Thursday, February 23, 2012

Punch’s Cousin, Chapter 470

From the hidden “room” deep inside the body he shared with Mr. Punch, the real Duke of Fallbridge began to panic as he became aware of what was happening outside their mortal shell.  The rich aroma of fire flooded the imaginary room, and with it, the cacophony of screams stabbed inward.

Julian’s eyes narrowed as he squinted as if doing so would allow him to better understand what was happening.

“Punch?” Julian shouted.  “Punch?  What’s happening?”

“Ain’t nothin’ to worry about, Master.”  Punch replied.

“What’s that?”  Marie Laveau asked.  Still holding Mr. Punch’s hand, she looked at him as he spoke—unaware that he was responding to an unheard question from a voice that only he could hear.

“Nothin’.”  Punch spoke again.

“You’re talkin’ to him, ain’t ya?”  Marie whispered.

“You know about me master?”  Punch asked.

“Sure.”  Marie nodded.  “We all know.  You’re two men.  The Great Man of the Rocks.”

“Coo!”  Punch gasped.  “You sound like…”

“Naasir?”  Marie smiled.

“Yep.”  Punch nodded.  “Did you know him?”

“No.”  Marie shook her head.  “Not the man himself—only of him.  We all know of him, and you.”

Robert interrupted.  “So, you’re aware of the legend of which Naasir often spoke?”

“I was told the stories when I was a girl—the tales of the Great Man of the Rocks who was destined to fight the beast.”

“Did you know you was part of that beast?”  Punch asked.

“I did.”

“So, that’s why you been fightin’ us all this time?”  Punch asked, tightening his grip on Marie’s hand.

“Yes.”  Marie nodded.  “But, I realize now that I’m the one…”

“What one?”

“The story is written.”  Marie replied softly.  “In the legend, the colorful head of the monster—bright with orange, green, purple and red—is said to turn to flowers and fall upon the land and from those petals, good will arise.  I am the head of the beast, Your Grace.  I didn’t know it until now.”

Robert began to speak, but Punch shook his head.

“I believe you, scary Chum.”  Punch nodded.

“If you know the legend,”  Robert interrupted, “you know that Naasir said that the Great Man of the Rocks would meet his end in fire.”

“I know.”  Marie said.

From within, Punch heard Julian’s panicked voice.  “Don’t trust her!”

“I must, Master.”  Punch said aloud, hoping Julian would hear him.  “It’s like Naasir said.”

“Comfort him, Sir.”  Marie nodded.

“I’m tryin’.”

From behind them, Charles began to shout.  “Are we going to stand here talking while we burn to death?”

“No, impatient one,”  Marie shook her head.

“Well, what are we going to do?”  Charles shrieked.

“Get a hold of yourself, man!”  Robert scolded.  Charles bit his own lips to keep from talking.

“I know what I must do.”  Marie smiled.  “All this time I’ve wasted…”

“What do you mean?”  Robert asked.

“All this time, I thought that Iolanthe was…”  She shook her head.  “It doesn’t matter now.  I know now that I am the head and I must blanket the way for the Man of the Rocks.  This changes everything.  But, it is written.”

Marie released Mr. Punch’s hand.  She spun around and ripped the quilt off of Charles’ bed, wrapping herself in it.

“Take the pitcher from the washstand, Doctor.”  She said.

Robert lifted the pitcher. 

“Now, douse the quilt with the water.”  Marie commanded.

Robert did as instructed.  As he did, the colored fabric of the quilt deepened—red, orange, purple, green in rich, dark hues.

“Walk on me.”  Marie smiled proudly.

“Huh?”  Punch grunted.

With that, Marie threw herself over the smoldering pile of rubble which blocked the doorway.  As she did, the quilt in which she was wrapped began to steam and spit.

“Hurry!”  She moaned.




Did you miss Chapters 1-469?  If so, you can read them here.  

The Home Beautiful: An Advertisement for Jeffrey & Co's Artistic Wallpapers, 1907

Advertisement for Jeffrey & Co. Artistic Wallpapers, 1907
The Victoria & Albert Museum




The Aesthetic movement’s mantra was “Art for art’s sake” and the idea flourished in the 1890s and early 1900s.  Around 1900, the English wallpaper manufacturer Jeffrey & Co. adopted the peacock—a favored motif of the Aesthetic Movement--as their logo to reinforce their association with the highest artistic standards in design.

Jeffrey & Co. proudly printed William Morris's wallpapers since 1864. Under the direction of their sole proprietor, Metford Warner (from 1871), they employed some of the best designers of the day - including Walter Crane, Lewis F. Day, B. J. Talbert and C. F. A. Voysey.

Here, we see an advertisement for Jeffrey & Co. from this end of this era--1907.  The company’s name is written in peacock feathers. 

Object of the Day: Liberty's of London Peacock Fabric, 1887

Textile
Roller Printed
Designed by Arthur Silver for Liberty's of London, 1887
The Victoria & Albert Museum




It’s peacock day!  Not internationally or anything—just here on Stalking the Belle Époque.  And, when you think of peacocks, well, at least when I think of peacocks, the first thing that comes to mind (aside from the fact that they’re vicious and bite) is the Aesthetic and Pre-Raphaelite movements.  So, let’s take a look at some artistic representations of peacocks from those eras.

Here, we see a textile sample from a roller-printed cotton which was used for furnishings, as curtains or upholstery. The brilliantly colored tail feathers of peacocks were very popular motifs with designers of the Aesthetic Movement.  In addition to being a popular theme in textiles both for home and fashion, the feathers themselves were often used in the home—placed in vases and containers to add rich color to any space.  That’s a trick that I use around my own 1890s home and I must say it’s an elegant addition to a room.

This pattern was drawn in 1887 by Arthur Silver who set up the Silver Studio at Brook Green in 1880, later moving to Haarlem Road, Hammersmith, London. The Silver Studio was renowned for its designs and supplies them to a host of high-end retailers.
 
This particular textile was originally sold through Liberty's on Regent Street, London.  Liberty’s notably helped proliferate the Aesthetic style in England. This pattern was resurrected for the V&A's Liberty exhibition in 1975 and has since become almost a trademark for the company.


Reverse of the fabric.

Wednesday, February 22, 2012

Mastery of Design: The Victory Intaglio Ring, 1810

Gold Ring of Rose-cut Diamonds and a Carnelian Intaglio Depicting Victory
Roman intaglio.  Mount: 1810.
The Victoria & Albert Museum




Dating to 1810, this gold ring is mounted with an intaglio of carnelian cut with a representation of Victory as a winged figure driving a chariot.  During the Nineteenth Century, the taste for intaglios cut with classical subjects was once again fashionable for gentlemen.   

The golden shoulders of the ring widen to an oval bezel of rose-cut diamonds set in silver around the intaglio.  The intaglio may, in fact, be an ancient carving, possibly of Roman origin.  

To Serve and Project: Theiere Calabre, 1780

Theiere Calabre
Tea Pot, Sevres, France, 1780
The Victoria & Albert Museum




This teapot and cover of soft-paste porcelain is painted with enamels and gilded. The enamel decoration takes the form of  wreaths of roses and cornflowers between “bleu celeste” bands.  A finial of fruit and leaves surmounts the lid. 

It was made at the Sèvres Porcelain Factory, France, circa 1780 by Monsieur Nicquet who served as the painter.  





History's Runway: The Liberty Rose Evening Cloak, 1920

Evening Cloak of Velvet, Satin, Silk and Maribou
Liberty, London, 1920
This and all related images from:
The Victoria & Albert Museum




This luxurious evening cloak, meant for use in winter, was made by Liberty's—the celebrated London store—around 1920.  It was purchased by one Mrs. R. Scraggs.  While clearly of the Jazz Age, the cloak is reminiscent of the styles of earlier cloaks which were produced by the Liberty workshops in the “Aesthetic” taste.

The dark rose-pink velvet cloak features a hem trimmed with appliqué motifs above a dramatic band of marabou feathers meant to resemble fur. The applied shapes are made of gold satin and have been padded to give them depth in the manner of Renaissance garments where the silk or velvet was slashed, revealing a colorful lining beneath.  Tassels adorn each side and the glitter of gilt thread gives an element of shimmer to the garment.  











Painting of the Day: The Rose, 1832


The Rose she loves the Mother blesses
The Rose she to her bosom presses
A fairer, sweeter, happier thing
Than that which shines the Queen of Spring.


Painted by Edmond Thomas Parris (1793-1873) in 1832, this sentimental oil is typical of the artist’s so-called “fancy” portraits.  These paintings were designed for reproduction in the form of  color lithographs as an illustration to a verse. This painting, “The Rose,” was published as “The Rose of the Boudoir” with the short, anonymous, poem which is duplicated above. 

The Rose
Edmond Thomas Parris, 1832
The Victoria & Albert Museum


Though the verse is “anonymous,” it is similar in form and content to the poetry of Marguerite Gardiner, Countess of Blessington,  The countess edited “The Keepsake” (1841-50), and her poems, “Gems of Beauty,” were published in 1836 with 12 engraved plates based on designs by Parris.