Mastery of Design: The Castellani Helios Brooch, c. 1860

This and all related images from The British Museum.

This gold brooch, from The British Museum's Hull-Grundy collection, comes from the Italian Castellani workshop and dates to between 1860 and 1870.  Castellani looked to then-recent archeological discoveries for inspiration and this brooch is an ideal representation of that passion for the past.

The jewel depicts Helios, a Roman sun god, with a mask cast in relief and enameled eyes.  Fine granulation in rows represent the god's hair and rays of light emanate from his head in the form of twisted gold wires.

Painting of the Day: Jonah Under his Gourd, 1561

Jonah Under His Gourd
Marten van Hemmskerck, 1561
Crown Copyright
The Royal Collection
This Image and the detail below are
 Courtesy of Her Majesty Queen Elizabeth II

Marten van Heemskerck (1498-1574) created this work of oil on panel in around 1561. The biblical-themed piece was purchased by King Charles II from William Frizell in 1662 for 250 florins.

The painting depicts a moment from the story of Jonah (of Whale fame). The story recounts a time when Jonah was doing prophet-y stuff and warned the filthy, dirty, sinful citizens of Nineveh about an impending punishment because of their dirty, filthy, sinful ways. Well, the people got their act together and God said, “Eh, it’s okay. I won’t smite you today.” Well, good for Nineveh, but not so good for Jonah who just looked a fool and was very embarrassed about the whole thing. After all, he said there’d be smiting and no smiting occurred. And, so, it goes something like this:

‘And the Lord God prepared a gourd,’ the story continues, ‘and made it to come up over Jonah, that it might be a shadow over his head, to deliver him from his grief...But God prepared a worm when the morning rose the next day and it smote the gourd that it withered. And it came to pass, when the sun did arise, that God prepared a vehement east wind; and the sun beat upon the head of Jonah, that he fainted, and wished in himself to die’. (Jonah 4: 6-8)

And, so, you see. When the gourd tree was taken away or eaten by big bible worms or whatever the hell, Jonah realized it had value. So, shouldn’t he also see the value of the citizens of the city? Well, yes. So, Jonah learned that he was wrong to wish the city destroyed just so he wouldn’t be embarrassed. 

Van Heemskerck shows us the very moment “when the morning rose the next day.” He’s done a fine job of showing the time of day. The scene has a nifty misty quality to it—a characteristic of an early morning which will die to a hot, day. The artist sets a scene, however, of Sixteenth Century Rome as opposed to ancient Nineveh. This, however, was not uncommon for Renaissance artists who found that putting Biblical tales in contemporary settings helped communicate the story more clearly to those whose only encounters with these themes came from viewing such pieces of art.

Sculpture of the Day: Primavera, 1926

Primavera
Louis Richard Garbe, 1926
The Victoria & Albert Museum

Perhaps the most ambitious sculpture undertaken by Louis Richard Garbe (1876-1957), “Primavera” is carved entirely from ivory. It’s a masterful work which shows off Garbe’s skills expertly, featuring a combination of techniques: relief, piercing, architectural carving and free-standing full figures.

This representation of Spring depicts Flora with her attribute of a bouquet of flowers. She’s flanked by columns surmounted by more diminutive figures. One is a man with a lute, the other is a singing female figure. The Sun is represented at the top, merging through the clouds, and just above a frieze of nudes with flowers. The figure of Flora is being overtaken by a relief of the west wind of Spring, Zephyr and a bas relief of a shepherd who gives audience to Pan who is perched in a tree. Pierced adornment of animals and foliage becomes obvious when studying the gilt background.

Garbe created this piece at a time when ivory carving was not in favor. The fashion for ivory had diminished considerably toward the start of the 20th Century, and, by 1926, when Garbe made “Primavera,” “The Studio,” Magazine had already declared twenty years earlier that the only suitable use for the medium was for 'billiard balls, false teeth and cutlery.”

Yet Garbe persevered and is considered as a pioneer in reviving the art of ivory carving. His ivory pieces, starting in 1924, were displayed regularly at the Royal Academy.

Unusual Artifacts: The Fabergé Parasol, 1896-1903

Parasol
Mikhail Perchin
Bowenite, Gold, Enamel and Diamonds
1896-1903
The Victoria & Albert Museum

Parasols were designed to shield a lady’s delicate skin from the sun, certainly, but they also served a more social purpose, creating another means to draw attention to a lady and display her wealth, taste, fashion and standing in society.

This parasol, designed by Fabergé between 1896 and 1903, while certainly affording a utilitarian purpose, existed mostly as a means of showing off. The handle of bowenite is both practical and beautiful. The hard stone, in hot weather, would have cooled a lady’s hand while showing her sense of taste. The collar with its trelliswork borders and yellow enamel, resembles the Imperial Coronation Egg (now in the private Vekselberg Collection) and a Fabergé box with similar visual characteristics which can be seen in the Victoria and Albert Museum. Each triangular section of the pommel’s collar is set with a central diamond.

Fabergé’s Mikhail Evlampievich Perchin (1860-1903), created this parasol. It was commissioned, actually, to be used during Queen Victoria’s Diamond Jubilee in 1897, however, records show that it was probably not finished in time and was not completed until 1903. 

Mr. Punch of Belgrave Square, Chapter 370

Chapter 370
Teasing



"Hold still,"  Charles laughed.  

"I don't want none o' that stuff."  Gerard pulled his head away.

"You want to smell nice for your bride, don't you?"  Charles grinned.

"I took a bath."  Gerard grimaced.

"I know.  I brought up the water."  Charles replied.  "Now, stop your complaining.  It's just a little cologne.  I wear it every day."

"I know.  But, you're foreign.  You're supposed to smell like spices."

"You're foreign, too."

"No."

"You're Australian!"  Charles laughed.  

"It's the same thing as English.  Only with more sheep.  Besides, I spent most o' me life in Bristol."

"And, I've spent most of my life in London and America.  Now, put on some cologne!"

"Very well."  Gerard grumbled.  "But, only a little."

Charles splashed a little cologne on his hand and patted the back of Gerard's neck.

"Now, that wasn't so bad.  Was it?"  

"No."  Gerard sighed.  "Thought it would sting, like medicine."

Charles laughed.  "Now, when Gamilla nuzzles your neck tonight, you won't smell of silver polish and lamp oil."

"I took a bath!"  Gerard replied.

"Doesn't matter, Gerry.  You always smell of silver polish and lamp oil."

"I don't either."

"Yes, you do."  Charles smiled.  "Look, I've been sharing a room with you for quite a time.  Nobody knows how you smell better than I."

"I guess that's true."  Gerard chuckled.  "We been through a lot together."

Charles nodded.

"Did ya ever think we'd be here?"  Gerard asled.

"Here?  In Belgravia?"  Charles replied.

"No, not exactly.  I mean, in the Duke's house, on this day, laughin' together, gettin' me ready for my weddin'."

"Well, one thing is for certain, I knew the minute I saw you and Gamilla in the kitchen of Dr. Biamenti's house in New Orleans--that first time you spoke--I knew you'd marry her.  I didn't know how, but I knew you would."

"Did ya?"  Gerard grinned.

"I did."  Charles nodded.  "As for the rest...no, I can't imagine, when we were in America, that I would have ever guessed that we'd be valets to the Duke of Fallbridge and Dr. Halifax, that we'd be living here in this fine house nor that we'd be as fond of one another as we are."

"You're my dearest friend, Charlie."

Charles blushed.  "You're mine.  Though...I don't know how it came to be.  I was pretty awful to you at first."

"I know."  Gerard answered.  "But, I knew it wasn't gonna last.  I knew you liked me."

"Did you?"  Charles laughed.

"Sure.  I'm very likable."

"That you are."  Charles nodded.  He looked around their room.  "It'll be strange to come up here tonight and not have you snorin' in the bed next to me.  I've gotten used to you."

"I'll miss you, too."  Gerard nodded.

"Not for long, you won't.  Your new wife at your side..."

"Oh..."  Gerard shook his head.  "You know what I mean."

"Well, we'll only be apart by two floors."  Charles inhaled.

"Speaking o' floors, I'd best check on His Lordship."  Gerard said quickly.

"Whatever for?"

"To make sure he's all set to go."  Gerard answered.

"I attended the Duke and Lord Colinshire myself.  They're both ready and both instructed me to stay at your side until time to go to the church."

"Afraid I'll wander off?"  Gerard teased.

"Likely."  Charles nodded.

"I wonder what Gamilla's doin'."  Gerard said softly.

"That's why you wanted to go downstairs.  Now, I see."  Charles laughed.  "Most certainly she's sitting at her new dressing table being fussed over by Her Ladyship and Violet and likely Mrs. Pepper and Maudie, and, no doubt, they're making a terrible racket and above them is floating a cloud of powder and perfume."

"My Gamilla don't need any powder and perfume."

"It's for Mrs. Pepper."  

"Oh, you are bad."  Gerard snorted.  "But, it is true."  He looked at Charles.  "I appreciate your not teasin' me too much about...gettin' married.  I promise I won't tease you when the time comes."

"The time?"

"You're next, you know."

"I?"  Charles laughed.

"You and Vi."  Gerard nodded.

"No, no.  The next wedding in this household is Her Ladyship's.  After that...well, I'd wager Georgie will be wed before I."

"We'll see about that."  Gerard smirked.

"Yes, we will."  Charles answered.

"I'm a lucky man, Charlie.  I'm real happy.  Never have I been so happy.  I just want the same for you."

"Thank you."

"Charlie?"

"Mmmm?"

"You don't think that Miss Rittenhouse is gonna do anything else?  Like revenge for what happened to Orpha and that...Marduk?"

"No."  Charles shook his head.  "She may be bizarre and mad, but, she's not stupid.  She knows that if she even looks at one of us, the Duke will have her hangin' in Whitehall.  I imagine she's on her way to book her passage back to America with...with my brother at her side."

"Good."  Gerard sighed.  "Well, I mean good to think she's goin' back.  Not that your brother is with her.  I gotta think that's too awful for ya."

"Not so, not anymore.  He's my brother in much as we share the same name.  Besides, it's not as though there's a hole in my heart where Giovanni should be.  That space is filled."

"Is it?"

"You know it is, Gerry."  Charles patted his friend's shoulder.



Did you miss Chapters 1-369 of Mr. Punch of Belgrave Square?  If so, you can read them here.  Come back tomorrow for Chapter 371.  

At the Music Hall: The Sun Has Got His Hat On, 1932

The sun has got his hat on, hip-hip-hip-hooray
The sun has got his hat on and he's coming out today
Now we'll all be happy, hip-hip-hip-hooray
The sun has got his hat on and he's coming out to play.
So jump into your sunbath, hip-hip-hip-hooray
The sun has got his hat on and he's coming out today
All the little birds are singing
All the little gnats are stinging
All the little bees in twos and threes
Buzzing in the sun all day

The Sun Has Got His Hat On found a new place in popular culture as one of the main songs in the 1990s revival of the musical Me and My Girl. The song was written by Noel Gay and Ralph Butler and recorded for the first time in 1932 by Ambrose and his Orchestra, with vocals by Sam Browne.

Singer Sam Browne (1898 – 1972) was an English dance band singer, and can be considered one of the most popular British dance band vocalists of the 1930s. He is best known for singing with Jack Hylton and with Ambrose and his Orchestra, at the Mayfair Hotel and Embassy Club.

Object of the Day, Museum Edition: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.

This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.