Friday, April 13, 2012

Print of the Day: The Comedy of the Cat, c. 1850


The Comedy of the Cat:
Behind the Curtain

1850
The Victoria & Albert Museum




This print, also from the George Speaight Archive at the V&A, depicts the inside of a Punch and Judy fit-up as a performance is taking place. The Professor holds Mr. Punch in his right hand, as is proper, and Judy in his left. On the floor, by his side, a woman is breast-feeding.   That’s not a standard feature of most fit-ups these days.  Meanwhile, a young crying child sits at her side and another child is holding a couple of puppets, waiting to hand them to the puppeteer, who is most likely her father.

The engraving is entitled “The Comedy of the Cat - Behind the Curtain.”  Cats were sometimes employed in Punch & Judy Shows when a terrier was not available to play Dog Toby.  This was, of course, before the animals took a puppet form, too. 

The engraving is from an original painting, “La Comédie du Chat. Derrière” by Jules David (1808-1892), (see below).  The print dates to 1850.



Object of the Day, Museum Edition: On the Road to the Derby - The Punch and Judy Man, 1870


On the Road to Derby -- The Punch & Judy ManE.F. Brewtnall, 1870 for the Illustrated London News
The Victoria & Albert Museum



The original drawing for this engraving entitled “On the Road to Derby – The Punch & Judy Man” was created by E.F. Brewtnall.  The drawing was reproduced in 1870 in the Illustrated London News.

I find this to be a lovely and sensitive picture.  Here, we see a Punch & Judy Professor seated, at work touching up the paint on the face of his handsome figure of Punch.  Dog Toby sits nearby, supervising, while the Professor’s bottler assembles the fit-up.

I’m sure that you can guess that this is part of the V&A’s George Speaight Punch & Judy Archive. 

Thursday, April 12, 2012

Gratuitous Bertie Dog Picture: Choosing the Bertie Gown

"I give it ten months."






Image:  Choosing the Wedding Gown, William Mulready (1786-1863), 1845, Given by John Sheepshanks, The Victoria & Albert Museum.















Do you want a little "Bertie Dog" in your day?  Why not take a look at the Bertie designs in our online store?

Mastery of Design: "The Queen of Transylvania" Tiara, 1958


Costume Tiara
Cecil Beaton, 1958
The Victoria & Albert Museum




This costume tiara was made for the character of the  “Queen of Transylvania” (as played by Margaret Halstan) in the London production of the musical “My Fair Lady,” at the Theatre Royal, Drury Lane.  The show opened on April 30, 1958.

Based on George Bernard Shaw's play “Pygmalion,” the music for the famous musical was composed by Frederick Lowe, and the book and lyrics were by Alan Jay Lerner. The production was directed by Moss Hart (husband of my dear Kitty Carlisle Hart), the sets were designed by Oliver Smith, and the costumes were designed by the celebrated photographer Cecil Beaton.

The production starred Julie Andrews as Eliza Dolittle and Rex Harrison as Henry Higgins.

This bears a label for Margaret Halstan, who played the Queen throughout most of the London run for My Fair Lady. This is one of several tiaras designed for Halstan for the production.  Photographs from the show indicate different sixed crowns of different weights, allowing the actress flexibility in what she wore each night.  A silversmith made the tiaras, set with fine pastes, based on Beaton’s detailed designs. 

Gifts of Grandeur: The Fabergé Star Bangle, 1908-1913


Bangle of gold, a star sapphire and ruby
c. 1908
The Victoria & Albert Museum




In 1882, Fabergé showed archaeological-style jewelry at the Pan-Russian Industrial Exhibition in Moscow.   The display was a triumph and visitors to the Exhibition were vocal in their adoration of these pieces, which were based on the Greek jewelry in the Hermitage.

Among the most celebrated of the pieces on display was this bangle bracelet of gold which is set, at the terminals, with a large pale star sapphire and a vivid star ruby.  The stones, both natural, display a white star, due to refraction, when held up to the light.

Her Majesty, Queen Mary, consort of King George V, was a great fan of this style of bracelet and amassed many similar pieces in her monumental collection of jewels. 

The Home Beautiful: A Seder Plate, 1764



Seder Plate
Pewter, 1764
The Victoria & Albert Museum


On Tuesday, I posted a marginally frightening video of Shari Lewis and Dom DeLuise singing about “The Seder Plate.”  And, so, since we’re looking at things with stars on them today, I thought we’d take a look of a real Seder plate which didn’t involve Lambchop.

On Passover, the youngest member of a Jewish household asks four questions.  These are, in Hebrew and in English:

1.      Shebb'khol hallelot anu okh’lin amets umatsa, vehallayla hazze kullo matsa.
Why is it that on all other nights during the year we eat either leavened bread or matza, but on this night we eat only matza?
2.     Shebb'khol hallelot anu okh’lin sh’ar y'rakot, vehallayla hazze maror.
Why is it that on all other nights we eat all kinds of vegetables, but on this night we eat bitter herbs?
3.     Shebb'khol hallelot en anu matbillin afillu pa‘am eat, vehallayla hazze sh'tei fe‘amim.
Why is it that on all other nights we do not dip [our food] even once, but on this night we dip them twice?
4.    Shebb'khol hallelot anu okh’lin ben yosh’vin uven m'subbin, vehallayla hazze kullanu m'subbin.
Why is it that on all other nights we dine either sitting upright or reclining, but on this night we all recline?


The Seder plate holds the six symbolic foods that are eaten during the Passover meal—those addressed in the four questions. Seder, ostensibly, means “order” in Hebrew, and the service includes the recitation of the story of the exodus from Egypt.

The symbolic foods include bitter herbs such as horseradish, as a symbol of suffering, and unleavened bread (matzo) to recall the escape from Egypt when there was not time to wait for the bread to rise.

The full list of foods is:

§  Maror and Chazeret: Two types of bitter herbs, symbolizing the bitterness and harshness of the slavery which the Jews endured in Ancient Egypt. For maror, most families employ freshly grated horseradish or whole horseradish root. Chazeret is typically symbolized as romaine lettuce, whose roots are bitter-tasting.
§  Charoset: A sweet, brown  paste of fruits and nuts, representing the mortar used by the Jewish slaves to build the storehouses of Egypt.
§  Karpas: A vegetable other than bitter herbs.  This is usually parsley but sometimes something such as celery or cooked potato is substituted.  These are dipped into salt water (Ashkenazi custom), vinegar (Sephardi custom), or charoset at the beginning of the Seder.  The salt water represents the tears that were shed.
§  Zeroa: A roasted lamb bone, symbolizing the korban Pesach (Pesach sacrifice), which was a lamb offered in the Temple in Jerusalem and was then roasted and eaten as part of the meal on Seder night.  Watch out Lambchop!
§  Beitzah: A hard boiled egg, symbolizing the korban chagigah (festival sacrifice) that was offered in the Temple in Jerusalem.



So, let’s take a look at this plate.  It was made in 1764 by Lieb bar Yitzak of engraved pewter.  In the center of the plate is an engraved star and, within it, an image of the Passover lamb.  Around it are scenes that relate to the song ‘Only One Kid’, which is sung on Seder night.  Engraved text around the rim of the plate show where each of the six foods should be placed. 

Mr. Punch of Belgrave Square, Chapter 9


Chapter 9:
Allegiance

Ellen Barrett nodded at Gamilla and headed toward the linen cupboard which stood at an angle from Mr. Speaight’s pantry.  Gamilla grabbed a stack of table linens which she had recently ironed and followed Miss Barrett, curious to know what the new governess was about to tell her.

Once inside the cedar-lined linen pantry, Ellen closed the door, glancing quickly through its inset, frosted glass panels to see if any shadows had followed them.

“What you know?”  Gamilla asked.  “I can see they done tol’ you somethin’—His Grace and the doctor.”

Ellen paused for a moment.  She was unfamiliar with American accents and the few that she’d heard at the last household in which she’d worked were nothing like the Creole-laced, Louisiana accent with which Gamilla spoke.

“Yes,”  Ellen nodded after a few seconds, “Dr. Halifax and His Grace did speak with me.  
They explained that His Grace has, within him, other entities—the dominant one being the one they call ‘Mr. Punch.’”

Gamilla exhaled loudly with relief.  “It’s true.”  She smiled.  “He’s right cute, ain’t he—Mr. Punch.”

“I must confess that he is.”  Ellen smiled.  “And, frankly, I think it was a tremendous relief to the Duke to be able to speak in the manner with which he is comfortable.  He even told me that I could call him, ‘Mr. Punch.’”

“That’s just like him,” Gamilla said.  “For true, when I first met His Grace, I was a little scared of him.  But, he’s so kind and gentle.  I can’t tell ya how many times he came to my rescue.”

“I’m sure he did.”  Ellen smiled, pleased to see how loyal Gamilla was to their employer.
“And, the doctor—he and His Grace, they love each other so much.”

“I’ve never seen such an allegiance before.  I find it delightful.”  Ellen replied.  “That’s why I’m going to ensure that the Duke’s secret is not revealed to anyone.”

“I’m so happy for to know it,”  Gamilla nodded.  “I gotta say, ain’t no one gonna make pain for His Grace nor the Duke—not while there’s breath in my body.”

“Nor in mine,”  Ellen answered.  “That’s why I wanted you to know that I’d been informed.  This allows us a certain comfort with one another…”  She stopped, feeling a presence near them. Her suspicions were confirmed when she noticed a shadow through the glass.  The creaking floor only further answered her question. 

Spinning around, Ellen thrust open the door only to find Hortence standing there, grinning.

“How long have you been there?”  Ellen snapped.

“Long enough.”  Hortence growled.

“What you doin’ here, Hortence?”  Gamilla hissed.

“I needed a cloth for the tea tray.”  Hortence grinned.

“Tea isn’t for several hours,” Ellen frowned.

“Don’t tell me, tell Mrs. Pepper.  She’s the one what told me to set up the tray.”

“I shall ask her about it thusly.”  Ellen nodded stiffly.

Hortence’s smile faded.  “You know, Miss Barrett, it ain’t right for you to bother Gamilla.  You governesses—just cuz you ain’t as low as the rest of us, you always think you can use the staff for your own.”

“I’m not using anyone.”  Ellen narrowed her eyes.  “Gamilla and I were having a conversation.  A private one at that.  It’s no concern of yours.”

“Everything what happens downstairs concerns all of us.  Maybe you’d best hurry on back to the nursery, then.  Wouldn’t want nothin’ to happen to Master Colin.”

“Go on,”  Gamilla sniffed, grabbing a cloth from a nearby shelf.  “Here’s your tea cloth. Now, git!”

“You can’t talk to me that way,”  Hortence snarled.  “You’re beneath me.”

“No, she isn’t.”  Ellen shook her head.  “Gamilla’s a parlor maid and you’re an under-house maid.  She outranks you.”

“Not with the color of her face she don’t.”  Hortence chuckled.  “Is it true, Gamilla?”

“What?”

“In your country, folk like you is slaves?”

“You’d do well to remember yourself, Hortence,” Ellen said firmly. 

“Sure, sure,” Hortence laughed.  “I’d best get back to Mrs. Pepper.  On the way, maybe I’d best tell Speaight you’re wastin’ Gamilla’s time and makin’ a mess of the linen cupboard.”

“That’s Mr. Speaight to you, Hortence.”  A masculine voice interrupted from behind them. 

“Oh, Mr. Speaight,”  Hortence turned around slowly.

“What are you doing, Hortence?”

“I was just wonderin’ why Miss Barrett is in the cupboard with Gamilla.”

“It’s none of your concern.  I gave Gamilla my permission to speak with Miss Barrett.”  
Speaight answered.

“Well, that’s fine.”  Hortence croaked.

“I won’t have you interrupting your betters, Hortence.  If you’ll recall, I’ve already warned you once today.”

“Everyone’s against me!”  Hortence wailed, crocodile tears filling her eyes.

“No one cares enough to be against you.”  Mr. Speaight snapped.  “Now, get back to your duties before I suggest to His Grace that we dismiss you.”

Hortence scurried off.

“Thank you, Mr. Speaight.”  Ellen nodded.

“Miss Barrett, as I’ve said, I know I have no jurisdiction over you, but I do have over the staff.  May I suggest that Gamilla be allowed to return to her work whilst you return to the nursery?”

“Of course, Mr. Speaight.”  Ellen nodded, blushing.  She patted Gamilla’s elbow as she exited the cupboard.

As she headed toward the stairs, Ellen spotted Hortence going into the scullery.  She frowned knowing that the girl was about to chatter with Ethel, the scullery maid.  In the few days she’d been employed at No. 65 Belgrave Square, Ellen had noticed that Hortence was always trying to collude with Ethel.  Thankfully, the scullery maid was too dull, Ellen presumed, to be party to Hortence’s wicked mind.

Ellen wanted to go listen at the scullery door, but knew she had already crossed a line with Mr. Speaight.  Angering Mrs. Pepper by interrupting the work of her scullery maid was out of the question.  With a sigh, she darted up the stairs.

Meanwhile, in the scullery, Ethel grumbled.  “You can’t just keep comin’ in here Hortence.  I got work to do and Mrs. Pepper’s already at sixes and sevens what with me not bein’ finished with the chafing plates from breakfast.”

“Did you hear that Charles was sent on an errand to Buckingham Palace?”  Hortence grinned, ignoring the girl’s request.

“Sure, I heard.  What’s it to me?”  Ethel shrugged using the back of her soapy hand to brush a wisp of greasy, dirty blonde hair from her freckled face.

“Ain’t it queer, the Duke bein’ in allegiance with the crown?”  Hortence asked, resting on the scullery table.

“No.  What’s so queer ‘bout it.  A nobleman is a nobleman cuz he’s a favorite of the Queen.”
“But, what of a mad nobleman?”

“He ain’t mad.”  Ethel grumbled.  “The Duke’s a fine gent.  I like him.  He always asks how I am.  I don’t know of no other Duke what comes to the kitchens to ask after the cook and the kitchen maid, let alone a scullery maid like me.  He’s a good man.”

“He’s a loon!”  Hortence snapped.  “I got proof.”

“I don’t want to hear nothin’ ‘bout it.”  Ether squinted.  “I don’t want no trouble, Hortence.  And, I don’t want to hear nothin’ bad ‘bout His Grace nor the doctor.  I already told ya that when you was tryin’ to fill me head with tales ‘bout how the Duke and the doctor is…”  She blushed.  “Ain’t none of my concern.”

“What happens upstairs is the concern of all of us!”  Hortence moaned.  “We don’t want to live in a house of scandal.”

“Hortence,”  Ether growled, returning to her suds, “As long as I got food in me belly, good wages, a comfortable bed and a master what knows me name, I don’t want nothin’ else.  We got no cause to complain.  Ain’t like we’re sufferin’ here.  My last place—they didn’t know nothin’ ‘bout me and the wages weren’t near as good as what the Duke gives us.  You’d best keep your gob shut less you ruin it for the rest of us.”

“I ain’t gonna ruin nothin’.”  Hortence laughed.  “I’m only gonna make it better for my own self.  Could make it better for you, too.”

“How could it be better than it is?”  Ethel sniffed.

“Oh, just you wait, Ethel.”  Hortehce grinned. "Just you wait."




Did you miss Chapters 1-8 of Mr. Punch of Belgrave Square?  If so, you can read them here.  Come back tomorrow for Chapter 10.