Object of the Day, Museum Edition: A Lace Program from Queen Victoria's Golden Jubilee, 1887

Program for Victoria's Golden Jubilee
English, 1887
The Victoria & Albert Museum

I’m always looking for these unusual pieces of history that were made with no intention of permanence. To me, these objects speak volumes about the moment they were made and give us a little window into a particular era.


Here we see a program from an 1887 Golden Jubilee soiree in honor of Queen Victoria’s fifty years on the throne. The program is of blue plate-printed silk satin edged with bobbin lace. The central cartouche of oak leaves depicts Queen Victoria as Queen of Great Britain and Empress of India. The design also includes six flags, a lion, tiger, kangaroo and beaver. The animals represent Africa, India, Australia and Canada. The back of the program shows depicts Windsor Castle. It is inscribed with “Wanstead Young Men's Association” and “Jubilee Soiree.”

The inside of two pages lists the entertainment for the evening in two parts with piano, violin and vocal turns and recitations to be performed by a number of individuals, both male and female. Prizes, apparently, were to be awarded for the best recitation.

The Wanstead Young Men's Association was just one of a number of local Victorian working class organizations with a strong interest in the performing arts. Such groups allowed young people to enjoy some artistic freedom and they were very much supported by the Queen.

Mastery of Design: The Chaumet Bangle, 1935-1945

Jewelry of the 1930s, especially later in the decade, relied on clusters of gems and diamonds in geometric patterns which mirrored the weight of the more florid designs of the previous century, but reduced the designs to less organic shapes.

Bangle
French, 1935-1945
The Victoria & Albert Museum

This bangle of gold, rubies and diamonds reflects the Naturalistic themes of the Nineteenth Century while presenting them in a purely Twentieth Century light. The bangle appears to be sliced open to reveal a core of rubies in contrast to a field of pavé-set diamonds. This is the work of the renowned French firm of Chaumet. It is, at once, organic and meaty, all the while being cold and architectural.

Gifts of Grandeur: The Castellani Myrtle Tiara, 1860-1869

Tiara/Wreath
Italy, 1860-1869
Gold and pearls
The Victoria & Albert Museum

As archaeological discoveries in the mid Nineteenth Century offered new views of ancient art and fashion, designers of the period turned to these objects for inspiration. The Italian jewelery firm Castellani was notable for their designs which had been influenced by ancient examples. The firm of Castellani was founded in Rome by Fortunato Pio Castellani (1794-1865). In the mid-1820s Castellani won the patronage of the distinguished archaeologist Michelangelo Caetani, later Duke of Sermoneta who encouraged Castellani and his sons Alessandro (1823-1883) and Augusto (1829-1914) to focus mainly on jewelry based on classical models. Castellani’s new designs presented a stylized take on these ancient designs which were celebrated for their theatricality and beauty.

This tiara appears to have been inspired by an Etruscan gold wreath dating to the Fifth century BC, which is on display in the British Museum as part of the Campanari Collection (acquired in 1841). The tiara was part of a suite which was made for Emily, Dowager Countess of Crawford, who presented the parure to the V&A in 1921. The suite contained this wreath, a necklace and a pair of earrings. The Dowager Countess stated that the parure had been made “from the design of Michelangelo, Duke of Sermoneta, in conjunction with Castellani,” and that it was given to her as a wedding gift.

History's Runway: A Theatre Costume by Dior, 1958

Costume, 1958
Dior
The Victoria & Albert Museum

This fully-fitted, front-fastening jacket of carmine wool and mohair fastens edge to edge at bust level and is embellished with false buttonholes and self-covered buttons to either side of the V neckline which is trimmed with ivory lace. It features full-length sleeves trimmed with self covered buttons. The jacket is worn over a curved skirt adorned with bold satin bands in sand and beige silk which cascade to floor level. The ensemble is finished with a small natural straw hat trimmed with beige and reddish net.

While this outfit looks like a true Nineteenth Century gown, it is, in fact, a theatrical costume which was designed for the role of Paola in “Duel of Angels” in 1958. It was originally created by the celebrated couturier Christian Dior for the noted French actress Edwige Feuillère. The gown was recreated for Vivien Leigh when she took over as Paola in the London production of the show. By the time Leigh took the part, Dior was dead and so the costume was recreated by the London costume firm Bermans.

Dior was careful to imbue the costumes with the accurate details of the period in which the play was set - 1859 - while reinventing the period style in his own taste. Dior incorporates touches that could only be of the 1950s. For example, the box pleats in the skirt are solely characteristic of the mid-Twentieth Century. Care was taken to assure the actress’ comfort. Instead of forcing them into actual period corsets, Dior devised the jacket to have a built-in shaping structure which gave the illusion of corseting without actually binding the performers.

Painting of the Day: "The Penny Show," c. 1850

The Penny Show, c. 1850
The Victoria & Albert Museum
Click image to enlarge. 

Very little is known about this handsome painting. The style and materials suggest that it was rendered around 1850, and most likely by an English artist. However, the artist’s identity is unknown.


For over a century, the painting has been referred to as “The Penny Show,” due to the fact that some of the figures hold a banner which reads, “Admission One Penny.”

It is, in fact, a good representation of the sort of fare one might see at a Penny Show of the mid-Nineteenth Century. We see the bottler/barker/Master of Ceremonies at the center in front of their performance tent. We’ve got scary clowns, actors and pretty dancers and a scantily-clad bloke in a loincloth and booties who is probably some sort of “strong man” or acrobat.

Though the painting is rather rough and crude, the colors and use of light neatly reflect the sense of wriggling chaos which must have accompanied such traveling shows. I like it quite a lot. While there’s no indication of this, I like to think that there’s a Punch and Judy man rattling around with this group somewhere. After all, everything is improved by puppets.

Punch’s Cousin, Chapter 371

Punch chattered as he panicked. “Can’t spend a few clock ticks with me master, lookin’ over memories what’s been botherin’ him for thirty years without some of them beasties doin’ somethin’ awful to me body!” He spun around in the darkness inside of their shared body. “No wonder me master is so scared of everything. Looks to me like he got good reason to be scared, he does. People are just terrible.”


Stopping in his tracks, Punch took a deep breath and pictured their body’s arms. “Go on, arms!” He shouted. “Start movin’.”

Suddenly, in the parlor of their borrowed Royal Street mansion, Julian’s arms began to thrash wildly. His eyes popped open.

“Quiet now, Duke.” Iolanthe hissed as she continued to choke him. “Let go of your awful life.”

“He don’t need lettin’ go!” Gamilla screamed. “Let him be!”

“Here!” Punch rasped through Julian’s throat as he realized what was happening. “Let me go!”

Iolanthe fell backward onto the floor and sniffed. “You try to do something nice…” She muttered as she examined her raw, injured hands.

“Nice?” Punch coughed and sputtered as he made their body sit up. “By killin’ me master’s body.”

“Well, look at you!” Iolanthe barked. “You’ve been unconscious and the first thing you say is something peculiar like that. I was just trying to put you out of your misery!”

“I ain’t miserable!” Punch coughed. “Here, what’s your problem, anyway? This ain’t the first time we caught ya tryin’ to kill someone in order to ‘put them out of their misery!’ What’s wrong with you?”

“Gratitude.” Iolanthe grunted.

Punch looked at Gamilla and shrugged. “You know what I think it is, Gamilla?”

“What’s that, Sir?”

“I think this one here is so bothered that she got that child what’s not right in the head and she feels so guilty ‘bout it that she thinks she’s doin’ somethin’ good when she tries to kill someone—so they won’t suffer. All cuz she can’t keep her own son from not sufferin’.”

“Sounds pretty smart to me, Sir.” Gamilla smiled.

“Don’t speak of my son.” Iolanthe hissed.

“Coo! What’s wrong with your hands?”

“Marie,” Iolanthe spat. “She hurt me! Punishment for helping you escape.”

“Where’s me chum?” Punch asked Gamilla. “He can help this woman.”

“Why bother?” Iolanthe grumbled.

“Listen, Ogress, I hate you. Ain’t no mistakin’ that. But, it ain’t right to let no one suffer, it isn’t. Even if I hate you, it don’t mean I think you should be hurt. Now, where’s the doctor?”

“He gone out.” Gamilla said softly.

“Where to?”

Gamilla hesitated—unsure if she should tell Mr. Punch that the babies had been taken.

“Somethin’ bad happened?” Punch asked.

“Yes, Sir.” Gamilla nodded.

“Go on, then.” Punch threw up his hands. “Tell me!”

“That Rittenhouse woman…” Gamilla began.

“The ginger?”

“No, Sir.”

“The old one?” Punch narrowed his eyes.

“Yes.” Gamilla nodded. “She took Masters Fuller and Colin.”

“What?” Punch rose to his feet, staggering slightly.

“She did?” Iolanthe’s eyes widened.

“This don’t concern you, Ogress.” Punch snapped.

“I should say it does.” Iolanthe grinned.

“When?”

“While you was on the floor, Sir.” Gamilla answered softly. “’Bout an hour ago. Mr. and Missus Halifax done gone to look for ‘em. Gerry, too, Sir. Left me here for to look after ya.”

“Bloody Hell!” Punch shouted. He turned to Iolanthe. “And, you don’t know nothin’ ‘bout this, I ‘spose?”

“Actually, no.” Iolanthe shrugged. “If you recall, I was with you at the Place Congo until Marie burned me.”

“Bullox!” Punch spat. “Bloody bullox hell!” He snorted. “Well, I gotta help them! Where’d they go. Hold on…you said that Cecil and Adrienne went to look for ‘em. Where’s me chum and Marjani?”

“Mr. Cage’s.”

“Why?” Iolanthe interrupted.

“Shut yer gob, Ogress!” Punch growled.

Iolanthe chuckled.

“Mrs. Cage, see, she got the Yellow Fever. The doctor and Marjani done gone to help her.”

“Corliss Cage has the Yellow Jack?” Iolanthe grinned.

“Didn’t I tell you to shut yer gob?” Punch sighed.

“You did. That doesn’t mean I’ll do what you say.” Iolanthe smirked.

“I hate you.” Punch grumbled. “Well, then, I gotta go to them first, I think. Them Cages are still up the street?”

“They are.” Gamilla nodded.

“I’ll come with you.” Iolanthe offered.

“No.” Punch squinted, then he paused. “Only I can’t leave you here either with Gamilla.”

“True. I may steal her.” Iolanthe winked at the girl who blushed and shivered.

Punch shook his head. “Well, come on, then.”





Did you miss Chapters 1-370? If so, you can read them here.

Obscure Book of the Day: The Historic Story of the Coronation Ceremony and Ritual

We begin this new feature with a look at one of many little books that I’ve collected about the history of the British Royal Family. This short volume was printed in 1953 as a guide to the Coronation Ceremony as Queen Elizabeth II ascended the throne in the place of her father, King George VI.

Queen Victoria's Coronation is depicted on the back cover.

Since this was meant to guide the public through the coronation, it depicts many images which were meant to explain the significance of the Regalia and the various parts of the ceremony itself. Most of the examples are illustrated with scenes from the coronation of King George VI, and, in part, King George V, though there are sections which use paintings and drawings to show other historic coronations.

A short biography of Queen Elizabeth II describes the monarch and her family and states the intended date of her coronation. Furthermore, brief biographies of each participant in the ceremony explain each individual’s role in the sacred event.

One of the more interesting portions of the book includes extracts from Queen Victoria’s private journal which chronicle her own coronation in 1838. The text is written by Lawrence E. Tanner, The Keeper of Muniments for Westminster Abbey with an introduction by the Dean of Westminster, The Very Reverend Alan C. Don. It was printed by Pitkins who uses the inside of the back cover to advertise other books which they feel would make for smashing coronation gifts.

Let’s take a look inside:

An image from the Coronation of King George VI showing the future Queen as a princess.

About to introduce a new Elizabethan Age.

Queen Mary broke tradition by attending the coronation of her son, King George VI.  After the whole abdication kerfuffle with her eldest, The Duke of Windsor, she wanted to make sure that her second son was crowned without a hitch.  However, it was not customary until this point for the Dowager Queen to attend the coronation of her child since she was, in fact, in mourning for her husband--the late Sovereign. 

A view from the clerestory of the Abbey during King George VI's coronation.  Also pictured, the Sovereign's Sceptre with the Cullinan Diamond. 

The Investing of the Royal Robe and Orb with an introduction to the ceremony's officials.