Friday, November 16, 2012

Mr. Punch of Belgrave Square, Chapter 192



Chapter 192
Sweet Dreams 



“Roger,” Mr. Punch said softly as he and Robert were ushered by the man’s caregiver into a darkened, musty room. “Remember me?”

The man narrowed his eyes. “Yes.”

“Who am I, then?” Punch asked.

“You’re Victor Geddes.” Roger replied fiercely.

“No.” Punch shook his head.

“Yes, you are.” Roger growled.

“Victor Geddes is now called the Baron Lensdown. I’m not he. I’ve seen him just days ago. He’s a bad man. I know why you hate him.” Punch answered gently.

“Do you?”

“I certainly do.” Punch replied.

“Why do I hate him?”

“He hurt ya, he did.” Punch nodded. “I remember for I were there. See? I’m…well, you’re looking at the Duke of Fallbridge. Remember me from Scotland when we was boys? I lived in the Grange Molliner.”

“You’re Lord Fallbridge?”

“I was called that then, yes.”

“You’re the thin one with the pale face and sad eyes. The boy with the dark ginger hair.”

“I am. I was.”

“You saw us on the turret.” Roger continued.

“I did. I saw what he done to ya. I saw him push ya. I’m dreadful sorry he done it. But, you don’t gotta fear ‘im no more. See, he can’t come to ya here. He won’t hurt ya ‘gain.”

“He hurt my sister, Ellen. She let him.”

Robert and Punch looked quickly at one another.

“What’s that look?” Roger asked. “What do you know?”

“The baron isn’t gonna hurt no one again. And, Ellen is just fine.” Punch replied.

“Mr. Barrett,” Robert spoke up. “We’ve brought someone to see you. Would you like to have a visitor?”

“You’re visitors.” Roger shrugged.

“Other than us.” Robert nodded.

“Who is it?”

“You tell us,” Mr. Punch smiled. He opened the door to the parlor of the small flat which Roger shared with his caregiver. Nodding at Lennie, Punch turned to Roger as she walked into the dim chamber. He studied the man’s face for any signs of recognition.

“Roger,” Lennie began, choking back her emotions.

“Who’s this, then?” Roger squinted.

“Don’t ya know her?” Punch asked.

Roger’s eyes widened. “Is it Ellen?”

“Yes.” Lennie nodded.

“You look different again.” The man grumbled. “You always look different.”

“I know.” Lennie sniffed. “But, I won’t look different anymore. I will always look like this.”

“Your voice is even different than it’s been. Softer, nicer. Like it was before.”

“And it shall remain so.”

“You’re really Ellen?”

“I am.” Lennie answered. “Only I’m called by an affectionate name these days—‘Lennie.’”

“Why is that?”

“So you’ll always know that it’s me. Your friend. You’ll never have to wonder again.” Lennie replied.

“My friend?” Roger narrowed his eyes. “You’re more than that. You’re my sister.”

Lennie wrung her hands uncomfortably. “I will always be your sister in some way.”

“Lennie.” Roger smiled. “I like the name. Lennie Barrett.”

“Not Barrett.” Lennie said quickly.

“No?” Roger tilted his head to one side. “Did you marry? Is this your husband?” He pointed to Robert.

“No. That’s Dr. Halifax. You know him. He’s also your friend.”

“You married him?” Roger pointed to Punch.

“Not hardly,” Punch chuckled.

“What’s funny?” Roger grunted.

“Nothin’ at all, Mr. Barrett.” Mr. Punch said softly.

“So, if you’re not married why is your name not Barrett?”

“As you say, I’m different again. I want to have a name that will suit me, a name that will last, a name that will ensure you always know that I’m here to be your friend and to be your sister.” Lennie explained somewhat awkwardly.

“What name is that?” Roger asked cautiously.

“I don’t know.” Lennie shook her head. “I haven’t decided.”

“Perhaps,” Punch suggested, “you could call yourself Molliner? I know that you’re not a Molliner, but we can’t call you Fallbridge considering…” Punch trailed off.

“Molliner is your name.” Roger squinted at Punch.

“Yes,” Punch nodded. “That’s my surname as it was my father’s--though since I’m a Duke no one uses it.”

“I think that’s a sensible solution.” Robert smiled.

Lennie sighed thoughtfully.

“What do you think?” Mr. Punch asked Lennie.

“I’d be honored to call myself Lennie Molliner.” Lennie smiled finally.

“That makes you related to the Duke.” Roger frowned.

“Well, as it turns out,” Lennie said slowly. “I am related to the Duke.”

“Oh,” Roger nodded. “Then, it makes sense.”

“I’d like your approval, Roger.” Lennie smiled. “Before I decide finally.”

“You want my approval?”

“Certainly. With Father gone, now, you’re the closest male of the family I’ve ever known. Your brothers have gone off on their own. Only you remain for me here. Your approval is very important to me.”

“No one ever wanted my approval for anything before.” Roger’s eyes widened.

“Well, I do.”

“I approve, then.” Roger nodded.

“Thank you,” Lennie smiled.

“I’m tired now.” Roger shrugged.

“We’ll leave you to rest.” Dr. Halifax said gently.

“Will you come back?”

“Do you want me to?” Lennie asked.

“Very much.” Roger said sleepily. “Not just you, but the two blokes. The one’s amusing and the other makes me feel safe.”

“We’d be very happy to visit you.” Robert nodded.

“Later tonight?”

“Perhaps tomorrow before tea.” Mr. Punch answered.

“That’d be fine.” Roger agreed. He paused. “I know you.” He pointed to Punch.

“Yes, I’m the Duke of Fallbridge.”

“No.” Roger shook his head. “I mean…yes, you look like him, but, you’re someone else.”

“I am.” Punch smiled.

“You gotta baby and a dog.”

“I do.”

“They’re nice to you. They love you. People love you.”

“Thankfully, they do.” Mr. Punch replied.

“I wish people would love me.”

“I love you, Roger.” Lennie touched the man’s shoulder.

“Oh. How nice for me, then.”

“Goodbye for now, Mr. Barrett.” Robert began.

“Wait!” Roger snapped.

“Yes?” Robert asked.

“I know who the other one is—the strange one.”

“He’s the Duke of Fallbridge. He’s a jeweler for Her Majesty. He’s my companion. He’s the father of a boy called Colin. He’s your friend.”

“Yes…yes and no. He’s those things, yes. But, someone else.”

“We just spoke of that.” Robert interrupted.

“I know that!” Roger growled. “I’m not daft. I remember. He’s someone else.”

“Who am I?” Mr. Punch asked.

“You’re Old Red Nose. I can see it in you. Where’s your hunchback?”

Punch was startled by this. “I…I don’t have it anymore.”

“That must be easier for you.” Roger nodded.

“It is.” Punch replied.

“Maybe that’s why the baby likes you.”

“Must be.” Punch smiled.

“Good for you, then.” Roger sighed. “Now, I must sleep. Go away.”

“Good night,” Lennie whispered as Roger curled up in a ball on the floor. “Dream sweet dreams.”

“I never do.” Roger muttered.

“Perhaps tonight you will.” Lennie said as she walked away with tears in her eyes.



Did you miss Chapters 1-191 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 193.



Print of the Day: The Fun & Frolic Lancers,




Here we see the sheet music cover for “Fun and Frolic Lancers” which was written by Warwick Williams (1846-unknown), and published by Francis Bros & Day. The cover shows a gaggle of circus folk and characters engaged in circus-type hi-jinks. I suppose one could call it “fun and frolic.”

This chromolithograph cover dates to the 1880s and is the work of the expert lithographer Alfred Concanen (1835-1886). At some point, it was backed with card.

It reads at the top:

INTRODUCING

TING, TING, THAT'S HOW THE BELL GOES - CLARA WIL YOU COME OUT TO-NIGHT - I KISSED HER UNDER
THE PARLOR STAIRS - TWO HUNDRED YEARS AGO - OH JOHNNY DON'T YOU GO TO SEA - DEAR ME - I'LL MEET HER
WHEN THE SUN GOES DOWN - TAKING OUT THE BABY - IT'S ALL UP WITH POOR TOMMY NOW - &c. &c. 



Object of the Day: A Corner in Pork


Typically, Fridays are Punch (or, at least, puppet) days here. I’ve got a nifty Punch-ish card and an exciting reveal coming for you the next two Fridays, but today’s card isn’t exactly Punch-related. It is, however, suitably bizarre and has puppet-ish overtones. So, let’s proceed.

The over-printed message is simple enough.

When buying your new spring HAT
present this card and receive a dis-
count of 5 per cent from lowest prices.
 


Well, that’s just fine. It’s a doozy of an offer, in fact. I’ll bet when I look down, I’ll see an attractive image somehow related to my new spring HAT. 



Or…

Well…

Maybe I’ll see a Punchinello-ish butcher waving a knife at a dog who seems to have stolen a ham. The dog looks utterly demented. His eyes are rolling in his little deranged head. I think he might be a little…different. After all, he has rabbit legs. Perhaps he just can’t help himself. Poor thing.

So, surely, there must be some explanation for this monochromatic cerise scene. Right? Maybe it even has something to do with hats.

No.

It says.

“Corners” 
A CORNER IN PORK WITH CONSIDERABLE
EXCITEMENT AND ACTIVITY
 

What does that even mean? A corner in pork…

Surely the back has some sort of explanation. Let’s look, with hope, at the reverse.

Cash trade preferred to long accounts.
Prices guaranteed.
Small store, but large stock.
New good received almost every day.

G.J. KIRKLAND 
DEALER IN
DRY GOODS, CLOTHING, HATS,
CAPS, BOOTS, SHOES AND CROCKERY 

FORT ATKINSON, WIS. 


That pertains to hats, and crockery, apparently. But, it doesn’t really explain a corner in ham. 

Maybe nothing can.



Thursday, November 15, 2012

Gratuitous Bertie Dog Picture, Caption Contest: Prince Bertie and Some Other People







Now, it’s time to put words in Bertie’s mouth. Instead of giving you a caption for this Gratuitous Bertie Dog Picture, let’s see what you think he’d say. 



Image: Queen Charlotte (1744-1818) with her Two Eldest Sons, Johan Zoffany (Frankfurt 1733/4 - London 1810), c. 1765, Commissioned by King George III, Presented to the Prince of Wales/Prince Regent, 1794. Crown Copyright. The Royal Collection. Image Courtesy of Her Majesty Queen Elizabeth II.
 








You, too, could have a cup of tea with Bertie. Or, you could wear his picture proudly. Visit our online store to see our range of Gratuitous Bertie Dog products.

Mastery of Design: The Colonnade Egg by Fabergé, 1910


The Colonnade Egg
1910, Fabergé
Bowenite, Four-Color Gold,
Diamonds, Platinum, Silver,
Enamel
The Royal Collection

This remarkable work of art is one of four Imperial Fabergé eggs which incorporated a clock into the central design. Designed by Henrik Wigström for Fabergé in 1910, the egg was originally presented to Russian Tsar Nicholas II as the traditional Easter gift for his wife.


The centerpiece of the egg is a rotary clock by Henri Moser et Cie. The clock is supported by bejeweled and enameled columns and surmounted by the egg itself so that it takes on the look of a temple. It is meant to represent the “temple of love.” Two platinum doves symbolize the Tsar and Tsarina, with four cherubs representing their daughters and a fifth putti at the apex of the dome—a symbol of their long-awaited son. The entire piece is adorned with diamonds, enamel, four-color gold, platinum and silver.

When Nicholas II was overthrown and his family killed in 1917, most of the Russian treasures were confiscated by the provisional government. The Colonnade Egg was among those items which were seized. It was presumed lost. However, in 1931, it reappeared in the hands of Mary of Teck who presented it as a gift to her husband, King George V.

Figure of the Day: A Chinese “Pagod,” 1760

Pagod
Nymphenburg
1740-1760
The Victoria & Albert Museum


A “pagod” is, essentially, an idol. Here, we see a Chinese pagod of hard-paste porcelain and enamels dating to about 1760. The figure is the central piece of a table group of sixteen chinoiserie figures which was modeled by the great Franz Anton Bustelli for the Nymphenburg Porcelain Factory. The group also features figures of a priest, children and servants. Some are shown playing musical instruments, others are singing while some are shown bowing in worship.

The group was made during a period of great fascination with the orient. Meissen’s Kändler, a favorite of mine, began modeling chinoiserie figures in 1740 and the Nymphenburg factory followed suit 


The Home Beautiful: The Monnoyer Painted Mirror, 1710-20



Painted Mirror
Antoine Monnoyer, 1710-20
The Victoria & Albert Museum




For a painted mirror such as this to survive for centuries is nothing short of miraculous.   The mirror glass is fragile and the surface paint easily chipped or stripped away during cleaning.   Furthermore,  such mirrors were often built into an interior and many examples were destroyed when the room was altered or redecorated.

This mirror is the work of the French artist Antoine Monnoyer who was born in 1672--the son of the artist Jean Baptiste Monnoyer, who worked for Louis XIV.  Coming to England in 1683, the Monnoyers, both father and son, painted flowers from all seasons of the year, achieving a decorative effect that would have been impossible with fresh-cut flowers. According to the V&A, “Jean Baptiste did a mirror closet at Kensington Palace for Mary II. Apparently she was so fascinated by his skill that she watched him while he worked.”

This mirror was painted in England and includes the coat of arms of the Duncombe Family, thought it is speculated that this was probably added later. This example may have been an overmantel in a room which was thickly hung with tapestries.

Queen Mary, consort of King George V, was a fan of this style of mirror and, as such, hoped to restore the similarly-painted mirror closets at Kensington Palace.  She ordered such fashionable painted glass to be installed, but it does not survive.