Wednesday, July 27, 2011

Mastery of Design: The Cambridge Lovers Knot Tiara

The original tiara, 1818
on Princess Augusta of Hesse-Kassel
Queen Mary is often depicted wearing her most fabulous jewels—and she had a lot of them, a lot. One of the most frequently worn pieces in which she’s pictured is a fantastic tiara of diamonds and pearls. This is the Cambridge Lovers Knot Tiara and it was Queen Mary’s favorite.
The tiara that Queen Mary often wore was not the original Cambridge Lovers Knot Tiara, but one that she had created for her in 1913 from diamonds and pearls in her own existing collection.

Growing up as Princess May, Mary had often admired her grandmother’s tiara—the original Cambridge Lovers Knot Tiara. This had been a gift to Mary’s grandmother, Princess Augusta of Hesse-Kassel upon her marriage to the Duke of Cambridge. Upon her death, Princess Augusta passed the tiara on to her daughter Princess Augusta of Cambridge, the Grand Duchess of Mecklenburg . The Grand Duchess, sister of Mary’s mother, was one of Queen Mary’s closest friends. She often loaned the tiara to Queen Mary. However, after the Duchess’ death, the tiara was removed from the family through a long and complicated series of events which are too difficult to recount here.

The original tiara on
Augusta, Grand Duchess of Mecklenburg
Queen Mary never forgot about that beloved tiara and in 1913 commissioned Garrard’s to create a duplicate based on paintings and photos. The one difference between the new version and the original is that the upper tier of pearl and diamond “spikes” could be removed and worn as various other pieces of jewelry. Queen Mary wore the tiara (with and without its upper tier) for the remainder of her life, bequeathing it to her granddaughter, Queen Elizabeth II.


Queen mary in the New 1914 Tiara
(with spikes)
Queen Mary in the new tiara
(without spikes)

Sculpture of the Day: A Group of Parian Figures of the Royal Family, 1773

The Royal Family of King George III
Parian, John Bacon, 1773
The Royal Collection
That Queen Mary felt compelled to rescue this delicate group of parian figures is not surprising. Not only is the group extremely rare, but it also represents her ancestors. Not only that, but it is in itself an example of the reproduction in porcelain of an elaborate painted composition portrait group from 1770 by Zoffany which the artist created of the Royal Family in “Van Dyck” costume.

The group was modeled by the sculptor John Bacon who adapted the arrangement of the figures to better present them on the base. More so than Zoffany’s portrait, Bacon focused the attention of the group more directly on the four Princes which includes the future King George IV .

Unfolding Pictures: Brisé fan with Princess Augusta’s Monogram, c.1810

Fan
c. 1810
Tortoise Shell and Red Paste
The Royal Collection
Queen Mary’s interest in the history of the Royal Family was quite natural considering that she, herself, was the daughter of Her Serene Highness, Princess Mary Adelaide of Cambridge, one of the few remaining granddaughters of King George III. Queen Mary had a particular fascination with George III and his wife Queen Charlotte whom Mary thought she resembled (she did, in fact, look quite a lot like Queen Charlotte). Though Princess Mary Adelaide's marriage to the Duke of Teck was morganatic (meaning that he was, technically, not her equal being simply a Duke while she was a Princess, albeit a Serene Highness and not a Royal Highness), Mary of Teck took Queen Victoria’s point of view and didn’t let these minor differences distract her from realizing the importance of her father’s family history as well.
Queen Mary’s maternal grandmother (The Cambridge side of the family), was Princess Augusta of Cambridge, daughter of King George III. Princess Augusta was also a collector, but not to the monumental proportions that her granddaughter was. It’s important not to confuse this Princess Augusta with Augusta, the Grand Duchess of Mecklenburg who was Mary’s maternal aunt (sister of Mary Adelaide and daughter of Princess Augusta and the Duke of Cambridge) and one of her dearest confidantes. Even I got temporarily confused when researching this object. Everybody shared the same ten names, so sometimes it’s hard to keep them straight.

Upon the 1840 death of Princess Augusta of Cambridge, an inventory was taken of her possessions. The lot included a set of fans which were valued at over £500. According to the Royal Collection, “these, together with the rest of the Princess’s estate, appear to have been divided among her family, a group of her fans being noted subsequently in Queen Victoria’s collection.” Six of these fans ended up in the permanent Royal Collection where they continue a traditional association with Princess Augusta. Here’s where the confusion can easily be seen. Even the Royal Collection confused the two Augustas. It’s recently been realized that several other fans described as having belonged to “one of the Queen’s [Mary's] aunts” also belonged to Princess Augusta. Most of the fans are brisé fans, which were extremely fashionable in England at the start of the Eighteenth Century.

This is one of ones that got away. A brisé fan is a fan where instead of a leaf of paper or leather, the sticks become gradually larger at the top to form the fan itself. This one is crafted from tortoise shell and red paste and dates to about 1810. There’s no doubt as to the ownership of this fan as it bears the monogram of Princess Augusta. Like many objects which had fallen out of the Royal Collection, this one was later purchased by Queen Mary who was eager to return it to its proper place.

Unusual Artifacts: A Miniature Nephrite Piano by Fabergé, Before 1896

Miniature Piano in Louis XVI Style
Michael Perchin
Before 1896
Nephrite, Enamel, Gold
The Royal Collection
Of the myriad little treasures that Mary of Teck collected throughout her long life, a great many of them were works by Fabergé. Queen Mary had a special fondness for Fabergé’s miniature “objets de fantasie.” These objects included several specimen of miniature furniture in the form of bonbonnières (candy dishes) thus allowing the Queen to combine her love of art with her passion for good food.
The craftsmen at Fabergé relished the chance to showcase their keen skills with such objects which allowed them to replicate in precious stones and metals the real materials of the full-scale object. This miniature piano of Siberian nephrite was made by Fabergé master craftsman Michael Perchin (whose work often caught the attention of Queen Mary) and is carved and polished to resemble ebonized wood (though it has faded to a greenish color now).

The piano’s lid opens just as the lid of a real piano wood, allowing for use as a bonbonnière. More impressively, the front drops down to reveal a keyboard of gold and enamel. The keyboard is inscribed C. Fabergé.

Like many of the Fabergé items in Queen Mary’s collection, this wee piano originally belonged to Tsarina Alexandra Feodorovna. It can also clearly seen in one of the display cases in photographs of the exhibition of Fabergé held in St Petersburg in 1902. The masterpiece came into Queen Mary’s hands between 1922 and 1931.

Punch’s Cousin, Chapter 305

Mr. Punch pulled his arm away from Arthur who frantically grabbed for it with bloody fingers.

“Don’t touch him,” Robert growled to Arthur.

“Please, Sirs, you’ve got to hear me.” Arthur pleaded.

“You ain’t tellin’ me nothin’ I don’t already know—in part.” Punch answered. “I knew me master’s mum hated him. He knows that. Everybody knows that. But, I’d be a donkey if I thought for a moment that she ordered her own son to be murdered.”

“Why?” Arthur hissed as his throat gurgled. “She ordered her own husband’s death. She sold her daughter’s virtue? Why not your life, too?”

“That ain’t what you told me ‘bout how it happened, Mate.” Gerard whispered to his dying friend.

“Shur yer gob, Gerry!” Arthur groaned. “I didn’t tell ya the whole story. Do you think I told you everything?”

“You said you did,” Gerard frowned. “Say, you are the lyin’ scoundrel everyone says you are.”

“This is a surprise to you?” Arthur coughed. “Think of all we done together. You think I was an honest man?”

“I thought you were at least honest with me,” Gerry shook his head.

“What for?” Arthur choked. “You were just another tool for me to use.”

“You’d best quiet yourself now,” Marjani said, studying Arthur. “You’ll tell your story to the Devil soon enough by the looks of ya.”

“Pay him no mind, Mr. Punch.” Robert whispered. “He’s trying desperately to save his soul.”

“But, there’s some truth in what he said.” Punch responded softly. “Ain’t the first time we heard that the Duchess asked for our pa to be killed.”

“He’s just speaking enough truth to make his other lies believable.” Robert replied quickly. “Besides, what good is any of it now? It has nothing to do with where we must go with our lives or how we’ll live in the future. It’s finished now. It’s the past.”

“Still matters.” Punch shook his head. “One thing I know is that the past matters. It makes us do the things what we do and think what we think. It’s what made me master what he is and what made me alive, it is. Can’t say the past don’t matter.”

“It doesn’t matter as much as what’s to come.” Robert answered affectionately. “Listen to me, dear Punch, it isn’t fitting for you to see this. Certainly not for Julian to see it. Go in the house and look for Meridian to give you a cup of tea. Let Arthur die here alone as it should be.”

“He won’t leave!” Arthur bellowed, drooling on himself as the words poured forth. “He won’t leave ‘til I’m dead and gone ‘cause he believes me, he does. He knows I’m tellin’ the truth. He knows that his ma were the one what made all of this happen! It weren’t me! She used me! And, His Grace knows that he’s got to make it right! It can all end with him—this suffering. All these generations of misery can all end with him!”

From outside the stable, Iolanthe Evangeline grinned as she watched through the dirty, narrow window. She mouthed the words along with Arthur—the very words she had coached him to say. “That’s it Arthur,” Iolanthe chuckled. “Hang on long enough to get it all out.”

At that very moment, Charles froze with fear as Louis Glapion looked around the cathedral to find the source of the sound which had startled him—the sound of a baby crying.

“What you got in your arms, Girl?” Louis asked.

“My child.” Barbara smiled.

“Then, what baby is cryin’ over there by your lover?”

“That?” Barbara grinned—a strange and unsettling grin which sent a shiver through Charles’ spine. “That is the child that belongs to my brother and his companion.”

“You ain’t right, Girl.” Louis narrowed his eyes.

“Am I not?” Barbara laughed wickedly. “Am I not? If I am not, then, haven’t I earned the right to be peculiar? My brother—he’s peculiar, yet, everyone seems to find it charming. Perhaps it’s a family characteristic to be strange, to be insane. Perhaps we inherited it from our mother. Perhaps.”

“What’s she sayin?” Louis asked, stepping back.

Charles stood frozen, unsure if he should pick up the crying baby and frightened that Louis would react angrily upon discovering that Barbara had lied to him. Furthermore, Barbara’s strange behavior puzzled and disturbed him. He had seen hints of this side of her before—a sort of wild and confused side—but only glimmers, only seconds.

“You wish to see my baby?” Barbara asked, her voice growing shrill. She unraveled the blankets that she held in her arms to reveal a knife which glinted in the dim candlelight of the cathedral. “This is my child. I call him “Hate.” He has a sharp tongue and if you’re not careful he will insult you.”

“Listen, Girl, just hand me the baby—the real baby. I told Mare I’d bring him back and I’m not gonna have none of your tricks.”

“My baby is not prone to tricks. You know where you stand with him.” Barbara said, gripping the knife firmly. “As for being real, can you think of anything more real than hate?”

“Lordy,” Louis gulped. “You’re a real loony.”

“But, don’t you find me charming?” Barbara laughed. “His Grace, the Duke of Fallbridge is charming—with all of his little references to being a puppet and his darling confusion about everyday things. Isn’t he sweet when he speaks in his rough, uneducated voice? Isn’t he wise when he says simple things which make us think? We pity him because even as a lunatic, he’s still charming. Even when he claims to be a puppet, he’s still adorable. He’s always been adorable. So rational. So steady—even when he was petrified, which was always. He’s afraid of everything. Yet, so adorable. It’s so easy to forgive his oddities. It’s so easy to pity him. Do you pity me? Did you know I was a Lady? Lady Barbara. I was to marry a Baron! I could have been Lady-in-waiting to Her Majesty, Queen Victoria. Did you know that? Perhaps if not to her, then one day to the future Princess of Wales or the Duchess of York. Can you imagine? But, I gave it all away. And, I had a child. Two children, really. One, I lost—several times. One, I’ll keep, and he is the one I shall carry with me always. This child—hate!” She flashed the knife.

“Ain’t nothin’ worth this.” Louis stammered, stepping backward from Barbara.

“Don’t go.” Barbara cooed. “I want you to stay. I want to talk with you. I want you to pity me.”

“I do.” Louis nodded. “I do pity you. But, I pity that man and that baby more.”

“Such a shame.” Barbara sighed. “You can’t go now.”

“Why not?” Louis asked.

“Because, my child wants to know you better.” With that, Barbara raised the knife high in the air and plunged it with all of her strength into Louis’ chest. The man fell to the floor of the cathedral in a tangled brown heap.

Barbara turned and looked at Charles, smiling. “Now, my dear, we can be alone—as we were.”



Did you miss Chapters 1-304? If so, you can read them here.

Card of the Day: Her Majesty, Queen Mary

Kind, kind and gentle is she
Kind is my Mary.
--a popular verse in 1913

I’ve written at length for the past year about Queen Mary and my fondness and respect for her have been abundantly clear. She was much beloved by the English people both before and after she and her husband endured the Great War. She led her country—as Queen Consort—with dignity through many a crisis, served as a trusted advisor to her father-in-law King Edward VII prior to her husband’s accession to the throne and guided her son, King George VI through the tragedies of the Second World War.

Mary’s dedication to the Empire and the Monarchy was unflappable. Her love for Britain was unparalleled. She showed this love by protecting the history of the Empire by preserving its native arts. Queen Mary also was a fierce protector of the British people, endearing herself with her sincere appearances at the homes and places of work of her subjects where she would—without any sort of pretension—sit with them, take tea with them and, sometimes, take them in her arms for comfort.

In the eyes of the British people, Queen Mary was the ideal Queen Consort. During the day, she could visit mines, hospitals and factories, entering the worst conditions with humility and compassion—not worrying about soiling her clothes. But, in the evenings, she would transform herself into a glamorous creature in the finest gowns, dripping with diamonds—taking great care to represent Britain as a world power with a sense of history, tradition and elegance.

When visiting France just before the dawn of the Great War, she worried that the French people would not embrace a foreign monarch. She wrote in her diary, “How I hate having to go there when matters are so unsettled here; especially as one feels so acutely how England has fallen in prestige abroad. I really feel so ashamed I should prefer to hide—certainly to not have to smile and make one’s self agreeable when one’s heart is not in it, but then, nobody gives one the credit for having a heart or feelings in these days—It seems to me that ‘finesse’ has gone out of the world, that indescribable something which was born in one and which was inherited through generations.”

However, when Queen Mary appeared in France, adorned in a crown set with pearls and diamonds and wearing, from a strand of large diamonds wrapped around her long throat, the lesser Stars of Africa and her garter badges, the only thing that outshone her diamonds was her genuine, gracious smile. The French people fell in love with the Queen during a time when European politics were beginning to become extremely difficult.

And, this was the spirit with which Queen Mary approached everything. When the role of the Queen Consort was undefined and unclear, she made it solid and relevant and continued to remain an influence until her death just before the coronation of Queen Elizabeth II.

Queen Mary is commemorated in a beautiful portrait in the final of the Silver Jubilee set of the Wills’s Cigarette Cards.

The reverse of the card reads:

HER MAJESTY THE QUEEN


The Queen, of whom we give a recent portrait, has shared to the utmost throughout her married life, in those "long and often anxious labours" of which His Majesty spoke last Christmas in the Empire broadcast. There have been few public occasions when the Queen has not been at the King's side; and beyond this, she has made innumerable charitable causes her own, and lent gracious and unfailing support to the work or women's organizations. Yet while industriously giving herself to the service of the people, Her Majesty has found time also to manage her private household and bring up a family in a way that has won the nation's deep respect as well as its affection.


This loving video tribute shows Mary’s long-lasting effect on Britain.



Tomorrow, we will begin a new set of cigarette cards also dedicated to King George V and Queen Mary.


Object of the Day, Museum Edition: Queen Mary While Princess Victoria Mary of Teck, 1873

Queen Mary
as Princess Victoria Mary of Teck
Dixon, 1873
The Royal Collection
This watercolor on ivory miniature of HSH Princess Victoria Mary of Teck was painted in 1873 by Annie Dixon. The miniature was most likely painted for Queen Victoria who enjoyed collecting miniature paintings of her family. Whether or not the miniature ever made into the hands of Queen Victoria is debatable since the piece was not in the Royal Collection at the time it was discovered by the sitter herself, then Queen Mary, who quickly acquired this lost portrait from her past.

At the time that this miniature was painted, Princess Victoria Mary of Teck (known as Princess May) never imagined that she’d ever be anything more than Her Serene Highness. Her much beloved, but rather domineering mother, Princess Mary Adelaide of Cambridge, had plans for her only daughter—wishing for May to act as her Lady-in-Waiting and assist her with her many charities. While Princess May was a girl, Queen Victoria was impressed with the child’s intellect, but find her height and large features to be rather off-putting. It wasn’t until May had grown into a lovely teenager that Queen Victoria realized that her cousin, Princess Mary Adelaide’s, daughter was quite exceptional. At that point Victoria began to realize that “May” was a natural choice as the future bride to the heir presumptive to the throne—Prince Eddie. When Eddie died, Mary became engaged to his brother, Prince George who would become King George V.

I find this portrait fascinating since it shows Mary as the beautiful fair-haired girl that she was, but especially hints at her keen intellect and curiosity. I’m not surprised that Her Majesty acquired this miniature when finding it. She had a passion for returning lost items ot the Royal Collection, but also had a secret interest in chronicling her own life. This dedication to recording her personal history proved most helpful when, at the time of the coronation of her granddaughter, Princess Elizabeth, Mary was one of the few people left living who could remember the days of Victoria and the traditions of the Royal Court which she held so dear.