Mastery of Design: The Temperance Bodice Ornament , 1610-20

Dress Ornament
1610-1620
Germany
The Victoria & Albert Museum

Dress or bodice ornaments were sewn onto garments for decorative effect. These small decorations were often made of the finest precious metals and stones.  Usually, they were made in matching sets of differing sizes so that they could be worn in rows across sleeves, the bodice, or a jacket.  They were worn by both men and women.

Here, we see an openwork gold ornament which was made in Germany between 1610 and 1620.  It features a cast female figure at the center, holding two goblets, presumably of water, and, therefore, identified as “Temperance” whose attribute was twin goblets.  She, therefore, may have been part of a large set of ornaments depicting the cardinal Virtues (Prudence, Justice, Fortitude, Temperance).  These were usually paired with the theological Virtues (Faith, Hope and Charity).

The whole piece is enameled in white, blue, green and black.

Painting of the Day: Charles II Giving Audience at Christ’s Hospital, 1680

Charles II Giving Audience at Christ's Hospital
1680
The Victoria & Albert Museum

Here we see a painting that served as a preparatory work for a larger picture whose main theme was the glorification of Charles II (1630-1685). In it, we see the King with the governors, masters and children of Christ's Hospital, a London charity school.

This painting dates to the early 1680s and is the work of Antonio Verrio who was responsible for some of the redecoration of Windsor Castle.

Verrio (ca. 1639-1707) was born in Lecce, South Italy and studied in Naples before travelling through Italy and France where he settled for a while in Toulouse. Later, he went to London where he was commissioned for the decoration of the state rooms at Windsor Castle (1675-ca.1684) and the new state apartments at Hampton Court Palace (1700-02).

History's Runway: The "Elvis" Dress, 1989

"The Elvis Dress"
Catherine Walker, 1989
This and all related images from:
The Victoria & Albert Museum

When I picture Diana, Prince of Wales, it is this gown which she’s wearing. Just one of the many iconic gowns worn by the late Princess, for some reason, this one always sticks in my memory. Known as “The Elvis Dress” (a nickname given to the ensemble by the princess herself because of the similarity of the high white collar of the jacket to those on the jumpsuits worn by Mr. Presley at his most rotund), this dress and matching bolero speak volumes of the stream-lined style favored by the Princess of Wales in the late 1980s.

Well aware of her status as a fashion icon and style-setter, the Princess of Wales was always careful to don only the most flattering and fashionable garments when out for an elegant and formal evening. By the late 1980s, Princess Diana had pushed aside the fuller-cuts, crinolines and flowing chiffons of her earlier days in favor of bolder textures and sleek, tailored gowns. I think this gown is the epitome of that trend. 

The strapless gown of white silk is encrusted with pearls and sequins. It’s given a sense of drama by the tall collar of the matching bolero. It’s the work of Catherine Walker, a favorite
couturière of the Princess of Wales. Diana’s association with Walker began during her pregnancy with Prince William of Wales in 1981. Walker continued to design for the Princess until Diana’s death in 1997.

The princess wore the ensemble to the British Fashion Awards in October 1989, on an official visit to Hong Kong, and, later for an official portrait. The gown had actually been commissioned for the official visit to Hong Kong. Walker envisioned a sheath of pearls for the occasion. Tens of thousands of pearls—long a symbol of the “orient”--were embroidered onto the dress and jacket.

Walker would recall in 2012: “Whenever I saw the Princess in this dress, I could not help but feel that it would not be possible for anyone else ever to wear this dress and bolero. She shone in the dress and the dress shone around her in a shimmering column of glistening pearls.”

It was one of the 79 dresses which the Princess of Wales sold in a charity auction in 1997. The auction, held by Christie’s, raised over three million pounds for AIDS and cancer research. A commemorative doll of the princess shows her in this dress.

The Home Beautiful: A Figure of Caritas, c. 1759

Caritas
Germany, 1759
The Victoria & Albert Museum

Made in Fürstenberg, Germany (presumably where the family of Diane is von), this figure group of hard-paste porcelain depicts a woman wearing a head-cloth and a flowered smock. Seated upon the sort of Rococo base one would expect from a German figure of the 1750s, the woman is nursing a child while other children are flitting about in various stages of dress. The group obviously is meant to represent Caritas (Charity). It’s the work of the Fürstenberg Porcelain Factory’s chief modeler Johann Christoph Rombrich and dates to about 1759. 

Precious Time: The Roman Charity Watch and Case, 1680-1700

Watch and Case
Switzerland, 1680-1700
This and all related images from:
The Victoria & Albert Museum

This watch is housed in a copper gilt case which, along with the timepiece, has been enameled with a variety of Italian scenes including “Roman Charity” and “Lucretia.” Made in Geneva, Switzerland, the movement is signed “Baccuet.” Created between 1680 and 1700, the enameling was done by the family team of Jean Pierre (1655-1723) and Ami Huaud (1657-1724). Their competent enamel work on the scene of “Roman Charity” was based on an engraving by Claude Mellan which itself was after a painting by Simon Vouet. 

Figure of the Day: Charity, A Staffordshire Figure, 19th C.

Charity
From a Series of the Virtues
Staffordshire, England
C. 1838
The Victoria & Albert Museum

This early Staffordshire figure is part of group meant to depict the virtues of Faith, Hope, Love and Charity. Here, we see Charity in porcelain painted in enamel colors. She is portrayed as a woman in a white robe which is edges in red and covered with a pattern of floral sprigs. 

Charity carries a baby on her left arm as a small child stands by her right side. The rocky, polychrome plinth/mound upon which she stands has been inscribed with her name and is accentuated by a thin, red stripe.

Object of the Day: Charity's Home

Click on image to see a picture with no relation whatsoever to the copy.

Well, I have no idea.

I decided that I would sit down and type the copy from the reverse of this page and see where it took me. After a lot of dialogue and a peculiar use of the affectionate term of “glow worm,” the copy finally told me that this was an ad for Met Life Insurance. It’s the twelfth of something. I’d guess that it’s twelfth chapter of an ongoing insurance-themed saga. It appears to be a page from a booklet since it just cuts off.

The obverse gives us a nice look at a little girl with a puppy. This doesn’t seem to have anything to do with the story of Israel and Charity and their shotgun house. Still, it’s a strangely compelling read.

Judge for yourself. I insist. I took the time to type it.

12. 

CHARITY’S HOME 

AND HOW IT WAS PAID FOR 

A FEW years ago, my wife said to me one morning:

“Israel, we must have a home of our own.”

Said I: “Charity, it’s just impossible; we hain’t the means.”

Said she: “Israel, we hain’t the means to pay the rent these people charge, that’s clear.”

She began washing up the breakfast things, and off I went to duty.

In the evening, Charity said to me, as we sat down to supper:

“Israel, I’ve bought a lot.”

I srpanf up from my chair and said: “You’ve bought what?”

“A lot.” Said she.

“A lot?” Said I.

“A lot.” Said she.

“Well!” said I and sat down again and went for the tea and biscuit. When I came to, I said to my wife: “Just explain yourself, Charity.”

“I’ve bought a lot,” said she. “Mr. Dodd says the fifty dollars down are satisfactory, and the rest may run at six per cent. Twenty feet front, one hundred feet deep—two thousand feet at twn cents a foot, two hundred dollars. Fifty paid, one hundred and fifty due.”

“But, Charity, how about a house?”

“All right, Israel. I’ve made a contract with Chipps & Cullings; house, shed and fence, fifteen hundred and fifty.”

“Charity!”

“Israel, honey, don’t talk please. You men—“

“Charity, are you?”

“Deranged, eh? No, love, not a bit. One hundred dollars cash when possession is given--”

“But, Charity--”

“Stop a minute. You know, Israel, we can never get our large bureau, nor our large sofa, nor our high-post bedstead, nor our large dining table, nor our large wardrobe into this little four-room house. That’s clear, hain’t it?”

“Well?”

“Well, then, we’ll sell them all, and the proceeds will meet these two cash payments.”

“Exactly.”

“Exactly, with a little difference, may be. So, you see.”

“But, how can we do without those things?”

“As easy as you will do without cigars; as easy as you will be your own barber and boot-black; as easy as we’ll both take our breakfast without half-dollar butter; as easy as I’ll make all last winter’s clothes carry me through next winter; as easy as I’ll carry you through, nice and genteel, on the same principle; as easy as--”

“Charity!”

“Well?”

“As easy as I’ll do without a “breakfaster” and a “nooner” and a “night-cap,” and my cigars, and an occasional theatre ticket, and--”

“Exactly, old glow-worm.”

“Well—well. Suppose we should do without these things, and I should be taken away before it is paid, where would our own—my Charity’s home—be then?”

“Oh, you can get your life insured in the METROPOLITAN, and make that all safe.”

“Darling, here’s with you!” I never saw debts squared off so soon. Two hundred and fifteen hundred make seventeen; and one hundred and fifty cash, paid off by proceeds of surplus furniture, leaves fifteen hundred and fifty. Fifty dollars a month pays this off in—no, not thirty-one months, because the interest and insurance payments put it off somewhat…