Unusual Artifacts: A Gold and Jeweled Toothpick, 1580

Gold Toothpick with enamel, rubies and a diamond.
Germany?, 1580
The Victoria & Albert Museum

This is not the kind of toothpick you’d find in a dispenser in a diner. Irritating people would call this, an “extreme toothpick.”


But it is a toothpick. A gold toothpick, but a toothpick nonetheless. The handle depicts a nude female figure of Lucretia, adorned with flowing bands enameled in blue and red, and with garters of red enamel just below each knee.

Her head is surmounted by a loop from which the toothpick might be suspended on a cord or ribbon. Lucretia (a legendary figure from Roman history) sits upon a scroll which has been enameled in green on the front, and in blue and black on the reverse. The toothpick’s sickle-shaped blade is engraved and was prepared for the application of enamel, however most of what was there has been lost. Only black enamel remains. The ornamentation between the handle and the blade is enameled in blue, red, white and green. The toothpick is set with two rubies and one diamond--all table-cut. You know, like most toothpicks.

This was made in 1580 and probably in Germany. The Sixteenth Century saw a resurgence of elaborately decorated toothpicks such as those that had been, at the time, recently discovered in ancient ruins.

Punch’s Cousin, Chapter 354

“Iolanthe, Iolanthe, Iolanthe,” Marie Laveau clucked her tongue. “I gotta say, Woman, I am disappointed in ya.”


“Please, spare me your Holy Mother routine.” Iolanthe growled, struggling against the fabric which Marie’s men had used to bind her hands.

“Ain’t I?” Marie grinned. “Ain’t I the Holy Mother?”

“Ha!” Iolanthe Evangeline spat. “You’re about as holy as I.”

“Now, now.” Marie scowled. “Ain’t it true? I got a life inside me. Didn’t get there by no earthly way.”

“Didn’t it?” Iolanthe chortled. “This whole spectacle is for the benefit of your faithful followers, Marie. That child got there the same way your other fourteen did, and the same way all o’ mine did.”

“Only one of yours lived, Honey.” Marie barked.

“I only let one of mine live.” Iolanthe snarled.

“And, look what that got ya. Some kind of monster.”

“I may be bound, Marie Laveau, but if you say another word about my son, I’ll kill ya!” Iolanthe shouted.

“I ain’t scared.” Marie laughed. “Now, Woman, I thought you and I had finally reached an understandin’. I thought you done come back to me and that we was ready to put our bad blood behind us. Then, I come to find that you and your flame-haired white accomplice gotta help the Duke’s servant get to him. Now, what you want to go an associate with folk like that for. Honey, stick with your own kind.”

“I’m not like you, Marie.”

“Honey, you’re an octoroon. Your skin may be light, but inside, you’re just like me. And, don’t we got the same beliefs? Ain’t we both united in our power?”

Iolanthe didn’t respond.

“Oh, Woman, you’re only makin’ things worse for yourself. Now, why’d you have to go an’ cross me, Honey?”

“Marie, I didn’t cross you. I just have different interests.” Iolanthe smiled.

“I understand.” Marie narrowed her eyes. “Raise up your hands.”

“Why?”

“I want to untie you.” Marie smiled.

Iolanthe hesitantly raised her bound arms in front of herself.

Her screams of agony cut through the chaotic din in the Place Congo.

Meanwhile, at the Royal Street mansion, Meridian lay on the floor as Agnes Rittenhouse chortled above her.

“Never underestimate a nanny, my dear.” Agnes giggled to the unconscious woman. “We may be small, but we’re mighty.”

She turned her attention to Columbia who cowered in the corner of the nursery.

“Do you want me to do the same to you, little girl?” Agnes asked.

“No.” Columbia whispered.

“Then, you’re going to hold your tongue until I leave here. Do you understand?”

“I do.” Columbia trembled.

“Which one of these babies is my Lady’s?” Agnes asked Columbia.

“I dunno.” Columbia shivered. “Who’s your lady?”

“My Lady! My Lady!” Agnes belched impatiently.

“I don’t understand.” Columbia cried.

“Useless!” Agnes spat. “I’ll just have to take both of them.”



Did you miss Chapters 1-353? If so, you can read them here.

Card of the Day: The Sword of State and the Sword of Mercy

Let’s continue our look at the “stuff” that’s used in the British Coronations—properly called “Regalia”—via the Churchman Cigarette Company’s 1935 Silver Jubilee card series. This one, the thirty-third, shows two of the swords which are kept in the Jewel House at the Tower of London and which are used in the coronation ceremony. These are the Sword of State and the Sword of Mercy.

Sword of
State

There are, actually, five swords now kept in the Tower. The largest of these is the Sword of State, This large ceremonial weapon has a blade of about thirty-two inches long. The grip and the pommel are fashioned of gilt metal. The grip bears designs of the portcullis, fleur-de-lis, and harp. The pommel is adorned with the thistle, orb, and other Monarch-like emblems. The sword’s scabbard itself is lined with crimson velvet and decorated with gilt metal plates bearing designs of a similar nature to the swords itself, in high relief.

Sword of Mercy

The next sword is the strangest of the lot. It is known as the "Curtana," or the "Sword of Mercy,” and is thought to be the sword of Edward the Confessor. What’s curious about it is its blunted point which is meant to represent the quality of mercy of the sovereign. According to the mythological history of the weapon, the point of the sword was broken off by an angel to prevent a wrongful killing. I don’t know about all that, but, the symbolism does make sense.

Object of the Day: An Antique Organ Grinder Card

It should come as no surprise to anyone that, as an antique collector, historian, puppetry enthusiast and quasi-spooky guy, I have a soft spot for grotesquery. I mean, presently, I’m sitting across from a rather large Mr. Punch puppet who grins at me all day. So, I do enjoy things that are not traditionally beautiful.

I suppose that’s why I was drawn to this little Victorian card which we found at a local antique shop. It has been mounted on cardboard, so I have no idea what the reverse says, but the front shows a rather grotesque couple with large, stylized, puppet-y heads. The man is an organ grinder and instead of a monkey, he has a child (presumably his own) who collects money for the family. Musical notes and words at the lower right corner hint at the song that he plays.

I just love it. The colors are perfectly Victorian—that brilliant blue and the coral red. The stylized background suggests Italy, but it could double for any major European city. I think it’s odd and wonderful and disturbing and beautiful all at once.

Mastery of Design: The Spanish Lion Ring Brooch, 1300-1500

Ring Brooch
The Victoria & Albert Museum

Made to be worn either as a ring or a brooch, this unusual jewel comes from Spain and dates somewhere between 1300 and 1500.


A masterpiece of gold, ruby, and onyx, the ring is formed of a gold branch which has been naturalistically chased and engraved, and adorned with broad leaves, each of which curls downward into a volute. Between each set of volutes, a ruby has been set.

At the center, an onyx cameo is set, depicting shows a lion mauling another animal. Fun! The case of the roundel is edged with scrolls and open-back rubies. Only the base of the pin remains, but is evidence that the jewel was multifunctional.

History’s Runway: The Coromandel Coast Gown, 1780

The Victoria & Albert Museum

Just think for a moment. This gown is two-hundred thirty-one years old. An open dress of Indian cotton chintz fabric from 1780 is painted and block-printed with gold spots. The gown has a fitted back with a raised waist seam at the rear of the bodice.


The front of the boned bodice is pointed and closes centrally by a drawstring which passes through the neckline. The half length sleeves are lined with white cotton. The skirt is constructed from three panels of fabric measuring 45 inches selvedge to selvedge. Cotton ties at the back of the bodice would have secured a bustle.

Designed to be worn over a petticoat of silk or matching chintz fabric, this gown was the height of fashion in the Netherlands in the late Eighteenth Century.

Sculpture of the Day: A Lion After Landseer, 1874

Paperweight
The Victoria & Albert Museum

Among the most famous public sculptures in Britain are the lions at the base of Nelson’s Column in Trafalgar Square which were designed by Sir Edwin Landseer. Those celebrated lions have inspired multiple works of art including this handsome paperweight of blue pressed glass.


The lion was created through a new technique of press-molding glass with the aid of a hand-operated machine. This technique—developed originally in the U.S. in the 1820s--made the mid-to-late Nineteenth Century the beginning of true mass production of pressed glass in the U.K..

This beautiful piece heralds from John Derbyshire's Regent Flint Glass Works at Salford, Manchester. The concern was not long-lived, however, during its few years of production it manufactured some of the most sought-after paperweights in Britain. The best known of the collection is this lion. Others which were inspired by Landseer also proved to be big sellers. These included based on the master’s paintings of a greyhound and a collie.