Saturday, May 11, 2013

Mastery of Design: The Castellani Peace Necklace, 1870



The V&A
Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum




The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.



This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  






Saturday Silliness: Silly Symphonies - King Neptune (1932)






This is why I don't like the sea.



Painting of the Day: Antoine Margry's "Flowers in a Vase," 1849



"Flowers in a Vase"
Antoine Margry, 1849
The Victoria & Albert Museum



Shockingly little is known about the life of French artist Antoine Margry except that he lived in the first half of Nineteenth Century and that he was a painter of flowers who exhibited at the Salon between 1831 and 1847. What little we can surmise about Margry comes from studying his paintings. Clearly, this French painter was influenced by the compositions of Seventeenth-Century Netherlandish still-lifes. Margry expertly parrots these compositions while offering his own stylistic trademarks—an interest in direct observation of nature and a broad hand and technique.

Created in 1849, this canvas has been called simply “Flowers in a Vase.” Here, Margry has realistically rendered a scene of roses, peonies, lilacs, chrysanthemums, bluebells and morning glories, all arranged in an urn-shaped vase standing on a plinth.

At the Music Hall: Roses of Picardy, 1916


Roses are shining in Picardy
In the hush of the silver dew
Roses are flowering in Picardy
But there's never a rose like you
And the roses will die with the summer time
And our roads may be far apart
But there's one rose that dies not in Picardy
'Tis the rose that I keep in my heart

Written by lyricist Frederick Weatherly, a military officer, and set to music by Haydn Wood in 1916, this popular ballad became a sentimental favorite during the Great War. British soldiers were known to sing the tune in unison as they embarked on their first voyages to France. The ballad was so beloved that even German soldiers had been recorded as singing it on their own way to France.

Some believe that the song was conceived after Weatherly developed an affection for a beautiful French widow in whose home he had sought sanctuary. So enduring was the song that it became a favorite swing number and has been recorded well into this century. 




Gifts of Grandeur: Portrait of an Unknown Woman, 1765



Portrait Miniature of an Unknown Woman
Enamel on Metal
Edward Shiercliffe, 1765
The Victoria & Albert Museum



The art of enameled portraits was first practiced in England in the 1630s by the Swiss goldsmith Jean Petitot who famously worked in the court of King Charles I. Within a few decades, the technique fell out of fashion, but it was reintroduced around 1680 by the Swedish Charles Boit and German Christian Friedrich Zincke--both goldsmiths by trade. 


By the early Eighteenth Century a number of miniaturists offered enamel portraits to their clients as an alternative to watercolor on ivory. While some artists preferred ivory as a medium, others excelled with enamel-work. Edward Shiercliffe, who painted the portrait above was known to have specialized in enamel on metal. This technique, actually, has proven to be more long-lasting than the ivory examples since, unlike watercolor, the color of the enamel does not fade when exposed to light.

The quarter-length portrait in miniature depicts an unknown woman wearing a white hat and gown with two pink roses pinned to the bodice. Pearl earrings and necklace denote her wealth and status. The piece was completed by Shiercliffe in 1765.
 



The Home Beautiful: Crane's Lily and Rose Wallpaper, 1894




Wallpaper by Walter Crane, 1894
The Victoria & Albert Museum


The celebrated Walter Crane was known for his wallpaper designs. Crane’s papers lined the wall of many a Victorian parlor. Here, we see a design for one of Crane’s papers. This woodblock print on paper is an original sketch for Crane’s “Lily and Rose” paper. A pattern of lilies and roses is set upon foliage against a dark red ground. Made in 1894, this is an excellent example of the color scheme which was popular a the time. The paper was designed to be surmounted by a corresponding frieze or border. 




Object of the Day, Museum Edition: A Specimen of Raised Embroidery, 1851



Embroidery Sample, 1851
Worked by C. Georgiana Mowland for entry in The Great Exhibition
The Victoria & Albert Museum




Mounted on a piece of wood, this fragment of embroidery was once framed behind glass for display at the Great Exhibition of 1851 where it was described as “a design for trimming or ornament.” While embroidery like this would have been used to adorn a garment or for trimming decorative home items, such a fine piece of needlework would probably have been  displayed on a wall,like a painting.

The embroiderer, C. Georgiana Mowland (1834-?) has taken extreme care to show the plants in great detail,  suggesting that she may have been inspired by the botanical prints that were popular at the time—especially those of  the painter Pierre-Joseph Redouté (1759-1840) who was best known for his illustrations of roses.
                                         
C. Georgiana Mowland was a London schoolgirl who lived near to the current home of the Victoria & Albert Museum.  They resided in a garage flat above the mews in Belgravia’s posh Eaton Square.  The eldest child of Matthew Mowland, a coach driver, and his wife Eliza, Georgiana spent her time, like other girls her age, engaged in embroidery.  However, unlike other amateur embroiderers, she shows exquisite skill and fineness of hand.  

This fragment of her art is worked on an oblong piece of white satin, and shows a mixture of flat embroidery and raised appliqué techniques. A central spray of white Bourbon roses depicts one full-blown flower worked in white crepe fabric with stems stitched in green and brown silk threads.  Assorted foliage is worked in lengths of wired chenille in shades of green and brown with and the buds in écru wired chenille.

An additional spray of flowers graces each corner.  The upper pair of sprays shows blossoms with five rounded petals of white crepe fabric and stems worked in green and yellow silks.  The lower pair are similar but the blossoms demonstrate pointed petals made of cream crepe fabric.

In 1851, Mowland entered this work in the Great Exhibition. The Exhibition, as were Prince Albert’s wishes, included work by children and for children. Miss Mowland’s entry is an unusual piece since, at this time, children were more encouraged to focus on plain sewing techniques for practical use.  Clearly, this entry would have been an exquisite surprise.   The text stitched into the accompanying canvas is set within a border of stylized laurel leaves worked in tent stitch using red silks.  A cross in red at each corner accompanies a split line of stylized bay leaves in green to fill out the last line of text.

The following text accompanied the embroidery, worked on canvas in embroidery by Miss Mowland for her entry in the Exhibition:

A Specimen of Raised Embroidery
Executed by C G Mowland No 23 
Eaton Mews South Eaton Sq Aged 12
Class 19 No 228 Tapestry in the 
Exhibition 1851 Design for trimming 
or ornament 
Crape Embroidery 
on satin ground. 
No. 454a. 
(in Register)


 We know little else about C. Georgiana Mowland except that records indicate that the “C” most likely stood for “Charlotte,” and that she was later married to a George Pewsey (a watch and clock maker).  

Friday, May 10, 2013

Mastery of Design: An Unusual Turban Ornament, Early Eighteenth Century



Turban Ornament
Early Eighteenth Century
Gold, Diamonds, Rubies, Emeralds, Beryls
The Victoria & Albert Museum
In 1922 and 1923, the V&A accepted a donation of rare and unusual turban ornaments from a Mr. Talyarkhan, who had purchased them from the Maharaja of Jaipur. This gold and jeweled ornament from the early Eighteenth Century is among the most exceptional of them.


Created for a male's turban, this ornament would be held in place by the folds of the turban and is designed to be viewed from both the front and from behind. The front of the piece features a pattern of flowers and leaves in rubies, emeralds, diamonds and pale beryls. The reverse shows the same design with the exclusion of the diamonds.

Historians at the V&A are unsure if this ornament was made in India or Pakistan, however, Indian portraits from this time period depict similar ornaments al lof which seem to rely on floral motifs. 




Everyone Should Know Punch


"Punch" from Scribner's Monthly, 1876

Having just celebrated Mr. Punch's 351st birthday yesterday, I thought today would be a good opportunity to revisit an article I wrote in 2010 which exhibits a brief history of Old Red Nose.


Punch, of course, is known to all of us because of his antics with his put-upon wife, Judy, and their equally long-suffering baby (named appropriately enough, “Baby”). Together, they are the stars of the much-beloved traditional English puppet shows.


The original Punch puppets were actually English adaptations of the Italian Sixteenth-Century 
Commedia dell’Artecharacter, Pulcinella. The name was anglicized to Punchinello, and, later, simply Punch. In early performances, Mr. Punch’s wife was known as “Joan.” The first written notation of a performance of a Punch show in England is recorded as May 9, 1662—a date which is considered the birthday of “Mr. Punch.” In his famous diary, English statesman Samuel Pepys noted that he had seen in Covent Garden, “an Italian puppet play, that is within the rails there, which is very pretty."

"Mr. Punch," Museum of Liverpool
The Punch figures themselves have changed drastically over the centuries—adapting from stick-operated puppets to marionettes and, then, to the traditional glove puppet we know today. Since Victorian times, the puppeteer in a Punch show is known as “Professor.” While each Professor’s Punch will differ slightly, his appearance always has a characteristically bulbous, ruddy nose which curves to meet his jutting chin. His lips are always pulled back into a red smile which nestles into his rosy cheeks. Though inspired by Punch, his French cousin, Guignol, has less-severe features. Often portrayed as a hunchback, Punch stoops under the weight of the enormous stick or club which he uses to beat his wife and child.

However, despite the beatings, Punch is not entirely a malicious character. While Punch’s story varies from puppeteer to puppeteer, the gist of it remains that though Punch struggles with his wife and baby, he also must fight a greater force—often law and order (as a form of social commentary), and very often, something more sinister and supernatural. Most Punch plays end with Punch’s triumphant cry, “Huzzah, huzzah! I killed the Devil!”

Originally performed for adults, the Punch shows invariably attracted children. They were performed in portable and permanent outside venues in places such as Covent Garden and other public venues. These puppet shows were a staple of sea-side resorts as well and proved ever-popular.

Punch has inspired songs, films, books, magazines and a host of other art forms. In his role as struggling every man—at once comic and tragic—Punch continues to be as popular a figure today as he was almost four hundred years ago. The puppets may change, but the spirit of Punch remains the same.

Friday Fun: 2010’s May Fayre in Covent Garden



The Punch and Judy Fellowship
Each year, Punch & Judy Professors from around Britain gather in Covent Garden (Punch’s U.K. Birthplace) to celebrate all things Punch and puppetry in general as well as Mr. Punch's birthday. 

My friends at the Punch & Judy Fellowship have videos from May Fayre’s past on their Web site.  Since we don't have video yet for Punch's 351st birthday party, let's take a look at 2010 ’s event. It’s an interesting glimpse at several different Punch performers including an interesting French Polichinelle.


“That’s the way to do it.”



Mr. Punch's Puzzles: The Riddle of the Week






Once, again, Mr. Punch, with my help, is offering up a true Victorian riddle.  The first person to answer correctly--by posting in the comments--will receive public congratulations.  

So, here's this week's riddle.  We ask that you don't Google the answer.  Mr. Punch would not find that sporting at all.  Give it a shot and see what you can come up with.  Here we go... No cheating...

While walking down the street I met a man. He tipped his hat and drew his cane and in this riddle I told his name. What is the man's name?

And the answer is...


Andrew (and drew).  Hooray for Angelo for getting very close, and, also to Carolyn for agreeing with Angelo.  I must say, however, that Andrew is also the middle name of Tippy Hat Mc Cane, so Darcy was also right.

Thanks for playing!  Come back next Friday for another of Mr. Punch's Puzzles.



Mr. Punch wants you to always know “the way to do it,” so why not check out our “That’s the way to do it!” products which are available only at our online store.  

Mr. Punch of Belgrave Square will Continue on Monday




This has just been one of those weeks when time seems to go faster than I do.  And, so, for this Mothers' Day weekend, starting today, Mr. Punch of Belgrave Square is going to take a brief hiatus.  

Never fear, however, new chapters will resume as usual on Monday.  Until then, if you've missed a chapter, you can catch up in the chapter archive.


Unusual Artifacts: Sheet Music for The Punch & Judy Man



Sheet Music for "The Punch & Judy Man"
The Victoria & Albert Museum





Rooty Tooty, Rooty Tooty, blame me if you can. 

I'm a broken-hearted, Rooty Tooty, Punch and Judy Man.


Here, we see the illustrated sheet music cover for the song, “The Punch & Judy Man” as sung by George Leybourne and written and composed by R. Coote. This music was published in London by H. D'Alcorn & Co. in the late Nineteenth Century.  

Mr. Punch, by this time, had long been a part of the British art world and had already lent his name to several popular songs.
  

The cover illustration by Alfred Concanen (1835 - 1886) depicts a fracas at a Punch & Judy show wherein the “Professor” seems to have bested another man who, I assume, started the imbroglio.
  Judy lies on the ground next to the Dog Toby who barks at the fisticuffs.  Mr. Punch and Joey the Clown have been tossed into the air during the melee, but neither seems to mind. 


The caption on the image references the traditional sound made by Mr. Punch, "rooty tooty"--a noise developed in the Seventeenth Century by Punch and Judy Professors who used a device called a "swazzle" (still in use today, and, I can attest, a difficult instrument to learn).  The sound was meant to be instantly recognizable and serve to attract audiences.







Object of the Day, Museum Edition: The "Munched Tobacco" Punch and Judy


Hand-colored Etching, Nineteenth Century.
Ink Inscription, 1956.
The George Speaight Punch & Judy Archive
The Victoria & Albert Museum




Well, it’s Friday, and you know what that means—Punch and Judy stuff, especially since yesterday was Punch's 351st birthday.

I like this particular image from a late Nineteenth Century British Print and wish that I could see the reverse of the piece. You see, the image features two motto-like jokes which will forever be unanswered.

The illustration shows Judy (left) and Punch (right).

Under Judy, the text reads: “If the ruins of the Tower of London could speak, what King and Rebel would they name?”

And, under Mr. Punch: “If a piece of munched tobacco could speak, what old English poet would it name?”

Since we don’t have access to the original answers, I’ll let you decide what they should be.  Feel free to post your guesses in the comments section. 

The print is of black ink on paper, loosely washed with watercolor. Mr. Punch and his lovely bride are depicted in a jubilant dance with a glass of wine and tankard of ale.

Above them, written in ink is a personal message—perhaps to George Speaight who amassed the V&A’s exceptional collection of Punch and Judy ephemera. I can’t quite make it out, but I think it reads, “Amazing times. Happy New Year. Alfred Kirby, 1956” and may be a message to the collector when the print was given as a gift, almost one hundred years after it was made.

The curators of the V&A have felt it necessary to note, “Punch is shown to have extreme, exaggerated form of kyphosis and sternal protrusion.” Meaning that our Mr. Punch has a wicked hunchback and big ol’ belly. Well, duh. That’s what makes him Mr. Punch. Curiously, no mention is made of Old Red Nose’s large proboscis and chin nor his wife’s similar facial characteristics. I guess that’s, “normal.”




Thursday, May 9, 2013

Gratuitous Bertie Dog Picture: Menu



"It all looks so good, I don't know where to start."





Image:  Pigeons, Creator: Henri Voordecker (1779-1861) (artist), Creation Date: Signed and dated 1841, Materials: Oil on panel, Dimensions: 33.0 x 26.0 cm, Acquirer:  Queen Victoria, Queen of the United Kingdom (1819-1901), when Queen of the United Kingdom (1837-1901), Provenance: Given by Queen Victoria to Prince Albert on his birthday, 26th August 1841; first recorded at Windsor in 1872.  Crown Copyright.  The Royal Collection.  Image Courtesy of Her Majesty Queen Elizabeth II.







You know you want to have a Bertie Dog mug, tee-shirt, tote bag or water bottle. You know you do. So, take a look at our 
online store. 

Mastery of Design: Locket with a miniature of Queen Victoria, c. 1870

Locket
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II





This beautiful locket, set with a miniature of Queen Victoria is newly exhibited in the Royal Collection, and was, in fact, only recorded in the archive during the present reign.  The locket of gold, pearls, emeralds, and diamonds was made circa 1870.  

The miniature of watercolor on ivory was painted by a now unknown artist who used, as reference, a favorite photograph of Queen Victoria which had been taken by Hills & Saunders in 1865.

The reverse of the locket is inscribed:

TO VICTORIA ALBERTA GRANT SUTTIE / from / VICTORIA R / 16th Nov r. 1867.

According to the curators of the Royal Collection, "The recipient of the locket may have been Victoria Grant (b. 1858), daughter of Queen Victoria’s Head Keeper, John Grant although the date engraved on the locket was not her birthday (25 June)."



Bertie's Pet-itations: Party Line






Here's Bertie's weekly opportunity to share his ideas for creating our new "Beautiful Age."  Bertie's advice, I'm sure, can be applied to many different areas of our lives.

And, so, I happily hand the computer over to him.


Bertie says:

Why do humans wait for "special occasions to have fun?  Why can't every day be a special occasion?



Precious Time: Prince Albert’s Birthday Watch, 1859




Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

 




Gold Case Watch
Made for Prince Albert, 1859
Aubert & Klaftenberger
Switzerland
The Royal Collection

The firm of Aubert & Klaftenberger was the favorite clock and watchmaker of Prince Albert and Queen Victoria. For as much as Albert loved beautiful things, there was one trait he valued all the more—accuracy. Aubert & Klaftenberger, in the Prince’s estimation, afforded more accuracy in their timepieces than anyone else.

For her husband’s birthday in 1859, Victoria asked the firm to create a simple, elegant and scientifically nifty watch. The result was this understated piece with a turned 18 karat gold case and self-winding capability. It was quite a marvel of clockwork and gave the Prince the precision and reliability that he so cherished.

Just to make sure it was extra-special, the watch was engraved: “To Dearest Albert, from his ever devoted Victoria R, Aug 26th 1859.”


Crown Copyright
The Royal Collection
Images Courtesy of Her Majesty Queen Elizabeth II



Mr. Punch of Belgrave Square, Chapter 322




Chapter 322 
Amongst Peers



Miss Molliner,” Queen Victoria smiled. “We are pleased to see that you’ve enjoyed luncheon.”

Lennie looked across the opulently-set table and smiled sheepishly. “Yes, Your Majesty. I’ve enjoyed it very much.”

“Much of our foodstuffs are grown at Sandringham. My husband even puts our children to work on their own little plots. He believes that it will instill in them an understanding of how our empire truly functions.” The Queen nodded.

“A very sensible idea,” Robert smiled.

“I think so, too.” The Queen replied. “Unless anyone would like another serving, perhaps we should bring in the pudding.”

“Oh, yes, pudding, please.” Mr. Punch answered eagerly.

“Oh, dear Mr. Punch, you do delight me so.” Queen Victoria grinned. “We are so pleased that you feel that you can be yourself with us. The false pretense of acting as you think a Duke should must be a terrible bore for you. I know you must do it elsewhere, but, here, you are safe and may do as you please.”

“Thank you, Your Majesty.” Mr. Punch whooped.

“We are also glad to see Miss Molliner so at ease with us.” The Queen continued. “I feared you would be timid and ill at ease.”

“I feared so, too, Your Majesty.” Lennie replied. “I must confess that throughout the carriage ride from Belgrave Square, my heart pounded so that I was sure that my brothers could hear it.”

“You consider Dr. Halifax your brother as well?” The Queen raised an eyebrow.

“I do, Your Majesty.” Lennie answered honestly.

“How wonderful.” The Queen nodded. “Equally wonderful is that upon meeting us, your nervousness abated.”

“Well, Your Majesty, my dear brother speaks of you so affectionately and so loyally that upon seeing Your Majesty, I saw at once just my brother’s close friend and not a Queen and Empress.” She blushed. “I hope Your Majesty does not mind my saying so.”

“Not at all.” The Queen shook her head. “Millions bow to me. Only a few do so out of affection instead of fear or tradition. I’m glad to count you among the former. Which leads us to something I’ve been wishing to discuss with you.”

“Oh?” Mr. Punch raised his eyebrows.

“Of course we are aware of the unpleasantness with this woman who impersonated Miss Molliner and who has caused such death and havoc. We will assuredly address this. However, it’s not a talk one should have over pudding. Before we must entrench ourselves in pitiful talk, we should like to address something which has troubled me since I first received Mr. Punch’s letter informing me that he’d found his half-sister. Yes, and even before.”

“Your Majesty is most kind.” Lennie nodded.

“I cannot say whether or not that is true, but we do like to think of ourselves as fair.” The Queen replied demurely. “To begin with, Mr. Punch, allow me to ask you a question.”

“Anything you wish, Your Majesty.” Mr. Punch said eagerly.

“Your sister, Lady Barbara…as you’ve explained, she’s not deceased as most people understand.”

“That’s true, Your Majesty.”

“Yet, she has renounced her title?”

“Yes.” Punch nodded.

“And, she’s unlikely to return.”

“She will not return to England, Your Majesty.” Punch shook his head.

“Good. We never cared for her.” The Queen replied dryly. “Too much like the late Duchess of Fallbridge.” She turned to Lennie, “Miss Molliner, we were heartened to know you’d taken your brother’s surname, and pleased to know that His Grace had offered it to you. Yet, we do not feel that it is enough. The circumstances of your birth are not your doing. The plain reality is that you are the offspring of the Duchess of Fallbridge, and, as such, I should like to create you Lady Fallbridge, if you are so willing.”

Lennie’s mouth opened slightly.

“You must say yay or nay, my dear.” The Queen smiled.

“I would be honored, Your Majesty.” Lennie replied softly, overwhelmed.

“As the former Lady Barbara is, ostensibly deceased, you are due the honor, and we shall start the process to see it bestowed upon you.”

“I don’t know what to say, Your Majesty. I am humbled.” Lennie answered.

“You needn’t be humbled, my dear. It is your right.” Queen Victoria replied. “Don’t you agree, Your Grace…or, I should say, Mr. Punch.”

“I love my sister and I’m that glad she’s with us. I would want only the best for her and, to be sure, would be ever-so ‘appy to see her receive the title she deserves.”

“And, so be it.” The Queen declared. “You will receive correspondence to that effect within the day, Lady Fallbridge.” Her Majesty grinned. “This leads me to my next concern.” She leveled her eyes at Robert. “It’s not right that the beloved companion of the Duke of Fallbridge—a well-respected physician without whom my dear Leopold would not have been brought into the world—should not be a peer of England.”

“Oh, Your Majesty.” Robert shook his head.

“We do not accept arguments.” The Queen grinned. “We have already initiated a writ of summons to create Dr. Halifax as a baron, a life peer of England.”

“A baron, Your Majesty?” Robert gulped.

“Yes.” The Queen nodded. “You shall be a lord of parliament and will be addressed as Your Lordship.

“I’m honored, Your Majesty. I cannot express how deeply. However, I own no land. I have no barony.” Robert replied, choking back his emotion.

“Yes, yes you do.” Punch exclaimed.

“Dear Punch.” Robert shook his head.

“No, listen, Chum. There’s a small estate which abuts Grange Molliner. I own it. Sir Colin purchased it just before he was killed. I didn’t do a thing with it ‘cause I wasn’t sure what to do with it. Only, now I do. I know our pa bought it so it would remain as it was for always and ever. Pretty land, it is, Chum. You saw it. Just to the North of the Grange…with all them lovely pines. It’s yours. I’ll write the deed over to you. I’ll do it this very day.”

“I can’t…” Robert began.

“You must.” The Queen interrupted. “We rather thought His Grace would respond thusly.”

“I…” Robert coughed.

“Now that you have your barony, Dr. Halifax, what is it called?” The Queen asked.

Robert looked at Punch.

“Dunno.” Punch shrugged. “Long ago it were called Greenshire. But, you can call it anything what you like.”

Robert took a deep breath. “I should like to call it Colinshire.”

Punch grinned broadly, and Lennie dabbed her eyes.

“So be it.” The Queen declared. “You shall be, Dr. Robert Henry Halifax, The Right Honorable Lord Baron Colinshire.”

“Huzzah!” Punch whopped.

Robert swallowed. “Your Majesty…I am deeply honored. How can I express…”

“By enjoying your pudding, Lord Colinshire.” The Queen smiled. “Ah, and here it comes.”



Did you miss Chapters 1-321 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 323.