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Hannibal
Thanks to Ruth and Leeker17
for image searches!
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Chapter 3 Page 23
 The
three front-page photos were: Clarice Starling in fatigues firing a .45
caliber pistol in competition, Evelda Drumgo bent over in the road, her
head tilted like that of a Cimabue Madonna, with the brains blown
out, and Starling again, putting a brown naked baby on a white cutting
board amid knives and fish guts and the head of a shark.
Learn
More on Cimabue
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Chapter 9,
Pages 63-64
 A
seating
area in the corner of Mason Verger’s chamber was severely lit from
above. A passable print of William Blake’s “The Ancient of Days”
hung above the couch – God measuring with his calipers. The picture was
draped with black to commemorate the recent passing of the Verger
patriarch. The rest of the room was dark.
Learn
More on William Blake
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Chapter
17, Page 130
 The
original painting was behind him in the Uffizi museum. “Primavera.”
The garlanded nymph on the right, her left breast exposed, flowers
streaming from her mouth as the pale Zephyrus reached out for her from the
forest.
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Chapter
19, page 138
 Dr Fell
stood very still beside the great bronze statue of Judith and
Holoferness, giving his back to the speaker and the crowd... slender
and still beside Donatello’s bronze figures.
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Chapter
19, pages 142-143
 “You
resemble a figure from the Della Robbia rondels in your family’s
chapel in Santa Croce.”
“Ah,
that was Andrea de’Pazzi depicted as John the Baptist,” Pazzi said, a
small slick of pleasure on his acid heart.
Learn
More on Della Robbia
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Chapter
48, Page 286
 The
foyer is the Norman Chapel in Palermo, severe and beautiful and
timeless, with a single reminder of mortality in the skull graven in the
floor.
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Chapter
48, Page 287
 ... he
stops at the foot of a great staircase where the Riace bronzes stand.
These great bronze warriors attributed to Phidias, raised from the
seafloor in our own time, are the centerpiece of a frescoed space that
could unspool all of Homer and Sophocles.
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Chapter
49, Page 295
 The body
was hanging on a pegboard and bore all the wounds of the medieval Wound
Man illustrations.
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Chapter
54, Pages 324
 With
his domestic arrangements well in hand, he treated himself to a week of
music and museums in New York, and sent catalogs of the most interesting
art shows to his cousin, the great painter Balthus, in France.
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Chapter
54, Pages 325-326
 At
Sotheby’s in New York , he purchased two excellent musical instruments,
rare finds both of them. The first was a late eighteenth-century Flemish
harpsichord nearly identical to the Smithsonian’s 1745 Dulkin, with an
upper manual to accommodate Bach...”
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Chapter
82, Page 455
 Dr. Lecter adjusted the shades in his
memory palace to relieve the terrible glare. Ahhhhh. He leaned his face
against the cool marble flank of Venus.
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Chapter 97,
page 515
 His absentee landlord
apparently had a fixation on Leda and the Swan. The interspecies coupling
was represented in no less than four bronzes of varying quality, the best a
reproduction of Donatello, and eight paintings. One painting in particular
delighted Dr. Lecter, and Ann Shingleton with its genius anatomical
articulation and some real heat in the fucking. The others he draped. The
landlord’s ghastly collection of hunting bronzes was draped as well.
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Silence of the Lambs
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Chapter 1, Page 6
 “...
Will’s face looks like damn Picasso drew him, thanks to Lecter.”
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Chapter 3,
Page16
 “...
Are you entirely innocent of the Gospel of St. John? Look at Duccio,
then - he paints accurate crucifixions.”
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Chapter 7,
Page 38
 Sometimes
Crawford’s tone reminded Starling of the know-it-all caterpillar in Lewis
Carroll.
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Chapter 21,
Page 126
 Dr. Chilton finished
examining his collection of Franklin Mint locomotives and turned to her.
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Chapter 22,
Page 136
 When
you’re back in Washington, go to the National Gallery and look at Titian’s
Flaying of Marsyas before they send it back to Czechoslovakia. Wonderful
for details, Titian – look at helpful Pan, bringing the bucket of
water.
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Chapter 32,
Page 184
 Dr. Lecter
simply went away. He thought about something else – Gericault’s anatomical
studies for the Raft of the Medusa – and if he heard the questions
that followed, he didn’t show it.
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Red Dragon
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Chapter 6,
Pages 70-71
"We
were talking and he was making this polite effort to help me and I looked up
at some very old medical books on the shelf above his head. And I knew it
was him... I think it was maybe a week later in the hospital I finally
figured it out. It was Wound Man -- an illustration they used in alot of the
early medical books like the ones Lecter had. It shows different kinds of
battle injuries, all in one figure. I had seen it in a survey course a
pathologist was teaching at GWU. The sixth victim's position and his
injuries were a close match to Wound Man."
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Chapter 9,
Page 94
 He swiveled
the metal shade of his reading lamp to light a print on the wall at the foot
of the bed. It was William Blake's The Great Red Dragon and the Woman
Clothed with the Sun.
The picture
had stunned him the first time he saw it. Never before had he seen anything
that approached his graphic thought. He felt that Blake must have peeked in
his ear and seen the Red Dragon.
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