Place of the Week: Covent Garden, London

Situated on the eastern edges of London’s famous West End, between Drury and St. Martin’s Lanes, lies historic Covent Garden. Since the mid Twentieth Century, this former fruit and vegetable market has been a thriving tourist and shopping attraction, playing host to millions of yearly visitors. In addition to a variety of shops, public houses and restaurants, Covent Garden is also the home of the Royal Opera House, St. Paul’s Church (known as The Actors’ Church), the Theatre Royal, Drury Lane, and the London Transport Museum.

Of special interest (to me, anyway), Covent Garden was Mr. Punch’s first home in England after his metamorphosis from his Italian Pulcinella roots. According to the famous story, Samuel Pepys was the first to make written mention of Punch when he observed a puppet show offered by a “Professor” known as “Signor Bologna” on May 9, 1662. Pepys wrote in his diary on that date, “Thence with Mr. Salisbury, who I met there, into Covent Garden to an alehouse, to see a picture that hangs there, which is offered for 20s., and I offered fourteen—but it is worth much more money—but did not buy it, I having no mind to break my oath. Thence to see an Italian puppet play that is within the rayles there, which is very pretty, the best that ever I saw, and great resort of gallants.” The date of this first written mention of Mr. Punch was adopted as his birthday. So, on Monday, he’ll be embarking on his 349th birthday. Punch will forever be associated with Covent Garden. A plaque commemorates his birthplace, and his presence is evident everywhere from the performances in the square to the pub named in his honor.

Until the sixteenth century, Coven Garden was still a series of connected fields upon which grew fruit trees, flowers and other crops. The area was settled briefly when the land became the center of the Anglo-Saxon trading town of Ludenwic. However, that faded back into fields by the Thirteenth Century when the farm land was acquired by Westminster Abbey as a source of crops of the residents of the abbey. At this point, the land was often referred to “The Garden of the Abbey and the Convent”—casually known as “Covent Garden.” The land remained under the direction of Westminster Abbey until it was appropriated by Henry VIII in 1540. Henry gave the land which crosses into both the Cities of Westminster and Camden to the Earls of Bedford who, wishing the attract wealthy tenants, commissioned famed architect Inigo Jones to design a series of luxurious townhomes on an elegant square which would prove as the model for London’s swankiest squares.

For awhile, Covent Garden was an elite address, however, the introduction of the Fruit and Vegetable Market in 1654 met with the disapproval of the square’s fashionable residents who quickly moved to newer parts of the City of Westminster. The area soon became disreputable, becoming the home of artists and prostitutes alike. Theaters and pubs became commonplace, and though the market continued to thrive, Covent Garden became known as a less-than savory part of town.

By Queen Victoria’s reign, Parliament had vowed to clean up the area. Charles Fowler’s large neoclassical structure enclosed and organized the market and the theaters began to operate under Royal decree. From 1830 onward, Covent Garden thrived—regaining its status as a gathering place, but also affording a welcoming atmosphere for artists and street performers.

In the 1960’s, traffic in the area made it unsafe. By 1974, the decision was made to move the Fruit and Vegetable market, converting the space into a shopping and recreation area. It remains so today. Covent Garden is one of the iconic spots of London. Visitors to the area flock to this wonderful assortment of buildings and venues to soak up the best of London’s culture.

Unusual Artifacts: The Burnous of Napoleon I

Burnous
Felt, Silver Thread, Silk
French, 1798
The Royal Collection

Napoleon I was not without his little affectations and he had a bit of a tendency toward theatrical dress. During his campaigns in Egypt, Napoleon I admired the North-African-style cloak known as the burnous and commissioned one to be made in his size. Napoleon was often seen wearing the flame-red cloak with its dramatic hood and embroidery.


The burnous was taken from Napoleon I’s carriage at the Battle of Waterloo and presented to King George IV as a symbol of victory. Since that time, this garment has been neatly preserved in the Royal Collection.

Sculpture of the Day: Two Chinese Figures, 1752-1754

Two Chinese Figures
French, 1752-1754
Acquired by King George IV while Prince Regent
The Royal Collection

This soft-paste porcelain figural group is considered one of the most ambitious sculptures ever attempted by the artists at Vincennes. Not only is the group large—standing at almost nineteen inches tall—but it’s extremely complicated and heavily detailed.


The scene depicts a young boy standing on a coral-strewn beach who approaches a regal young woman, reclining on a tasseled pillow. Minor imperfections can be seen in the sculpture, upon close inspection, showing the difficulty the artists faces in creating the complex central basket and the intricate folds and patterns of the figure’s costumes.

King George IV was drawn to chinoiserie and works with an Asian influence and purchased this piece while still Prince Regent. At some point in the Nineteenth century, the group was incorporated into an elaborate French clock case. At the time, the group was painted with gold details to match the clock case. While the clock is no longer in existence, the gold details remain, making the group appear to have even more depth.

Punch's Cousin, Chapter 236

“What is this place?” Robert asked as he descended from the carriage.


“It’s the home of my friend.” Marjani said as she smiled up at Robert. “I knew her when we came to this country. She’s now a free woman and lives her with her husband. They make dresses. They’ll look after you until we can get you reunited with your loved ones.”

Marjani helped Adrienne and the baby out of the carriage.

“What should I do with the carriage and horses?” Robert asked.

“I’ll take care of that in a few ticks of the clock,” Marjani said. “Come with me.”

Adrienne and Robert followed Marjani around the back of the building and into a messy courtyard which was littered with dress forms and mannequins. Adrienne soothed the baby who began to fuss, wondering why he was again being brought out into the cold.

Marjani knocked on a thick wooden door and was greeted by a plump woman with a cheerful face.

“Marjani!” The woman chortled. “What you doin’ here, Love.”

“Mama Routhe,” Marjani smiled. “I come here lookin’ for shelter with these fine folk.”

“Come in!” The woman said gleefully. “All are welcome here!”

Meanwhile, Cecil and Mr. Punch walked into their borrowed house on Royal Street. Cecil threw himself into a chair in the parlor.

Meridian hurried in as she heard the men’s voices.

“What’s happened?” Meridian asked nervously. “Where are the others, Sir?”

“Dunno.” Mr. Punch sighed. “They took me nephew and ran off—had to do it, they did, to get away from Edward Cage.”

“Oh, I’m terrible sorry.” Meridian frowned sympathetically. “They’ll find their way back to ya.”

“I know,” Mr. Punch nodded. “I just hope they can do it soon.”

“How’s my son?” Cecil asked.

“Sleepin’ like an angel,” Meridian smiled. “As is Columbia. Gamilla’s up and about and feelin’ better. She’ll be back to her old self in no time.”

“I’m glad to hear that,” Mr. Punch answered. “Any sign of Charles?”

“No, Sir.” Meridian frowned again. “I thought he’d be back by now, but I don’t know where he’s gone to.”

“No telling,” Cecil grumbled. “I knew that man would be nothing but trouble.”

“You two men must be starved. Let me bring ya somethin’.” Meridian offered.

“Just some whiskey for me.” Cecil grunted.

“Mr. Halifax, you’re gonna have to eat something.” Meridian began, but stopped herself when Cecil’s eyes flashed with anger.

“As you wish, Sir,” Meridian nodded quickly. “Mr. Punch, I got some fine sausage and biscuits. Would ya like that?”

“I would.” Punch nodded.

The clicking of little nails on the wooden floor made Mr. Punch smile as Toby appeared in the archway, wagging his tail. The dog ran up to Mr. Punch and put his paws on the man’s knees. Punch bent down to stroke the dog. “Hullo, Chum. I missed you, I have.” He picked up the dog and cuddled it.

“I’ll be back in a minute,” Meridian smiled.

“No hurry,” Cecil growled. “I don’t think we’re going anywhere.”

“Now what?” Punch asked after Meridian left. He settled onto the sofa with the dog.

“Now, we wait, I suppose.” Cecil sighed. “I’ve never been good at waiting.”

“Me neither.” Mr. Punch shook his head. “Surely, they’re gonna send word where they are.”

“I hope so.” Cecil grumbled. “If they can.”

“At least we got some peace and quiet—even if it’s just for a short spell.” Mr. Punch said, a hint of hope creeping into his voice.

“Yes, yes.” Cecil answered.

Unbeknownst to them, two pairs of eyes peered at them through the window of the parlor.

“Who are they?” Gerard whispered from outside the house.

“That’s my brother-in-law,” Arthur smiled. “Won’t he be glad to see me?”



Did you miss Chapters 1-235? If so, you can read them here.

Goal for the Day: Set Long-term Goals

We all have dreams and aspirations, but sometimes they seem terribly out of reach. We tend to get mired in the setbacks, the day-to-day hassles which seem so incredibly urgent, and we let those take priority and divert us from the path on which we wish to travel.


However, we mustn’t lose sight of the things we desire. It’s important to envision ourselves rising above the daily diversions and achieving far greater things. Though there will always be impediments, we can adapt with each of them and find ways to incorporate the inconvenient realities into our dreams. By setting long-term goals, we will always have a map by which we can make our journey infinitely successful.

Object of the Day: A Pressed Glass Dish Commemorating Queen Victoria’s Diamond Jubilee

Goofus glass—a form of pressed glass which has been reverse-painted with predominantly gold paint—is a distinctly American art form unique to the early Twentieth Century. However, the medium does have predecessors which were created in England at the end of the Nineteenth Century.


British glassmakers produced a form of pressed, reverse-painted glass which features crisp patterns. This was often used to create objects to commemorate special occasions. This sparkling dish is an excellent example of that wonderful art. Here, we have a beautiful dish created in honor of Queen Victoria’s Diamond Jubilee in 1897—marking sixty years as Monarch.

Reading, “1897, Diamond Jubilee,” the dish bears the image of Queen Victoria, reverse-painted in gold. Around her, a border of symbolic thistles, roses and clover reminds us of the countries in her realm. This lovely dish was made for British subjects wishing to have a souvenir of the long reign of their beloved queen. Victoria’s reign ended with her death in 1901. She will forever be remembered as the monarch under which Britain experienced a period of exceptional growth and development.

Film of the Week: The Queen, 2006

Almost ten years after the tragic and unexpected death of Diana, Princess of Wales, director Stephen Frears and writer Peter Morgan joined forces to create a film based on the aftermath of Diana’s death and the people that her loss most deeply affected—her family.

In many ways, The Queen, at its core, is the story of any modern family who must find their way through a tragic event. We have a close-knit, but splintered family led by a strong matriarch who must coach her family through the death of a loved one. This matriarch is set in her ways and her beliefs and she finds the death of her former daughter-in-law to be a private matter, choosing instead to focus on the feelings of the two young boys left behind. At odds with this matriarch is her rather ineffectual son who struggles with the death of his ex-wife. Throughout their rocky marriage, though they couldn’t make it work, they developed a grudging respect for one another. The head of the family is also torn by the constant commentary of her stuffy, overbearing husband (James Cromwell as The Duke of Edinburgh). Thankfully, she has the advice of her ancient mother to help her through the crisis.

However, this isn’t any ordinary family. This is Britain’s Royal Family. And, there’s one more contingency of the family that needed attention—the people of Britain. The Queen’s subjects were thrown into a period of deep sorrow upon the death of Diana, wondering why the Queen made no public statement of grief. And, so, it is a family that is globally divided, torn by the usual personal politics, but further whittled away by matters of state.

This is the heart of the film—the struggle. Similarly, the struggle between the Queen’s belief in the oath she took as monarch and her faith in her ideals are contrasted against an ever-changing world which is represented by the then-new Prime Minister, Tony Blair (Michael Sheen). Blair’s scenes, in fact, are shot on a different film stock, giving them a visual quality which contrasts sharply with the more painterly world of the Queen’s home at Balmoral.

Helen Mirren, OBE, plays the title role with subtle grace and no trace of mimicry despite the fact that she recreates the Queen’s voice and appearance without flaw. While most actors would appear to be doing an impression of a real figure, Mirren makes you believe that she is Queen Elizabeth II, giving the inscrutable monarch a depth of feeling which we suspect she has, but have never seen.

It’s a brilliant film that hits all the right notes. Sensitive to both sides of the argument, the filmmakers have not cast judgment on anyone, but rather report the facts with relatively good accuracy. They’re also to be commended for keeping the two young Princes—William and Harry—out of the equation, only referring to their feelings and showing them from a distance so as to give their real-life counterparts privacy and respect.

The film opened to excellent reviews—for good reason. It’s an important film for any anglophile or anyone whose family has ever endured a tragedy.