No single Greek god even approaches Dionysus in the horror of his epithets, which near witness to a savagery that is absolutely without mercy… He is called the “render of men”, “the eater of raw flesh”, “who delights in the sword and bloodshed”. We hear not only of human sacrifice in his cult, but also of the ghastly ritual in which a man is torn to pieces. Where does this put us? Surely there can be no further doubt that this puts us into death’s sphere. The terrors of destruction, which make all if life tremble, belong also, as horrible desire, to the kingdom of Dionysus. The monster whose supernatural duality speaks to us from the mask has one side of his nature turned toward eternal night.
Ideals of male physique often emphasized stature, especially height and musculature, but also at times facial appearance. One letter reprinted in The Tatler satirizes prevailing bodily ideals by playing on the feeling that women were too hard to please: “’Tis my Misfortune to be Six Foot and a half high, Two full Spans between the Shoulders, Thirteen Inches diameter in the Calves…. I am not quite Six and twenty, and my Nose is mark’d truly Aquiline. For these Reasons, I am in a very particular Manner her Aversion.” Though a satire, the essay provides a list of early eighteenth-century physical ideals, even as it exaggerates them; they include muscular calves, a broad chest, tallness, and such racialized traits as an aquiline nose. Strength figures prominently among such ideals. Comparing men and women, the New England Weekly Journal informed readers that the “Male-World are distinguished with a stronger Form and Constitution, as well as an Air that is bold and rugged.”
Thomas Foster, Sex and the Eighteenth Century Man: Massachusetts and the History of Sexuality in America
No wonder Washington was so popular.
As Arnold points out, there is an otherwise inexplicable shift in direction in the Piccadilly line passing east out of South Kensington. “In fact,” she writes, “the tunnel curves between Knightsbridge and South Kensington stations because it was impossible to drill through the mass of skeletal remains buried in Hyde Park.” I will admit that I think she means “between Knightsbridge and Hyde Park Corner”—although there is apparently a “small plague pit dating from around 1664” beneath Knightsbridge Green—but I will defer to Arnold’s research.
But to put that another way, the ground was so solidly packed with the interlocked skeletons of 17th-century victims of the Great Plague that the Tube’s 19th-century excavation teams couldn’t even hack their way through them all. The Tube thus had to swerve to the side along a subterranean detour in order to avoid this huge congested knot of skulls, ribs, legs, and arms tangled in the soil—an artificial geology made of people, caught in the throat of greater London.
Why did a french guy make a (dramatically inaccurate and heavily westernized) print of a Japanese temple in the 1700s? Frenchmen couldn't even legally visit japan at that time, so I doubt heavily it was directly inspired?