Mastery of Design: The Saragosa Ornament, 1650

Ornament
French, 1650
Gold, Diamonds, Enamel
This and all related images from:
The Victoria & Albert Museum

I think this is just stunning. A gold breast or hair ornament, this jewel is enameled in blue and white and set with table-cut diamonds in the form of a bow and jabot which is pierced in imitation of lace.

The ornament was made in France around 1650 and eventually found its way to Spain. IT was part of a group of jewels which were presented in 1679 to the Treasury of the Cathedral of the Virgin of the Pillar, Saragossa, by the Marquis de Nevarens.

The group of jewels was purchased by the Victoria & Albert Museum in 1870, when the Cathedral authorities auctioned off their treasures in order to raise funds to add a new structure to the Cathedral.

Unusual Artifacts: A Wrought Iron Ornament, 1851

Wrought Iron Ornament
English, 1851
The Victoria & Albert Museum

One thinks more of wrought iron as a decoration from the 1970’s than from the 1850’s, but we can see that the objects which graced our groovy coffee tables had their roots in far more attractive places. This wrought iron ornament takes the form of a six-flowered lily and combines Naturalismand neo-Gothic elements.

It is clearly inspired by Thirteenth Century English ironwork—such as might be found in Westminster Abbey. A.W.N. Pugin (1812-1852)m designer of Westminster Hall, was a proponent of decorative ironwork and helped usher it into common popularity.


This was made for the Great Exhibition of 1851 in London and was the work of Frederick Crook. Curiously, Crook wasn’t a traditional artist. He was, instead, a caterer and manufacturer of cooking equipment who tried his hand at design. Clearly he did a good job of it since he was awarded a bronze medal for this piece.

Sunday Morning Special: Lydia the Tattooed Lady

This needs to explanation.  At least to me, anyway...

Reminder: "Punch's Cousin" Will Return on Monday

I’m sure Mr. Punch is wondering how he managed to come to be tied up in front of a bonfire in the Place Congo on the eve of his departure (with the whole family) back to England. Well, the easiest answer to that is that it’s Marie Laveau’s fault. But, it’s also Barbara’s. And, partially Charles’. Even, a little bit of the blame can go to Iolanthe—since it usually does anyway.


You see, after the death of Arthur from Yellow Fever, Robert decided to hire Arthur’s dimwitted friend, Gerard, as his valet. There we see another case of Robert’s big heart being a problem. Gerard went out to look for Charles who had crept out of the house upon hearing that Marie Laveau had somehow managed to conceive a child which she knew would one day take over the world. Charles, of course, had other reasons. He was miffed that Barbara chose to stay with Iolanthe instead of coming home with him, and, still, he was worried about her since he couldn’t help but loving here.

While looking for Charles, Gerard saw a ghastly scene at the Place Congo as Marie and her gang of Voodoo pals danced around the bonfire upon which she had burned some corpses (notably Arthur, Nellie and her own brother-in-law) and upon which she was pouring Charles’ blood while Barbara Allen loudly lost her mind nearby.

At first, Gerard wasn’t too keen on the idea of telling his masters. He didn’t want to interfere with their plans to leave. After all, they had been very nice to keep him on. However, Meridian convinced Gerry to spill what he knew. This, of course, alarmed Mr. Punch and Robert who met with opposition from Cecil who thought it best not to get involved and just leave as planned the next day.

Mr. Punch, however, wasn’t going to listen and slipped out of the house with Marjani while the two brothers quarreled. A visit from Agnes Rittenhouse didn’t make matters any easier. And, by the time Punch arrived with Marjani at the Place Congo, Marie was in no mood to be tricked. She captured Punch and his friend and sent Marjani off with Ulirka and Iolanthe and tied Punch up with Barbara.

So, will Punch and Barbara escape? Will Agnes prove to be more trouble than she’s worth? Will Marjani accept the suspicious offer of help from Iolanthe and Ulrika. Will Marie kill Charles? And what of Robert and Cecil? Will they free their friends in time to make it to their ship?

All these questions will be answered next week as Punch’s Cousin continues. In fact, they’ll be answered just in time to raise a few more.

Coming this Week at "Stalking the Belle Époque"

Among the exciting objects we’ve got coming this week, we will have the opportunity to look at some paintings, sculptures, ceramics and jewels that few people have a chance to see any more because they are no longer on public display.


We’ll also have a chance to meet a new “Person of the Week” and “Humanitarian of the Week,” and, I’ll think you’ll find that this week’s choices may surprise you. On Sunday, we’ll resurrect our “Sunday Viewing” section with a movie that you probably have heard of, but most likely haven’t seen.

Of course, Punch’s Cousin will continue, and, as always we’ll have a Gratuitous Bertie Dog Picture. Bertie, Mr. Punch and I can’t wait to share it all with you!

Card of the Day: The Coronation Annexe at Westminster Abbey

In the fifteenth card in the 1935 Silver Jubilee series by Churchman’s Cigarette Company, we see the seat of the British Coronation services—Westminster Abbey. As part of the coronation, from at least the thirteenth century, the monarch made a formal progress from the Tower of London to the Palace of Westminster on the eve of the coronation itself.

The following day, the ceremonies would begin at Westminster Hall as a grand procession made its way to the Abbey. Then, another progress would conclude the event--returning to the Hall afterwards for a lavish banquet.

As I’ve already pointed out, these ceremonies no longer take place, ,and historically, each monarch changed the coronation ceremony to suit his or her own tastes. For example, James II declined the procession from the City. And, as I stated a few days ago, for financial reasons, the preliminary ceremonies and banquet in Westminster Hall were abandoned by William IV in 1831. For the coronation of William IV, a temporary building was erected at the west end of the Abbey. This annexe (annex) provided space for the remaining processions to form. An annexe of this kind has been constructed at every subsequent coronation.

The card pictured here depicts the annexe which was constructed for the coronation of King George V and Mary of Teck, his consort.

Object of the Day, Museum Edition: Henry V Trying on the Crown, 1847

Henry V Trying on the Crown
Staffordshire, 1847
The Victoria  Albert Museum

"Flatbacks," as they are known for the shape of their backs, and Earthenware figurines for mantelpiece decoration by Staffordshire became popular in the mid-1830s. We’ve looked at the earliest datable figures by Staffordshire—those of Queen Victoria—and we’ve seen that until about 1905 many figures were produced of popular people and scenes representing a wide variety of subjects.
This figure dates to 1847 and depicts Henry V trying on the crown. This, obviously, is meant to mimic a scene of Henry V from the play which bears his name. According to the V&A, “Although the play Henry V was staged in the early 19th century, by Macready in 1819 and Kean in 1830 and 1839, who both starred as the King, we do not know if this figurine represents any specific actor.”

Clearly, however, the figure is modeled on an engraving which itself was based on a painting that had been displayed at the Westminster Hall in 1847. The painting was John Calcott Horsley's painting Henry V and showed the moment when the Prince of Wales, believing the King to be Dead, takes the crown from the cushion and places it on his head.

Of course, much drama ensued. However, this quiet figurine exists simply to look lovely and does a fine job of it.