Goal for the Day: Appreciate Each Moment

Though we spend a fair amount of time rushing from place to place, and though we are often engaged in activities which are less-then glamorous, we still should make a point of enjoying each moment. It’s easy and cowardly to lean back and complain about everything, but it takes a real hero to find the good in even the dullest of situations.


You’ll find that if you search for something to enjoy every moment that you’re awake, life is a lot more exciting and rewarding.

Object of the Day: An Antique Trestle Table

The Trestle Table is the earliest form of table and is so called because it includes two (or three) supports connected at the bottom by a longitudinal cross-board. The earliest trestle tables were very simple in design, however, over the centuries, they developed into more ornate productions with urn-shaped, turned legs and other adornment. In the Nineteenth Century, the trestle table was still being used in the family dining room while smaller, elongated versions were used as sideboards or hallway tables such as this one.


This piece heralds from England and was made in the late Nineteenth Century from heavy maple. It’s neatly lathe-turned legs and elevated cross-board create an elegant understated silhouette.

Her Majesty’s Furniture: A Pair of Porcelain Vases, 1720

Pair of Vases
Japan, 1720
Adapted and Mounted: 1750, France
Purchased by George IV, recorded 1826
The Royal Collection

These brightly painted vases began their lives as a pair of wide-shouldered flasks designed to hold spirits. They were made in Japan for export to the Netherlands. In the 1750’s the flasks were adapted by a French artist who cut them down and added gilded mounts to them. The mounts—in the form of elaborate scroll-work—were crafted to very neatly match the asymmetrical painted pattern of carp, lions and flowers (three things not typically found together—at least without effort).


King George IV purchased this pair for display at his Brighton Pavilion. They were first recorded in the Royal Collection in 1826 and were simply described as “Japan China Jars.” Royal record-keeping has come a long way.

Film of the Week: Another Man’s Poison, 1951

There came a point in Bette Davis’ career when she really started munching the scenery—more than usual. This happened just after All About Eve, around the time she married the rather simian Gary Merrill. Now, heavy-handed theatrics notwithstanding, her performances were still enjoyable and I love them. They were just not quite as subtle and nuanced—on the whole—as her earlier work. I think, perhaps, it stemmed from most directors’ inabilities to rein her in. She was larger-than-life, after all. Similarly, Davis never wanted the audience to forget that she was “acting.” And, we’ve never forgotten.

This film, however, is all-too-often forgotten. 1951’s Another Man’s Poison was Davis’ second on-screen pairing with her then-husband, Gary Merrill. Honestly, I find Merrill to be largely insufferable. I don’t know why. I think it’s because he’s somewhat primitive. But, his caveman antics work for this film about an adulterous, murderous, authoress (Davis) who finds herself being manipulated by an escaped prisoner (Merrill).

Another Man’s Poison is remarkable for several reasons. First of all, it’s based on a stage play by Emlyn Williams who often wrote of Welsh subjects and was the author of The Corn is Green which proved to be one of Davis’ greatest mid-career triumphs. Williams also co-stars in the film and substantially rewrote the dreadful screenplay version of his original story. Sadly, the script is still weak and strange, but the actors give it their best shot.

The film was produced by Douglas Fairbanks, Jr. (former husband of Miss Joan Crawford, thank you very much) and directed by Irving Rapper who had directed Davis in Now, Voyager and should have been able to have had better control of her with this picture, but largely seems to have given up.

There’s a lot of opening and closing of drapes, and swaggering around in jodhpurs by Miss Davis. Merrill grunts a lot. Williams looks typically British and perfect for the part of the meddling doctor/neighbor. Of course, we have a beautifully overwrought scene involving Miss Davis’ character’s favorite horse, “There isn’t a man, woman or child I wouldn’t see dead at my feet…” All-in-all, the cast has taken lemons and made a cool, delightful lemonade which may go down a little bitter at times, but when it’s sweet, it sure hits the spot.

In light of the fact that I could not find a real trailer for the film nor could I find a single clip from the picture which had not been peculiarly sped up (look at YouTube, you’ll see what I mean), here’s a nifty little fan-video, set to music, which at least gives you some visuals from the movie.

The Belle Époque Today: The Art of Christopher J. Miller

Sentience
Christopher J. Miller, 2009

As consumers, we view the end result of the creative process—judging it with a critical eye, placing a value on it and trading it like currency. However, for those who fall into the rather vague and wonderful category of “artist,” very often, the finished product isn’t as remarkable as the process of achieving it.


Painter Christopher J. Miller emphasizes the importance of embracing the artistic process with his latest series of paintings, “Silence between the Sounds.” Urging everyone to look upon the act of creating something remarkable with as much reverence as we consume the finished product, Miller presents works which represent those sacred moments wherein the artist is consumed by his work.

Miller offers a masterful handling of color and a delicacy of hand which reminds one of the works of Paul Klee and Matisse. It’s easy to get lost in the forms and shapes of Mr. Miller’s paintings, and the process by which they were created becomes immediately evident. Here we see the measure of art’s effectiveness as a means of communication, showing that even the most abstract of compositions can have a very clear message.

To learn more about C.J. Miller and his art, visit his Web site.

Humanitarian of the Week: Dame Judi Dench

Long before she was “M” in the James Bond pictures, long before she was a familiar face on the silver screen, Judi Dench was the queen of the English stage. The daughter of Eleanora and Reginald Dench, young Judi was surrounded by actors as a child. Her mother was a wardrobe mistress and her father was a physician who frequently worked with theater companies. Judi initially considered a career as a set designer, but soon changed her mind when her brother, Jeffery Dench, began studying acting.


Within a few years, Judi Dench had established herself as a leading Shakespearean actor, performing to consistently good notices in productions of Hamlet, Macbeth, and even as Juliet in Franco Zeffirelli’s stage version of Romeo and Juliet. Curiously, her biggest early West End role was that of Sally Bowles in the 1968 London opening of Cabaret. Dench—with her trademark raspy voice—was terrified at the prospect of singing in front of people, so much so that she auditioned for the part from the wings. However, she won the role and offered performances which were soundly celebrated.

Over the years that followed, Dench continued to be one of Britain’s leading stage actors. She also had developed a loyal following through her television work in programs such as As Time Goes By and A Fine Romance among others.

In 1995, Dench made the first of many notable screen appearances with her work in GoldenEye. Soon after, it seemed she was in almost every film and showed her extraordinary range with roles in Mrs. Brown, Tea with Mussolini, Mrs. Henderson Presents, Shakespeare in Love, Chocolat, and many, many others.

Given her busy career as one of the world’s most in-demand actors, you would think that Dench would have time for little else, yet, she makes the time to lend her support and talent to myriad causes which are dear to her heart. Active in the Quaker faith, Dench is also the patron of The Mountview Academy of Theatre Arts, The Archway Theatre, The Questors Theatre, The Royalty Society of Arts, and others. For many years, she has supported Survival International—a group dedicated to the preservation of native cultures who could fall victim to the greed of modernization. In 2011, Dench became a patron of the Dr. Hadwen Trust—an organization which funds medical research and discourages medical testing on animals.

In 1970, Dench was appointed an Officer of the Order of the British Empire and was promoted to Dame Commander of the order in 1988. In 2005, she was further honored by an appointment as a Member of the Order of the Companions of Honour.

For her glorious career and her invaluable service, Dame Judi Dench is our Humanitarian of the Week.

Punch's Cousin, Chapter 177

“Get out.” Robert growled.


“Sir, let me explain.” Charles interrupted.

“You’re in no position to explain anything.” Robert spat.

Cecil rose and stood next to his brother. “I suggest that you leave, young man.”

“It’s not what it seems.” Charles argued.

“How could it be anything else?” Cecil answered gruffly.

“Perhaps we should let him explain,” Adrienne said softly.

“Darling, you’re thinking with your heart again. Always trying to find the good in people.” Cecil sighed.

“There is good in all people--some.” Adrienne smiled.

“Even Barbara Allen?” Robert asked.

“Thank you, Mrs. Halifax.” Charles replied. “Yes, you’re correct. My references are forged.”

“And just why did the former Lady Barbara assist you in forging these documents?” Robert asked.

“She’s trying to look after her brother.” Charles said.

“Really?” Robert laughed. “Were it not for that woman, His Grace would not be in the precarious position that he’s in presently.”

“Barbara knows that,” Charles answered. “And, Sir, she feels quite awful about everything that’s come to pass. She’s aware of her culpability. She came to me and quite honestly admitted everything that’s come to pass. Her words were so heartfelt and so honest…”

“And, how did you come to meet Barbara Allen? Do you frequent Iolanthe’s Bawdy House?” Cecil asked.

“No, Sir, she came to dress Miss Heralda’s hair. She’s no longer working for Iolanthe Evangeline. She works for Marie Laveau.”

“Oh!” Robert laughed loudly. “That’s hardly an endorsement for the woman.”

“Sir, she was honest with me. She told me that were I to come and work for His Grace it would be a good opportunity for me and for him. We chatted, she and I. She met me at Jackson Square and we had a long talk. She was very sincere and said she’d help me as long as I swore to help protect His Grace.”

“I understand that Barbara Allen is a comely lass and she can be very convincing. She came to our home with tales of heartfelt regret and heaps of lies about her desire to change and live an honest life. We took her in. And, how were we rewarded?” Cecil grunted. “She robbed us! She robbed us and returned to Iolanthe Evangeline and her lustful relationship with the man she calls her husband—a man who tried to murder both my brother and His Grace. She’s in league with treacherous people—Iolanthe, and, now, Marie Laveau. Because of her destructiveness and selfishness, she’s caused the death of her own mother, The Duchess, as well as contributed to the death of our Naasir. Because of her reckless disregard of human life—including the life of her own child—she’s endangered our entire family including His Grace. Now, she’s seduced you with tales of redemption and a false desire to see you furthered in your career? What does she care about you, Charles Van Eyck? How could she possibly care about you?”

“All of us have made mistakes in our lives, Mr. Halifax.” Charles said softly. “And, all of us have a chance for redemption. If you’ll pardon me saying so, Sir, I’m no fool. I can tell when someone is dishonest.”

They were interrupted by the sound of little paws trotting down the stairs and into the parlor.

“Toby.” Robert said looking to the dog. “What are you doing down here?”

“Perhaps he needs to attend to his natural instincts.” Adrienne said, standing up. “I’ll take him.”

“That ain’t it,” Mr. Punch smiled from the foot of the stairs. “He come down with me.”

“Oh no, no.” Robert shook his head. “Back to bed with you.”

“What’s that?” Punch pointed to Charles.

“You must be His Grace, the Duke of Fallbridge,” Charles bowed his head.

“Often,” Mr. Punch nodded.

“I am called Charles Van Eyck.” Charles nodded.

“What’s he want?” Punch asked Robert.

“Never mind about that, Mr., er… Your Grace.” Robert shook his head. “Let me help you back upstairs. You’re not ready to be on your feet. And, you, without your dressing gown. Just in your nightshirt. It’s too cold. You’re still feverish…” Robert put his arm around Mr. Punch’s waist and tried to lead him back up the stairs.

“I’m here in regard to the position of valet,” Charles spoke over Robert.

“Valet?” Punch snorted. “Naasir’s just in his grave.”

“I thought you could use my help.” Charles continued.

“That’s quite enough.” Robert interrupted firmly.

“Wait a tick, dear Chum.” Punch whispered.

“Punch…” Robert said softly into Julian’s ear.

“I wanna hear what the man’s got to say.” Mr. Punch smiled. “You said yourself we could use the help.”

“Not from this man.” Robert insisted.

“Why not?” Mr. Punch asked quietly. “He seems pleasant enough.”

“He’s in league with your, with Julian’s, sister.” Robert responded.

“Is he?” Punch grinned. “Well, isn’t that an interestin’ thing?” He looked at Charles and shouted, “Here, what you think ‘bout puppets?”

“I like puppets well enough, Sir.” Charles answered with a smile.

“What’d you say if we was to tell ya that I’m half man and half puppet?”

“We’re all puppets in our own way.” Charles nodded.

“True.” Mr. Punch nodded. “So, then, how is my sister manipulating you?”



Did you miss Chapters 1-176? If so, you can read them here.