Identifying the fairy in this famous illustration isn’t hard. This next example isn’t difficult either…
Don’t be too quick to say there aren’t any fairies in this lovely drawing by William Blake….
Did Blake forget to draw the wings on the dancing fairies???? That’s a good question to which I don’t have a definitive answer. But I think probably not, because eighteenth-century illustrations of fairies rarely have them (I confess I have not done a survey of illustrated editions of Pope’s Rape of the Lock).
Here is the plate illustrating “Peau d’ane” in an edition of Perrault’s Contes from 1798. The girl with the donkey’s skin thrown over the blue dress must be the heroine, so the fairy has to be the lady in the rose gown with the billowing yellow scarf sitting in a cloud. When goddesses appear to mortals, they frequently descend in clouds–but fairies? Yes, they can, to quote Rose Fyleman..
Of course fairies can disguise themselves to test mortals. In Perrault’s “La fee,” the girl sent to the well by her cruel stepmother to draw water for the family pauses to give the poor old woman a drink, when she ought to hurry back home with the full pitcher. The reader can’t tell from this picture what the fairy looks like when she is not undercover as an old woman. Nor does she reveal her true self later in the tale.
Incidentally, this copy was owned by a Mary Fearman in the 1740s. She tried to protect her property from the light-fingered by writing a book curse on the rear endpaper…
The last item in this identification guide is one of my favorite books in Cotsen. The frontispiece seems to be a very early picture of tiny wingless fairies dancing in a ring before their king and queen, who are the size of human beings. The fairies are all wearing brimmed hats with steeple crowns–the kind of hat that witches wear. Or Mother Goose…
This translation of a selection of Mme d’Aulnoy’s fairy tales seems to have been someone’s prize possession, perhaps the George Jones who wrote his name in the back of the book. George (or someone else) tried to copy a portion of the frontispiece on its blank side.
He also left traces at the very end of the book. The drawing on the top might be his take on a scene in Mme d’ Aulnoy”s “The Blue Bird.”
Why did the appearance of fairies change so drastically over time? Was it the influence of Victorian ballet and theatre productions, where fairies had gauzy wings attached to the shoulders of their costumes? Perhaps some enterprising fairy tale scholar will concentrate on exploring the history of fairy wings…