, Lyly nonetheless compares Euphues's framing of praise to artisanal labor: hee that whetteth the tooles is not to bee misliked, though can-not carve the Image.(4) Lyly's anecdote, with its customary guise of humility, is easily read as a bid for the preferment of his own art, especially since Elizabeth was another sovereign who sought to mandate the production of her image. …" @default.
• W210002983 created "2016-06-24" @default.
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• W210002983 date "2000-01-01" @default.
• W210002983 modified "2023-09-24" @default.
• W210002983 title "The Language of Framing" @default.
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