Gifts of Grandeur: Bracelet from a Parure with Cameos

Bracelet from the Cameo Parure
Italian
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This bracelet was made in Turin, Italy in 1829 and is assembled from cameos which were carved between the Sixteenth and Seventeenth Centuries. The bracelet is part of a parure of pieces comprised of cameos set in frames of Burmese rubies set in closed gold collets. The rubies are foiled to enhance their fire. 

The parure was purchased by Queen Mary, consort of King George V. The cameos on the bracelet depicts scenes from Roman history as well as mythological subjects such as cupid, Mars and Venus and a depiction of the sacrifice of a goat.

Mr. Punch of Belgrave Square, Chapter 185

Chapter 185
A Father’s Love 


Johnny Donnan lumbered into the stables—his boots caked with mud so thick that he seemed taller than usual. He was wet to the skin from the monstrous downpour and the stiff winds had arranged his graying black hair into a wild, dripping mane.

Ellen, with the help of Lennie, rose from the spot in the hay where she’d been recovering from the blow to her head.

“What is it?” Ellen asked her “father.”

“Finlay.” Johnny barked.

“Oh.” Ellen rolled her eyes. “What’s he done now?”

“He’s dead.” Johnny bellowed.

Lennie stepped back, pressing her hands together as she watched the two interact. She could feel, in the pit of her stomach, the strange emotions which poured forth from the man who had fathered her. The feelings frightened her and she felt, for a moment, as if she might vomit. She recalled Mr. Punch’s pleas to stay at the castle and began to doubt her decision to get the upper hand on Ellen.

“Did the Duke get him?” Ellen asked.

“No, Lass.” Johnny shook his head—sending droplets of cold water flying into the hay. “The African.”

“Oh…” Ellen wrinkled her nose. “You must be mistaken. Gamilla is powerless. She’d not hurt a gnat. She couldn’t. She’s too weak.”

“I saw her, Lass.” Johnny growled. “She had him by the hair. The lad broke away and flung himself into the well.”

“So he killed himself?” Lennie spoke up—immediately wishing she hadn’t.

“No.” Johnny narrowed his eyes. “No Donnan would ever do somethin’ so cowardly. Not even Finlay.”

“The African girl didn’t throw him into the well, then?” Ellen frowned.

“No.” Johnny grunted. “The lad tried to save himself and fell.”

“Father,” Ellen shook her head. “It sounds as if he did it purposefully. Let’s not fool ourselves. Finlay was not the picture of masculine bravery.”

“Yes he was.” Johnny glowered.

“Is that so?” Ellen laughed. “How many times did you take the strap to him to toughen him, to make a man of him.”

“And it did.” Johnny barked.

“Mr. Donnan,” Lennie spoke up. “I’m so sorry.”

“Aye.” Johnny nodded. “He were a good lad.”

“You never thought so before.” Ellen laughed. “Now that he’s dead, you can make him into anything you want.”

“Ach, now you’re gonna be cruel to me? What of your brother’s memory?” Johnny snapped.

“Memory?” Ellen shouted. “The man was useless.”

“How could you say that?” Johnny spat. “He was your kin, Lass.”

“He was a burden. You, of all people should recall the troubles we had with him.”

“I loved him!” Johnny growled.

“You loved him so much that you brought his blood out with your strap!” Ellen countered.

“I made a man of him.”

“Did you, then?” Ellen giggled. “Was he a man? Was that the work of his father’s love?”

“You’re heartless. I see that now.”

Lennie began to feel quite nervous. “Sir, many feel grief so deeply that they must hide their true emotions in order that they not be carried away.”

“Aye.” Johnny nodded. “You’re a sensible lass. Would that my own girl was as such.”

Ellen narrowed her eyes and looked at Lennie who blushed.

“This one understands.” Johnny wagged his finger at Ellen. “This one is clever. I’d wager, then, she knows what we must do.”

“We must not let this distract us. Surely, we’re better off without his bumbling.” Ellen snapped.

“Ach. Sometimes I can see in you so much of your mother. She was a cruel wench, too.”

“I don’t endeavor to be cruel, Father. Simply practical.”

“For all your practicality, you seem to forget what matters.” Johnny bellowed.

“And, what’s that?”

“Kin.”

“Kin?” Ellen scoffed. “You weren’t so concerned about your kin when you beat Finlay with your belt each day. You didn’t worry about kin when you handed your daughter to others to raise!” She looked at Lennie. “Isn’t that right?”

Lennie sniffed. What could she say? How could she agree without revealing her true identity to Johnny?

“Your life was not an ordeal, it seems. You had food in your belly. You had warmth and you learned to read. You even had a fine maid—this very girl here—to look after you.” Johnny scowled. “I done the very best by ya. You should be thankful to me.”

“Thankful? For casting me aside, for lying to me?”

“Ellen, please…” Lennie whispered.

“This is not your concern.”

“Aye, it is!” Johnny snapped. “Would this girl were mine own. She’ll help me. Won’t ya, Lass?”

“Help you, Sir?”

“Avenge me son’s murder!” Johnny groaned.



Did you miss Chapters 1-184 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 186.

Painting of the Day: The Grocer's Shop: a Woman Selling Grapes, 1672

The Grocer's Shop:  A Woman Selling Grapes
Gerrit Dou, 1672
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Dutch artist Gerrit Dou(1613-75) created this genre painting in 1672. It’s a fine example of his later work and the use of a warmer color palette which he exhibited in the 1670s. This painting, purchased by the Prince Regent (later King George IV) in 1817, depicts a grocer’s shop, a continuation of the Sixteenth Century tradition of artistic views of market scenes.

The scene is framed by a stone, arched window below which is seen a relief of children playing with a goat. This composition is thought to be inspired by a Roman marble by François Duquesnoy (Galleria Doria Pamphili, Rome). The artistic device of the archway at once draws the viewer in as well as distances him from the figures in the composition.

Object of the Day, Caption Contest: The Domestic Sewing Machine Co.

Click on image to see the old goat.

When I go on a goat cart ride, I always like to load up the vehicle with us much extra stuff as possible. I like to put an enormous and very stiff doll in the back. And, I like to tie a ribbon around my dog as well as the whip I use to get the goats a-goin’. Yes, I’ll put on my tam and my little pants and drive my giant sister around the countryside. You see, she can’t walk. Poor thing has unusually tiny feet for her body. She’s still strong though. Oh, yes, she can steer those goats over any terrain.

I don’t know.

This trade card is, as stated, “Compliments of the ‘Domestic’ Sewing Machine Co.” I’m not quite sure what the image has to do with sewing machines, except that you can use one to sew all the extras bows onto your little Nineteenth Century outfits.

So, since there’s nothing on the back of this card, let’s have a caption contest, shall we. Answers in the comments section, please.

Mastery of Design: The Grundy Butterfly Pin, c. 1800

Click on image to enlarge.
Hair Pin
England, 1800
The British Museum

I really like this pin which dates to around 1800. It was likely made in England, but we’ll examine that more closely in a second. Originally, the piece was made as a hairpin. It’s crafted of silver with a closed-back and set with diamonds with ruby eyes and antennae of gold wire.

Two hinged arms with loops at the end were added to the back at a later date. This addition allowed the jewel to be worn as a pendant hung from a ribbon or chain. Butterfly hairpins such as this one were fashionable between1800-30. The pins were usually worn with fresh flower wreaths.

The piece was once part of the collection of Hull Grundy. The curators of the British Museum believe that this pin might be one which was described in the records of the Royal Goldsmiths at Rundells. The piece therein described was supplied to Princess Amelia. The records state: 

“’An elegant Butterfly for the hair' for £142.15s for Princess Amelia.”

Unusual Artifacts: A Case of Insects, 19th C

A Case of Insects
Crown Copyright
The Royal Collection
This and all related images courtesy of
Her Majesty Queen Elizabeth II

Collecting preserved dead creatures was a favorite Nineteenth Century pastime. From taxidermy to neatly-pinned insects, many a glass case was adorned with an artful arrangement of death.

Here’s one such case. This one comes from the Royal Collection. We’re not sure which of the Royal Family collected and/or assembled it. And, we’re also not sure just how far back it goes, but, it’s quite attractive considering it’s a gilded case of dead bugs. Included are a tarantula, forty-eight butterflies and moths, and twenty-eight beetles.

The case appears to be assembled from the remains of a larger showcase.

The Home Beautiful: Sèvres Sauçières, 1780

Sauce Boat
French
Soft-paste Porcelain and Enamels, 1780
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Dating to about 1780, this sauce boat, is the work of the Sèvres Porcelain Factory. The piece is crafted of soft-paste porcelain, and features a deep green enamel ground with gilded decoration.

The sauce boat of oval shape terminates in a spout at each end. Raised foliage and berries adorn oval and kidney-shaped recesses which are decorated with polychrome butterflies and birds—some with worms.

The boat was purchased by George IV from the auctioneer Harry Phillips for £5 5s 6d 20th in March of 1805. It’s part of a set which includes a matching dessert service.