‘Grotesque’ figures and whales

The body of the pomander is topped with a second smaller sphere, decorated with similar hammered patterns. It is further mounted by a grotesque figure, adding a layer of mystery to the practicality of the commodity.

This topper surprises, intrigues, and provides a contrast to the geometric patterns that ornate the object. What does it look like to you? The shape that tops the pomander, which is referred to vaguely by the Museum as a “grotesque figure”, can only be attributed to The Grotesque, as the art style that emerged in Europe at the end of the sixteenth century.

The word ‘grotesque’ comes from the Italian ‘from a cave’’. The Grotesque emerged from Emperor Nero’s Golden Dome, the sumptuous residence he built for himself during his rule. It was rediscovered in the late 15th century after being buried and untouched for over a millennium. Within it, researchers found the walls and ceilings embellished with distorted, sinuous shapes and strange forms. Many of these forms look like fantastical animals or appear slightly human.

As such, the figure at the top of the pomander is reminiscent of many of the chimeric creatures within these frescos. The most recognizable element is the tail that curves into itself, providing a space to add a chain to attach the object around a neck or waist. The tail, which is textured with scale-like bumps, is connected to what looks like an animal head in profile. Upon looking at Grotesque engraving and etchings, it is easy to see the resemblance between the figure topping the pomander and the strange hybrid creatures amidst the designs.

This work attributed to the Master of the Die (1525-1560) seems to be the most similar to the figure, especially in the bulging forehead and upturned muzzle. And so, a new hypothesis can be made about the first image. To me, the Master of the Die’s figure appears close to early depictions of whales, during the 16th century. In a 1936 Boston Museum catalog, the figure is said to be a dolphin: “An octagonal cap, with a knop surmounted by a dolphin […] holds the segments at their tops.”Buhler, “The Frank Brewer Bemis Collection of Silver.” 78.

This dolphin appears to be very similar to many early depictions and engravings of the tale of Jonah and the Whale, the biblical peripety wherein Jonah is swallowed, then released from the whale’s entrails.Dolphins were portrayed in Christian Art more than any other fish. They came to symbolize resurrection and salvation. They were also considered one of the strongest and swiftest of the fish, often shown bearing the souls of the dead, transporting them to the world beyond, sometimes even embodying The Christ. The depictions below are encapsulations of this claim, and they were produced in 1557 and 1582 respectively. At the time, sea creatures, and dolphins and whales in particular, seemed to have been somewhat amalgamated due to the lack of scientific, marine biological studies, a field which came to prominence in the early seventeenth century. Until then, however, the images remained shrouded in moral and religious overtones.

The pomander embodies the trends and desires that arose during the 16th century, making it very appealing on multiple levels: socially, medicinally, religiously, economically, aesthetically, and technically. It is a unique piece, as it does not conform to the trends of the time, decorated with mysterious figures.

Are you interested in more? The longread below gives information on public perception of sea creatures and the disease they supposedly brought into the country.