Mastery of Design: An Enamel, Pearl and Diamond Bracelet, 1875

Bracelet
Enamel, Pearls and Diamonds
French, 1875
The Victoria & Albert Museum

Today’s sparkly thing is a bracelet of translucent and plique-à-jour enamel in gold openwork, set with pearls and rose-cut diamonds.


It is the work of the renowned Parisian jeweler Frédéric Boucheron (1830-1902) and one of his team of fine designers and craftsmen--Charles Riffault. Riffault revived the technique of translucent or un-backed cloisonne enameling. Boucheron had exclusive rights to Riffault’s process and the firm who exhibited the technique at the International Exhiibtions of1867 and 1878.

History's Runway: An Embroidered and Beaded Silk Tea Gown, 1900

Tea Gown, 1900
The Victoria & Albert Museum

This frothy frock is a tea gown of ivory woven silk damask embroidered with glass, metal thread and beads. It is decorated with chain-stitch embroidered net and a long pleat of lace which drops from the neck to the hem in a style known as the “Watteau pleat.”

Tea gowns were developed in the 1870s as easy, comfortable dresses which were appropriate for a woman to wear for tea with family and friends in the home. However, as things often do, they became increasingly elaborate and fitted as time went on. By the 1890s tea gowns showcased exotic fabrics and threads and were worn for public appearances, such as dinner parties.

The gown we see here is a combination of influences and materials. The embroidered front panel of this gown was made in India for export as it was designed to appeal to European taste.

Masterpiece of the Week: A Mother-of-Pearl Spectacle Case and Spectacles, 1685-1688

Spectacle Case
The Victoria & Albert Museum

I think this is very pretty, and I’d never have guessed that it is as old as it is. Here, we see a French spectacle case of painted and gilded mother-of-pearl. The case was donated to the V&A still containing a pair of folding spectacles, of tortoise-shell and silver. The spectacles were actually made later in the Eighteenth Century.


The case itself was made in the shape of a pair of spectacles with a high, arched bridge. It is crafted of two sheets of mother-of-pearl, joined by a narrow, molded, strip of silver around the sides and base of the case. One surface of the mother-of-pearl is painted in red, green and yellow with a floral design springing from a trellised flower pot centered on each lens.

This case may have belonged to James II. The painted mother-of-pearl case is of the very highest quality and would have only been available to someone of Royal or noble birth. A letter that accompanied the spectacles, from the Eighteenth Century, describes how the case passed from James's son, the Old Pretender, through several hands, until it came into the possession of a Mr. Walker in 1770.

Sunday Morning Special: Queen Victoria’s Life in Pictures

This fun video takes you on a pictorial journey through the life of Britain’s longest reigning monarch. Enjoy!

Coming this Week at "Stalking the Belle Époque" and Punch's Cousin

Next week, I’ve selected a dazzling array of paintings, objects and jewels to show you as we continue to stalk the Belle Époque. We’ll also have a few appearances by Bertie, so, Bertie fans, get ready for some fun.



Of course, Punch’s Cousin will continue. Last week, we saw Mr. Punch come to Julian’s rescue as he journeyed through his own thoughts and memories. Punch reminded Julian that not all of his memories were bad ones as they revisited the moment when Julian allowed Punch to become a part of his thoughts. However, that warm moment was interrupted when Punch brought Julian back to a particularly painful moment from their shared past. How will Julian react? You’ll find out next week.

Meanwhile, as Marie Laveau’s odd ritual continued at the Place Congo, Charles realized that Barbara had completely lost her mind. After Iolanthe Evangeline had her hands burned by Marie, Ulrika and Giovanni wondered what Marie had in store for them.

But, worst of all, Agnes Rittenhouse was up to no good when she took both Julian’s nephew and little Fuller Halifax from their nursery. Agnes fled to a nearby house where she was found by Edward Cage who was thrilled to have “his son” returned to him. Edward rewarded Agnes with a great deal of money and she fled to a hotel where she declared that she would offer Fuller to Barbara Allen to replace the son that she lost.

Edward’s joy was cut short when he presented the child (called “Holt,” once again) to his wife whose reaction did not please him. Edward quickly realized that his wife, Corliss, was ill and it was soon discovered that she had contracted the Yellow Fever. Edward ordered his man, Odo, to fetch Robert and Marjani to nurse his wife—stating that he’d kill Odo if he returned without them. Odo panicked when Marjani and Robert refused to come with him and nervously admitted that he knew the whereabouts of the Duke’s nephew.

Robert and Marjani followed Odo who insisted that they look at Corliss before seeing the child. At that moment, Odo decided that he couldn’t risk letting Robert get near the boy and vowed to hide the child.

Will Robert and Marjani get the baby back before Odo flees with him? Will Corliss die? Will Julian regain consciousness? Will Agnes’ plan to give Barbara the Halifax’s baby come to pass? You’ll find the answers to all of these questions and more in this week’s Punch’s Cousin.

Card of the Day: The Legend of the Coronation Stone

The next card in the 1935 Silver Jubilee Series by the Churchman Cigarette Company depicts the Legend of the Coronation Stone. This refers to the “Stone of Scone” and not the Coronation Stone which is on display in Kingston Upon Thames.


The Stone of Scone is also known as the “Stone of Destiny” and, in England, is referred to as “The Coronation Stone.” It is an oblong block of red sandstone, which has been employed for centuries in the coronations of the monarchs of Scotland and later, England, Great Britain and the United Kingdom.

For ages, the stone was kept at the now-ruined Scone Abbey near Perth, Scotland. This relic has also been called “Jacob's Pillow Stone” and the “Tanist Stone.” The top still shows chisel-marks, and, at each end of the stone is an iron ring to aid in moving it.

Legends states that this stone was the coronation stone of the early Dál Riata Gaels from Ireland. It is also thought that Fergus, son of Ferchard, the first King of the Scots in Scotland, brought the stone from Ireland to Argyll, and was crowned upon it. Furthermore, some Legends place the origins of the stone in Biblical times and consider the stone to be the Stone of Jacob taken by Jacob while in Haran.

The stone was taken by Edward I of England as spoils of war. Edward brought the stone to Westminster Abbey, where it was fitted into King Edward's Chair, upon which all English sovereigns have been crowned. In The Treaty of Northampton 1328, England agreed to return the captured Stone to Scotland, however, an angry mob prevented it from being removed from Westminster Abbey. Therefore, the stone remained in London until 1996 when, in a symbolic response to growing dissatisfaction among Scots, the British Conservative Government decided that the Stone should be kept in Scotland when not in use at coronations.

Object of the Day, Museum Edition: A Silver Spirit Flask, 1690

Spirit Flask
Silver, 1690
The Victoria & Albert Museum

Here we see a silver spirit flask that bears the arms of Charles Beauclerk (1670-1726), the elder illegitimate son of Charles II by his mistress, the actress Nell Gwyn. Nell and Charles had a rocky relationship. He rebuked her after she referred to their six year old son as a “bastard.” Gwyn’s response was, "Your majesty has given me no other name by which to call him."

Never one to enjoy being challenged, Charles II gave his son the name Beauclerk and created him Baron Heddington and Earl of Burford. In January of 1684, he was created Duke of St Albans and in April of 1694 he was married to Diana, second daughter and eventually sole heiress of Aubrey, 20th and last Duke of Oxford.

His flask is engraved with scrolling foliage in the style of the artist Blaise Gentot and has been brilliantly constructed with a removable base which serves as a cup with a gilt interior and a top which can be inverted and used to unscrew the internal stopper.