Antique Image of the Day: A Christmas Card “Of Candy and of Cake,” 1885

The Victoria & Albert Museum

The front of this Christmas card has a gilt border and shows three little girls in aprons doing the laundry : one, in a yellow dress and hat washing at a large tub; another, in a blue dress, hanging an item up to dry; and a third, in a pink dress, sitting on the grass.

Though not particularly Christmas-y, the scene shows children being “good.” Beneath the illustration are the words: "A Joyful Christmas."

On the reverse of the card, a verse in brown, beneath an illustration of a cherub's head, reads:


"I love the little boys and girls,
They back my mem'ry take
To happy days of bibs and curls
Of candy and of cake.
I sang my Christmas carols then
As only children may,
And this is why I'll kiss them, when
The children sing to-day.
And wish them all the simple joy
That filled my bosom when a boy!"


--F. Ernest Power

The card is signed "For Amy from Grandma Xmas 1885"

Gifts of Grandeur: The Jean Frémin Snuffbox, 1760

This and all related images:
The Victoria & Albert Museum

This rectangular, enameled gold snuffbox is chased on each side with scrolling cartouches bordered by enameled flowers and panels imitating lapis lazuli. Enameled plaques painted en plein punctuate each side. On the cover, a hurdy-gurdy player and her audience are depicted; on the base, a china seller, her assistant, and an admirer are seen; on the front, a seller of sweetmeats and her customers are captured; on the back, a boy and his dog have been painted in a scene after François Boucher; and, on the sides, a château and a garden are shown.


Around 1745, as enameled scenes dominated the decoration of snuffboxes from Paris, the bozes ceased to have the curving shapes that were fashionable in the 1730s and became rectangular with straight sides, allowing for cleaner surfaces upon which to paint these bucolic scenes.

Floral scenes, animals and birds were the most popular subjects at first, but by the 1750s, pictorial scenes showing domestic life, were dominating the medium. This example from 1760, shows the epitome of the fashion. The enamels on the surface were signed by Le Sueur who worked closely with Jean Frémin in creating this box.

Frémin became a master goldsmith in 1738 and by 1779 had become the prime warden of the goldsmith's guild and one of the most celebrated in his field. At the time of his death, he lived in luxury—showing the demand for his skills.

Like many of the snuffboxes at the V&A, this one comes from the collection of Sir Arthur Gilbert and his wife Rosalinde.

Treat of the Week: More Christmas Cookies

We’ve already seen three of this year’s assortment of Christmas cookies from my mother’s kitchen. Now, here’s the rest. I can’t imagine how she manages to do this every year. One batch of cookies from scratch is a lot of work, but to do this many is nothing short of miraculous. Each cookie and piece of candy is carefully planned, prepared and decorated. Let’s take a look at these delicious masterpieces. Consult the map above, the number of each cookie corresponds.

1. Ischl Tarts: delightful tarts made from a dough of almonds and cream cheese, sandwiched with raspberry jam and dusted with confectioner’s sugar. A long-time family favorite!

2. Chocolate-dipped Sugar Squares: new this year, these tender sugar cookie squares are dipped in white and dark chocolate and then sprinkled with crushed peppermint or sprinkles for a wonderful candy-like kick.

3. Pecan Tassies: drizzled with melted milk chocolate, these tarts begin with a delicate cream cheese dough, filled with chopped pecans, brown sugar, bourbon and chocolate chips. A true Southern delight!

4. Praline Cookies: Chewy sugar cookies with a nutty flavor are topped with glorious pecan pralines. One of my favorites!

5. Chocolate Thumb-prints: A crisp, rich chocolate cookie shell is filled with a luscious, creamy apricot icing and drizzled with dark chocolate. New this year, they are a welcome addition to the line-up.

6. Butterscotch Cookies: The battle is on. Each year we fight over who gets the last of these beautiful butterscotch cookies. Soft and delicious, they’re iced with a melt-in-your mouth butterscotch frosting, adorned with sanding sugar.

7. “Aunt Ida” Cookies: my mom has been making this cookies since she was a little girl. Cream cheese dough pillows are filled with alternating mixtures of assorted nuts, chocolate, brown sugar, cinnamon, cranberries, raisins and cherries. Dusted with cinnamon and confectioner’s sugar, these are a family tradition that’s eagerly awaited each year.

8. Pralines: Pecans suspended in fudge or the traditional brown-sugar praline mixture, this is one of my favorite candies. I’ve been known to eat as many as I can get my little hands on.

9. Lemon Currant Cookies: Soft lemon pillows are dotted with luscious currants and glazed with a sweet, lemony icing. Sheer brilliance!

10. Gingerbread Cookies: For as long as I remember, my mother’s famous gingerbread cookies have graced the Christmas table. Trees, bells, Santas, reindeer, and people of assorted sizes, my mother decorates each one by hand. Each little person has his or her own personality. It’s almost a shame to eat them—almost.

11. Shortbread Cookies: Tender, wonderful shortbread is decorated with sprinkles and dark chocolate—cut in the shape of Westies like my Bertie. Chocolate shortbread Scotties are a perfect companion with their ribbons of white chocolate. This gives “dog biscuits” a whole new meaning.

12. Peppermint Bark: My mother’s homemade peppermint bark is always a treat. Dark and white chocolate punctuated with crushed candy canes—nothing says Christmas more.

13. Assorted Sweetmeats: Made in festive molds, these candies of dark, milk and white chocolate are filled with nuts and fruit making for a sweet, tender, crunchy, chewy, glorious snack.

14. Assorted Candies: In the shapes of stars, toys and rosettes, these candies of dark, milk and white chocolate have a colorful surprise on the reverse—a lush coating of brilliant sprinkles.

Punch’s Cousin, Chapter 419

Mama Routhe shrieked—waking the baby—as she saw Mala scrambling toward her. She rose from her spot by the fire and stumbled backwards, being caught by one of the men who sat next to her.


“You stay here,” one of the men grunted.

Before Mala knew it, she had been lifted off of the ground by three angry African men who carried her out of the safe house. Screaming as she was taken out, Mala searched the room for Odo.

But, Odo had already been dragged outside by Imamu.

The three men tossed Mala onto the cold, wet ground outside the safe house.

“You disgust me!” Imamu shouted at the two of them. “This is a sacred place. You come into this place with your evil and your schemes? You will be punished! How dare you break the sanctity of this place? Folk done come here for peace and to know they safe. You come here and make a mess of that? You are disgusting!”

“We just want to return the child to its owner!” Odo shouted.

“Owner?” Imamu spat. “Don’t nobody own that boy! People love that boy. But, lovin’ ain’t ownin’!”

“You don’t understand.” Mala began.

“No!” Imamu shouted. “You don’t understand!”

“What’s this commotion?” A woman’s voice croaked from behind Odo and Mala.

They both knew who it was without looking. Mala grinned and Odo shivered.

“Ain’t nothin’ to do with you, Miss Laveau.” Imamu frowned. He narrowed his eyes at Odo, “Go on back to your master! And, you, Mala—I don’t never want to see your ugly face here again!” With that, Odo walked into the safe house and slammed the door.

“Mala, Mala, Mala.” Marie Laveau clucked. “What’s Iolanthe gonna say when she finds out you’re here causin’ trouble?”

Mala stood up and wiped her hands on the back of her dress. She shrugged. “Dunno.”

“You best get yourself back to her. What you doin’ out anyway?” Marie Laveau asked.

“She sent me…” Mala’s eyes widened as she remembered the errand on which Iolanthe had sent her.

“You better go, honey.” Marie laughed.

“Go on,” Odo scowled. “You ain’t no good to me, no how.”

Without another word, Mala ran off toward the chemist’s shop to get the mixture Iolanthe had sent her for.

Alone with Odo, Marie smiled. “Odo—yes?”

“That right.” Odo nodded, slowly rising to his feet. “You’re Mr. Cage’s man?”

“I am.”

“You’re jus’ tryin’ to be loyal, ain’t ya?” Marie winked. “You’re doin’ somethin’ for your master?”

“I am.”

“Can I help ya?”

“What for?” Odo asked.

“I’m just out for some air, honey. See, I’m with chil’. Sometimes we mamas, we like to get some air.”

“I heard ‘bout your new baby.” Odo nodded.

“Ain’t it good news?”

“Sure.” Odo shrugged.

“Someone to look after me when I’m old.” Marie laughed.

“Ain’t you already got a dozen kids?” Odo sniffed.

“That’s nothin’.” Marie chuckled. “Just more kin to love me.” She smiled at Odo. “You got folk who love ya, Odo?”

“No.” Odo shrugged again.

“I’ll love ya.” Marie smiled. “Let me help ya, boy. You jus’ tell Marie your troubles…”



Did you miss Chapters 1-418? If so, you can read them here.

Sculpture of the Day: The Meissen “Chinese Man” Sweetmeat Stand, 1735

This and all related images:
The Victoria & Albert Museum

Made for the Meissen Porcelain Factory by modeler Johann Joachim Kändler in 1735, this large sweetmeat stand features a figure of a Chinese man in hard-paste porcelain mounted on gilt bronze. The figure—which is removable—is surrounded by ten dishes of porcelain mounted on gilt bronze. The dishes were meant to hold sweetmeats.

Object of the Day, Museum Edition: The Leferre Sweetmeat Box, 1848

The Victoria & Albert Museum

The container of this lidded box is made entirely of rock crystal which has been expertly cut and polished by Alexandre Leferre—the most famous member of a celebrated family of goldsmiths and jewelers who were active in Paris from 1806 to circa 1860.

The lid, too, is largely made of carved rock crystal. This panel has set into an enameled gold bezel. Leferre cleverly enameled the bezel to look as if it is set with rubies, emeralds and diamonds.

This box was made to hold sweetmeats. In today’s language, sweetmeats are essentially—sweets, candy or confections. When this box was made, however, it probably held sugared or honeyed fruits and nuts. This was a popular way of preserving fruit.

This is the sort of beautiful object that I would instantly sniff upon seeing it—just to find out if it still smelled of long eaten sweeties.

Mastery of Design: The Dame Joan Evans Aigrette, 1750-60

The Victoria & Albert Museum

This aigrette of chrysoberyls set in silver takes the form of a spray with a single flower on a feathered scrolling stem. Made by an unknown jeweler in Portugal between 1750 and 1760, this aigrette is from the collection of Dame Joan Evans.

An aigrette, in jewelry, is so-called because of its resemblance to the feathers and plumes atop the head of an egret. These jewels are often meant to be worn as a turban ornament.