Thursday, May 23, 2013

Mr. Punch of Belgrave Square, Chapter 332




Chapter 332 

A Perfect Day 



Is Mr. Barrett comfortable, Your Ladyship?” Gamilla asked.

“Yes, he’s in the library with His Grace,” Lennie nodded, “enjoying a puppet show.”

“Ain’t that nice.” Gamilla smiled. “I reckon he’ll be goin’ back to his rooms soon.”

“Yes,” Lennie replied. “As soon as we can secure a new custodian for him while the other poor man recovers. Dr. Halifax thinks he can have someone quite dependable within the day.”

“I’m glad to know it. Thank goodness for Lord Colinshire.”

“Oh, I’m not used to these titles yet.” Lennie sighed.

“Mr. Speaight was very clear we should address you proper.”

“I confess, I’m rather going to miss hearing you call me Miss Lennie. I like the way it sounds with your gentle accent.”

Gamilla smiled. “Well, Miss Lennie, maybe when it’s just the two of us, I can still call you that.”

“Thank you.” Lennie replied. She looked around. “Where’s Ruthy?”

“Just in the night nursery, givin’ Master Colin his bath.”

“Do you think you can leave your post for a few minutes?” Lennie asked.

“I don’t see why not.” Gamilla answered. “Did ya need me for somethin’?”

“I do, something very urgent.” Lennie replied.

“Well, then, let me jus’ tell Ruthy where I’m goin’.” Gamilla looked curiously at Lennie.

A few moments later, Gamilla returned to the day nursery and nodded. “I got a few minutes, Miss Lennie. How can I help ya?”

“I need you to come with me to my room. If you don’t mind…”

“Not at all.” Gamilla answered.

The two women retreated to Lennie’s room where a large package, wrapped in white paper with a bright pink ribbon sat on the bed.

“What’s this?” Gamilla asked.

“Open it and see.” Lennie grinned.

“Is it?” Gamilla’s eyes widened. “Is it my…dress?”

“It is.” Lennie giggled. “It just arrived. I had Charles bring it in here. I know it’s selfish, but I couldn’t wait to see it.”

“Neither can I!” Gamilla hurried to the package. With shaking hands, she untied the ribbon, pausing to notice the label. She stopped and read it aloud. “To the future Mrs. Gerard Gurney. No. 65 Belgrave Square.” Her voice trembled. “I…”

“I know.” Lennie nodded. “Now, open that package before I die of curiosity!”

“Yes, Miss.” Gamilla laughed. Taking the lid off of the box, she gasped.

“Oh…is that a good reaction or a bad one?” Lennie asked nervously.

“Good, Miss Lennie. Very good.”

“Let’s see it, then!”

Gamilla lifted the gown from the box.

“Oh, my…” Lennie pressed her hand to her heart.

“It looks just like the one that was ruined. Look how well they done matched the silk to the color Marjani made for me.”

“It’s magnificent. Oh, and the little blossoms made from ribbon…”

Tears welled in Gamilla’s eyes. “It’s like it’s the dress I done dreamed of. How’d they know? How’d they know to match it so well to what we done made? I didn’t think I described it well at all when we was there.”

“You did a very fine job of it, Gamilla.”

“Miss Lennie?” Gamilla grinned slightly. “Did you…did you have an’thing to do with this?”

“Well, perhaps I sent a little note afterwards, just to give the dressmaker a sense of what I recalled of the original.”

“Oh, Miss.” Gamilla shook her head. “I don’t know what to say.”

“Gamilla, you’re as much a part of this family as I am. In fact, maybe more so. You’ve been here longer than I. His Grace and Baron Colinshire and I simply want your day to be as perfect as possible.”

“It will be, Miss.” Gamilla sniffed. “If all of you are there to witness it.”

“We’d be nowhere else.”

“Oh, dear, I’m sure Ruthy’s finished Master Colin’s bath by now. I’d best get myself back to the nursery. If I ain’t there to tell her, Ruthy never knows what to do next.”

“She is rather dependent, isn’t she? But, she’ll learn soon enough.” Lennie said. “If you don’t mind, I’ll take this to your room and lay it out so it won’t wrinkle.”

“No, Miss. I’ll do that. Wouldn’t be fit for you to do that.”

“Nonsense, I want to.” Lennie replied. “It’s not everyday I get to lay out a wedding dress.”

“Soon enough, I’ll be arrangin’ yours.”

“Oh, you’ve been listening too much to my brothers. There is no wedding for me in the offing.” Lennie chuckled.

“Don’t be so sure, Your Ladyship.” Gamilla grinned. “And when that time comes, if you’ll let me, I’ll be right there to see that your day is perfect, too.”



Did you miss Chapters 1-331? If so, you can read them here. Come back tomorrow for Chapter 333 of Mr. Punch of Belgrave Square.






Painting of the Day: Study of Queen Victoria and Prince Albert in Costumes of the Time of Charles II, 1851



Queen Victoria and Prince Albert in Fancy Dress
Franz Zaver Winterhalter, 1851
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II


From the Royal Collection, this 1853 oil sketch by Queen Victoria’s preferred portraitist Franz Xaver Winterhalter (1805-73) depicts Queen Victoria and Prince Albert in fancy dress. Their Majesties attended a costume ball with the theme of “The Time of Charles II.”

Prince Albert insisted that his costume be made entirely of British materials to show his support of textile trade. The Queen’s costume was designed by the celebrated French artist Eugène Lami. In her journal, after the ball, on July 13, 1851, Queen Victoria wrote:



... My costume was of grey moiré antique, ornamented with gold lace, - a very long waist & sleeves trimmed with old lace. The petticoat showing under the dress which was all open in front, was of rich gold and silver brocade (Indian manufacture) richly trimmed with silver lace... In my hair I wore an arrangement of pearls. The shoes and gloves were embroidered to match the dress.

Object of the Day, Museum Edition: The Lester Bobbin Lace Fern Bodice Front, 1865-1875



The Victoria & Albert Museum



A popular adornment to a Nineteenth Century lady’s outfit was the addition of a lace collar or bodice front. This fashion was particularly stylish in the 1860s and early 1870s. Here, we see an example of the type of bodice front which would have been worn by a fashionable lady. Such a piece could have been worn with a variety of bodices. It would have been intended to be worn over a contrasting colored silk, setting its pattern into clear relief.

This example features a bib-shaped front worked with fine cotton thread and bobbin lace worked in a pattern of ferns and blossoms in cloth stitch with openwork decoration. A narrow border of Bucks point lace has been attached to the outer edge.

The detail and delicacy of the bobbin lace indicates that it was made in Bedfordshire, England which was a lace-making center. In fact, this type of work is often referred to as “Bedfordshire Style.” The curators at the V&A believe this piece was designed by Bedfordshire’s Thomas Lester who was known for such intricate patterns which often depicted ferns and other naturalistic themes. The botanical theme suggests that the bodice front was made between 1865 and 1875.



Wednesday, May 22, 2013

Mastery of Design: The Aurora Goddess of Dawn Bracelet, 1870



Bracelet
Rome, c. 1870
This and all related images from:
The Victoria & Albert Museum


With a shape inspired by then-recent finds of ancient jewelry, this bracelet is adorned, not with a scene from antiquity, but rather with a micromosaic scene based on a Renaissance painting by Guido Reni (1575-1642). Aurora, Goddess of the Dawn, is shown in much the same stance—with her chariot and assistants—that she takes in Reni’s fresco at the Pallavicini-Rospigliosi Palace in Rome.

Now part of the collection of Sir Arthur and Rosalinde Gilbert at the V&A, the oval mosaic and gold bracelet fastens with locking hinges. It was made in Rome, c. 1870.  Clearly, it was meant as a souvenir of Rome--as indicated by the giant ROMA on the reverse.  







Painting of the Day: Miniature of an Unknown Man, 1619



The V&A
Miniature in an enamel locket
Peter Oliver, 1619
The Victoria & Albert Museum



This miniature portrait bust depicts a dark man in a ruffed collar set into a Seventeenth-century oval gold locket, the convex back and front of which are enameled in a translucent dark blue. 
This is the work of Peter Oliver (1589-1647) and dates to about 1619.  We know this because it is inscribed “P.O./1610.”  We don’t, however, know the subject of the portrait and can only guess who he might be.


Unusual Artifacts: The François Joseph Charles Bonaparte Brooch, 1800-1900



The King of Rome
Emperor Napoleon II
1800-1900
Portrait Miniature in Enamel
The Victoria & Albert Museum



François Joseph Charles Bonaparte was the son of Napoleon I and his second wife, the Archduchess Marie Louise of Austria. He was named the “King of Rome” by his father at the moment of his birth in 1811—how convenient…most babies get a rattle.

This, of course, was a rather complicated family into which to be born. Young François Joseph was briefly named Emperor Napoleon II—but in name only—at the time of Napoleon I’s first abdication upon the downfall of the French empire in 1814-15.

Here, we see a portrait miniature of François Joseph Charles Bonaparte, rendered in enamel—a popular and expensive practice which developed out of the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris.

Now part of the collection of Sir Arthur Gilbert and his wife Rosalinde, housed in the V&A, this oval gold brooch (dating between 1800 and 1900), with two crowns, is set with the aforementioned miniature portrait of the King of Rome as a baby. He is wearing a white frock with the red sash and cross of the Imperial French Order of the Legion of Honor. Unlike most babies, he holds an orb and scepter. Again, better than a rattle. The infant King reclines on a green cushion with red drapery in the background. 



This miniature, enameled by an unknown hand, is based on a painting by Baron Françios Gérard which is now in the Musée National du Château de Fontainebleau. 

Gifts of Grandeur: The Geneva Snuffbox, 1810



Click image to enlarge.

Snuffbox
One of a Pair
Sene and Detalla of Geneva
1810
The Victoria & Albert Museum



This is one of two very similar lavish enamel and diamond snuffboxes made in Geneva (by the firm of Sene and Detalla) which are found in the V&A’s Gilbert collection. Like its mate, this one was likely made for export from Switzerland to the Ottoman market in 1810.

The oval box features a cover enameled in translucent red. The cover boasts a double diamond border and the topmost panel is applied with a diamond spray. The sides of the box’s base are enameled with a blue trellis pattern which is mounted with enameled “pearls.” The inside of the lid has been set with an enameled plaque which depicts doves and a basket.