Friday, February 25, 2011

Goal for the Day: Don’t Overthink Things

Sometimes a story about an Elephant King is just a story about an Elephant King and meant to be enjoyed as such. It doesn’t necessarily have to be a political commentary about neocolonialism and an endorsement for dictatorship. Overall, I think we all need to stop dissecting and analyzing everything and just sit back and appreciate things for what they are. When I was researching the first publication date for the Babar stories I happened across all of this ponderous criticism about the political nature of the stories. Honestly, they’re just children’s stories trying to espouse positive behavior. We don’t need to tear everything to pieces.


Now, I’m all for finding the deeper meaning in a work of art. I’m a fan of studying the artist’s motivations and I understand that every author and artist is trying to communicate something. However, I also recognize that some works are created quite innocently for the purpose of entertainment and beauty.

So, let’s stop trying to find reasons to be offended and just enjoy life a little bit more. There’s enough injustice and horror in the world, let’s not go looking for it.

Object of the Day: A Haviland Limoge Babar Plate

It’s sort of unnerving to think that objects from your childhood are considered vintage, but here we go. This beautiful Haviland Limoge plate from my childhood is the culmination of two important historical geniuses


Haviland Porcelain developed in the 1840’s with American businessman David Haviland who moved to France and opened a successful porcelain enterprise in Limoge. The works of the Haviland company continue to be cherished today with over 60,000 different patterns. One of them is a series of dinnerware for children which features scenes of Babar the King of the Elephants.

Babar the Elephant was created in 1932 by French author and illustrator Jean de Brunhoff and concerns the adventures of a young elephant who travels to an unspecified big city, lives among men and learns their culture before returning to his native land to become King of the Elephants. Babar introduces Western culture to his fellow elephants and serves as a benevolent dictator. Since his creation, Babar has enjoyed a long popularity which spans across many different media.

The Babar series by Havilland is beautifully colored and designed and has been cherished for many years. This marriage of ideas is the quintescential representation of French artistry and, hopefully, will continue for many years to come.






Thursday, February 24, 2011

Gratuitous Bertie Dog Picture: Boys at the Window

“Could you shove over a little, window hog?”


Image: Boy at a Window, Flemish School, First Recorded in the Collection of Henry, Prince of Wales (Son of James I), 1550-60. The Royal Collection

Painting of the Day: The Grocer’s Shop, 1672

The Grocer's Shop
Gerrit Dou, 1672
Acquired by King George IV, 1803
The Royal Collection
Dutch painters were masters of illusionistic painting. This gem of a canvas by Gerrit Dou shows the triumphant cleverness of Dutch trompe l’oeil painting.


On first glance, the painting is so neatly finished and so crisp that it almost appears to be a true bas relief. This sense is heightened by Dou’s use of a “stone” archway and ledge which frames the composition. This was an unusual presentation in 1672 and set the path for many similar artists to follow. A painting of a stone relief of children playing with a goat (below the ledge) only heightens the realistic effect.

Not only is this painting a masterpiece of illusionistic art, it is also an excellent narrative. Dou was known for his narrative paintings of every-day life. Here, he shows a scene of a high-end grocer’s shop with china jars and expensive produce. The figures appear to be interacting with one another in a manner which makes the viewer wonder what they’re discussing. The mystery of the scene is further expressed by the shadowy figure of an older woman in the background.

The influence of French fashions on Dutch society is evident in the costumes of the figures. It’s easy to see why this painting appealed to King George IV who purchased the painting in 1803 while still Prince of Wales.

Mastery of Design: The Thistle Badge of the Prince of Wales

Thistle Badge
Blue-Grey and White Onyx,
Diamonds, Gold, Silver, Enamel
Miniature on Ivory
1703-1807
Originally made for King James II
The Royal Collection
The onyx cameo of St. Andrew set into this badge dates to the early Eighteenth Century and was originally carved as a garter badge for King James II. Over the centuries, the badge was altered considerably. Its present condition owes to a redesign from around 1764 when the reverse of the cameo was layered with an enamel design of a thistle. In 1772, a locket was embedded into the enamel. The locket housed a portrait miniature of Princess Louise.


There’s some debate about the origin of the opulent diamond mounting. Some records indicate that this garter jewel was set in a frame of large diamonds as early as 1703 with its presentation to King James II. However, other records show that the diamond mounting was added with the enamel backing in the mid-Eighteenth Century. It could be that the badge has had several settings though the cut and quality of the diamonds suggests creation in the Eighteenth Century.

In 1807, the Cardinal of York, bequeathed the Thistle Badge to the Prince of Wales. Later, the Thistle Badge (having become symbolic of Scotland) was displayed by King William IV as part of the “Honours of Scotland.”

Unfolding Pictures: The Dutch Marriage Fan, 1770

Dutch Marriage Fan
Vellum with Mother-of-Pearl Guards and
Carved Battoire Sticks Featuring Painted Medallions
Created: 1770
Presented to Queen Mary: 1893
The Royal Collection
When we think of antique hand fans, we usually think of those produced in France or England. However, fan-makers in the Netherlands in the Eighteenth Century were producing high quality fans which rivaled those of the French. Dutch fans often had a golden glow about them because of the use of yellow-toned vellum for the leaves. Such is the case of this fan made in Holland in 1770. The vellum leaf is supported by carved sticks and protected by identical mother-of-pearl guards. The fan’s leaf is painted with a mythological scene of Mars falling in love with Venus.


Queen Mary (of Teck) amassed a tremendous collection of antique. Many of them were purchased from auctions, others were given as gifts, and others still came from Mary’s favorite occupation of admiring her friends’ possessions and then waiting for the friend in question to give her the object she admired. This fan, however, came to Mary as a gift on her wedding day to the soon-to-be King George V. It was presented to her in 1893—as a symbol of her love for the Prince—by the Honorable Mrs. Halford.

Punch's Cousin, Chapter 179

Robert helped Mr. Punch back up the stairs.


“You’ve got to realize that this man is dangerous to us,” Robert said as he supported his friend.

“Is he?” Mr. Punch smiled.

“Think about it, dear Punch,” Robert said firmly, “he was sent by Barbara who has allegiances to both Iolanthe and Marie Laveau.”

“Precisely.” Mr. Punch answered.

“So, how could you possibly allow him to be a member of our household staff?” Robert asked as they turned the corner toward Julian’s room.

“It’s easy, it is.” Mr. Punch said cheerfully. “Listen, Chum, I don’t think that fella down there is a bad one. Sure, maybe he’s been swayed by Barbara’s charm, but I think his reasons for wantin’ to be my valet are honest enough. He’s lookin’ to improve his life. He don’t know what Barbara nor any of them others might want from him. But, see, it’s his alliance with me master’s sister what makes him the perfect one to be here.”

“How exactly?” Robert sighed.

“Cuz, Chum.” Mr. Punch chuckled. “If he were sent here by Barbara, that means that she’s not going to be far behind. Now, look, we come here to bring Barbara home to me master’s mum. Now, the Duchess is dead. But, that don’t mean our obligation to take her away from the bad decisions she made is dead. With this Charles in our lives, we got a better chance to convince Barbara to come back to England with us. Besides that, what’s it that Cecil always says? ‘Keep your friends close and your enemies closer.’”

Robert grinned.

“What’s more,” Mr. Punch continued, “Maybe he can help us get the Molliner Blue back. I still want it, you know. No, not for the money what it’s worth, but cuz it were me pa’s and it were somethin’ what he cared ‘bout. It should come home with us. If this Charles is loyal to Barbara, too, he might know what’s become of the diamond. We come all this way, I’d hate for us to come this far and have nothin’ but bullet holes and pain to show for it. Wouldn’t it be somethin’ for this journey to end with us on a ship with Barbara goin’ home to Fallbridge Hall, the diamond in our pocket and maybe, even, Barbara’s child—me nephew—comin’ home to inherit what he deserves? When me and Julian are gone, what’s to become of our name? No, not the Fallbridge title, but me pa’s name? Don’t we owe it to Sir Colin to see that there’s more Molliners? We could give this child my name, give him his title, give him the land and the wealth what he should have. It’d be easy enough to hide his paternity, it would. We could say that he were a child what you and I took as our ward while in America. All the while, he’d have Molliner blood in his veins. We’d know. That’s all what matters. Wouldn’t it be beautiful?”

“Mr. Punch,” Robert shook his head. “Forgive me. I’ve done you a disservice.”

“How ya figure?” Mr. Punch asked.

“I underestimated you.”

“No.” Mr. Punch smiled. “You were just lookin’ after me. That’s good.”

“But, in doing so, I treated you as if you were delicate and fragile. You’re not. You’re no longer the child-like creature that I first met. You’re a very wise man.”

“Oh, I don’t know ‘bout none of that. I know only what I think. And, that’s what I thought when I met this Charles…maybe he’s the key what we need to get to Barbara. I’ve been learnin’ a thing or two ‘bout keys since Naasir left us. I’m learnin’ that they open doors sometimes what open with effort and loud creakin’, but they still need to open.”

“Has Julian used the ‘key’ that Naasir left for him?” Robert asked softly.

“No.” Punch shook his head. “Not yet, but it’ll come…and soon, I think. But, we can only use one key at a time. Let’s use this Charles as a key, too, Chum. If I turn out to be mistaken, then we can clean up the mess like what we clean up all the messes ‘round us.”

“Sometimes you overwhelm me, dear Punch.” Robert grinned.

“Don’t mean to.” Punch said, coughing slightly.

“Now, if you’ll allow me to be something of a tyrant, you really do need to go to bed.” Robert smiled.

“I understand.” Punch nodded. “And, I agree.” Punch sat on the bed and leaned back, allowing Robert to cover him up. Toby trotted in behind them and leapt on the bed, snuggling up to Mr. Punch.

“Here’s your puppet,” Robert nodded, handing the figure to his friend.

“Thank you, Chum.” Mr. Punch sighed.

“I’ll go back down and finalize the arrangements with Charles.” Robert continued.

“Good.” Mr. Punch nodded.

“Just know, however, that I’ll be keeping a close eye on him.” Robert winked.

“I would expect nothing less.” Mr. Punch chuckled. “But, don’t worry, this ain’t gonna be a repeat of what happened with Arthur. This is a different kind o’ bloke. Very different.”

Robert nodded, “I hope so.”

Meanwhile, Ulrika Rittenhouse was pushing her way into Iolanthe Evangeline’s house. Mala shrieked as Ulrika angrily brushed past her.

“Try to stop me!” Ulrika spat, pulling a knife from her apron. “And, I’ll cut you, too.”

“You lunatic!” Mala screamed.

“I’m not the lunatic.” Ulrika shouted. “That witch upstairs—she’s the lunatic! Now, tell me, you hideous cow—where is my Arthur?”



Did you miss Chapters 1-178? If so, you can read them here.