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The portrait as an object seems to represent continuity – and thus it is that the old servant, who had passed into the family on the grandfather’s death, asks for the portrait on his death-bed40 – but continuity is a chimera. The connection between portrait/object and subject is ruptured. Fatherhood itself is in crisis collectively and individually and Carl Joseph simultaneously shocks his father by use of the familiar ‘father’ (rather than Papa) in a desperate cry for help while drunkenly avowing: ‘I haven’t forgotten him .
The related Latin verb retraho leads to the Italian ritratto and ritrarre, and the Spanish retrato and retratar, in their meaning of ‘copy’, in use since the early sixteenth century.
8 But even this can by no means be certain. 9 Second, it has been assumed that this black child, generally referred to as a page, belonged to the Duke of Devonshire because he is standing next to him. Third, it is worth remarking that this painting is rarely shown, a fact that is symptomatic of the problematic relations of institutions to their funding and sponsorship histories. 10 The second introductory image is an etching that was produced to accompany the publication in 1734 of Some Memoirs of the Life of Job, the Son of Solomon the High Priest of Boonda in Africa by Thomas Bluett (illus.