Mastery of Design: The Meller Brooch, c. 1850

Bodice Ornament
France, 1840-1850
Given by Frederick Meller to
The Victoria & Albert Museum

As mid Nineteenth Century jewelers strove for naturalism in their designs, they created pieces defined by densely-set stones in forms based on the beauty of nature. The next natural step in this fashion was to add movement to jewels which would replicate the motion of a breeze through plants and flowers or the motion of insects.

We’ve talked about tremblers before. These flexible, coiled stalks or springs created a sensation of shimmering nature. As the wearer moved, the jewel would sway and quiver. The overall effect was one of immense glamour and opulence.

While most of these pieces were tremendously expensive diamond creations, jewelers made some with less-costly pastes so that this fashion could be available to a wider range of customers.

This floral spay brooch is a great example of the clever use of pastes. In candlelight or gaslight, these brilliant-cut pastes, set in silver, shimmered almost as much as diamonds, and, with the novelty of motion, these costume pieces were quite convincing. It was made in France around 1840 -1850 and features articulated pendants which would have swayed as the wearer walked. The jewel was to give the impression of flowers bathed in a gentle rain.

Painting of the Day: A Study of Clouds by John Constable, 1823

Click on image for original size.
A Study of Clouds
John Constable, RA
September 5, 1822
The Victoria & Albert Museum

The famed artist John Constable (1776-1837) wrote in 1822 that he had finished: “about 50 careful studies of skies tolerably large.” Here we see one of them—dating to September 5, 1822. 

The reverse of this work of oil paint on paper is inscribed: “Looking S.E. noon. Wind very brisk. & effect bright & fresh. Clouds. moving very fast. With occasional very bright openings to the blue.”

History's Runway: The Vignon Magenta Gown, 1869-70

Gown by Madame Vignon, 1869-70
The Victoria & Albert Museum

A rich gown of vivid magenta-colored silk, this beautiful ensemble was dyed with one of the new synthetic colors which were produced from the late 1850s onwards. These dyes offered hues which were difficult to achieve with natural pigments and introduced unusual colors into daily wear.

During this period, magenta became an extremely popular color, and soon, a battle for a patent on the color arose. Combating companies often claimed better colorfastness while others suggested that their competitors dyes were unhealthy. The latter claim proved true when, in the 1870s, a German chemist found traces of arsenic in fabric dyed with magenta. The arsenic could leak out in washing, rain or perspiration and was known to cause serious skin conditions.

With the rise in brightly colored fabrics, there was also a rise in advice as to how to wear them. “The Englishwoman’s Domestic Magazine” of March 1868 suggested that there should be no more than “two positive colours in a lady's toilet” and that “very bright tints” should be toned down with white, black or grey to prevent a gaudy appearance.

Many ladies preferred to wear bright colors with a deeper shade of the same hue. This gown from c. 1869 is an excellent example of this trend. This example by the famed couturier Madame Vignon features satin bows and pleated bias-cut trimmings on ribbed silk . Madame Vignon was known for her ability to use a bright color such as this, all the while keeping it soft and feminine. For this reason, she enjoyed an elite clientele, and, in fact, was patronized by the fashionable Empress Eugenie, wife of Napoleon III.

The bodice of the dress is just over waist length and fitted with darts. It features a high round neck and long sleeves. The front and the sleeves are trimmed with ruchings trimmed with satin bows. Similar bows are stitched at the back. A peplum of two gauged trapezoidal panels falls from the waist.

The Skirt is straight-cut in the front with a pleat at each side. From the knee to the hem it is trimmed with graduated rows of scalloped flounces. The hem has a matching brush braid which is held in position with tape.

The label reads: “FOURNISSEUR BREVETE DE S.M.L. IMPERATRICE MD VIGNON, / 83 Rue de Rivoli / PARIS.”

Sculpture of the Day: A Bust of Ferdinando de’ Medici, c. 1700

Bust of Ferdinando de' Medici
Giovacchino Fortini
circa 1700
The Lady Lever Art Gallery
Liverpool

Prince Ferdinando de’ Medici of Tuscany, like many of the members of this famous Italian family, was a keen patron of the arts with a particular fondness for sculpture. And, like most of the members of his family, he commissioned many portraits of himself from what he considered the best artists in the region.


He certainly got his money’s worth with this portrait bust created by Giovacchino Fortini. Fortini was celebrated for his remarkable ability to render different textures in his marbles. You’ll notice the contrasting textures of Ferdinando’s wig, his fur collar and the smoothness of his armor. De’ Medici was pleased with the bust, and even more so by the inclusion of his emblem (a lightning bolt through clouds) on the armor and his motto on the base. It reads, ET LUCET ET TERRET ('It casts both light and terror”). A fitting motto, indeed. 

A Recipe for Punch, Chapter 56

Chapter 56
The First Exit


Robert and Charles each grabbed one of Gerard's arms to prevent him from ramming his shoulder into the grating of the crypt again.

"It's no use, Gerry."  Charles whispered.

"All you'll accomplish is injuring yourself."  Robert added.  "Remember, it hasn't been very long since you've recovered from your stabbing."

Gerard panted.  "We can't stay in here."

"And, we shan't."  Robert replied calmly.  "Someone is bound to come along soon enough and release us."

"Oh?"  Gerard panted again.  "I mean on disrespect, Your Lordship, only, how often does anyone come back here?"

"Surely, Mr. Quick will pay a visit to the chapel at some point.  Even if he doesn't, the vicarage is just nearby.  If we keep shouting, we'll be heard."

"How do we know that it wasn't this Mr. Quick who locked us in here?"  Charles asked.

"Surely it was Jackson or Hargrave."  Robert squinted.  He sighed.  "Though why I give the parson any more credit just because he's a man of the cloth, I don't know...he was just as thick with the Duchess as the other two from what I've been made to understand."

"Now you see why I been willin' to risk my shoulder."  Gerard nodded.  He rubbed his eyes.  "I can't stand it a moment more, Sir.  Our families must be frantic.  What must Gamilla be thinkin'?  A woman in her...condition, Sir.  It can't be good for 'er.  And what of His Grace?  With the shock he just had, and you not back by now?"

"I know..."  Robert nodded.

"And, all this death 'round us."  Gerard continued.

"Steady on,."  Charles shook his head.

"I can't 'elp it, mate."  Gerard inhaled.

Robert looked around the crypt.  "I cannot accept that this is the only exit."

"I was just thinking the same, Sir."  Charles replied.  "In building such a burial chamber, some sort of trap must have been considered for displaced soil when adding additional vaults.  It wouldn't be carried out through the chapel."

"I wouldn't expect so."  Robert shook his head.  "I did not, however, get a good enough look at the facade of the structure to see where in the foundation there might be a hatch."

"Perhaps..."  Charles began...

He didn't have time to finish his thought.

The sound of the crypt gate opening interrupted him.  It swung open with a creak, as quickly as it had closed and locked.

The three men exchanged confused glances.

"Let's don't waste a minute."  Gerard said quickly, rushing out of the crypt.

Robert and Charles followed him.

Climbing the stairs to the surface of the chapel, they looked down upon the chapel gate which closed behind them.



Did you miss Chapters 1-55 of A Recipe for Punch?  If so, you can read them here.  Come back tomorrow for Chapter 57.

At the Music Hall: Spread a Little Happiness

Tomorrow, we will have a "Treat of the Week" which is sure to bring a smile to your face, but, for today, I thought, we'd "spread a little happiness" a different way.

Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by
Please try


What's the use of worrying and feeling blue
When days are long keep on smiling through
Spread a little happiness till dreams come true


Surely you'll be wise to make the best of every blues day
Don't you realize you'll find next Monday or next Tuesday
Your golden shoes day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by


I've got a creed for every need
So easy that it must succeed
I'll set it down for you to read
So please, take heed
Keep out the gloom
Let in the sun
That's my advice for everyone
It's only once we pass this way
So day by day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by
Please try


What's the use of worrying and feeling blue
When days are long keep on smiling through
Spread a little happiness till dreams come true


Surely you'll be wise to make the best of every blues day
Don't you realize you'll find next Monday or next Tuesday
Your golden shoes day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by


Surely you'll be wise to make the best of every blues day
Don't you realize you'll find next Monday or next Tuesday
Your golden shoes day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by 



Spread a Little Happiness was written by English composer Vivian Ellis for his 1929 musical Mr. Cinders—based on the story of Cinderella. Ellis, known for his musical comedy, is said to have been suffering from a fever of 103 degrees (Fahrenheit) when he wrote this song.

In the original production of Mr. Cinders, the song was sung by Bobby Howes as Jim, but Binnie Hale—pictured here—was celebrated for her recording of the piece. Sting famously covered the song in the 1980s. 

Object of the Day, Museum Edition: A Landscape with a Ruined Castle and a Church, Jacob Van Ruisdael, 1665-70

Landscape with a Ruined Castle and a Church
Jacob Van Ruisdael, 1665-1670
The National Gallery, Britain

Inspired by a view he’d seen in the Dutch town of Haarlem, celebrated landscape painter produced one of his most famous paintings. A Landscape with a Ruined Castle and a Churchwas such a well-received scene that Van Ruisdael repainted the landscape in several smaller versions.

Here, he shows his mastery of composition. The banks of clouds balance the painting while a diagonal slash of sky simultaneously draws the viewer into the painting and stops the viewer’s gaze at the spire of the church as it appears to pierce the sky. Van Ruisdael was careful to give the painting a natural scale. By incorporating the human figures (probably painted by another artist) into the canvas, he’s given us a sense of the epic sweep of the land.

This painting as well as some of the variations on it are on display at the National Gallery in London.