Rattle, Whistle, and Bells 1755 - 1768

Curator: Let's explore this intriguing piece titled "Rattle, Whistle, and Bells." It's attributed to Nicholas Roosevelt and dates roughly between 1755 and 1768. Currently, it resides here at the Metropolitan Museum. Editor: Oh, my! It's so elaborate. The details jump out—especially the intense red coral against that gleaming gold. It feels simultaneously precious and, I don't know, playfully menacing? Curator: Exactly! The combination is what makes it sing, isn't it? Crafted from gold, brass, and ivory with the vivid coral, it’s an object lesson in Rococo decorative art—ostentatious wealth put in miniature. What do you make of it from a material perspective? Editor: It’s really about labor, when you consider it. This level of intricate carving in gold, the lost-wax casting of each bell, the sourcing and shaping of that piece of coral... It screams conspicuous consumption, intended for a baby whose family would certainly benefit from colonial trade, or quite likely enslaved labor. The whole point is its uselessness; that’s what gives it meaning. Curator: Yes, absolutely. Think of the symbolism, too. Coral has long been worn as protection against evil—particularly for children. Add in the bells warding off spirits and the whistle to... well, keep order, I suppose? It becomes a powerful, albeit tiny, amulet. Editor: It's fascinating how practical magic becomes transformed and codified as material culture among the wealthy. Even the rattle part... think of all that skill, miniaturized. Curator: It shrinks a world of folk belief, commerce, and craft down into this glittering pendant. Isn't it amazing how one object can speak volumes? Editor: Absolutely. Considering the material realities interwoven with these superstitions… well, that definitely changed my view of baby rattles for good.