Sir John Tenniel's illustration of the Caterpillar ( Alice's Adventures in Wonderland ) | Caterpillar for Lewis Carroll's Alice's Adventures in Wonderland is noted for its ambiguous central figure, whose head can be viewed as being a human male's face with a pointed nose and pointy chin or being the head end of an actual caterpillar, with the first two right " true " legs visible.

Tenniel's illustrations for the Alice books were engraved onto blocks of deal wood by the Brothers Dalziel.

Many of Tenniel's political cartoons expressed strong hostility to Irish Nationalism, with Fenians and Land leagues depicted as monstrous, ape-like brutes, while " Hibernia "— the personification of Ireland — was depicted as a beautiful, helpless young girl threatened by these " monsters " and turning for protection to " her elder sister ", the powerful armoured Britannia.

" This condition of social influence resulted from the weekly publishing over a fifty year span of his political cartoons, whereby Tenniel's fame allowed for a want and need for his particular illustrative work, away from the newspaper.

John Tenniel's " Our New ' First Lord ' at Sea " for the 13 October 1877 issue

Similarly, Henry Holiday's illustrations for the original edition are caricatures with disproportionate heads and unpleasant features, very different from Tenniel's illustrations of Alice.

It served as a basis for John Tenniel's depiction of the Duchess in Alice's Adventures in Wonderland.

Quentin Matsys's 1513 portrait The Ugly Duchess, after a sanguine by Leonardo da Vinci, may refer to Margaret, and it was Sir John Tenniel's model for the " Duchess " in his illustrations of Lewis Carroll's Alice's Adventures in Wonderland.

John Tenniel's 1864 illustration for " The Lay of St. Odille " in The Ingoldsby Legends has been called " a very mild and good-natured parody " of his own painting of St. Cecilia ( below ).

Tenniel's fresco on John Dryden's " Song for Saint Cecilia's Day ", c. 1849

In 1901, he became the chief cartoonist for Punch, taking over after John Tenniel's retirement.

John Tenniel's illustration for " A Mad Tea-Party ", 1865

As a young child, before the age of eight, Edward Lear's Book of Nonsense, including the much loved The Owl and the Pussycat, and Lewis Carroll's Alice in Wonderland had made their impression, although she later said of Alice that she was more interested in Tenniel's illustrations than what they were about.

Punch was no different and contained illustrations such as Tenniel's " Justice " and " The British Lion's Vengeance on the Bengal Tiger ".

A new edition ( the first edition was resold in America ), released in December of the same year but carrying an 1866 date, was quickly printed and became an instant best-seller, securing Tenniel's lasting fame in the process.

The magazine's mascot was a trumpeter herald in the style of John Tenniel's Alice in Wonderland illustrations.

According to Martin Gardner in The Annotated Alice, John Tenniel's drawings of the Duchess were inspired by Quentin Matsys's The Ugly Duchess ( c. 1513 ) in the National Gallery.

Tenniel's cartoons published in the 1860s made popular the portrait of the Irishman as a subhuman being, wanton in his appetites and most resembling an orang-utan in both facial features and posture.

Public exhibitions of Sir John Tenniel's work were held in 1895 and in 1900.

In this chapter, the March Hare and Hatter of the first book make a brief re-appearance in the guise of " Anglo-Saxon messengers " called " Haigha " and " Hatta " ( i. e. " Hare " and " Hatter "— these names are the only hint given as to their identities other than John Tenniel's illustrations ).

This sequel doesn't contain the original side notes and Tenniel's illustrations were replaced by those of Peter Newell.

It also contains the " suppressed " chapter " The Wasp in a Wig ", which Carroll omitted from the text of Through the Looking-Glass on Tenniel's recommendation.

It combines the notes from both works and features Tenniel's illustrations in improved quality.

" Sir John Tenniel's illustration also depicts him as sipping from a teacup as he did in the original novel, adding weight to Carroll's hint that the two characters are very much the same.

Sir John Tenniel's illustration also shows him with straw on his head, a common way to depict madness in Victorian times.

John Tenniel's original illustration of " Jabberwocky " from Through the Looking-Glass features the vorpal sword.

Tenniel's illustration shows the Mock Turtle with the body of a turtle, and the head, hooves, and tail of a calf.

Its second logo ( used beginning in 1972 ) of Sir John Tenniel's drawing of the Mad Hatter ( sometimes combined with a montage of other images from Alice in Wonderland ) made the label instantly recognisable.

Examples include the cartoons of Punch magazine, the pictures in the Illustrated London News and Sir John Tenniel's illustrations to Lewis Carroll's works, the latter engraved by the firm of Dalziel Brothers.

`` I arrived in the United States with the idea of establishing myself there more or less permanently and finding inspiration for new compositions ''.

Incurably optimistic, dogmatic, and utterly fearless, in his youth a devout Baptist, in spite of his friendship for the Quaker poet John Greenleaf Whittier ( 1807-1892 ) he eventually attacked the orthodox churches for what he deemed their cowardly compromising on the slavery issue and in his invariably ardent manner was emphatically unorthodox and denied the plenary inspiration of the Bible.

Algeria has always been a source of inspiration for different painters who tried to immortalize the prodigious diversity of the sites it offers and the profusion of the facets that passes its population, which offers for Orientalists between the 19 < sup > th </ sup > century and the 20 < sup > th </ sup > century, a striking inspiration for a very rich artistic creation like Eugène Delacroix with his famous painting women of Algiers in their apartment or Etienne Dinet or other painters of world fame like Pablo Picasso with his painting women of Algiers, or painters issued from the Algiers school.

Throughout the interwar years, French interest in anthropology often dovetailed with wider cultural movements such as surrealism and primitivism, which drew on ethnography for inspiration.

The story served as the inspiration for a number of science fiction movies.

E. H. Shepard drew on the landscapes of Ashdown Forest as inspiration for many of the illustrations he provided for the Pooh books.

Given the similarities in the two characters ' names, professions, written works and generally dark subject matter, it is likely that Lovecraft's Alhazred provided the main inspiration for al-Hazir.

Agatha Christie attributed the inspiration for the character of Miss Marple to a number of sources: Miss Marple was " the sort of old lady who would have been rather like some of my grandmother's Ealing cronies – old ladies whom I have met in so many villages where I have gone to stay as a girl ".

Brahms wrote to Clara Schumann that the inspiration for the dramatic entry of the horn in the introduction to the last movement of his First Symphony was an alphorn melody he heard while vacationing in the Rigi area of Switzerland.

"), is the inspiration for the text of several pieces of choral music, usually entitled When David Heard ( such as those by Renaissance composers Thomas Tomkins and Thomas Weelkes, or American composers Eric Whitacre, Joshua Shank, and Norman Dinerstein ).

Fritz Perls, who originated Gestalt therapy, credited Alexander as an inspiration for his psychological work .< ref >

Although Grothendieck himself never published his work in this area, the proposal became the inspiration for work by other mathematicians and the source of the theory of dessins d ' enfants.

# Topological algebra, infinity-stacks, ' dérivateurs ', cohomological formalism of toposes as an inspiration for a new homotopic algebra

* 1999 – Rachel Joy Scott, American student, victim of the Columbine High School massacre and inspiration for Rachel's Challenge ( b. 1981 )

Angel-shaped beings appear in ancient Mesopotamian and Greek art and were probably the inspiration for the popular Christian image of angels, a popular subject for Byzantine and European paintings and sculpture.

Salieri's instrumental works have been judged by various critics and scholars to lack the inspiration and innovation found in his writing for the stage.

This simple melodic and harmonic progression had served as an inspiration for many baroque composers, and would be used by later romantic and post-romantic composers.