Mastery of Design: Queen Mary’s Patch Box, 1694

Patch Box of Queen Mary II
Crown Copyright
The Royal Collection
All Images Courtesy of Her Majesty Queen Elizabeth II

Queen Mary II

From the Sixteenth Century, well into the Nineteenth Century, ladies (and later gentleman) wore “patches” on their faces for the purposes of heightening the beauty of their complexion. Of course, that’s what they claimed. However, the real reason for wearing gummed pieces of black crepe on the face—in the affectation of a beauty mark or mole—was, in fact, to cover scars, blemishes and craters left from smallpox. While patches mostly took the form of a round spot, they sometimes were cut into elaborate designs ranging from stars to intricately-cut silhouettes of carriages and horses. The fashion became so out of control that some were wearing many patches at once—presumably to make themselves more beautiful, but realistically, trying to hide an increasing number of skin problems. Critics of the practice considered it grotesque. The response to their disgust was often the argument that Venus herself had a spot on her face.


Patches were, quite fashionably, reused and stored in boxes on a lady’s vanity. Patch Boxes, as they were called, were often crafted by jewelers who indulged in the use of the finest stones and metals. Queen Mary II(1662-1694), the Queen Regnant who ruled alongside King William III, began wearing patches in the last year of her life despite a statement made by the Bishop of Gloucester that the queen, “Did not entertain such childish vanities as spotted faces.” And, perhaps, she normally wouldn’t have. However, during her thirty-second year of life, she mysteriously began adding patches to her daily routine. As it turns out, she’d contracted smallpox which had left her face scarred and in need of covering…oh, yes, and also killed her. 

Patch Box
Presented to Queen Mary II in 1694
Gold, Enamel and Diamonds
The Royal Collection

Of course, when the Queen started wearing patches, she needed a proper patch box. Given Mary II’s great passion for jewelry, a very fine box was supplied to her by a now unknown German jeweler. This patch box, presented to the Queen just before her death in 1694 was made of gold which was finely enameled with her cipher and encrusted with diamonds. What a pity that she didn’t get to enjoy it.

Upon her death, this item, along with much of her jewelry, was bequeathed to friends and family and fell out of possession of The Royal Collection. In 1963, it reappeared at an auction at Christie’s in London where Queen Elizabeth II purchased it and brought it back into the Royal Family.

Painting of the Day: Victoria, Duchess of Kent, 1839

Victoria Duchess of Kent
The Royal Collection

Sir William Charles Ross (1794-1860) rendered this delicate miniature of watercolor on ivory in 1839—two years after Queen Victoria ascended the throne. The sitter, of course, is Victoria, the Duchess of Kent—mother of Queen Victoria.

Queen Victoria had a rocky relationship with her overbearing mother, and was quite pleased to leave the Duchess behind at Kensington Palace when she was created Queen. Nevertheless, Queen Victoria commissioned several paintings of her mama. This is but one of several miniatures and full-size paintings of the Duchess which reside in the Royal Collection.

 

Bertie's Pet-itations: Easy Rider

Here's Bertie's weekly opportunity to share his ideas for creating our new "Beautiful Age."  Bertie's advice, I'm sure, can be applied to many different areas of our lives.

And, so, I happily hand the computer over to him.


Bertie says:

I don't care where we go; even just a ride around the block is a grand adventure when we go together.

Mr. Punch of Belgrave Square, Chapter 346

Chapter 346
Promises



"I'll take it, thank you."  Mr. Speaight reached for the large sterling tray laden with sparkling crystal champagne glasses and the finest bottle of champagne from the cellars.

"I wasn't goin' to drink it between here and the drawin' room, Mr. Speaight."  Gerard smiled.

"Oh,"  Speaight shook his head seriously.  "Gerard, I didn't mean to imply that you would."

"I'm only makin' a joke, Sir."  Gerard nodded.

Charles stepped in, "Mr. Speaight, does this champagne mean what I think it means?"

"I don't know what you could mean, Charles."  Speaight answered stiffly.

"I mean that the Earl of Cleaversworth is up there, they've not yet had their dinner..."

"Which they'd best do before it's ruined."  Mrs. Pepper shouted from the kitchen.

"And..."  Charles chuckled.  "The way you hurried down after they rang for you, all red in the face, asking for champagne, makes me think maybe the masters are celebrating something.  Something like...maybe an engagement.  Since His Grace and Lord Colinshire are hitched to each other, that leaves the Earl and Lady Fallbridge."  He grinned.

"It's not our place to speculate what goes on upstairs."  Mr. Speaight frowned.  "If the masters have an announcement to make, it will be they who make it."

"Did you 'appen to notice any new bit of jewellery on Miss Lennie's hand, then?"  Mrs. Pepper asked, coming out from her kitchens, wiping her hands on her apron.

"I'm not in the habit of taking inventory of the jewels worn by Her Ladyship."  He stressed, "Her Ladyship," to remind Mrs. Pepper of the fact that they were not to refer to 'Miss Lennie' as such any longer.

"Oh, now, Mr. Speaight,"  Mrs. Pepper teased, "We all know you see everything and record it in your mind.  So, what do ya say?  Was there a ring on...Her Ladyship's finger or not?"

"She wasn't wearin' one when I sent 'er down," Violet smiled from across the servants' hall.  "Is she wearin' one now."

Speaight blushed.

"She is, isn't she?"  Gerard whopped.  "The earl proposed!"

"If the masters have something to tell us, they will do so!"  Speaight snapped.  "Now, I will not keep them waiting."  With that, he lifted the heavy tray and rushed toward the stairs.

"There's to be another weddin'."  Gerard smiled with satisfaction.  "Won't Gamilla be pleased?  I'd best go up and tell 'er."

"Oh, wait, Gerry,"  Charles shook his head.  "Wait until we know for sure."

"I suppose."

"Furthermore,"  Charles continued, "Mr. Speaight'll have our heads if we're not in place to serve at table when they go into the dining room."

"Right."  Gerard nodded.

"I do hope the Earl proposed."  Violet sighed.

"It'll mean Miss Lennie leavin' us."  Mrs. Pepper shook her head.  "'Appy as I am for 'er, I'd hate to see 'er go."

"And, maybe Vi, too."  Ethel peeked around the corner from the scullery.

"What're you doin', then?"  Mrs. Pepper howled.

"Listenin'!"  Ethel said.  "Come now, Mrs. P., don't I got a right to listen?"

"Eavesdropping, is what it's called."  Charles teased.

"We all do it."  Gerard laughed.  

"You got your dishes done, then?"  Mrs. Pepper asked.

"All of 'em 'cept the ones they ain't used yet."  Ethel grinned.

"Come on, then."  Mrs. Pepper waved the girl into the hall.

"Maudie, too?"  Ethel asked.

"No...she's still got to keep the sauce from curdling."  Mrs. Pepper shook her head.  "She can keep listenin' from the range."

"What of George?"  Ethel asked.  "Where's the lad?"

"In the dinin' room, settin' the puddin' spoons."  Mrs. Pepper replied.

"Oh...I thought he were in the larder..."

"Ethel, what do you mean 'bout our Vi leavin?"  Gerard interrupted.

"Ain't it true that a lady'll take 'er maid when she gets married?"  Ethel shrugged.

"Yeah, it is."  Gerard nodded.

"Oh, I'd hate to leave."  Violet furrowed her brow.  "But, I'd want to stay with Miss...Her Ladyship."

Charles frowned.  "Your place is here."

"It is,"  Violet answered.  "I owe so much to His Grace and Dr. Halifax, or...His Lordship or whatever he's called now.  Besides, I got family here.  You're all my family.  And, I'd hate to be apart from...from...all of you."

"The Earl Cleaversworth only lives a few houses away."  Mrs. Pepper laughed.

"I know,  but..."  Violet began.

Footsteps on the stairs made them all scatter as Mr. Speaight returned.

"Come now, smart-like."  Speaight called from the stairs.  "Everyone, quick quick.  Ethel!  Maudie!  His Grace wants us all in the drawing room."

"Here it comes!"  Gerard whooped again.  "Shall I go fetch Gamilla?"

"I've already sent Georgie to get her.  Ruthy will stay with master Colin."  Speaight answered.  "Now, look smart.  All of you."

Vi and Charles exchanged glances.

"Maybe Her Ladyship will make the earl stay here."  Violet suggested.

"A gentleman will want to take his bride to his own house."  Charles shook his head.

"But...we got plenty of room here."

"Cleaversworth House is just the same size as this one."

"No."  Vi shook her head.  "That side of the square, them houses are smaller.  They was built later."

Charles smiled.

"Aint that true?"  Violet asked.

"No."  Charles shook his head.

"Well, I'd wager anything that ours is prettier and nicer than his.  After all, His Grace is a Duke and the Earl ain't as important."

"Let's not worry on it just yet."  Charles whispered.  "Let's just let Her Ladyship enjoy her night, and be happy for her.  Whatever comes next, we will...we will make the best of it."

"Promise?"

"I promise,"  Charles nodded.




Did you miss Chapters 1-345 of Mr. Punch of Belgrave Square?  If so, you can read them here.  Come back tomorrow for Chapter 347.

Building of the Week: Kensington Palace

Oh, dear.  Yesterday was just one kerfuffle after another.  I'd promised you a "Treat of the Week" on Wednesday, but one of the many kerfuffles was a loss of electricity.  And, so, I will be giving you this week's "Treat of the Week" tomorrow as part of the usual Punch-filled day of fun.  After all, Mr. Punch does love a good treat, and this week's, I'm sure, would suit him nicely.

In the meantime, I thought we'd take a look at Kensington Palace...  

Let's begin.  

Nestled elegantly in Kensington Gardens in the Royal Borough of Kensington and Chelsea in London, England, Kensington Palace has been the home to many members of the Royal family for over three hundred years.

Most recently, the palace has served as the primary residence of the late Diana, Princess of Wales as well as her children, Princes William and Harry, and the late Princess Margaret. Presently, the palace is the comfortably, yet lavish, home of The Duke and Duchess of Gloucester, the Duke and Duchess of Kent and Prince and Princess Michael of Kent. Since for the last century, the palace has been the residence of many a female member of the Royal family, Edward VIII referred to Kensington as “The Aunt Heap.” He was really quite unpleasant, I think.

Nottingham House

Originally, a rather square Seventeenth Century mansion sat on the grounds. Initially called Nottingham House, it was the home of the Earl of Nottingham. The land was sold by Nottingham’s heir to King William III in 1689. At that time, Chelsea was actually still quite undeveloped and King William wanted to live there so as to be away from the smoke and soot in the air in London proper.

Sir Christopher Wren expanded the house considerably, re-orienting it to face West, changing the floor plan, adding ornate staircases and galleries, and altering the gardens to make it a more fitting residence for the King. The house was renamed “Kensington House” and still had not achieved palatial status.

The Orangery

For the next seventy years, Kensington House was the favored Royal Residence and remained relatively unchanged until 1704 when Queen Anne added the “Orangery” (essentially a greenhouse or conservatory), had the gardens made more formal and commissioned Wren to create a new grand staircase and ceremonial entrance.

By 1718, King George I had begun to occupy the house which had attained the status of palace. He spent a small fortune in redecorating the Royal apartments and commissioned William Kent to create lavish frescoes and murals for the state rooms.

George I's Interior, 1722

George II was the last reigning monarch to live at the palace. Thereafter it was used as a residence for minor members of the Royal Family. It was the girlhood home of young Queen Victoria and her mother and also the birthplace of Mary of Teck.

In the 1980’s a newly married Prince Charles and Princess Diana made the palace their residence and it remained Diana’s home after divorcing Charles. Today, it still houses members of the Royal Family, but also serves as a museum and opens its state rooms to the public. Kensington Palace is often the location for special exhibitions hosted by the Historic Royal Palaces Charity—such as the current exhibit of Royal wedding gowns.  Last year, the palace was  transformed into "The Enchanted Palace" as part of a special display of Royal artifacts. 

For more information about Kensington Palace, visit the official Web site of the Historic Royal Palaces which features a rather nifty bit of animation. 

Object of the Day, Museum Edition: A Miniature of Queen Victoria’s Father, Prince Edward, Duke of Kent, 1814

Edward, Duke of Kent
1814
Miniature on Ivory in Gold Locket
The Royal Collection

The fourth son of King George III and Queen Charlotte, Prince Edward, the Duke of Kent and Strathearn was a military officer with expensive and debauched tastes as well as a host of illegitimate children. At the time of George III’s death, the King only had one legitimate grandchild, and she died young—leaving no one in line for the throne after the Prince Regent (later King George IV) and his younger brother, William. George III’s unmarried sons tried to make suitable marriages to produce a legitimate heir presumptice. Among this rush, The Duke of Kent married Princess Victoria of Saxe-Coburg-Saafeld. They had one child—Princess Alexandrina Victoria of Kent. The Princess was the only legitimate issue in line for the Crown, and after the death of her uncle, King William IV, she ascended the throne as Queen Victoria in 1837. The Duke of Kent never saw his daughter as Queen. He died seventeen years earlier.

But, here he is on a watercolor on ivory miniature in a gold locket. The painting is by Johan Georg Paul Fischer and dates to 1814.

Queen Victoria was painted in 1821, before her accession, holding this miniature in a portrait by Sir William Beechey which depicts the the Duchess of Kent with Princess Victoria. The elaborate gold locket is the work of the jewelers Rundell, Bridge & Rundell, and shows their masterful chasing and repoussé work. The Duke is identified by his Garter emblems, his coronet and his name, EDWARD. The locket’s reverse is similarly chased and is adorned with the badge of the Bath within the collar, and the collar and badge of St Patrick.

Fischer based this miniature on a portrait by Sir Beechey which also dates to 1814. No stranger to the Royal Family, Fischer’s first Royal sitter was King George III, whom Fischer painted for his Golden Jubilee.

Kerfuffle Math

Technology Kerfuffle + Various Other Business = Delay in Writing. We will be back with fun, fun, fun on Thursday!