Mastery of Design: The Complete Set of Nine Stones Produced from the Cullinan Diamond

The Complete Set of Nine Stones Produced from the Cullinan Diamond
1908
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This platinum print from October of 1908 shows “the complete set of nine stones produced from the Cullinan Diamond.” The print was acquired by the future King George V (1865-1936) in 1908 so that a record of the diamond’s cutting could be added to the future Queen Mary’s records.

The diamonds pictured here were cleft from the Cullinan Diamond. Cullininan I and II, the two largest, were set aside for King Edward VII. They were set in 1909 in an awkwardly large pendant brooch. In 1910, when George V ascended in place of his father, he asked that the Culinan I and II be set into the head of the Sovereign's Sceptre and on the band of the Imperial State Crown, respectively. The diamonds, however, remained detachable and could be worn either together or independently as brooches. Queen Mary liked to do that every so often.

The remaining diamonds cut from the Cullinan were retained by Asscher (the cutter for whom the famed diamond cut is named), with the exception of the Cullinan Vi which had also been given to King Edward VII. Asscher kept these stones and the smaller collection of ninety-six smaller stones and fragments as a fee for cutting the original massive diamond.

However, did you really think Queen Mary would NOT get her hands on them? The whole lot was acquired by the South African government who gifted all of them to Queen Mary in 1910 in preparation for the 1911 Coronation. Stones III and IV were set into a pear-shaped drop of 94.4 carats. A square-cut stone of 63.6 carats was set in the Queen’s new coronation crown in 1911. These two stones now form the Cullinan Brooch. Another of the larger diamonds was adapted into a pendant for Queen Victoria’s cullet necklace, worn with the Lahore Diamond. Queen Mary managed to find uses for the whole lot, and, in doing so, made sure that the pieces of the original stone have stayed together forever. 

Drawing of the Day: Windsor Castle: The King's Bedroom (west elevation), 1827

Design for the Bath at the King's Bedroom, Windsor Castle
More & Seddon, 1827
Crown Copyright
The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

This drawing was returned to the Royal Collection when Queen Elizabeth II purchased it at an auction in 1971. The drawing was created by the Office of Morel & Seddon, decorators who were contracted to redecorate Windsor Castle in 1827 during the reign of King George IV.

The watercolor depicts a view of an alcove with a bath cabinet in the center. The recess is framed by curtains and backed with a mirror. It was part of the new private suite which King George IV has envisioned for himself in the central part of the east front of the castle. This part of the suite was to be hidden behind a cabinet with doors of pietra dura.

The blue silk hangings were based on some made by Grand Frères of Lyons in 1823 for the Salon des Princes at the château of Saint-Cloud. Despite the room’s handsome décor, King George IV didn’t like the finished product. He found the room unsuitable and moved to an adjacent room in 1829. The suite, however, was used by Queen Victoria and, it was in the bedroom in which Prince Albert died in 1861. 

Treat of the Week: Pork Chops and Pear Tart

I’m woefully behind schedule today. My apologies. I know none of you want to wait for the “Treat of the Week.” Can you imagine how I must feel waiting for Sunday dinner with my parents?

This week, we had a wholly autumnal dinner of thick, lovely pork chops flavored with apple butter and apple cider and served with a rich, flavorful sauce. These tasty chops were joined on the table by roasted sweet and white potatoes, and sugar snap peas sprinkled with sesame seeds. It was the ideal meal for fall. Too bad it doesn’t feel like fall here. 

And, then, for dessert, a gorgeous flourless chocolate pear tart was presented. I don’t quite understand how this works, but my mother does—thankfully. Even without flour, this magnificent pastry is alive with the flavor of fresh pears and rich, dark chocolate. Topped with piped rosettes of whipped cream, this creamy, dreamy dessert was a grand counterpoint to he savory pork which preceded it.

Precious Time: Queen Charlotte's Lever Watch and Pedestal, 1770

Watch, Pair Case and Plinth
Thomas Mudge, c. 1770
Purchased by King George III for Queen Charlotte
Crown Copyright
The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

This gold watch case with an enamel dial fits into a plinth of tortoiseshell and gilt bronze. Both were made around 1770 by Thomas Mudge (1715-1794). The set was purchased by King George III (1738-1820) as a gift for Queen Charlotte.

This unique timepiece has been called “Perhaps the most historically important watch in the world” because of the fact that it is the earliest known example of a “lever escapement.” This advancement in clock-making, next to the creation of the balance spring, is considered the single greatest improvement to the art of watch-making. Most historians consider this particular watch the “forerunner” of the modern wrist and pocket watch. The watch is also important because it contained the earliest known example of an automatic device designed to compensate for changes in temperature.

Mudge invented the lever escapement in 1754, but didn’t employ one in a watch until this one was built in 1770. Mudge referred to the timepiece in correspondence with his patron, Count von Bruhl as “The Queen’s Watch,” suggesting that it was always intended for Queen Charlotte. There’s some debate as to the origin of the plinth upon which the watch is displayed. Some feel it’s original to the piece. Others think it was certainly altered over time. Others still believe it may be a replacement for the original presentation box. The first reference to the plinth comes in 1825 when both watch and plinth were restored. However, obviously, it existed long enough to need to be restored. Earlier records are spotty at best.

Mr. Punch of Belgrave Square, Chapter 170

Chapter 170: 
Quite at Ease 


“What?” Mr. Punch growled at the Baron Lensdown.

Robert quickly put his arm around Punch’s shoulders as a means of reminding him to speak as Julian. Punch blushed considerably, partly from embarrassment and partly from the shock of what the baron had just said.

“Surely you must be mistaken.” Punch continued, using Julian’s speech and mannerisms.

“You needn’t continue with your charade, Your Grace.” The baron shrugged. “I’ve already heard and seen you in your natural state.”

“Why do you say that Miss Barrett is alive?” Robert asked.

“Because I’ve just engaged the woman in conversation.” The baron smirked.

“How?” Punch sputtered.

“That brute of a father of hers carried me off like a sack of grain. He brought me right to her.”

“Her father?” Robert narrowed his eyes. “So, you are aware of the woman’s claims?”

“Oh, yes, quite.” The baron nodded.

“What are ya doin’?” Finlay croaked from his spot on the floor.

“Well, look at you, Finlay.” The baron nodded at the bound footman. “However did you get there?”

“How do ya think?” Finlay spat.

“Well, you always did enjoy this sort of thing.” Lensdown smiled.

“You’re quite at ease with your involvement in all of this.” Robert frowned.

“I’ve nothing to hide. In fact, I truly do wish to see justice served.”

“You’ve colluded with that woman.” Punch growled.

“Certainly. And with her brother, Finlay. Putting one against the other, as it were. All for sport, mind you.”

“I don’t know which of ya is more foul.” Punch shook his head.

“Likely Ellen.” Lensdown replied.

“Obviously, you believe that the woman is Ellen Barrett.” Robert sighed.

“Of course.” Lensdown nodded.

“She ain’t.” Mr. Punch snapped.

“I’m sorry.”

“She’s as much Ellen Barrett as she is dead, it seems.” Punch continued.

“Oh, well…” Lensdown scowled. “It seems we’ve all be deceived.”

“Some more than others,” Robert inhaled.

“You’re sure she’s alive?” Punch squinted.

“Quite.”

“And what did she tell you?” Robert asked.

“Sent me to get Finlay.” The baron answered.

“I’d like to see the lass.” Finlay snorted. “I’ll see to it that she stays dead.”

“No.” Lennie spoke up. “Not until I’ve spoken to her.”



Did you miss Chapters 1-169 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 171.

Painting of the Day: Interior of a Tavern with a Five Peasants and a Woman, 1646

"Interior of a Tavern with Five Peasants."
Adriaen van Ostade
Dutch, 1646
Purchased by King George IV, 1814
Crown Copyright
The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

The work of Adriaen van Ostade (1610-1685), this painting comes from Haarlem and dates to 1646. The canvas was purchased by King George IV from one Sir Thomas Baring and was one of a lot of eighty-six Flemish and Dutch works which the King had wanted for Carlton House in 1814.

Van Ostade, with this work, borrows from the artistic ideals of Adriaen Brouwer who was the first Dutch painter to introduce this sort of interior scene of comical peasant characters in a muddy setting.

These scenes were painted with hasty, loose brushstrokes which the artist used to suggest a variety of details. For example, in this composition, the tavern is obviously set up in a domestic setting as indicated by the bed at the rear of the scene. Furthermore, a child’s potty is visible behind the patron who holds his nose. This sort of appeal to all of the senses was typical of these genre paintings of the early Seventeenth Century. Most often, the senses that were at play were not entirely pleasant, but, rather strove to convey some sense of realism.

Object of the Day: Life and Coffee in a Shoe, Part II

Click on image to live in a shoe.

Remember this from last Monday?

When I first saw that die-cut card from Lion Coffee, I had to do some research since I wasn’t aware of their Nursery Rhyme Campaign. I noted that, in this series, each nursery rhyme had several collectible cut-out pieces which, when combined, created the scene. For example, the “Old Lady in the Shoe,” I noted, came with the “shoe,” the old lady and a bed wherein she tucked in some of her assorted children. 

After I wrote that article, I put the card away and didn’t think about it. However, over the weekend, in preparing for this week’s site posts, I noticed that, tucked into one of the piles of ephemera, was a great assortment of these very coverted Lion Coffee die-cuts, including, one of the other pieces of the “Shoe Lady.” So, here they are—all nicely slumbering, unaware of their footwear-related poverty.