Mastery of Design: The Grapevine Necklace, 1840-1850

Necklace
London, 1840-1850
The Victoria & Albert Museum

The mid-Nineteenth Century saw an upsurge in jewels designed in naturalistic shapes. This trend was made all the more fashionable by Queen Victoria who had several pieces, many of them designed by her husband, Prince Albert, in the form of flowers, fruit or animals. This necklace is a perfect example. Here, we see a necklace in the form of vines laden with grapes and leaves. It is constructed of enameled gold mounted with amethysts.

This type of naturalistic jewelry emerged with the Romantic movement in the early 19th century and steadily grew in popularity, remaining popular for many decades. This piece is part of a suite which includes a matching pair of earrings.

Masterpiece of the Day: The Dinglinger Box, 1705

Enameled and Jeweled Box
Dresden, 1705
The Victoria & Albert Museum

In case you’ve not noticed, let me point out that today’s posting has been sporadic and difficult. Somehow, all Internet connections in my area are messed up. This seems to be a probalem that’s reaching a forty mile radius. Every time I think, “Now, I can download my pictures and go on about my business,” the darn thing freezes up and I’m stuck. So, I apologize if I seem slow today. Also, I’m aware that most everything I’ve put up today has been formatted oddly.
Oh well. Let’s soldier onward.

Even though technology is not cooperating with me, I am always amused by this name. “The Dinglinger Box. Say it with me, “Dinglinger.” Love it.

So, here’s the Dinglinger (ha!) Box. This cylindrical gold and silver box has a cover which has been enameled and set with rose-cut diamonds in silver settings and four rubies.

The box is the work of Johann Melchior Dinglinger (1664-1731). Dinglinger was the court jeweler to Augustus the Strong of Saxony, Germany.

Gifts of Grandeur: A Jewel and Enamel Pendant, 1680-1700

Pendant
Late Seventeenth Century
The Victoria & Albert Museum

Here we see something quite special. This enamelled gold openwork lozenge pendant is set with sapphires, rubies, emeralds and rose-cut diamonds. The reverse of the pendant is adorned with a depiction of a bowl of fruit in painted enamel.

This masterpiece was made in Western Europe in the late Seventeenth Century and came to the V&A at the bequest of Dame Joan Evans who left most of her impressive collection of jewels to the museum.

Treat of the Week: Angel Cookies

This week's Treat of the Week is a new cookie that my mother created based on a traditional Louisiana recipe. They are, in short, rather like chocolate chip cookies sans the chocolate chips. Crisp on the edges and chewy in the center, these delicious cookies are dusted with turbinado sugar and, then, adorned with squiggles of white and dark chocolate.

These were served with homemade chocolate pudding, whipped cream and chocolate monograms.

Unusual Artifacts: An English Biscuit Tin, 1894

The advent of the now celebrated British biscuit tin came when the Licensed Grocer's Act of 1861 allowed foods to be individually packaged and sold by different brands. At first, paper labels were affixed to these tins. This coincided with the removal of the duty on paper for printed labels.

Soon, however, logos and colorful images were printed directly on to tinplate and exotically decorated and shaped tins began to emerge. The new process of offset lithography, patented in 1877 allowed multicolored designs to be printed on exotically shaped tins.

The most exotic designs came about during the end of the Nineteenth Century and until the First World War during which the production of these tins became prohibited by cost of printing and scarcity of tin.

Here, we see a brightly-colored Christmas tin which dates to 1894. This is part of collection of such lovely tins that is housed in the Victoria and Albert Museum.

Punch's Cousin, Chapter 363

Corliss Cage looked up helplessly as Robert greeted her.

"Perhaps you don't remember me, Mrs. Cage. I am Robert Halifax, and this is my nurse, Marjani."

"I know you.". Corliss rasped.

"Your husband sent for us."

"He told me that he had done so." She sputtered. "I'm not to talk to you. Edward said so."

"It will be better if you do not." Robert nodded. "You should save your strength. I am going to examine you. Do you understand?"

Corliss nodded weakly.

"Your fever is very high." Robert said softly. "For how long have you felt this way? You need not speak, just hold your finger up to show us how many days."

Corliss limply raised her arm ever so slightly and extended three fingers.

"So long and you've said nothing."

"Martyr." Corliss whispered. "That's what Edward calls me."

"That's no matter now." Robert shook his head. "Mrs. Cage, Marjani is going to bathe you now with water and some special herbs which will serve to cool you. Do you understand."

"Must she?"

"If you wish to feel better."Robert nodded. "It will make you more comfortable."

"I have not been comfortable in ten years." Corliss coughed. "Should I start now?"

"Now is as good a time as any.". Robert smiled.

"Will you remain here?"

"I don't have to. If you would prefer privacy, I can go elsewhere."

"Where?" Mrs. Cage moaned. "To the nursery? Is that why you've come? To look for the boy?"

"Mrs. Cage, you need to stay calm." Robert shook his head.

"Edward told me to say nothing about it to you."

"There's no need." Robert nodded. "Not now."

"But, I must. I love the boy."

"I know that you must, but, Mrs. Cage..."

"You mistake me. I want what's best for him. That is why I will help you to take him."

Did you miss Chapters 1-362? If so, you can read them in the Chapter Archive located on the right menu.

Object of the Day , Museum Edition: A French Biscuit Figure, 1904

The Victoria & Albert Museum

As styles changed from the more formal sculptures of the Nineteenth Century, French artists experimented with figures which represented motion and drama. This new mind-set was one of the seeds from which the Art Nouveau movement grew.

This figure perfectly sums up the spirit of the Art Nouveau style. This was originally part of a group of fifteen, entitled 'Jeu de l'Echarpe' ('Scarf Dance'), and was inspired by the sensational dance performed by the American Loïe Fuller, who was a regular fixture at the Folies Bergère in Paris.

This motif of the free-flowing, silk-clad dancer came into the front of artistic consciousness in 1893 in an iconic lithograph by the French artist Henri Toulouse-Lautrec. The theatricality of this Sèvres figure and its supporting group solidified the motif in turn-of-the-century Parisian art.

The group is the work of Agathon Léonard for Sèvres. He began the group in 1898 and displayed some of the pieces at the Universal Exhibition in Paris in 1900, where Sèvres won a prize. The figures were described in the exhibition report as "a graceful and charming ensemble which were a great and deserved success." The figures were produced by Sèvres in many editions and were also copied in bronze and porcelain.