Goal for the Day: Let Your Thoughts Blossom

I was once told by an employer, “You can be creative at home. We don’t want to hear your thoughts.” Her words have stuck with me all these years. Now, of course, I spend my days being creative at home, and, have discovered that people do, in fact, want to hear my thoughts. However, I recall that, at the time, her words were particularly hurtful. I’m sure that I’m not alone in this experience. How many of us are told that we’re “not paid to think” or that our ideas and opinions don’t matter? Well, guess what. They DO matter. Your thoughts are extremely valuable. Your ideas are priceless. So, don’t let anyone try to prevent you from thinking. If the people around you don’t wish to share your ideas, dreams, creativity, and concepts, don’t share them with them. Keep them to yourself or share them with people who will care. Just keep thinking them! You will always be able to find a venue for your creativity. That is, as long as you don’t allow other people to keep your thoughts from blossoming.


Today, let your ideas breathe and grow. Of course, pay attention to the tasks at hand, but also allow yourself the freedom to think. Each of us is capable of something brilliant. Give yourself a chance to discover it—no matter what anyone else says.

Object of the Day: Opus ’88 by Caithness Glass

As I’ve mentioned previously, Scottish Art Glass company, Caithness Glass has been producing amazing and exceptional works of art since 1961. Of the many Caithness pieces in my collection, one particular favorite is this floral-inspired paperweight entitled, Opus ’88.


Designed by Colin Terris, the piece is described in its accompanying paperwork as, “Set upon a vibrant cobalt blue base, a delicate rose form rests within a flourish of delicate greenery.” Truly, the fineness of this work is exquisite. The utter skill with which this was created is astounding and represents the brilliance of the artists at Caithness.

Crystal paperweights are fascinating objects, really. Humans have an innate curiosity about anything which reflects light. However, when you add the element of drama inherent in something which appears to be a world unto itself, we can’t help but be enthralled. And, really, that’s what the artists at Caithness have done here. They’ve created a microcosm in glass. The floral form at the center of the paperweight is both detailed and abstract. On first glance, it appears to be a rose, however on closer inspection, we can see that it’s more than that, it’s a series of planes, textures, lines and colors which when combined give us an impression of something familiar. You could study this for hours and always find something new. That, in my opinion, is the essence of art.

Unusual Artifacts: The Hand and Arm of Victoria, Princess Royal, 1843

The Royal Collection

Queen Victoria had a great desire to capture moments in the lives of her family. She was very much interested in recording the growth of her children so that she could remember them at all stages of their lives. This desire took many forms. She had miniature portraits painted of her children as they grew. She even had jewelry commissioned which used their baby teeth as the principal ornament.


When Victoria died in 1901, a touching (and to modern eyes, quite odd) collection of marble arms, hands and feet was found in her private rooms at Buckingham Palace. The Queen had commissioned sculptor Abraham Kent (who would most likely not be remembered were it not for these objects) to create these marble keep-sakes of her children’s features so that she could remember them when they were small. Kent took a plaster mold of the Princess Royal’s hand and arm in order to capture every detail when he was sculpting the stone. The process of obtaining the casts had to be done while the children were sleeping as they would not stand for it while they were awake.

The Royal Collection

This sculpture, like its brethren, was kept on a crimson velvet cushion under a glass dome to ensure that the marble would stay a pristine white. It really is quite beautiful in its own way. We must remember, when we view artifacts such as this, that this was before everyone had a camera in their pocket. Today, we have so many ways of recording our lives. Victoria, like many other mothers throughout time, simply wanted a way to recall the sweetest years of her children’s lives.

Mastery of Design: A Jeweled Bouquet Holder, 1855

The Royal Collection

In 1855, Queen Victoria wrote in her journal, “A week ago the Empress gave me a beautiful bouquet holder, in diamonds, pearls & rubies with the stem in enamel. She said nothing beyond hoping I would take the bouquet, which I felt quite shy in accepting. The holder is quite lovely.”


This fabulous jeweled bouquet holder was given to Queen Victoria by the French Empress during her ten-day state visit to France. Victoria long admired the Empress’ jewelry and the care with which she commissioned the pieces. Queen Victoria was particularly thrilled with this exceptional piece. Her love of the Empress’ jewels was so great, in fact, that when the French Crown jewels came up for auction, she bid on several lots. She was, however, outbid.

Her Majesty’s Furniture: A French Jewel-Cabinet, 1787

The Royal Collection

Designed by Jean-Henry Riesener, in 1787 for the French Royal Family, this exquisite jewel cabinet was among the many opulent pieces of furniture seized during the French Revolution. Subsequently, it was put on display in a French Museum, but later sold off due to the increasing debt of the French government at the time. Enter Britain’s King George IV with his fascination for French design. The cabinet was quickly purchased (along with a number of other important French items) and added to The Royal Collection.


This cabinet was designed to reflect its use. Sensitively sculpted three-dimensional figures and fittings of ormolu were carefully added to this highly shined walnut piece to give the overall look of it a sense of being a jewel in and of itself. Today, this is considered one of the finest examples of French furniture-making of the period. We should be thankful to King George IV for rescuing it from an uncertain future so that it can proudly represent the tastes of two empires.

Common Misconceptions: The Difference Between a Castle and a Palace

Windsor Castle, the older and more fortress-like
cousin to Buckingham Palace.

Many people use the words “palace” and “castle” interchangeably. However, they are two very different kinds of structures. A castle is a fortified building designed to act as protection against an attack or siege. While a castle can be quite grand and can feature reception rooms, a castle’s main purpose is to provide protection for its inhabitants and their land.


A palace, on the other hand, is designed for pleasure and entertaining. The main purpose of a palace is to be impressive and to show the power and wealth of its owners. While palaces, are often fortified to protect against intruders, they exist mostly to be beautiful.

Building of the Week: Buckingham Palace

Buckingham Palace Today
The British Monarchy

The official seat of the British Monarch since Queen Victoria’s ascension to the throne in 1837, Buckingham Palace is the core of London’s posh City of Westminster. The current palace is actually adapted from the London townhouse of The Duke of Buckingham. Originally called Buckingham House, it wasn’t the first structure to stand on that site. The land was initially part of the medieval Manor of Ebury. Later, in 1624, the first house on the land was built by Sir William Blake and was later purchased by Lord Goring in 1633. Goring is responsible for the first formal gardens at the site. The land was then sold Henry Bennett, The First Earl of Arlington. The mansion, then known as Goring House, burnt to the ground in 1674. Arlington House was erected in its place. The Land was sold to the Duke of Buckingham and Normanby is 1702, and Buckingham House was erected in 1703.

The palace as it looked during George III's reign.
The British Monarchy

The layout of Buckingham house was compromised of a large central section flanked by two wings which very much resembles the footprint (albeit smaller) of the current Palace. The house was purchased by King George III to be a private residence for his wife, Queen Charlotte, so that she might retreat from the day-to-day chaos of St. James Palace, the official seat of the monarch at that time. Fourteen of their fifteen children were born at the mansion which was renamed, “The Queen’s House.”



An 1850 Photograph Showing George IV's facade.
The British Monarchy

 In 1820, when George IV ascended to the throne, he continued the renovations started by his predecessor, however, being a lover of French design, he dictated that the new façade be styled in the manner of French architecture. Under the direction of architect John Nash, the palace took on a French Neoclassical look. Nash’s plans for the palace were costing far more than the monarchy could afford to spend. Upon the death of George IV, King William IV removed Nash from the project and replaced him with Edward Blore. With expenses soaring, the question of what to do with the palace arose. Some felt it should be the seat of the British Museum, others thought it should become the new home of the Houses of Parliament after a fire damaged the Palace of Westminster.



The Throne Room
The British Monarchy

 Queen Victoria was the first monarch to live in Buckingham Palace since William IV died during the period of renovation. She named the palace the official home of the monarch and was instrumental in dictating the decoration of the state rooms—most of which remain as they were at the time. Victoria soon found the palace to be as dysfunctional as it was beautiful. Poor air circulation, a lazy staff and faulty pipes made life in the palace uncomfortable. Her husband, Prince Albert, saw to it that Buckingham Palace was improved in every way. As their family grew, the palace seemed too small. In 1847, the palace was expanded, again, under the direction of Edward Blore. Upon the passing of her husband, Victoria retreated the palace for her other residences, feeling that being in Buckingham Palace reminded her too much of her much-beloved husband. Under pressure to return, she did make an effort to be more present at the palace in the final years of her life.

The Grand Staircase
Redecorated by Edward VII
The British Monarchy

Buckingham Palace—aside from being a political center—was also a major artistic and social center. During the reign of Victoria’s son, Edward VII, the palace saw many a lavish party, concert and event. Edward VII insisted that several of the state rooms should be redecorated in the fashionable cream and gold color scheme so popular during the Belle Époque. A good example of this is the Grand Staircase which retains the style of the Belle Époque to this day. Edward, however, was careful not to modernize too much. He made sure that the portraits that his mother had selected to be inset in the panels along the staircases remained unchanged.

In 1913, King George V, upon the installation of The Victoria Memorial outside the palace gates, ordered that the façade of the palace be changed to a more fitting (and less French) backdrop for the enormous sculpture of his grandmother. Blore’s façade was drastically changed—replacing the curvilinear French gables with massive classical pediments. His wife, Queen Mary, undertook major renovations inside the palace, furnishing the whole with antiques and art from The Royal Collection. Mary’s hand can still be seen in the unchanged Blue Drawing Room.

Queen Mary's Blue Drawing Room
The British Monarchy

During the First World War, the palace was remarkably unscathed. However, during World War II, Buckingham Palace was bombed seven times. The worst of which was a 1940 bombing which destroyed the Royal Chapel. Today, on the site of the chapel, stands The Queen’s Gallery—a venue in which the public can be admitted daily to see The Royal Collection.

Unlike Sandringham House, and Balmoral Castle, Buckingham Palace (and similarly Windsor Castle) are not the private property of the Queen. The palace belongs to the British state and is funded by the people who, in turn, are admitted yearly for tours. The palace is a ceremonial house—designed for political entertaining and business. It is meant to impart a sense of the British Empire. With its grand state rooms and bustling offices, it certainly does just that.