Mastery of Design: The Cypher Brooch, 1838

Cypher Brooch, 1838
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Today, in honor of Carol Channing, our first entry in our “Exceptional People” series, we’ve been looking at diamonds—Miss Channing’s best friend. So, I thought it would be fun to share with you a brooch from the Royal Collection with which I’m not previously familiar.

Made in 1838 for Queen Victoria this brooch takes the form of an eight-pointed star. The star has been set with lovely emeralds surrounded by a border of fine, brilliant-cut diamonds. A cipher in Arabic script has been mounted in diamonds against the emeralds at the center. The backing of the pin is silver, customary in the early Nineteenth Century for diamond pieces, while the pin and catch are crafted of sturdier gold. 

Exceptional People: Carol Channing

Laughter is much more important than applause. Applause is almost a duty. Laughter is a reward.

--Carol Channing

  

Recent birthday girl Carol Channing is the first in our weekly series of Exceptional People. The very name of this American favorite elicits thoughts of pure talent and joyful entertainment. With her big voice and slight figure, Miss Channing embodies the spirit of the American theater.

Born January 31, 1921, into a Christian Scientist Family, Miss Channing recalls being drawn to theatre as a small child when, accompanying her mother on a trip to distribute the publication, “The Christian Science Monitor” backstage at San Francisco theatres, she immediately became aware that her life was to be on stage. She said, “And I stood there and realized – I'll never forget it because it came over me so strongly – that this is a temple. This is a cathedral. It's a mosque. It's a mother church. This is for people who have gotten a glimpse of creation and all they do is recreate it. I stood there and wanted to kiss the floorboards.” 

And kiss the floorboards, Miss Channing did—with a mesmerizing stage presence and a keen sense of timing and fluidity which was rare and enchanting. After her first stage job at the age of 19 in 1941, Channing quickly earned a place as Eve Arden’s understudy in the Broadway production of “Let’s Face It!” Within five years, Channing was performing in a featured role in a Broadway revue when she was spotted by by author Anita Loos and cast in "Gentlemen Prefer Blondes" as Lorelei Lee—the role which defined the rest of her career and gave her the song most often associated with her, “Diamonds Are a Girl’s Best Friend.”

By 1964, Miss Channing was already a Broadway legend when she awarded the title role in “Hello Dolly,” a part which brought her a Tony Award. In between these famous productions, Channing delighted audiences across the world with winning performances in films as “Thoroughly Modern Millie” and “Skiddoo.” 

With a larger than life personality, sharp wit and endearing self-awareness, Miss Channing made for the ideal guest on a host of television programs—further sealing her spot as a beloved American personality. The always cheerful Channing has used her celebrity to bring attention to the causes she most values. A fervent supporter of LGBT rights, Channing has acted as a voice for many who would otherwise go unheard. Furthermore, as a survivor of ovarian cancer, Miss Channing has sought to raise awareness of the condition and urged women to ensure their personal well-being through regular checkups. 

But, most of all—she’s Carol Channing. And, she’s wonderful. With each delightful flip of her trademark platinum locks, with each purring note and brassy song, Channing—the little woman with the big voice—has, over the course of her seventy-year long career, brought immeasurable delight to millions of people, across every medium. 

For that alone, Carol Channing is truly exceptional.

Gifts of Grandeur: The Manchester Tiara, 1903

The Manchester Tiara
Cartier, 1903
The Victoria & Albert Museum

A dazzling mosaic of gold and diamonds created in 1903 by Cartier, the Manchester Tiara, has been drastically altered since its initial creation. The design of graduated “flaming hearts” and “C scrolls” is said to have been inspired by images of pre-Revolution France. Louis Cartier insisted that his designers replicate the look of Eighteenth-Century French ironwork and assorted architectural masterpieces around Paris and at Versailles in the design.


The tiara was created for Consuelo, Duchess of Manchester. Consuelo was a duchess by marriage. American by birth, she wed into the British nobility in 1876. The vivacious beauty was quickly embraced by high society. The Duke of Portland said of the Duchess that she, “took Society completely by storm by her beauty, wit and vivacity and it was soon at her very pretty feet.”

The Tiara with Paste Adaptations

Her charms notwithstanding, she wasn’t a good steward of her jewelry in my opinion. She had the diamond surmount which forms the centerpiece of the tiara removed so that the largest of the diamonds could be set into a ring. The tiara was rebuilt with paste set in silver, leaving the central heart and surmount to be eternally fake. Boo!

Curiously, this tiara came to the Victoria & Albert Museum in 2007 under unusual circumstances. It was accepted by Her Majesty’s Government in lieu of Inheritance Tax and allocated to the Victoria and Albert Museum.

Reverse showing alterations at center.

  

Mastery of Design: A Diamond Finger Ring with a Miniature of King George III

Finger Ring with Miniature of George III
Gold, Diamonds, Miniature on Ivory
1761
The Royal Collection

Though we tend to think of Prince Albert when we consider romantic ROyal gifts of jewelry, Queen Victoria's husband wasn’t the only Royal to give impressive gifts to his bride or bride-to-be. The custom has been going on for centuries. In 1761, King George III presented the future Queen Charlotte with an impressive suite of jewels. These additions, when added to her already massive collection of jewelry, made her the first Queen of England since the Seventeenth Century to have a collection of jewels at her disposal that rivaled that of the royalty of other nations.


Part of the suite of jewels is this attractive and personal ring which was intended to be worn on her little finger at their wedding. Beneath a large emerald-cut diamond lies an exquisite miniature of George III which has been painted on ivory. The central diamond is surrounded by smaller old mine cut diamonds. Queen Charlotte is said to have cherished this ring, leaving it to one of her daughters upon her death. For awhile, its whereabouts were unknown. It reentered the Royal Collection during the reign of Queen Victoria—only to be lost again when the King of Hanover claimed most of Victoria’s jewels as part of his fortune. Many years later, it was once again purchased by the Crown.

Mr. Punch of Belgrave Square, Chapter 250

Chapter 250 

Wake 


Mr. Punch bolted upright, his face drenched in sweat and his nightshirt clinging to his back. “Naasir,” he muttered as he shook his head. Punch was relieved that his sudden awakening had not disturbed Robert who snored softly at his side. Even Dog Toby remained asleep at the foot of the bed.

“Little pup,” Punch reached out and stroked the dog’s fur. “All tired out, you are. All them people comin’ in and out of your house, cryin’ and sad. You wanted to help them all, didn’t ya?”

Climbing slowly out of the bed so as not to bother Robert and Dog Toby, Punch walked softly to the wardrobe for his dressing gown and slipped it over his wet nightshirt, shivering slightly. With his leather slippers on his feet, he crept from the room and climbed the stairs to the floor above.

The door to the nursery opened without a squeak and Mr. Punch slipped inside. Peering down at Colin, Punch nodded, content to see the baby asleep and smiling. He wanted to pick up the child and cuddle him, but thought better of it. Gamilla had always told him that it was best to let a sleeping baby stay asleep. Or...was that dogs? Or both? Regardless, Punch knew that given the horrors of the day, it was best to let everyone enjoy some respite, no matter how brief.

As quietly as he’d entered the nursery, Mr. Punch left the room. He slowly made his way down the stairs and as he did he looked up to the play of the moonlight through the dome as it danced across the prisms of the chandeliers.

He sighed. One of the few things that Ethel had said during Jenny’s wake—after the scullery maid had been dressed and essentially carried into the drawing room—was something about “the Man in the Moon.” What had she meant? The girl fell silent just after—and remained so until she was brought back to Lennie’s room.

Punch followed the curve of the banisters, tracing the cool brass-inlaid wood with his fingers. As he passed Lennie’s door, he paused and strained to listen. He could hear Lennie speaking softly to Ethel. Only Lennie’s voice could be heard.

Punch pressed his lips together. His sister would have no sleep that night either.

Down another flight, Punch stopped on the reception floor and walked with dignified purpose to the tall gilt mahogany doors of the drawing room. Pressing gently on the bronze handles, he opened the doors, startled, at first by the faint creak which rose mournfully from the hinges.

The grand room smelled of candles and flowers, and another scent—like soap or cleanser—which Punch could not identify. Punch stood in the doorway and looked around. All of the chairs which the undertaker had brought that evening were still lined up in neat rows facing Jenny’s coffin. The large gilt pier mirror which stood between the rooms pedimented windows had been draped with black silk. Punch wondered why, but Mrs. Pepper had insisted upon it, and Lennie said that they’d best do it.

All of the room’s usual furnishings had been pushed back against the walls. With only those rented chairs in the center of the massive room, it looked cavernous and imposing—not at all like the glittering, inviting space that Punch always enjoyed so.

And, there was Jenny…

Her hands were crossed over her breast and someone had tucked a white rose between them. She wore her Sunday dress and Violet had arranged the girl’s hair attractively. She looked pale and pretty and Punch wished that Jenny could have had more chances to wear her one, good dress.

She seemed to be sleeping, really. And, Mr. Punch couldn’t help but feel as though he might disturb her if he entered further into the room. However, unlike Colin and Robert and Dog Toby, Jenny was not going to wake.

Punch quietly went into the room and sat in one of the uncomfortable chairs in the first row—first moving the prayer book which the undertaker had so carefully set on each seat.

“Hullo, Jenny.” Punch whispered. “Lots of folk came tonight to sit with ya. Your ma and pa and your brothers and sisters. Your aunties and cousins. They was all sad. We was all here, too. Me and Robert and Lennie and all the folks from downstairs and Lady Lensdown, too. Mrs. Pepper cried an awful lot. Folk sent flowers. Lots of flowers. The room’s full o’ flowers. I know how you liked them. Tomorrow, we’re gonna take ya to St. Peter’s Church---you know the church with the tall steeple? The one on Eaton Square? That’s where you went with Mr. Speaight and the others on Sunday. Then, you’re gonna go somewhere real pretty and green with trees and all. You’ve passed it a hundred times…Highgate. It’s nice for what it is.”

Punch wiped his nose on his sleeve. “Hope ya don’t mind me talkin’ at ya. I woke up. Seems a silly thing to say to ya, I know. But, I did. Had a dream, I did. See, in my dream Naasir came to me. You didn’t know him. He were my valet before Charles. Naasir was my friend. He helped me and protected me. We met on the ship when I was goin’ to America. Same time I met Robert…Dr. Halifax…officially. Naasir was from Africa, like Gamilla and he knew all sorts of things what other folks don’t know. He’s come up in me dreams before. And, when he does, it’s usually cuz somethin’…well, cuz he’s tryin’ to tell me somethin’. He died. Terrible. It were terrible how he died. He were young. Not as young as you, but too young to…well. See, he knew it though, and he knew it were gonna happen, and he accepted it. Said he would die so I didn’t have to. I never understood.”

He shook his head. “Listen to me goin’ on.”

Mr. Punch sat in silence for a time, and, then, he couldn’t help but speak some more.

“Jenny, Naasir said in my dream that there’s a monster what’s near us. But, he said it weren’t a ‘she.’ It scared me. I can’t think what… How many more monsters could there be? I…don’t know.” He sighed. “But, that’s not for you to worry ‘bout. You just…”

He wiped his nose again.

“We know who done this to ya. We know it were Orpha Polk. Poor Ethel, she can’t say what happened, but she don’t even have to. In the end, we know who done this. My goodness, the horrors that woman’s brought. We’re gonna stop her.”

Punch looked up. “I wonder if you can see me. Lennie said that you’re in Heaven. Mrs. Pepper said so, too. And, that Heaven is above us though I can’t rightly see how. Either way, I hope you’re there cuz that’s where folks should go, I’m told. If you can see me, you know that I asked Mr. Donnan and that other, strange fella to help us stop Orpha. But, I don’t want you to misunderstand us. We ain’t gonna do her no harm. Robert and me…we know that ain’t the way. Ya can’t fight hurt with more hurt. Mr. Donnan knows what to do. He’s done it many a time before…even to our Vi. But, you know that.”

He stood and walked to the coffin, peering down at Jenny just as he had peered into Collin’s crib.

“I hate that you’re dead, Jenny. You was a good girl and I shoulda protected you better. Robert says it ain’t me fault, but I can’t help but feel like it is. Speaight and Mrs. Pepper and Lennie, they say you’re in a better place now and I hope, truly, truly, that you are. Don’t be hurt when we gotta get a new kitchen maid. Even if we like her, we won’t like her more than we liked you.”

Punch took a deep breath and took a step back. He stopped and looked again at Jenny. “Oh, if you are in Heaven, maybe you could send an angel or somethin’ to help poor Ethel. I don’t know how it all works. Julian…that’s the Duke, you know, or me, to be…well, I think you know…he never cared much for religion, so I never learned none of it. I just hope you’re at peace. Cuz…cuz you was real nice.”

With that, Punch walked from the drawing room, closing the doors gently behind him. He looked up again through the gentle spiral of the stairs and saw the moon. “Ain’t no man there.” Punch shrugged. “Ain’t nothin’ but a big rock.”





Did you miss Chapters 1-249 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 251.

Painting of the Day: A Miniature of King Edward VII and Queen Alexandra, 1902

Miniature
Watercolor on Ivory Set in Gold with
Pearls and Diamonds
Meant to be worn as a Garter Badge
1902
The Royal Collection
Crown Copyright
Image Courtesy of Her Majesty
Queen Elizabeth II

Created in watercolor on ivory in 1902 to commemorate for the Coronation of King Edward VII and Queen Alexandra, this miniature by Johannes Zehngraf (1857-1908) is set in a pendant brooch with an intricate pearl and diamond Maltese cross border. The miniature was set this way so that it could be used as Queen Alexandra’s Family Order. It hangs from a red and white ribbon.

The miniature was first recorded in the Royal Collection during the brief reign of King Edward VIII who had a lot in common with his grandfather (Edward VII) as far as outlook and lifestyle were concerned (not as far as having a desire to serve his country is concerned). You can actually see the resmblence of the one-time Edward VIII to his grandmother, Prince Alexandra as she is depicted in profile on this miniature. 

Object of the Day, Museum Edition: Queen Alexandra's Diamond Coin Purse, c. 1902

Purse
Once Belonged to Queen Alexandra
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Alexandra knew how to live, I must say. Even this little coin purse was the height of elegance. Gold-mounted leather (once a bright green, but since faded to a putty color) features an inset clock. The face of the clock boasts numbers of blue enamel (except for the 12, which is red) and a frame of glittering diamonds.  

The Royal Collection

The reverse of the purse, still green, is adorned with a diamond “A” ringed with a diamond crown. The oval thumbpiece is also diamond-set around a sparkling Burmese ruby. The interior compartments also feature gold and ruby fasteners.

While the maker is unknown, the purse is thought to have been made around 1902. The once-brilliant green of the leather combined with the diamonds and rubies must have once made for a stunning, but useful accessory.

The Royal Collection