Mr. Punch of Belgrave Square, Chapter 221

Chapter 221 

Needing a Place 



“Do you require something, My Lady?” Charles asked from his spot beneath the sweeping staircase. He’d spied Lady Constance from his station in the foyer of the grand townhouse. Instructed by the Duke of Fallbridge to keep watch in case Lady Constance tried to leave the house, Charles was not shocked when he heard her dainty footsteps from three floors above him.

“Who said that?” Constance grumbled, leaning over the banister.

“It is I, Your Ladyship, Charles.”

“Ah, the footman.” Constance muttered as she descended the stairs. “Spying, are you?”

“Not exactly,” Charles smiled politely. “His Grace asked if I would keep watch tonight.”

“For what? Desperate ladies?”

“No, My Lady.” Charles shook his head. “Simply because, as I understand it, there are forces outside of the house who wish harm upon its occupants, both permanent and visiting.”

“The Duke told you I might try to go out on my own.” Constance sighed.

“He suggested that you might.”

“Do you know what it’s like?” Constance asked.

“My Lady?”

“Knowing your own child is out there somewhere, in the grip of someone who is, at her best, demented?”

“No, not personally. However, I once had a friend who was the mother of a child. She fretted that she had not made the best decisions for her son and feared that she’d put him in the hands of someone who might, ultimately, do him harm. I helped her as best I could, and, in the end, she did her part to liberate that child. I know such a venture can be grueling, but, that it also takes time.”

“Lady Fallbridge? The Duke’s ‘dead’ sister. You and she…”

Charles’ eyes widened in shock.

“Don’t look so surprised, Charles.” Lady Constance shook her head. “London is a large city and a very small town.”

“Yes, My Lady.”

“So, this man who had the boy…he was bad?”

“Yes.” Charles nodded.

“Bad enough that Barbara would have preferred him to be raised by…two such different men.”

“It’s my masters’ differences which make them so magnanimous. They have suffered for their differences and, therefore, have the greatest compassion for all.”

“You’re very loyal.” Constance smiled. “I didn’t mean to impugn the names of your masters. I’m rather fond of them.” She leaned against the gilt newel post. “Did you know…no, of course you didn’t. My mother had a scheme. She insisted that I should give Fern—that’s my daughter—to His Grace and his companion. She absolutely loathed them both. You see, that’s the rub, Charles. She hated them. Utter contempt and damnation. However, she hated Fern more. And, me.” She shook her head. “She thought it best to give her own granddaughter to two men she loathed than to keep her…”

“Is that why you killed your mother?” Charles asked bravely.

“In part.” Constance nodded. She grinned. “I can’t believe that I told you that—you, a footman.”

“I shan’t say a word, My Lady.” Charles replied. “Nor, shall I judge you.”

“I believe that you won’t. You’ve kind eyes. I trust you. I imagine that it’s your lack of condemnation which caused His Grace to take you on?”

“No.” Charles smiled. “The Duke took me on, despite the doctor’s protestations, because I needed a place. I’d been estranged from my family. I couldn’t return to Italy. No familyin New Orleans would take me after I’d betrayed my mistress. I had nowhere to go. I needed a place—there was nothing. His Grace took pity on me even though I had been quite unkind to him previously. Terribly unkind. You see, My Lady, I had been known to condemn, and condemn I did. The Duke showed me that such behavior was only going to condemn me in the end.”

“Interesting.” Lady Constance replied softly, looking into Charles’ eyes. “I can see what Lady Barbara saw in you.”

“She was not Lady Barbara when I knew her.” Charles answered quietly.

“Barbara and I were often together when the Duchess came to London. Barbara never cared for me much. She thought I was plain and looked down on me for it.”

Charles was silent.

“Do you think that I’m plain, Charles?”

“No, Lady Constance, I do not.”

“I find you very handsome, Charles.” Constance smiled slightly. “If I’m doomed to stay in this evening, perhaps…perhaps I can find a way to amuse myself.”



Did you miss Chapters 1-220 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 222.

The Art of Play: The Laughable Game of What D'ye Buy by Professor Punch

Professor Punch's Laughable Game of "What D'Ye Buy?"
1890
The Victoria & Albert Museum

“The Laughable Game of What D'ye Buy by Professor Punch” was a boxed card game with a picture of Mr. Punch and Dog Toby on the lid. The game is comprised of ten cards which depict people of various professions, and 67 cards which have objects written on them that would be sold by the people depicted on the other cards.

The game is described as being played by giving each player a profession and the cards that are specific to that Profession. One player is elected as the “conductor.”  This player reads out a story, as found in the rule book.  At various points within this story there is a blank space in the text and the conductor looks to one of the vendors who must read out one of the items they sell to fill the gap in the story.

In this example from 1890, five of the printed object cards, and two of the vendor cards are missing.  These have been replaced with hand-written cards. The original rule book is missing but there is a hand-written transcript of it in the box.  Obviously the game was beloved and played to the point that it fell apart.  This version may have been made by the Edwin Wallis Co.

Object of the Day, Museum Edition: Mr. Punch and the Constable

"If I hit you, will you promise not to hit me?"
Postcard
The George Speaight Archive
The Victoria & Albert Museum

This late Nineteenth Century postcard illustrates Mr. Punch and the puppet character od the  Constable.  Part of the George Speaight Punch & Judy Collection at the V&A, this postcard is one of a series portraying Mr. Punch in various scenes from his traditional puppet play.

Each of the postcards in the series features Mr. Punch as an independent cut-out which can be manipulated by moving a paper handle on the reverse. In this scene, he is fighting with the Constable who also holds a wooden stick and a candle holder.

The text reads:

“Punch: If I hit you, will/ you promise not to hit me?”

Reasonable, and very Punch-like logic there.

Gratuitous Bertie Dog Picture: Bertie and Phillis

"Something I said?"

Brunetta and Phillis (Steel, 'The Spectator', no. 80), Thomas Stothard (born 1755 - died 1834), late 18th century to early 19th century, Given by John Sheepshanks, 1857, to the Victoria & Albert Museum.

You know you want to have a Bertie Dog mug, tee-shirt, tote bag or water bottle. You know you do. So, take a look at our online store. 

History's Runway: The Duchess of Devonshire's Schiaparelli Gown, 1953

Ballgown
Elsa Schiaparelli, 1953
The Victoria & Albert Museum

Celebrated designer Elsa Schiaparelli (1890-1973) was born in Rome and, as a young woman, studied philosophy. After she married, she traveled to Boston and New York, moving to Paris in 1920.

The design which first cast the spotlight on Schiaparelli was a black sweater knitted with a trompe l'œil bow in white. The sweater was spotted by a store buyer and the orders she received put her into business. By 1928 she had launched her own boutique called Pour le Sport. An exclusive salon would open a year later where Schiaparelli garnered much acclaim and attention for her witty, smart, sophisticated, theatrical and elegant evening ensembles. Her eccentric designs earned her many loyal fans, among them, a good many popular artists. Many of these artists collaborated with Schiaparelli to create sumptuous, innovative new looks. Among these artists were Salvador Dalí, Christian Bérard and Jean Cocteau who each designed fabrics and accessories for her lines. Cubism and Surrealism influenced Schiaparelli's work considerably. She also loved to experiment with color, dying furs and textiles unusual colors. She favored shocking pink--like the gown we see here.

This dress from the Summer of 1953 was worn by the Duchess of Devonshire and now is part of the Cecil Beaton Collection at the V&A. The under dress of her trademark pink is crafted of Thai silk. It features short sleeves and a pleated off-the-shoulder neckline with a dropped waist and flared skirt with an over-lain white silk organza pattern of apple blossom embroidered in pink, green, yellow and white on velveteen appliqué. 

Mastery of Design: The Charles Boit Miniature, 1720



Miniature
Charles Boit
Enamel, Gold, Diamonds
1720, France
The Victoria & Albert Museum

 This oval miniature bust length portrait depicts an attractive young lady wearing a pink shawl, her hair adorned with several blue ribbons. The portrait on enamel is set into a frame of rose-cut diamonds which dates to approximately the 1720 creation of the miniature.

Portrait miniatures in enamels became quite popular in the Eighteenth Century. They developed from the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris and are a continuation of the fashionable portrait plaques which had been made in the enameling workshops of Limoges in central France during the Sixteenth Century.

In the 1630s, Jean Toutin adapted new techniques of enameling which produced subtle, translucent colors. These techniques are still in practice today and allow for an impressive delicacy of detail. These portraits often were applied to small objects such as watches or snuffboxes, but usually stood alone in jeweled frames such as this.

This particular example is the work of enamel artist Charles Boit who was well respected for his ability to create light and shade in his miniatures. Boit’s subjects often showed an openness of expression due to their large eyes. Though this miniature is not signed, we can tell by the figure that this was the work of Boit’s hand.

Painting of the Day: A Watercolor of The Queen Mother as a Girl, 1907

Lady Elizabeth Bowes-Lyon
Mabel Hankey, 1907
The Royal Collection

When Lady Elizabeth Bowes-Lyon (later Queen Elizabeth, the Queen Mother) was seven years old, her mother had a delicate pink dress made for her which had been based on a gown from a painting by the Spanish master Velázquez. At the time this special gown was completed, the young lady was photographed in it several times.

Miniature painter Mabel Hankey was commissioned to create a watercolor portrait of Lady Elizabeth in this gown. Two pictures were created—both of them done from photographs rather than painted from life. Both of these miniatures by Hankey are now in the collection of Queen Elizabeth II who cherishes these images of her mother.

Mabel Hankey was born in Bath--the daughter of artist Henry Eddington Hobson. She was the first wife of the painter William Lee Hankey, and, after many years of study, exhibited with the Royal Society of British Artists, the Royal Miniature Society, the Society of Women Artists and the Royal Academy.