Her Majesty's Furniture: The Tatham Stool, 1800

This majestic footstool from the Victoria & Albert Museum has a design similar to that of a marble seat that been discovered in Rome. Though it appears to be made of marble, the stool is made from beech wood, painted in white and grey to simulate the appearance of stone. The use of beech wood allowed for easier carving and much less costly (and less weighty) medium to marble. 

The stoolmwas designed by Charles Heathcote Tatham (1772-1842) who studied ancient architecture in Rome in July 1794 under the patronage of his employer and mentor, Henry Holland (1745-1806)--architect to the Prince of Wales. 

This stool is one of a pair from the Neave Collection.  Its twin is at Temple Newsam House, Leeds. 

Punch's Cousin, Chapter 428

Mama Routhe opened her eyes and shivered.  Her first thought was of the child that she had been holding when last her eyes were open.  She shrieked horribly and rose from the narrow, foul-smelling cot on which she had been placed.  Darting across the dim room, she tripped on a low footstool and fell to her knees on the ground, cursing loudly.  She looked up to see a dark hand extended toward her.

Slowly raising her eyes, Mama Routhe looked up to see the grinning face of Marie Laveau gazing down upon her

"I'd rather crawl on the ground for the rest of my life than take your hand, Devil." Mama spat.

"Ain't nothin' to me if you stay on the floor." Marie smiled.  "Still, I think you'd wanna show me some gratitude."

"For what?" Mrs. Routhe growled, standing up on her own.

"For takin' care of you and your family."

"What you mean 'bout my family?"

"Your children and your husband are eatin' breakfast right now cuz o' my kindness.  I done had a man bring vittles to 'em.  Good vittles, better than they're used to.  Told 'em it was a gift from someone you was helpin' out and that you'd be along shortly.  I reckon they're so busy they ain't even missin' ya."

"Helpin'?  I ain't helpin' you do nothin' and you stay 'way from my family!"

"You're welcome," Marie smiled sarcastically.  "See, you gotta learn to be grateful, woman.  I'm grateful.  See?  I done showed my gratitude for what you done for me."

"I ain't done nothin' for you  nor will I ever.  What you do to me?  Where's that fine white baby?"

"He's right where he should be--right where you was takin' him.  He is in the arms of that poor, strange Englishman."

"I don't believe ya."

"But, it's true, woman."

"Then, why am I here?  If you wanted that boy to go to the Duke, why you not let me take him myself?"

"Cuz I needed ya.  And, Odo needed me."

"Odo?  That yellow-eyed weasel from the Cage place?  He done tried to get the baby while I was in the safe house!"

"I talked to him, woman.  Made him see what was right.  He brought the baby to the Duke himself."

"Why?" Mama shrieked.  "Why would he do that?  He's Mr. Cage's most loyal man!"

"I offered him somethin' better than Mr. Cage ever could." Marie grinned.  "Now, come on.  My eldest done made ya some fine cornbread.  You gotta eat.  Keep up your strength."

"I'm not eatin' your cursed food.  I'm not goin' anywhere with you."

"Woman, you don't got a choice."

"I sure 'nough do.  I'm goin' to them docks to see for myself that the Duke got his baby and then, I'm goin' home to my own babies."

"No, honey, you ain't."

"Why not?"

"Cuz that ain't what I want.  You'd ruin everything." Marie shook her head.  "Besides, I ain't done with you."

"You wicked fool.  What you mean?"

"Honey, you're mine now." Marie clucked her tongue.  "Just like Odo.  This is my war now.  Everything is in place and I ain't gonna let you spoil it.  Now, I ain't gonna talk to you like you're dumb cuz I know you ain't.  Not like that Odo.  He's so greedy and cowardly, it's done made him stupid.  He don't know that he just damned himself, his master and those Englishmen.  It's better that way.  But, I ain't gonna lie to you. Now, come and get your cornbread and I'll tell you now you're gonna make all my dreams come true."


Did you miss Chapters 1-427?  If so, you can read them here

Obscure Book of the Day: The Temple Newsam

Temple Newsam is a Tudor-Jacobean estate with grounds landscaped by Capability Brown, in Leeds, West Yorkshire, England. Today, the mansion and grounds are preserved as a museum and gathering space.  The museum is the home of a host of important art works, antiquities and objects.

In the Domesday Book (the great survey of English lands of 1086), the property is known as Neuhusam (new house) and was owned by Ilbert de Lacy. Around 1155, the estate was given to the Knights Templar who, in 1377,  were suppressed by royal decree, causing the estate to revert to Sir Philip Darcy who began building an impressive Tudor house on the site--described by some as "the Hampton Court of the North."

In 1537 Darcy was executed for participation in the Pilgrimage of Grace and the estate was seized by the Crown.  Henry VIII gave Temple Newsam to his niece Margaret, Countess of Lennox and her husband Matthew Stuart, Earl of Lennox. Their son Henry, Lord Darnley was born in the house in 1545. Darnley would later wed Mary, Queen of Scots.  This wasn't good news for the  property, and Temple Newsam was again overtaken  by the Crown in 1565.

James I gave the estate to his relative Ludovic, Duke of Lennox who, in 1622 sold it to Sir Arthur Ingram for £12,000. For the next two centuries the estate was inherited throughout the family.

In 1922, the land and mansion were sold to Leeds Corporation to ensure their preservation.  

This book, published by Lund Humphries chronicles the  history of the house and land as well as it's preservation. God help me, but there's no evident date of publication in this book.  Judging by the clothes worn by the people, I'd guess it's from the late 1970s or early 1980s.  Let's take a look inside...

Object of the Day: A Medal from Queen Victoria's Diamond Jubilee, 1897

This beautiful and substantial medal was given to me for Christmas by my parents.  The medal was made in 1897 for the Diamond Jubilee of Queen Victoria.  These medals were intended as presentation pieces as well as souvenirs and bear the cypher of the Queen as it appears on the Order of Victoria and Albert.  The obverse bears the image of Queen Victoria and a Latin inscription commemorating her sixty years as Regent while the reverse shows a scene of the British navy flanked by two halved globes h sling the scope of Victoria's empire.
 
The medal is the work of Spink and Company, founded in 1666  The Queen was so pleased with Spink's work, including the delicate and finely crisp bas relief, that, in 1900 the firm was granted  their first Royal Warrant.  Spink & Co. is still in operation and is still the official provider of medals to HM The Queen, HRH The Duke of Edinburgh, and HRH The Prince of Wales. 

The medal was intended for Royal presentation, but was also sold at Kutchinsky Jewelers in the high-tone area of Knightsbridge, London.  Kutchinsky is still in operation in the Brompton Road. The medal I was given still has its original presentation box from Kutchinksy.  The name is printed in gold on the black satin lining of the box lid followed by the words: Knightsbridge, London.

New Product for Queen Elizabeth II's Diamond Jubilee in the Shop!

In honor of Queen Elizabeth II's sixty years on the throne, we're introducing a new design in our online shop.  Show your support of Her Majesty by ordering our exclusive Diamond Jubilee design.

Mastery of Design: A Cartier Diamond and Coral Jabot Scarf Pin, 1920

The Victoria & Albert Museum

This long scarf pin by Cartier features three overlapping jeweled semicircles at its head.  This pattern is echoed in miniature on the clip at its base. Made between 1920 and 1930, this style of brooch was very fashionable at the time.  It is made up of two separate decorative ends which are joined by a pin.


When made, Cartier referred to these pins as “cliquet pins” because of the snap fastening which held the lower element in place over the sharp point of the pin.  However, overall such pins are referred to as jabot pins (after a cravat or jabot) or sûreté pins.

A pin like this—in the 1920s would have been worn to secure a scarf or worn on the lapel.  Sometimes, they were even worn at the front of a cloche hat.  In all instances, only the two jeweled ends of the piece would be seen, with the pin concealed.  This example of platinum set with fans of coral, onyx and brilliant-cut diamonds typifies both the look of the Art Deco and Cartier’s preferred style for these pins.  

History's Runway: The Miss M.B. Johnson Evening Gown, 1805-1810

This and all related images from:
The Victoria & Albert Museum

Fashion of the early Nineteenth Century provided a clean, flattering silhouette in the Neoclassical style.  This evening ensemble from 1805-1810 shows the graceful lines and colors which defined the era.  Here, we see a high-waisted gown with short sleeves in the Neoclassical fashion which imitated the forms of Greek and Roman dress evidenced in the ancient sculptures which were discovered and displayed at the time.

This gown, like others of the period is constructed of white muslin which was imported from India or, in the case of this example, made in Europe to imitate Indian materials.  It is an ideal example of the style with its high Empire waist, ruffled bodice and theatrical, cascading train.  Patterns were kept to a minimum.  Here, we see a pale design of acorns and vine tendrils down the front and around the hem of the gown.  


Such a gown was always accessorized with a scarf of knitted silk which was typically worn around the waist and supported by the lady’s elbows during the day, and used as a shawl in the evening.  In this case, the scarf has been printed in an Indian-inspired pattern similar to design on the gown, but in bolder, contrasting colors.

Made in France, the gown was given to the V&A by Miss M. B. Hudson.