Object of the Day, Museum Edition: Il Carnevale in Roma, 18th C.

Il Carnavale in Roma
Eighteenth Century
The Victoria & Albert Museum

Entitled “Il Carnevale in Roma,” this engraving was published by an unknown company sometime in the Eighteenth Century. 

The scene depicts a group of people dressed for a mask ball during carnival. From left to right there are two figures with who have donned costume horses’ heads, another figure wears a turkey head, there’s a clown, a Pulcinella--on a monkey--and two more masqueraders.

I must confess, I was tickled when reading the V&A's description of this piece.  They state that the Pulcinella is riding a "monkey."  Now, I know it was a typo and they meant "donkey," but I rather like the idea of a Pulcinella riding a monkey.  It seems like something one would do.

Print of the Day: Sheet Music Cover for “Polichinelle” or, The Royal Punchinello Quadrilles' by Musard, 1843

Sheet Music Cover for Musard's Polichinelle or "The Royal Punchinello Quadrilles"
English, 1843
The George Speaight Archive
The Victoria & Albert Museum

Polichinelle is the French term for Pulcinella (or Pulcinello), the Italian Commedia dell’Arte character who became known as Punchinello in England, and, then, later Mr. Punch.  This 1843 sheet music cover for a group of songs called, “Polichinelle, or, The Royal Punchinello Quadrilles” by Musard (published by R. Cocks & Co.) depicts Mr. Punch with his wife Judy who holds their famed, put-upon baby.  As is traditionally the case, the baby’s face is that of his hook-nose, hunch-backed, portly puppet papa.

What’s curious about this is that Punch and Judy appear to have other children—boys and girls who also, rather sadly, resemble their father.  The tradition of Punch doesn’t include other children, so I find this very interesting.  I wonder if our Mr. Punch tossed these tots out of the window as well.  If so, they appear to have survived and grown to be rather jolly.

Print of the Day: Pulcinella, 1622

Pulliciniello (Pulcinella)
Jacques Callot, 1622
The Victoria & Albert Museum

Despite the rather queer spelling of the inscription, Pulliciniello (which can be forgiven since words foreign to Britain were usually spelled phonetically in the Seventeenth Century), we know this print depicts the Commedia dell’Arte character Pulcinella—the forebear of our Mr. Punch. 


The print, published in 1622, is based on an original drawing by Jacques Callot (1592-1635). 

Sculpture of the Day: The Ivory Pulcinella, 1750

Ivory Pulcinella
Technically, "Polizinell"
Germany, 1750The Victoria and Albert Museum

Here’s something peculiar. This ivory figure of a dancer clearly represents Pulcinella, but, he’s not the work of an Italian sculptor. He comes from Germany, c. 1750. The figure is delicately rendered in a fantastic costume, a conical hat and a ballet skirt.

So, how did this character from the traditional Italian Commedia dell' Arte come to be rendered by a German artist? He was already known in France as Puchinelle and in England as Punchinello or Mr. Punch (first recorded in Britain on May 9th, 1662 by Samuel Pepys). The first sighting of our hero in Germany came in 1649. He was spotted in Nuremberg where he was called “Polizinell.” This was performed by a splashy Maltese showman called Blasius Manfredi who, that same year, had the acquaintance of the Franco/Italian showman known as Brioche who was first noted as performing 'Polichinelle' in Paris. So, they’re all connected.

As we celebrate Mr. Punch’s three hundred fifty-second birthday, it’s important to remember the minor moments over the last three centuries that led to his widespread, global fame. This little ivory figure which could so easily be dismissed is just one tiny piece of the puzzle.

The figure was given by Dr. W. L. Hildburgh, F. S. A. to the V&A where it remains along with a host of other historical items, each of which—when assembled—spell out the Punch family tree and history. Notably, from 1971 to 1977, the figure was on display at the Clawning Castle in Nottingham, England. Prior to 1971, it lived for an unknown time at King George IV’s Brighton Pavilion. How George IV came to own it is unknown.

Antique Image of the Day: La Famiglia di Pulcinella



Famiglia di Pulcinella
The Victoria & Albert Museum




Not much is known about this engraving entitled “Famiglia di Pulcinella” (Family of Pulcinella) which depicts, fittingly, a group of multigenerational figures clad in the costume of Pulcinella. The work of an unknown publisher from the 18th to 19th century, I’d guess pretty safely that this originated in Italy. It is now part of the George Speaight Punch & Judy Collection at the V&A.

The engraving depicts a family of eleven adults and children dressed as Pulcinellas, drinking and eating on a table and on the floor. I love it!

Mr. Punch in the Arts: A Punch and Judy Show in Naples

A Punch & Judy Show in Naples
G. Torino
Late Eighteenth Century
The Victoria & Albert Museum

Of course we know that our Mr. Punch has Italian roots and is descended from the black-masked Commedia dell’ Arte character Pulcinella. By the time Pulcinella had become a marionette—far easier to control than a pesky actor—and traveled to the U.K. his name had become Punchinella and, later, Punch as he took the form of a glove puppet.

But, Pulcinella and his ancestor haven’t been apart. By the early Nineteenth Century, as travel abroad became quite fashionable for high society Londoners, Punch went along with them. Once returned to Italy, Punch—courtesy of his intrepid professors—began to perform on the streets of Italy as he did in London. Sometimes, a professor would join forces with a Pulcinella performer and the two puppets would enjoy a brief reunion.

Such a scene is depicted in this late Eighteenth Century hand-colored lithograph signed G. Torino which is entitled “A Punch & Judy Show in Naples.” Here, we see Mr. Punch in his red costume alongside his ancestor, the white-robed Pulcinella. I’m sure it was a joyful reunion indeed. 

Friday Fun: A Pulcinella Show in Covent Garden

At this year’s May Fayre in Covent Garden, people from all over the world gathered to celebrate Mr. Punch’s 35oth birthday, so it was only natural that among the human revelers, some of Punch’s puppet cousins would be in attendance. Since Mr. Punch is a descendant of Pulcinella, I’m glad to know that the black-masked puppet made an appearance at Punch’s birthday festivities. 


Here’s a Pulcinella show from the event as performed by Phillipe Saumont, Irene Vecchia and Gianluca Di Matteo. 

Object of the Day, Museum Edition: Il Carnevale in Roma, 18th C.

Il Carnavale in Roma
Eighteenth Century
The Victoria & Albert Museum

Entitled “Il Carnevale in Roma,” this engraving was published by an unknown company sometime in the Eighteenth Century. 

The scene depicts a group of people dressed for a mask ball during carnival. From left to right there are two figures with who have donned costume horses’ heads, another figure wears a turkey head, there’s a clown, a Pulcinella--on a monkey--and two more masqueraders.

I must confess, I was tickled when reading the V&A's description of this piece.  They state that the Pulcinella is riding a "monkey."  Now, I know it was a typo and they meant "donkey," but I rather like the idea of a Pulcinella riding a monkey.  It seems like something one would do.

Object of the Day, Museum Edition: Guardi's "A Punch & Judy Show," 1735

The Frick Collection, New York

From the world famous Frick Collection in New York, we have this sepia ink drawing, dating to 1735, by Italian artist Paolo Guardi.

Though given the anglicized title, "A Punch & Judy Show," the drawing actually depicts a performance of a Pulcinella show--Italian's Italian puppet forebear.

The Frick Collection and Reference Library includes hundreds of important antiques and works of art.  A visit to their web site, and, if in the area to the collections themselves is a must.

Friday Fun: Emanuele Luzzati’s “Punch and the Magic Fish”

Previously, I've posted films animated by the painter, scenic designer and director, Emanuele Luzzati which depicted scenes from the daily life of Mr. Punch’s Italian cousin, “Pulcinella"--this one included.

Still, after a couple of years,  I can't help but repost this enchanting film by Luzzati and Giulio Gianini entitled, Pulcinella e il pesce magico (Punch and the Magic Fish).  Based on a tale by the Brothers Grimm and retold with Pulcinella as the lead, this adorable film was also translated into a picture book of the same name.  

Enjoy!  Again!

Painting of the Day: Young Man Playing the Violin, c. 1750

Young Man with Violin
From the "Scaramouche Parlour" at Belvedere House
Andien De Clermont, c. 1750
The Victoria & Albert Museum

If you were a wealthy land owner in Britain in the Eighteenth Century (rather as it is now—anywhere), you wanted the people around you to know just how rich and prosperous you were. Your house, your carriage, your horses, your clothes, your jewels—these were all status symbols. But, the real indicator of wealth was your ability to decorate your house. The more you could spend on your interiors, the better you looked. And, the real icing on the decorating cake was the paintings you displayed in your home. Portraits—sure, they were great. But, the best thing of all was to commission a painting of your family in your home. And, even better—a mural, right there on the wall, forever.

Of course, even mural painting was subject to levels or pretension. If you could get a foreign painter—you were the top dog! Painters from France, Italy and the Netherlands were brought into the stately homes of England to adorn the walls with scenes from mythology, allegorical motifs, fantastic designs and bucolic views—most of which would incorporate the visages of the homeowner and his family.

Here we see one such mural which was carefully removed from its original location. Thankfully, the murals were painted on canvas which had been applied to the walls, conveniently allowing them to be removed two centuries later. This is one of a series of 16 panels which were commissioned by Charles Calvert, 5th Baron Baltimore, in 1742 to decorate the “Scaramouche Parlour” in his house, Belvedere, in Kent. Each of the panels depicted scenes from the Italian Commedia dell'Arte and showcase the knock-about comedy’s most famous characters: Capitano, Arlecchino, Pulcinella (who, as we know, inspired the English Punch), Pedrolino (later Pierrot) and Colombine. 

The mural group is the work of Andien de Clermont (active 1716-1783), a French artist who arrived in Britain in 1716. Clermont was, certainly, the most avant-garde and highly-inventive decorative artist working in Britain during the Rococo period.

This mural sets the scene for the antics of Pulcinella and his friends. An unnamed young man is depicted playing the violin. He stands in profile in the foreground of a landscape with a grand building showing in the background. To his right are two dancing figures. The whole is en-framed by foliage border.

Figure of the Day: Pulcinella, 1755

The Victoria & Albert Museum

Pulcinella and his rival/buddy Scaramouche were and are a staple of the Italian Commedia dell’arte long before he traveled to England where he became known as Punch. As such, he’s been a common theme in the arts for centuries. Here’s an example of an Eighteenth Century depiction of Pulcinella which shows his transition from Italian valet to voice of the British people/murderous scamp.

The figure we see here has been very badly damaged. It was found in the grounds of Holland House, the London house of Sir Charles Hanbury-Williams, who was the British Envoy at Dresden Court in Germany. In 1748, Hanbury-Williams was presented with a host of diplomatic gifts of Meissen porcelain which he kept at Holland House. Three years later, he lent examples of these Meissen pieces to the Chelsea factory in order for them to be copies. This was likely one of those pieces.

Pulcinella stands in his typical dancing pose, with his right arm and left leg raised (the former missing, and the latter broken at the ankle). As usual, he is depicted with his very pronounced hump, a pointed hat and mask, and his trademark hooked nose.

As I mentioned, this was found at Holland House. However, it’s a miracle that it survived. This figure was among several artifacts discovered in the rubble of the house after it was bombed in 1940 during the Second World War. It’s just further proof that Punch always beats the Devil.

Mr. Punch in the Arts: “Pulcinella” by Jean-Ernest-Louis-Messionier

Pulcinella
Jean-Ernest-Louis Messionier
Circa 1860

French Classicist painter and sculptor Jean-Ernest-Louis-Messionier was best known for his monumental scenes of battles, military figures and of Napoleon. However, he did the occasional genre painting and sometimes painted other artists.


This painting of Pulcinella shows one of Messionier’s rare non-military subjects. An actor is dressed in the guise of Italy’s “Pulcinella,” Mr. Punch’s ancestor. In a brightly-hued costume against a theatrical backdrop, the subject looks cheerfully out at the viewer, resting his hands upon his grotesque stomach.

Messionier seemed to have a fascination with the idea of “Pulcinella.” This theme appears also in some of the artist’s attempts to create engravings.

Drawing of the Day: La Gran Tragedie di Ariosto, 19th C.

Non e un si bello in tante altre persone, Natura il fece, e poi roppa la stampa.

(There never was such beauty in another man. Nature made him, and then broke the mould.)

                --From "Orlando Furioso" by Ludovico Ariosto

La Gran Tragedie di Ariosto
Naples, Nineteenth Century
The Victoria & Albert Museum

This illustration comes from Naples and dates to the Nineteenth Century. It’s remarkable to me in that it shows the development of the The Punch and Judy tradition. As we know, Mr. Punch came to the U.K. from Italy where he had his roots in the Italian character, “Pulcinella.” 

The drawing depicts a Pulcinella-type show, however, we can clearly see that the puppets, to me, more so resemble the look of the popular Nineteenth Century Mr. Punch than they do Pulcinella. So popular was Punch that many Italian “Professors” styled their own puppets after the British Red Nose as opposed to their own masked Pulcinella.  

I can't say for certain that this crowd in Naples is watching a variation of a Pulcinella character.  The puppet on the left's costume is that of Arlecchino or "Harlequin." However, I would like to note that he clearly exhibits Mr. Punch's attribute of a humpback--not something usually associated with Harlequin. 

The title of the performance (as depicted on the front of the fit-up) is "la gran tragedie di Ariosto.” The title refers to “Orlando Furioso,” an epic poem by Ludovico Ariosto. This poem was a popular subject for traveling puppet shows.

Print of the Day: Pulcinella in Rome, 1815

Click image to enlargePulcinella in Rome
Bartolomeo Pinelli, 1815
The Harry Beard Collection at
The Victoria & Albert Museum

From the Harry Beard Collection at the V&A, here’s an etching of a Pulcinella Show (Mr. Punch’s Italian ancestor) being performed in Rome.

The etching was made in 1815 after a painting by Bartolomeo Pinelli (1781-1835). Pulcinella wears his traditional white robe and cap and his black half-mask. Like Mr. Punch, Pulcinella is often armed with a large stick, truncheon or cudgel which he uses to dispatch those who might prevent him from achieving his random goals.

Also interesting is the depiction of the crowd watching the show. Pulcinella, again, like Punch, is the great communicator—attracting people from all corners of life. Here, we see monks curious children, a maid, a gentleman, a middle-class mother and child, and, even a rake smoking a pipe.

Object of the Day, Museum Edition: A Pulcinella Mask, c. 1670-1700

Leather Mask of Pulcinella
Naples, Italy, Late Seventeenth to Early Eighteenth Centuries
The Victoria & Albert Museum

In the Seventeenth Century, street performers, pantomime actors, opera stars and puppeteers across Europe were, unbeknownst to each other, developing a set of common characters who would eventually join into one great satirical genre populated by stock characters which endure to this day. While these characters still retain their individual identities in their countries of origin, they all married to produce, in Britain, Mr. Punch and his companions.

The main source for Mr. Punch, as we know, is his Italian cousin, Pulcinella from the Commedia dell’arte who not only gave birth to Punch, but also lent some of his puppet DNA to France’s pig-tailed Guignol. We must remember, however, that before these little fellows (with the exception of Guignol who was born as and remained a puppet) initially strutted for the delight of society as masked human actors in a tradition that is still enjoyed today.

This molded leather mask is from an Italian Commedia dell'arte troupe which performed in Naples around 1700. This black mask is immediately recognizable as that of Pulcinella. In fact he still wears a similar mask.

Pulcinella was initially portrayed as a dimwitted servant, known for his big beaky nose, hunchback, distended stomach and a prominent wart on his forehead. By the time he became Mr. Punch, he had had his wart removed and lost the black mask, but the other characteristics remained. As the Seventeenth Century progressed, the character of Pulcinella became more well-rounded. By the time this mask was made and used, he was not necessarily a servant, but rather a trickster peasant, a dentist (like his cousin, Guignol), a physician, a painter or a soldier.

As Pulcinella changed, the mask also changed. The earliest versions of the mask featured a moustache and beard which served to obscure most of the actor's face. But, by the time Pulcinella reached Britain where he would become Punchinello, and ultimately, Mr. Punch, the character donned a half-mask like this one.

Curiously, as Italian performers of the period traveled to England to seek new audiences, the retained some of the old Commedia dell'arte characters, creating a type of early pantomime called a “harlequinade” (which is great with ice on a warm day). But, Pulcinella was not among them. He, in typical Punchinello fashion broke out on his own. Ever the independent spirit, Punchinello was a star in his own right and the English embraced his shocking and amusing antics, calling him “Mr. Punch” and making him the voice of the people. Mr. Punch introduced new versions of some of the traditional stock characters, assigning them characteristics and roles which better suited his own story.

Print of the Day: Gioco de Burattini al Mole

Gioco de Burrattini al Mole
The George Speaight Punch & Judy Archive
The Victoria & Albert Museum

This attractive engraving is entitled “Gioco de Burattini al mole.”  It depicts an Italian Pulcinella (Mr. Punch’s Italian cousin) puppet show being performed in the traditional white booth or “fit-up.” 

Hand colored in watercolor and printed by an unknown publisher, it’s difficult to say when this image was produced.  The V&A dates it between the Seventeenth and Nineteenth Centuries.  The print was part of the collection of George Speaight, the famed theatre historian, whose collection of Punch & Judy ephemera was bequeathed to the V&A.  

Painting of the Day: Young Man Playing the Violin, c. 1750

Young Man with Violin
From the "Scaramouche Parlour" at Belvedere House
Andien De Clermont, c. 1750
The Victoria & Albert Museum

If you were a wealthy land owner in Britain in the Eighteenth Century (rather as it is now—anywhere), you wanted the people around you to know just how rich and prosperous you were. Your house, your carriage, your horses, your clothes, your jewels—these were all status symbols. But, the real indicator of wealth was your ability to decorate your house. The more you could spend on your interiors, the better you looked. And, the real icing on the decorating cake was the paintings you displayed in your home. Portraits—sure, they were great. But, the best thing of all was to commission a painting of your family in your home. And, even better—a mural, right there on the wall, forever.

Of course, even mural painting was subject to levels or pretension. If you could get a foreign painter—you were the top dog! Painters from France, Italy and the Netherlands were brought into the stately homes of England to adorn the walls with scenes from mythology, allegorical motifs, fantastic designs and bucolic views—most of which would incorporate the visages of the homeowner and his family.

Here we see one such mural which was carefully removed from its original location. Thankfully, the murals were painted on canvas which had been applied to the walls, conveniently allowing them to be removed two centuries later. This is one of a series of 16 panels which were commissioned by Charles Calvert, 5th Baron Baltimore, in 1742 to decorate the “Scaramouche Parlour” in his house, Belvedere, in Kent. Each of the panels depicted scenes from the Italian Commedia dell'Arte and showcase the knock-about comedy’s most famous characters: Capitano, Arlecchino, Pulcinella (who, as we know, inspired the English Punch), Pedrolino (later Pierrot) and Colombine. 

The mural group is the work of Andien de Clermont (active 1716-1783), a French artist who arrived in Britain in 1716. Clermont was, certainly, the most avant-garde and highly-inventive decorative artist working in Britain during the Rococo period.

This mural sets the scene for the antics of Pulcinella and his friends. An unnamed young man is depicted playing the violin. He stands in profile in the foreground of a landscape with a grand building showing in the background. To his right are two dancing figures. The whole is en-framed by foliage border.

Object of the Day, Museum Edition: The Callot Pulcinella Dwarf, 19th C.

Figurine of a Dwarf
French, Nineteenth Century
Based on an engraving by Jacques Callot
The Victoria & Albert Museum

On Tuesday, we looked at one of a series of figurines which were produced in France in the Nineteenth Century and were modeled after images created by Jacques Callot (1592-1635) who was artistically inspired by a troupe of “grotesque” dwarf entertainers known as “Les Gobbi.”

Callot’s other great interest was the Italian tradition of the Commedia dell’Arte. Since Les Gobbi incorporated many facets of the Commedia into their act, the troupe was of great appeal to Callot who was fascinated by their costumes and their melodramatic antics.

This figure of multi-colored, glazed porcelain depicts one of Callot’s drawings of a member of “Les Gobbi.” This little fellow, a masked dwarf musician plucking a violin, is clearly based on the Commedia dell’Arte stock character, Puclinella, who, as we know, is Mr. Punch’s Italian ancestor. The dwarf wears a wee black Pulcinella mask and affects some of the grotesque features which we’ve come to associate with our Old Red Nose. That’s the way to do it.

And, don’t worry. It’s not another day devoted to dwarf-related are. It’s Friday, so it’s a Mr. Punch day! Let’s carry on. Shall we?

Object of the Day, Museum Edition: A Meissen Commedia dell’Arte Figure, c. 1740

Enamel and Hard-paste Porcelain Figure
1740
The Victoria & Albert Museum

Here, we see a hard-paste porcelain figure of Harlequin propped against a tree stump, looking both mischievous and wicked as he pulls the tail of a complaining pug dog as if cranking the handle of a hurdy-gurdy. The figure is painted in enamel and gilded.

This beautiful weirdness is the work of modeler Johann Joachim Kändler for the Meissen Porcelain Factory. In the 1740s. Kaendler, created a whole array of porcelain figures. The most popular of his designs were those which depicted characters from the Italian Opera and Commedia. These were especially popular in England where Commedia’s Pulcinella had given birth to Mr. Punch in the Seventeenth Century.

The figure with others from the group.