Person of the Week: James Cromwell

While we best know actor James Cromwell for his exceptional work in projects such as 1995’s Babe (for which he earned Academy Award nomination for Best Supporting Actor), Star Trek: First Contact (1996), L.A. Confidential (1997), The Green Mile (1999), The Sum of All Fears (2002), The Queen (2006), and in the television series Six Feet Under (2003–2005), there’s more to this talented gentleman than most people know. For all of the great impact he’s made on our collective world culture as an actor, Mr. Cromwell has made an even greater contribution on the world’s animal community.

The six foot, seven inch tall actor became a vegetarian in 1974 after touring a Texas stockyard and observing the terrible conditions therein--remarking on the "smell, terror and anxiety.” During the filming of Babe in 1995, Cromwell furthered this cause by becoming a vegan and frequently speaks on behalf of PERA on issues regarding animal cruelty. One of his predominant concerns is the ethical treatment of pigs. Furthermore, Cromwell narrated the short film Farm to Fridge--a documentary produced by Mercy for Animals—which supports his chosen cause.

However, it’s not just pigs which warrant the award-winning actor’s attention. Cromwell works to ensure the safety of all animals, both domestic and wild, through his continued research and service. For his devotion to the animal kingdom, James Cromwell is our “Person of the Week.”

Treat of the Week: Upside-Down Fruit Cake

This beautiful dessert resembles a flower, but that’s not revealed until the delectable treat is removing from its baking dish.

Fresh fruit—pears, cherries and blueberries—crown a delicious, spongy yellow cake. Placed at the bottom of the plate before the batter is added, the fruit adds a beautiful layer of caramelized sweetness to the top of the cake.

As attractive as it is delicious, this cake reminds me of the sort of confection which would have graced a fine Victorian table. My mother served this masterpiece with homemade frozen yoghurt topped with a delicious chocolate ganache. It was the perfect summer-time treat with its flower-like elegance and rich, subtle flavor.

Painting of the Day: Tulips, Camellias and Hyacinths, 1864

Tulips Camillias and Hyacinths
Henri Fantin-Latour, 1864
The Victoria & Albert Museum

This intriguing still life of delicate flowers (tulips, camellias and hyacinths) is the work of Henri Fantin-Latour (1836-1904). Fantin-Latour was born in Grenoble where he trained with his father, the celrbated Jean-Théodore Fantin-Latour (1805-75). Later, the promising young painter would study with Horace Lecocq de Boisbaudran at the Petite Ecole de Dessin in Paris from 1850 to 1856.
After continually ompressing his tutors, Fantin-Latoure joined Gustave Courbet's studio as a pupil, working mostly on portraiture. However, portraits weren’t the artist’s passion and Fantin-Latour soon began to focus on floral paintings and the still lifes for which he is now most recognized.

British collectors were especially attracted to the painter’s floral scenes. Fantin-Latour exhibited at the Royal Academy in London starting in 1862 onwards, and enjoyed the patronage of James McNeill Whistler (1834-1903), whom he met in 1858.

This painting from 1864 is the perfect example of Fantin-Latour's early floral work. Throughout his life, Fantin-Latour created over five hundred floral compositions, many showing unusual combinations of flowers as evidenced by this bouquet of tulips, camellias, hyacinths, holly hocks and assorted wild flowers. The artist’s work is defined by his attention-getting combination of rich textures and tones which are set against a plain dark background. His paintings are categorized as examples of “new naturalism”—a style which developed in French art in the second half of the Nineteenth Century. New naturalism would prove to be the precursor of Impressionism.

Punch’s Cousin, Chapter 309

“This is where I left her, Your Grace.” Charles said with clear alarm.

“Well, she weren’t alone. Were she?” Punch sighed, pointing to the disturbed pool of blood in front of the altar.

“I suppose not.” Charles gulped. “She’d had to have help in order to carry that man out of here.”

“Them’s the kind of footprints what a lady makes.” Mr. Punch continued. “A lady inasmuch as her slippers were those of the kind of woman what sits in drawing rooms and not the kind of boots worn by a woman what’s gotta work. Here, what kind of things does that Marie Laveau wear on her feet?”

Charles shook his head and shrugged. “I never looked at her feet, Sir.”

“Well. Let’s think ‘bout this.” Punch said. “Marie’s not a great lady. She works hard. Yet, she works with rich ladies what would want her to arrive in their homes dressed in a way what’s fashionable. So, she might wear shoes such as them what made these tracks.”

“But, Marie Laveau wouldn’t help Barbara—certainly not after discovering that Barbara murdered her late husband’s brother.”

Mr. Punch frowned. “We don’t know that. Who knows what Marie will do? Who knows what she thought of the man? And, who says she’s helping Barbara? Maybe she got Barbara and made her carry the fella away for proper burial and now she’s punishin’ the woman what killed him.” Punch grunted. “But, I think you’re correct. These tracks weren’t made by Marie Laveau.”

“Who then?” Charles asked.

“Ulrika Rittenhouse? Iolanthe Evangeline? Some other lady what’s been fooled by Barbara? Or one what wants to punish her?”

“What should we do, Sir?” Charles asked nervously.

“I don’t know.” Mr. Punch said.

“Shouldn’t we look for her?”

“Probably.” Punch shrugged. “Though I ain’t as eager to find her as you are.”

“She’s your sister, Sir.”

“I said before,” Mr. Punch shook his head. “That woman what’s out there ceased bein’ me master’s sister when she began callin’ herself Barbrara Allen.”

“Whatever she’s called, Sir, she’s still your blood.”

“I know.” Punch grumbled. “Don’t worry, I ain’t gonna leave you to find her alone. But, once we find her, if she’s up to pure evil again, I ain’t gonna help her to do it. My first thoughts gotta be for that child. As it is, I got Meridian tryin’ to arrange passage for me and Robert and Colin without lettin’ Edward Cage know. “

“I overheard a little of your instructions before we left.” Charles nodded. “You’re traveling incognito? It will be difficult.”

“Sure it will. Two men and a baby with a suite of staff. Sure, it will be difficult. But, by the time folk figure out that this body is that of the Duke of Fallbridge, and not ‘Julian Pulcinella’ as I’m callin’ myself on the ship’s register, we’ll be far from Edward Cage and far from havin’ to give that poor babe back into hands what’ll only hurt him.”

“Julian Pulcinella.” Charles nodded. “And, who, then, is Dr. Halifax?”

“He’ll be called. Roberto Amici.” Punch grinned.

“I wish you well, Sir.” Charles said softly.

“Most kind of you.” Punch nodded. “Now, then, let’s see if we can’t find that bothersome wench.”

“Yes, Sir.” Charles replied.

At that very moment, Marie Laveau shrieked as she walked into the larder of her smoke-damages house. She’d gone in to fetch Nellie’s body, so that she and her men could get rid of it. However, she was shocked to find that Nellie’s remains were not alone. There—on the floor of the pantry—Nellie’s body was wrapped in the arms of the corpse of Louis Glapion. The two, together, looked like slumbering lovers.

Hot tears rose in Marie’s eyes. “Oh, there will be punishment! There will be punishment most terrible!”



Did you miss Chapters 1-308? If so, you can read them here.

Card of the Day: The Duke of York

The Duke of York (later King George VI, father of Queen Elizabeth II), has been very much in the public eye again due to the popular recent film, The King’s Speech, which chronicled Bertie’s (as he was known to his family) unexpected rise from Duke of York to King of England and his fear of public speaking.

The Duke of York, like his father, King George V and his mother, Queen Mary, preferred quiet times at home with his family. Unlike his famously wild brother, the Princes of Wales (later King Edward VIII, later the Duke of Windsor), the Duke of York was shy like his mother and did not wish to be the center of attention.

Bertie’s father, King George V (previously the Duke of York and Duke of Cornwall), was not meant to be king. However, when his brother, the Prince of Wales died, George was pressed forward as heir apparent to the throne. While Bertie’s brother didn’t die, he did abdicate the throne upon the death of his father and pushed yet another Duke of York toward the Crown. Known as the “Reluctant King,” George VI, like his father before him, carried his country through a devastating world war, and yet, proved to be steadfast and much beloved. His eldest daughter, Queen Elizabeth II, follows in this tradition of dedication to the Empire.

The fourth card in the Silver Jubilee Series by Godfrey and Phillips shows “Bertie” as the Duke of York in a photo taken long before the idea of being King was not even present in his mind. I was quite tickled to find this video which features King George VI with his family. It’s interesting to see the young Princess Elizabeth and her eldest child—a baby Prince Charles—still with Queen Mary living. Enjoy this compilation of old film footage which ranges from the silly to the touching.

Object of the Day, Museum Edition: A Glass Epergne, 1895

Epergne
English, 1895
The Victoria & Albert Museum

The decoration of a Victorian dinner table was as important as the meal which was set upon it. Most households, especially those of the middle or upper classes, collected a variety of centerpieces to adorn their dining room tables when in use and when not. Most centerpieces included some variation of a vase or flower stand which would sometimes serve as a base for more elaborate displays.

An Epergne is a table centerpiece which usually incorporated a central bowl as a support for several tiers of other stands and containers used for anything from flowers to candy. These glass structures with their tiers of holders allowed both the designer (who provided a well-balanced framework to support the tiers), and the glassblower to work together to create impressive works of art. The third set of hands in the process of creating an epergne was the craftsman who fitted the various glass parts together with brass mounts set in plaster.

The epergne proved to be a popular home accessory well into the Twentieth Century. As time passed, they became increasingly complicated with some examples incorporating candelabra and suspended bon-bon dishes in addition to additional holders for flowers. Sometimes, in fact, lights, mirrors and a variety of twists, volutes, fronds, crimping and colors were incorporated into these designs.

This example is quite subdued, really. A masterpiece of hand-blown and hot-worked glass, blue-colored and opalescent is set into decorative glass mounts. Made in England in 1895, this epergne now resides at the V&A.

We'll be back on Monday

Please don't hang me, but, Bertie and I are taking the day off.  Never fear, we'll be back on Monday with  all new articles, a treat of the week, and a new chapter of Punch's Cousin.  Here's wishing everyone a great Sunday!