Thursday, February 9, 2012

Punch’s Cousin, Chapter 458

“Silence?” Robert grunted stiffly at Giovanni as the man swaggered around the Duke’s cabin aboard the ship. “It’s not like you to be so quiet? Could it be that you’re actually thinking about something?”

Giovanni grinned and sat on Punch’s bed.

Mr. Punch straightened his back and narrowed his eyes at Giovanni, affecting his best imitation of Julian’s voice.

“Suddenly, you’re borrowing your behavior from Mr. Dickens?” Punch asked, his dialect a perfect reproduction of Julian’s soft, mannered speech and pronunciation. “What am I to believe? Am I now Ebenezer Scrooge and you the Ghost of Christmas Yet to Come? How very literary, we are. But, isn’t this tactic a tad passé? Such theatrics owe more to ten years ago than they do 1853.”

Robert looked curiously at Mr. Punch, for a moment, thinking that Julian had reemerged from the depths of their shared psyche. Still, despite Punch’s excellent affectation, he was not fooled—concluding that Mr. Punch had hoped that a more formal, aristocratic behavior would somehow intimidate the man who seemed to take such delight in menacing them.

Still, Giovanni said nothing.

“At some point,” Mr. Punch continued, still acting as the Duke, “you’re going to have to speak. I’m not a reader of minds, and, truly, you’ll find that this will reach a more expedient and satisfactory conclusion if you only communicate what it is exactly that you want.”

Giovanni just grinned.

“Have you come to murder us?” Punch asked. “If so, you’d best get on with it. You’ll find that the threat of death does not faze me. I’ve been so close to death lo these many years that I’m too familiar with it to fear it. In my heart, I have already died a thousand times. When my life does pass, I shall great the Reaper as an old friend and embrace him. So, your silent threats have no effect on me.”

Again, Giovanni was silent.

“Well, at least our unwelcomed guest is comfortable.” Mr. Punch sighed—a bit of his own voice creeping into his speech. He corrected himself quickly.

“What is it that you want?” Punch continued. “You have already stated that you’ve not come for the child. That’s all the better since you’ll never get him. So, what is it? Money? Gold? I’ve little else to offer. I have no authority to speak of. No power. I’m not involved with politics and my association with the Crown is purely a personal one with underpinnings of business. If you think I can secure an audience with Her Majesty for you, you’re mistaken. All I have is money and property. If any of it would please you, just say so and I’ll offer it to you so that we may have some peace. In fact, there’s a fine case of jewels just in that wardrobe. You’re welcome to it, if only it would hasten your departure.”

“Why does he speak this way?” Giovanni said finally, looking at Robert.

“How else should he speak?” Robert replied.

“Like himself.” Giovanni growled, his accent thick. “Now he talks as a proper man. Where is his comic voice like a ruffian?”

“You should be more concerned with your own speech,” Robert sighed.

“Coo!” Punch yelped, casting aside his pantomime of the Duke. He shook his head. “I’m gonna have to hit him on the head, Chum. Can we fit ‘im through the window there? Push ‘im right into the sea, we will. The sea monsters will feed on his blood.”

“No.” Robert mumbled. “We can’t fit him through the porthole. And, you won’t be striking him. I’ve already injured this man once; let me finish what I started.”

“You both speak of killing me, yet, you don’t know why I’m here?” Giovanni laughed. “That seems uneven, yes?”

“No.” Punch scrunched up his nose, or, to be more accurate, Julian’s nose. “You killed me pa, you did. As far as I can see, you earned a beatin’.”

“Would the two of you please sit?” Giovanni asked. “I simply wish to propose something which might benefit all of us.”

“You’ve had a chance to do so.” Robert hissed. “And, yet, you tried to intimidate us with your damned silence. Now you must answer for it!”

Before Robert could say or do anything more, the cabin door burst open and Pete—the man who had protected Marjani, Columbia and Gamilla below-decks, lumbered into the room, towering over all of them. He was followed by three of the other men who had assisted him below.

“Here!” Punch gasped.

“Marjani sent me.” Pete nodded.

“What?” Robert shook his head.

“You the Duke?” Pete asked Robert.

“No.” Robert replied, startled.

“He?” Pete pointed to Punch.

“Yes.” Robert nodded.

“Who dat?” Pete asked.

“An intruder.” Robert responded.

“He’s bad, yeah?” Pete asked.

“Yes.” Robert nodded again.

“Fine.” Pete staggered over to Giovanni, picking up by his armpits and raising him off of the bed.

Giovanni wriggled, but could not break Pete’s grip.

“Where you fellas want him?” Pete smiled.


Did you miss Chapters 1-457? If so, you can read them here.

Valentine of the Day: On Life's Sea, In Love's Boat, 1840-80

On Life’s sea
In Love’s boat
Ever with thee I
Could Float.

So reads this printed, hand-watercolored valentine which was made between 1840 and 1880 of card, paper-lace, fabrix appliqué. The work of an unknown artist and publisher, the card was bequeathed with other greeting cards to the V&A by Guy Tristram Little.

The scene of two lovers in the sort of gondola used for romantic boat rides in decorative lakes in parks is set off by two fabric-applied flaming hearts.


Card of watercolor, fabric and paperlace.
1840-1880
The Victoria & Albert Museum

Object of the Day, Museum Edition: Part of an Uncut Sheet of Playing Cards, 1490-1500

An Uncut Sheet of Playing Cards, 1490-1500
The Victoria & Albert Museum



Here’s a very rare item. We see a large sheet printed sheet of uncut playing cards dating to the late Fifteenth Century. The sheet includes three images (one partial) of the Knave (Jack) of Diamonds and three images (also, one partial) of the Knaves of Hearts.

Due to the exorbitant cost of printing in the Fifteenth Century (an issue which persists to this day), it was more cost-effective for playing-card makers to print several cards in black and white on one sheet of paper, color them through a stencil and then cut the sheet into the individual cards, than it would have been to print and color cards individually. Isn’t it interesting how, after five hundred years, the design of playing cards is essentially unchanged?

The knaves depicted wear fashionable, aristocratic, motley costume, in red, yellow and green. The Knave of Hearts is particularly smart in leggings and a codpiece, a short doublet with long, square-ended false sleeves over close-fitting sleeves and a hat with a feather. The Knave of Diamonds wears a longer doublet with long, square-ended sleeves and a hat with a feather. The Knave of Hearts holds a dog on a leash and carries a staff while the Knave of Diamonds carries a weapon with a banner.

The cards, printed in Lyon, France, are signed by Gilles Savouré, Gilles (possibly the woodcutter). Other marks include, “G: Cartier/G. S. C /H.H./P.30.” These were purchased with funds from the bequest of Captain H.B. Murray (1843-1910), from a sale of the collection of Henry Ralph Mowbray Howard at Sotheby's on the 25th of February 1920. The catalog from the sale states:


“German and Other Woodcuts of the XVTH Century

All, with the exception of the first, are coloured in the manner usually employed in the embellishment of the separately issued relief-cuts on wood or metal of this early period. In nearly every case the impressions now offered for sale are believed to be the only ones known and as such they are recorded in Schreiber's 'Manuel de l'Amateur de la Gravure sur Bois et sur Metal au XVe Siecle'. The sizes given include the border, when such exists, although in many instances such border is a line of colour added by hand.'

The sheet had been preserved in a 16th century binding to Le Trésor de l'Ame, published in Geneva: L. Cruse, 1494.”

 




Wednesday, February 8, 2012

Mastery of Design: The Lion Segreant Diamond Brooch, 1750

Pendant Slide
Cordoba, Spain, 1750
The Victoria & Albert Museum
Marked with a symbol of a lion segreant, meaning a winged lion with both forelegs raised, this slide and pendant of gold, table-cut and rose-cut diamonds was made in Cordoba Spain. The slide takes the form of a bow with two foliated segments below, the lowest a cross.

Figure of the Day: Samson and the Lion, 1860

Samson and the Lion
Staffordshire Group, circa 1860
The Victoria & Albert Museum



Painted with enamel colors, this Staffordshire figure group of a lion tamer may depict Samson forcing open the jaws of a lion. Made circa 1860, this molded lead-glazed earthenware flat-back was just one of many popular scenes produced by the Staffordshire factory.

The Home Beautiful: The Haschka Grand Piano, 1815-20

Piano with Scene of Samson and the Lion
Vienna, 1815-20
The Victoria & Albert Museum


Around 1800, Viennese pianos were among the most prized—celebrated for their delicate tone and ease of playing. These pianos were often outfitted, as this one is, with a number of pedals which were designed to create special musical effects such as drums and bells. This example was made between 1815 and 1820 by Georg Haschka (1772-1828)—proprietor of a small workshop in Vienna. Interestingly, this piano was owned by Sir William Quiller Orchardson R.A. (1832-1910), an eminent Scottish painter, who depicted it in his painting, “A Tender Chord.”

The instrument is housed in a pinewood case which is veneered with mahogany on the outside and satinwood on the inside. It features gilt highlighting and ormolu mounts and pedals as well as a painted lid and name-board which illustrates a scene of Samson and the Lion.

The piano is marked, “Georg Haschka in Wien George Hashka in Vienna.”

Sculpture of the Day: The Stevens Lion, 1852

Bronze lion after Stevens, 1852
The Victoria & Albert Museum



This bronze figure of a seated lion is copied from a model made by British sculptor Alfred George Stevens (1817-1875) around 1852 for the seated lions he cast for the tops of the newel posts outside of London's British Museum.

According to one critic of the day, “the number of imitations of this lion by other artists is their sincerest tribute; and technically it is equally a triumph for Stevens in the small number (20) of pieces which are necessary in the mould for casting it.”

The lions are no longer in position outside the British Museum. Some were removed in 1896 to railings outside the Charles Holden wing of the Law Society building in Chancery Lane. Others were placed on the railings which surround the Wellington monument in St Paul's Cathedral, London. This transfer took place between 1892 and 1912, when the tomb was removed from the Consistory Chapel in St Paul's.