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Title: The Crown Jewels of England
Author: G. J. Younghusband
Cyril Davenport
Release date: June 1, 2026 [eBook #78796]
Language: English
Original publication: London: Cassell and Company, 1919
Other information and formats: www.gutenberg.org/ebooks/78796
Credits: deaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK THE CROWN JEWELS OF ENGLAND ***
_This Edition-de-Luxe, on hand-made paper,
is limited to one hundred
copies, of which this is No. ....
CASSELL & CO., Ltd._
[Illustration: HIS MAJESTY GEORGE V From the Painting by Sir Luke
Fildes, K.C.V.O.]
THE CROWN JEWELS OF ENGLAND.
_By_
MAJOR-GENERAL SIR GEORGE YOUNGHUSBAND,
K.C.M.G., K.C.I.E., C.B.
(Keeper of the Jewel House, Tower of London),
_and_
CYRIL DAVENPORT, V.D., F.S.A.
[Illustration: _The Coronation of Harold II., afterwards killed at the
Battle of Hastings, from the Bayeux Tapestry_]
CASSELL AND COMPANY, LTD
London, New York, Toronto and Melbourne
1919
DEDICATED
BY GRACIOUS PERMISSION
TO
HIS MAJESTY KING GEORGE V.
PREFACE
Since the reign of Queen Elizabeth there has been no greater period
in the history of the British race than is to be found in the reign
of George V. At the end of a war greater than has been known in the
history of the world, after four-and-a-half years of heroic effort and
untold sacrifice, the Standard of England flies more proudly than it
did in the days of the Great Armada. Future generations will look back
on this reign as one of the great triumphant eras in the history of
nations proud of their British blood, and who speak the English tongue.
Everything to do with this reign will be of as great an interest to
unborn generations as is still at our day the inspiring echo of the
Elizabethan era. To-day we should be intensely gratified if we could
see the Crown and Sceptre of the Queen who reigned in those great days.
They, as this record will show, have gone beyond recall, and no worthy
presentment of them remains. It is in the hope that the same reproach
may not be levied against this generation that the present book is
written.
The Crown Jewels of England are historically and, indeed, intrinsically
of a value impossible to compute. The Crown of England is older than
any Crown in Europe, and is worn by a Sovereign with more ancient a
lineage than any of the Royal families of the Western world. Set in the
Crown and emblems of royalty are jewels which have their origin in the
mists of antiquity, others which count their age only by centuries,
whilst some saw the light of day within the lifetime of the present
King. But great or small, ancient or new, the Crown Jewels are the hall
marks of the British Empire and of British Sovereignty.
In close connection with the Throne and with the Crown Jewels are
matters of interest such as the Royal Plate at the Tower, the Vestments
worn by His Majesty at his Coronation, and the ancient chair in which
he is crowned. It has, therefore, been deemed of interest to include
some reference to these as cognate subjects in the present work.
The frontispiece is a reproduction of Sir Luke Fildes’ fine picture of
His Majesty, which is at Windsor Castle. The full-page illustrations of
the Royal Crowns, and other portions of the Regalia, are from enlarged
photographs, and may be relied upon as exact representations.
The small illustrations in the text are made from drawings, and they
will, it is hoped, make the subject matter clearer than it otherwise
would be. This is deemed more especially necessary for a clear
understanding when dealing with the growth of the form of the Royal
Crown.
All books which deal with the details of the insignia of Royalty in
England have been carefully examined; of these, those which have been
found of most value, and of which free use has been made, are:--
The _Liber Regalis_, at Westminster.
Rymer’s _Fœdera_.
Sir Edward Walker’s _The Preparations for His Majestie’s
Coronation at Westminster, the 23rd of Aprill, 1661_. MS.
John Ogilvy. _The Entertainment of His Most Excellent Majestie
Charles II., etc._ London, 1662.
Francis Sandford. _The History of the Coronation of the Most
High Monarch James II._, etc. In the Savoy, 1687.
_The Ceremonial of the Coronation of His Most Sacred Majesty
King George the Fourth._ [By Sir George Nayler, Garter King
of Arms.] Westminster, 1823.
William Jones. _Crowns and Coronations._ London, 1883.
William Chaffers. _Gilda Aurifabrorum, a History of English
Goldsmiths_, etc. London, 1883.
J. Wickham Legg. _The Sacring of the English Kings_, etc.
London, 1894.
Cyril Davenport. _The English Regalia._ London, 1897.
E. A. Jones. _Old Royal Plate in the Tower of London._ London,
1908.
Garrard. _The Story of Garrards_, etc. London, 1911.
The sketches of details from the Great Seals have generally been taken
from the Seals themselves, and have been checked by reference to
the admirable book on the Great Seals of England by Alfred B. Wyon,
completed by Allan Wyon, London, 1887.
The drawings from the coins are in many cases from the coins
themselves, but in this work much assistance has been received from
Rogers Ruding’s _Annals of the Coinage of Britain_, etc. London, 1819.
GEORGE YOUNGHUSBAND,
CYRIL DAVENPORT.
TOWER OF LONDON,
1919.
CONTENTS
PREFACE vii
I. THE CORONATION 1
II. THE REGALIA 5
III. THE ROYAL CROWNS 12
IV. THE ROYAL SCEPTRES 25
V. THE ROYAL ORBS 31
VI. THE LESSER REGALIA 34
VII. THE KING’S PLATE 41
VIII. THE GREATER GEMS IN THE JEWEL HOUSE 53
IX. THE THRONE OF ENGLAND 59
X. THE REGAL VESTMENTS 64
APPENDICES
A. LIST OF THE CROWN JEWELS AND PLATE IN THE
JEWEL HOUSE, TOWER OF LONDON, A.D. 1919 73
B. THE CORONATION SERVICE (SUCH
PORTIONS AS ARE CONCERNED WITH THE REGALIA) 74
C. KEEPERS OF THE REGALIA 80
INDEX 83
LIST OF PLATES
HIS MAJESTY KING GEORGE V. (_frontispiece_)
I. ST. EDWARD’S CROWN
II. THE IMPERIAL STATE CROWN
III. THE IMPERIAL CROWN OF INDIA
IV. THE CROWN OF QUEEN MARY OF MODENA, CONSORT OF JAMES II.
V. THE DIADEM OF QUEEN MARY OF MODENA, CONSORT OF JAMES II.
VI. THE STATE CROWN OF QUEEN MARY, CONSORT OF GEORGE V.
VII. THE PRINCE OF WALES’ CROWN
VIII. THE KING’S ROYAL SCEPTRE
IX. THE QUEEN’S SCEPTRE WITH THE DOVE
THE KING’S SCEPTRE WITH THE DOVE
X. THE QUEEN’S IVORY ROD
ST. EDWARD’S STAFF
XI. THE KING’S ORB
XII. THE QUEEN’S ORB
XIII. THE AMPULLA
XIV. THE ANOINTING SPOON
XV. THE JEWELLED STATE SWORD
THE SWORD OF STATE
“CURTANA” OR SWORD OF MERCY
XVI. QUEEN ELIZABETH’S SALT-CELLAR
XVII. THE BRACELETS
ST. GEORGE’S SPURS
XVIII. SERJEANT-AT-ARMS’ MACE
CHAPTER I
THE CORONATION
The Coronation of Kings from the Time of Æthelred II.--The
Coronation Book of Richard II.--The Ordering of the
Ceremony--The Emblems of Royalty: the Crown, the Ring, the
Sceptres--Origin of the Sceptre--The Priestly and Military
Co-ordination in the Ceremony--The Orb and its meaning--The
Sword and Spurs, which are the Military Emblems--Coronation
of Charles II.--Of William and Mary--And of George IV.--His
Coronation Book cost £238,238--The Cap of Maintenance of
George IV., and that of Queen Elizabeth--Coronation Precedents
followed to this day.
There are many authorities for the order of the coronations in England
to be found at the British Museum, in the Bodleian Library at Oxford,
and in the muniment-room at Westminster Abbey, and in all material
points they resemble each other very closely. From the time of Æthelred
II., in the tenth century, down to the latest coronation, the leading
features have been the anointing, the vesting, the crowning, and the
presentation of the sceptre; and it is remarkable also that in most of
these ceremonials there is mention of a second or state crown. The most
concise and complete account of the ceremony of coronation is to be
found in a little vellum manuscript now preserved in the muniment-room
at Westminster Abbey, and known as the _Liber Regalis_. The order given
in this book is supposed to have been used at the coronation of Richard
II., although it is probably a compilation from an earlier manuscript,
and appears to have been written about 1350. The order generally,
as given in the _Liber Regalis_, is, after certain preliminary
formalities--
The Anointing.
Then after much delay and careful ablutions, which were very elaborate
and tedious, came the vesting with the royal garments--
1. The Colobium Sindonis, always a simple linen garment.
2. The Tunicle or Dalmatic, described as “Tunica talaris cum
ymaginibus, cum caligis, sandariis et calcaribus,” _i.e._
3. Shoes, buskins and spurs. Then comes
4. The Sword, and
5. The Stole or Armilla, “iste quidem armille in modum stole circa
collum et ab utraque scapula usque ad compages brachiorum erunt
dependentes,” from which it appears that the stole was not worn crossed
but hanging straight down on each side.
6. The Imperial Mantle, “Pallium regale quadrum cum aquilis aureis.”
These eagles have retained their place on the imperial mantle ever
since, but they are described as of gold, whereas now they are silver;
and although the dalmatic is said to have had designs upon it, there is
no detailed mention of them.
Next the sovereign is endued with the actual emblems of royalty,
The Crown;
The Ring;
The Sceptres.
There are two kinds of sceptres mentioned: the first with a cross,
to be held in the right hand, “Deinde dabitur ei sceptrum in manu
dextra, quod quidem sceptrum aureum est, in cujus summitate crux parua
collocatur.” The other, bearing a dove, is to be held in the left hand,
“Post modum tradatur ei uirga in manu sinistra, que quidem uirga aurea
est habens in summitate columbam auream”; and it is interesting to
note that in Sir George Hayter’s picture of the coronation of Queen
Victoria, she is represented as holding both these sceptres exactly
in this manner, the only important difference being that the dove at
the top of the sceptre in her left hand is white instead of gold as
described. The _Liber Regalis_ has three full-page illustrations, but
too much reliance cannot be placed on any of the representations of
the regalia which occur in illuminated manuscripts, as it was easy for
the illuminator to follow his own fancy, as he undoubtedly often did.
Indeed, even when previous coronations are described and illustrated,
the mediæval artists having no idea of antiquarian accuracy, their
illustrations serve only as indications of the fashions obtaining at
the actual time of writing.
In the ceremony of coronation the double character of the sovereign is
shown very clearly--the priestly character, however, preponderating
over the military. The ceremonies of the anointing and the sequence
of prayers used closely resemble the procedure at the consecration
of a bishop, and the vestments are, if not quite the same, at least
analogous to those worn by a bishop. The colobium sindonis may be taken
for the alb or rochet, the dalmatic is common to both, as are the stole
and the ring; and the imperial mantle, “four-square,” takes the place
of the cope. The sceptre is probably derived from the shepherd’s staff,
through the crozier of a bishop; it may, however, be a survival of
the ceremonial spear which appears to have been presented to kings at
their coronations among several nations of antiquity. The crown in the
same way corresponds with the mitre of a bishop. The orb alone, which
has been used by all our kings since Edward the Confessor, appears,
so far as can be traced, to stand alone as an emblem of independent
sovereignty, and has no connection with either a priest or a soldier.
The military emblems are the sword and spurs. In all the earlier
coronation ceremonies smaller insignia were also used; the most
important of which were the buskins, the sandals, and the gloves, but
these have now fallen into disuse.
A valuable book concerning the coronation of Charles II. was written
by John Ogilvy. It is called _The Entertainment of His Most Excellent
Majestie Charles II. in his passage through the City of London to his
Coronation_, etc., printed in London in 1662. The procession plates are
by Wenceslaus Hollar, and they are very carefully and accurately drawn.
The King is shown under the canopy, carried by the barons of the Cinque
Ports, and wears on his head only the royal cap of crimson velvet,
turned up with miniver.
Sandford also gives careful and valuable representations of the
different parts of the coronation procession.
The coronation of William and Mary stands quite alone in the history
of our coronations, as, during their reign as joint sovereigns, we
possessed an actual King and an actual Queen. William declined to
be Regent, and Mary refused to accept the crown, except with her
husband, so it became in fact necessary that they should become
joint sovereigns. This, of course, necessitated the making of a new
orb, the smaller one now in the Tower. On their Great Seal they are
represented as each having one hand upon a large orb; and in a print in
the Bagford collection in the British Museum, dated 1689, and called
the “Protestants’ Joy,” William and Mary are shown sitting under one
canopy, each crowned and bearing a sceptre-fleury in the right hand,
and an orb with a cross in the left.
The next important book concerning the coronations of our kings was
that issued under the authority, and by the care of, Sir George Nayler,
Garter King of Arms, published in London in 1839, and illustrated
magnificently by several artists--Stephanoff and others. The official
cost of the book was £238,238, and it is an account of the coronation
of George IV., July 19th, 1821, which was the most magnificent that
has ever been held in England. Some £5,000 were allowed to Sir George
Nayler by the Government towards the cost of this splendid work, but
even including this, as well as the fees paid by several peers for
their portraits, the book is said to have been a financial failure. It
not only shows the manner in which the various items of the regalia
were carried in the procession, but the details of the official
costume of the peers are so carefully reproduced that it may be fairly
considered the best existing authority on that subject also. The Dean
of Westminster is shown as carrying what is called the “New Crown,”
the setting of which was in the possession of the late Lord Amherst
of Hackney. The cap still remaining within it is of blue velvet. As a
general rule, the caps of English peers and sovereigns have been of
crimson or royal purple velvet, but in the case of this state crown
of George IV., and in that of Queen Elizabeth, the colour has been
blue. It may be added, however, that the only authority existing for
the blue cap in a crown of Queen Elizabeth’s is a charming little book
that was bound for her about 1570 in crimson velvet and adorned with
enamels on gold, and which now forms part of the “Old Royal” Library in
the British Museum. In the centre of the upper side of this book there
is a golden diamond-shaped plaque, on which is enamelled a red rose,
ensigned with a royal crown having a blue cap. It cannot be said that
this is an absolute authority, but in Queen Elizabeth’s time the art
of heraldry was much more exact than it is now, and it seems unlikely
that so great a difference as that between blue and red would have been
lightly made, especially on a book evidently intended for the Queen’s
own use.
The coronation of kings and queens of England to this day follows with
great exactitude the precedents initiated or evolved in former reigns.
These are set forth in full detail in Appendix B.
CHAPTER II
THE REGALIA
In Edward the Confessor’s Reign the Regalia kept at Westminster
under charge of the Abbot and Monks--Henry V. wears his
Crown at Agincourt--And Richard III. wears his at Bosworth
Field--Henry VII. recovers the Crown from a hawthorn bush--The
Treasure House at Westminster broken into--Removal of the Crown
Jewels to the Tower of London by Henry III.--The First Keeper
of the Regalia appointed by Henry III.--His Precedence and
Robes--The Pawning of the Crown Jewels--Charles I. disposes
of part of the Regalia to meet his necessities--Parliament
orders all Regal Emblems to be totally defaced and
destroyed--Estimated Value of the Crown Jewels thus sold or
defaced--King Alfred’s Crown broken up and sold for £248--“The
Old Combe of horne” worth nothing--Charles II. replaces the
Crown Jewels at a cost of £32,000--These are amongst those
now in the Tower--The Second or State Crown--The Regalia of
James II.--Its Additional Cost--Its History written by Francis
Sandford, Lancaster Herald--The Coronation Chair used since
the Reign of Edward I. in 1272--St. Edward’s Crown--Crown and
Diadem of Mary of Modena--The Black Prince’s Ruby--The Orb--The
Sceptres.
In the time of Edward the Confessor the Regalia, together with the
other royal treasures, were kept in Westminster Abbey in a small
room in the eastern cloister, which was in fact the “Treasury of
England.” The Abbot and monks of Westminster, by the authority of the
foundation charter of Edward the Confessor, had charge of the regalia
and coronation robes; but this responsibility must frequently have
been a light one, because in early days our kings were in the habit
of carrying their regalia about with them. It may be remembered that
in 1415 Henry V. wore his crown at the battle of Agincourt, on which
occasion it is said to have saved his life from a blow struck by the
Duc d’Alençon, though a part of it was chipped off. Again, Richard III.
in 1485 wore the crown at Bosworth Field, on which occasion it was left
hidden in a hawthorn bush, where it was found by Sir Reginald Bray. The
crown being handy was at once used to crown the Earl of Richmond, who
was there and then proclaimed Henry VII. by Lord Stanley. In memory of
this, that monarch afterwards used as one of his badges a red-berried
hawthorn bush, sometimes a crown being shown in it. Hence an old
saying, “Cleave to the crown, though it hang on a bush.” Although the
proper place of deposit for the royal treasure was at Westminster, yet
in times of any special trouble or danger it was sent to the Tower of
London for safety. In 1303 the Treasury at Westminster was broken into
by a monk, and some articles of value stolen. With this warning, and
after much moving backwards and forwards, it was at last considered
that at Westminster sufficient care could never be taken of so valuable
a collection, and the regalia were finally and permanently removed to
the Tower during the reign of Henry VIII.
In Rymer’s _Fœdera_ there are numerous lists and inventories of the
royal treasure of England, and in the reign of Henry III. for the first
time there appears a regularly appointed Keeper of the Regalia. He
had precedence next to Privy Councillors, and before the Judges, he
wore a scarlet robe like that of a baron at the coronation, but with a
crown embroidered on the left shoulder. He dined at the baron’s table
at Westminster Hall, and had the high privilege of placing the King’s
crown on his head, and again removing it at the opening of Parliament.
As might be expected, the Royal Treasury underwent many vicissitudes
and spoliations at the hands of several of our kings. If Parliament
would not grant supplies, kings still had great treasure that they
could rapidly sell or pawn for ready money. Thus in 1623, when Prince
Charles went to Spain to woo the Infanta, it is said that he took
from the Tower treasure valued at £600,000. Two years later, when
he was king, he fitted out a fleet, under his favourite the Duke of
Buckingham, to carry on a war with Spain, and supplies not being
obtainable from Parliament he parted with a large amount of treasure to
finance the expedition. The treasure was pawned to Holland, with which
country there was an alliance; but the result of the expedition was
disastrous, and it does not appear that the treasure was ever redeemed.
This was one of the earliest of the troubles between Charles I. and his
Parliament.
In 1643 Charles turned the crown and sceptre into money, and in 1644
the Commons ordered the King’s plate in the Tower to be melted down
and coined. The Lords, to their lasting credit, remonstrated against
this, and declared that the workmanship was worth far more than the
precious metals; but in 1649 the Commons, whose will of course was
paramount, ordered the complete destruction of the regalia, then under
the keepership of Sir Henry Mildmay, afterwards known as “the knave of
diamonds.” The list of the regalia, as it existed at this time, was
printed in _Archæologia_, vol. xv. p. 285, from the original manuscript.
On the 9th of August, 1649, it was ordered that the regalia should be
delivered to the “trustees for the sale of the goods of the late king,
who are to cause the same to be totally broken, and that they melt down
all the gold and silver, and sell the jewels to the best advantage of
the Commonwealth.”
The list is as follows:--
“A true and perfect Inventory of all the plate and jewells
now being in the upper Jewell-house of the Tower, in the
charge of Sir Henry Mildmay, together with an appraisement
of them, made and taken the 13th, 14th, and 15th daies of
August 1649:
“The Imperial crowne of massy gold, weighing 7 lbs. 6 oz.,
valued at £1,110 0 0
“The queenes crowne of massy gold, weighing 3 lbs. 10 oz. 338 3 4
“A small crowne found in an iron chest, formerly in the
Lord Cottington’s charge (from other accounts this appears
to have been the crown of Edward VI.) 73 16 8
“---- the gold, the diamonds, rubies, sapphires, etc. 355 0 0
“The globe, weighing 1 lb. 5¼ oz. 57 10 0
“Two coronation bracelets, weighing 7 oz. (with three
rubies and twelve pearls) 36 0 0
“Two sceptres, weighing 18 oz. 60 0 0
“A long rodd of silver gilt, 1 lb. 5 oz. 4 10 8
“The foremention’d crownes, since y^e inventorie was taken,
are accordinge to ord^r of parm^t totallie broken and
defaced.
“_The inventory of that part of the regalia which are now
removed from Westminster Abbey to the Jewel House in the
Tower._
“Queene Edith’s crowne, formerly thought to be of massy
gould, but, upon trial, found to be of silver gilt;
enriched with garnetts, foule pearle, saphires and some odd
stones, poiz. 50½ oz., valued at £16 0 0
“King Alfred’s crowne of goulde wyer worke, sett with
slight stones, poiz. 79½ oz. at £3 per oz. 238 10 0
“A goulde plate dish, enamelled, etc. 77 11 0
“One large glass cupp, wrought in figures, etc. 102 15 0
“A dove of gould, sett with stones, and pearle, poiz. 8½
oz., in a box sett with studs of silver gilt 26 0 0
“The gould and stones belonging to a collar of crimson and
taffaty, etc. 18 15 0
“One staff of black and white ivory, with a dove on the
top, with binding and foote of goulde 4 10 0
A large staff with a dove on y^e top, formerly thought to
be all gould, but upon triall found to be, the lower part
wood within and silver gilt without 2 10 0
“Two scept^{rs} one sett with pearles and stones, the upper
end gould, the lower end silver. The other silver gilt with
a dove, formerly thought gould 65 16 10½
“One silver spoone gilt, poiz. 3 oz. 0 16 0
“The gould of the tassels of the livor cull’d robe,
weighing 4 oz., valued at £8, and the coat with the neck
button of gould, £2, the robe having some pearle, valued at
£3, in all 13 0 0
“All these according to order of Parliament are broken and
defaced.
“One paire of silver gilt spurres, etc. 1 13 4”
This list is very interesting, showing as it does that considerable
care was taken of the ancient regalia, for King Alfred’s crown of wire
work is mentioned as well as that of Queen Edith.
The ancient coronation robes destroyed at the same time are catalogued
and valued as follows:--
“One common taffaty robe, very old, valued at £0 10 0
“One robe, laced with goulde lace 0 10 0
“One livor cull^{rd} silk robe, very old and worth nothing 0 0 0
“One robe of crimson taffaty sarcenett, valued at 0 5 0
“One paire of buskins, cloth of silver and silver stockings,
very old, and valued at 0 2 6
“One paire of shoes of cloth of gold, at 0 2 6
“One paire of gloves embroid^{ed} w^{th} gould, at 0 1 0
“Three swords with scabbards of cloth of goulde, at 3 0 0
“One old combe of horne, worth nothing 0 0 0
--------
Total in the chest £4 10 6”
--------
The comb was probably used for rearranging the King’s hair after the
anointing, and though then worth nothing now would be considered
priceless.
In looking at the values of these articles, it must not be forgotten
that money was worth at least five times more in the time of the
Commonwealth than it is now; but even taking this into consideration,
it is evident that in the valuation made by the officers of the
Commonwealth they were influenced possibly by a certain dislike to the
emblems of royalty, and not improbably actuated with a desire to place
good bargains within reach of their friends.
The coronation of Charles II., after several delays, was eventually
celebrated on the 23rd of April, 1661, and very probably among the
reasons for its postponement was the fact that there were no regalia
with which to complete the ceremony. An order was accordingly given
to the royal goldsmith, Sir Robert Vyner, to provide new regalia
made after the old fashion, and some interesting particulars on the
subject are to be found in the account of the coronation, by Sir Edward
Walker, Garter Principal King of Arms, in a manuscript entitled _The
Preparation for His Majesty’s Coronation_, first published in 1820. Sir
Robert Vyner’s receipt for payment for these articles, dated 20th June,
1662, still exists, and he acknowledges having received from the Royal
Treasury £21,978 9s. 11d., for--
“2 Crowns. 2 Sceptres. A Globe of gold sett with diamonds,
rubies, saphires, emeralds, and pearls. St. Edward’s staffe.
The Armilla. The Ampull.”
But, altogether, Sir Robert Vyner’s bill amounted to £32,000.
Sir Edward Walker goes on to say:--
“Because through the Rapine of the late unhappy times, all the
Royall Ornaments and Regalia heretofore preserved from age to
age in the Treasury of the Church at Westminster, were taken
away, sold and destroyed, the Comittee mett divers times not
only to direct the remaking such Royall Ornaments and Regalia,
but even to sette the form and fashion of each particular: all
which doe now retayne the old names and fashion, although they
have been newly made and prepared by orders given to the Earle
of Sandwich, Master of the Great Wardrobe, and S^r Gilbert
Talbott, Kn^t., Master of the Jewell House.
“Hereupon the Master of the Jewell House had order to provide
two Imperial Crownes sett with pretious Stones, the one to
be called St. Edward’s Crowne, wherewith the king was to be
crowned, and the other to be putt on after his Coronation,
before his Ma^{ties} retorne to Westminster Hall. Also
“An Orbe of Gold with a Crosse sett with pretious Stones.
“A Scepter with a Crosse sett with pretious Stones, called St.
Edward’s.
“A Scepter with a Dove sett with pretious Stones.
“A long Scepter, or Staffe of Gold with a Crosse upon the top,
and a Pike at the foote of steele, called St. Edward’s staffe.
“A Ring with a Ruby.
“A Paire of Gold Spurrs.
“A Chalice, and Paten of Gold.
“An Ampull for the Oyle and a spoone.
“And two Ingotts of Gold, the one a pound and the other a marke
for the King’s 2 Offerings.
“The master of the Great Wardrobe, had order also to provide
the Ornaments to be called St. Edward’s, wherein the King was
to be crowned, viz.:--
“All these were laid ready upon the altar in the Quier.
“Colobium Sindonis, w^{ch} is of fine Linnen, of fashion of
a Surplice with wide Sleeves. Supertunica, a Close Coate of
Cloath of gold reaching to the heeles, lined with Crimosin
Taffata, and guirt with a broad Girdle of Cloth of Gold to
be putt over the Colobium.
“Armilla of the fashion of a stole made of Cloth of Gold to
be putt about the neck, and fastned above and beneath the
elbowes with silke Ribbands.
“A Pall of Cloth of Gold in the fashion of a cope.
“A Shirt of fine Linnen to be opened in the places for the
anoynting. Over it another Shirt of red Sarcenet, and over that
a Surcoat of Crimson Satten, which was made with a Collar for a
Band, both opened for the anoynting, and closed with Ribbands.
“A paire of under Trowses, and Breeches over them, with
Stockings fastened to the Trowses, all of Crimson Silke.
“layed on y^e altar with the rest of the Ornaments.
“A paire of Hose or Buskins of Cloth of Gold. “A paire of
Sandalls of Cloth of Gold.
“A paire of Linnen Gloves.
“A Linnen Coyfe.
“A Silke Towell to be held before the King at the Comunion, by
the two Bishops.
“Three swords, viz^t. Curtana, and two others, with Scabbards
of Cloth of Gold.
“A Sword of State with a Rich Imbroydered Scabbard.”
The regalia and vestments as they now exist are mostly the pattern
of those just described. There are, fortunately, with Sir Edward
Walker’s manuscripts several drawings which, although they are somewhat
elementary, are yet quite sufficient to show us that many of the
designs then used, which were indeed themselves probably copies from
some authority not now available, have been carefully preserved. The
sceptre with the cross shows the upper part wreathed as it now is; the
spurs, St. Edward’s staff, and the sceptre with the dove, differ but
slightly from those now in the Tower; the dove is shown for the first
time standing upon a cross. All these items are now materially the same
as when they were made by Sir Robert Vyner. The sword of state is,
however, different, as are also the three other swords; and the point
of “Curtana,” the sword of mercy, is shown as being irregularly broken
off instead of being rounded as now. The orb with the large amethyst
under the cross, is probably the same as that now in the Tower with
few alterations; St. Edward’s crown is the same in general design, but
differs considerably in detail. Unfortunately, in Sir Edward Walker’s
manuscript there are no figures given of the ampulla or the spoon used
at the coronation of Charles II.
Most of our sovereigns have possessed a second crown, known as a crown
of state, and the designs of these have often differed, though the
same gems have found a place in each succeeding crown throughout the
centuries.
Among a collection of Exchequer records was found an old bill, dated
23rd February, 1685, made out apparently to show the alterations
necessary to be made to the existing Regalia for the coronation of
James II.
“A List of the Regalias provided for His late Majesty’s
coronation (Charles II.) and are now in ye custody of S^r
Gilbert Talbot, Knight, Master and Treasr of his Matys Jewells
and plate, viz.:--
“Imprim. St. Edward’s Crowne, poiz. 82 oz. 05 dwt. 16 gr.
For ye addition of golde and workemanship £350 0 0
For ye loane of ye Jewells returned 500 0 0
“Item. One crowne of state, poiz. 72 oz. 01 dwt. 00 gr.
For ye gold, Jewells and workemanship 7,870 0 0
“Item. One sceptre with a dove, poiz. 34 oz. 03 dwt. 20 gr.
For ye gold, Jewells and workemanship 440 0 0
“Item. One other sceptre with a cross,
poiz. 32 oz. 11 dwt. 10 gr.
For ye gold, Jewells and workemanship 1,025 0 0
“Itm. One St. Edward’s Staffe, poiz. 45 oz. 8 dwt. 8 gr.
For ye gold and workemanship 225 6 2
“Itm. One Gloobe with a crosse, poiz. 49 oz. 7 dwt. 12 gr.
For gold, Jewells and workemanship 1,150 0 0
“Itm. One pair of Spurrs, poiz. 12 oz. 18 dwt. 0 gr.
For gold and workemanship 63 7 6
“Itm. Two armillas (bracelets), poiz. 6 oz. 12 dwt. 22 gr.
For gold and workemanship 44 18 6
“Itm. One ampulla or Eglet, poiz. 21 oz. 8 dwt. 0 gr.
For gold and workemanship 102 5 0
“Itm. The anointing spoon, poiz. 3 oz. 5 dwt. 0 gr.
For silver and workemanship 2 0 0
“Itm. One chalice and paten, poiz. 61 oz. 12 dwt. 12 gr.
For gold and workemanship 277 6 3
-------------
£12,050 3 5”
-------------
And there are other lists of things that have to be provided entirely
anew. It is notable that the anointing spoon is again mentioned here as
being made of silver.
The items of the regalia mentioned in this bill are illustrated in the
_History of the Coronation of James II._, written at his command by
Francis Sandford, Lancaster Herald, and printed in the Savoy in 1687.
This admirable account of the coronation ceremonies contains two large
plates of the regalia. On the first plate are figured the vestments,
and there are also detailed figures of the buskins, sandals and spurs,
which are only in outline in Sir Edward Walker’s account. The ampulla
and the spoon are figured for the first time, and appear to be exactly
the same as they are now. The coronation chair is also shown with
designs upon it that certainly do not exist at the present day. This
chair, of course, is the one that all our kings have been crowned on at
Westminster since Edward I. except Queen Mary I.; and, when Cromwell
was installed Lord Protector, the chair was brought into Westminster
Hall for the ceremony. The second plate contains figures of St.
Edward’s crown and the Queen’s crown, a circlet worn by the Queen on
her proceeding to her coronation, and two state crowns, to be worn by
their Majesty’s after their coronation on their return to Westminster
Hall--one for the King and one for the Queen.
St. Edward’s crown is shown substantially the same as it is now, but
the setting of the gems is not quite so elaborate. The circlet worn by
the Queen on her proceeding to her coronation, and her state crown,
are now in the Tower, and are there described as having belonged to
Queen Mary of Modena. But there are considerable differences between
the illustrations of 1687 and the actual crowns now existing; and it
seems not improbable that both these crowns have been remade. Some of
the gems from the state crown of James II. now find a place in that of
George V., notably the Black Prince’s ruby which forms the centre of
the cross-patée on the front of the crown. At the top of this crown
was a cross-patée on a mound, the mound being “one entire stone of a
sea-water green known by the name of an agmarine.” This stone is cut in
facets, and with the cross is still preserved in the Tower. The figure
of the orb is nearly the same as it is now, “on the top whereof is a
very large amethist of a violet or purple colour encompassed with four
silver wires.” St. Edward’s staff is the same as now. The sceptre with
the dove is probably the same as that now in the Tower. Then there are
two sceptres with a cross: the first one, with the upper part wreathed,
is probably that figured by Sir Edward Walker, and into the head of
this was inserted the great Star of Africa by Edward VII. The second
sceptre with the cross appears for the first time; it was doubtless
made for Queen Mary, and is now in the Tower with slight differences.
The Queen’s ivory rod, with a dove at the top, was also made for Queen
Mary; and one of the larger plates, in the same book, shows King James
and his Queen seated side by side, each crowned, and each holding
two sceptres, one with a cross and one with a dove, so that with the
exception of the holding of the orb, the Queen of James II. appears to
have had equal ceremonial honour with his Majesty himself.
CHAPTER III
THE ROYAL CROWNS
Crowns Worn in Battle--Helmets and Crowns combined--The
Development of Crowns--King Alfred’s Crown--King Harold’s
Crown--The Crown of William the Conqueror--That of William
II.--And of King Stephen--Henry I.’s Crown with Three
Fleurs-de-lys--The Crown of Henry III.--And those of Edward I.
and Edward IV.--The Crowns of Henry VI. and VII.--Henry VIII.’s
Crown, showing both Fleurs-de-lys and Crosses-patée--The
Signification of the Arches in the Crown--The Evolution of the
Cross-patée--The Second or State Crowns--The State Crown of
Charles II.--That of James II.--The State Crowns of George IV.
and William IV.--The Scottish Crown described--The Coronation
Ring of Charles I.--An Historic Cup--The Three Existing Crowns
of the Kings of England--St. Edward’s Crown, with which the
King is crowned--The Imperial State Crown--The Number of
Precious Stones in the State Crown--Its weight--The most
valuable and beautiful Crown in the World--The Imperial Crown
of India--Its inception--This Crown described--The Queen’s
Crowns--The Crown of Queen Mary of Modena--The Diadem of Queen
Mary of Modena--The Crown of Queen Mary, Consort of George
V.--The Prince of Wales’ Crown.
Crowns appear to have been at an early period worn by kings in battle,
in order that they might be easily recognised; and, although it is
quite possible that this outward sign of sovereignty may have marked
the wearer as being entitled to special protection by his own men, it
is also likely that it was often a dangerous sign of importance. Upon
the authority of their coins, the heads of the early British kings were
adorned with variously formed fillets and ornamental wreaths. Helmets
are also evidently intended to be shown, and on some of the coins of
Æthelstan the helmet bears upon it a crown of three raised points, with
a single pearl at the top of each (Fig. 1). Other coins bear the crown
with the three raised points without the helmet (Fig. 2). This crown
of three points, bearing sometimes one and sometimes three pearls at
the top of each, continued to be used by all the sole monarchs until
Canute, on whose head a crown is shown, in which the three points
develop into three clearly marked trefoils (Fig. 3). On the Great Seal
of Edward the Confessor the King is wearing an ornamental cap, which
is described by Mr. Wyon in his book about the Great Seals as bearing
a crown with three points trefoiled; but the impressions of this
Great Seal are so indistinct in this particular, that we cannot feel
justified in corroborating his opinion. On some of the coins, however,
of Edward the Confessor, an arched crown is very clearly shown, and
this crown has depending from it, on each side, tassels with ornamental
ends (Fig. 4).
[Illustration: FIG. 1. CROWN, WITH THREE POINTS, BEARING EACH A SINGLE
PEARL, ON HELMET. FROM PENNY OF ÆTHELSTAN.]
[Illustration: FIG. 2. CROWN WITH THREE POINTS, EACH BEARING ONE
PEARL. FROM HALFPENNY OF ÆTHELSTAN.]
[Illustration: FIG. 3. CROWN WITH THREE TREFOILS. FROM PENNY OF
CANUTE.]
In the list of the portions of English regalia which were destroyed
under the Commonwealth in 1649 (see p. 7) is found an item of great
interest, viz. a “goulde wyer worke” crown with little bells, which
is there stated to have belonged to King Alfred, who appears to have
been the first English king for whom the ceremony of coronation was
used; and it is remarkable that on several of the crowns on coins and
seals, from the time of Edward the Confessor until Henry I., little
tassels or tags are shown, which may indeed represent little bells
suspended by a ribbon.
[Illustration: FIG. 4. CROWN WITH ARCHES, PEARLS, AND PEARLED
PENDANTS. FROM PENNY OF EDWARD THE CONFESSOR.]
[Illustration: FIG. 5. CROWN WITH PEARLED ARCHES. FROM PENNY OF HAROLD
II.]
[Illustration: FIG. 6. CROWN WITH THREE POINTS BEARING EACH THREE
PEARLS. FROM GREAT SEAL OF WILLIAM I.]
On King Alfred’s own coins there is unfortunately nothing which can be
recognised as a crown.
On the coins of Harold II. a crown is shown with arches, apparently
intended to be jewelled, as is also the rim. There are also tassels
with ornamental ends at the back of the crown (Fig. 5).
William I., on his Great Seal, wears a crown with three points, at the
top of each of which are three pearls (Fig. 6), and on some of his
coins a more ornamental form of crown occurs, having a broad jewelled
rim and two arches, also apparently jewelled, and at each side are two
pendants with pearl ends (Fig. 7). William II. on his Great Seal has a
crown with five points (Fig. 8), the centre one being slightly bigger
than the others, and at the top of each a single pearl. At each side of
the crown are pendants having three pearls at the ends.
[Illustration: FIG. 7. CROWN WITH PEARLED ARCHES AND PENDANTS. FROM
PENNY OF WILLIAM I.]
[Illustration: FIG. 8. CROWN WITH FIVE POINTS EACH BEARING ONE PEARL,
WITH PEARLED PENDANTS. FROM GREAT SEAL OF WILLIAM II.]
[Illustration: FIG. 9. CROWN WITH THREE TREFOILS AND PEARLED ARCHES.
FROM PENNY OF STEPHEN.]
On some of the coins of Stephen a pretty form of crown is seen. It
has three fleurs-de-lys and two jewelled arches (Fig. 9). The arches
disappear from this time until the reign of Edward IV. On the Great
Seal of Henry I. the King wears a simple crown with three fleurs-de-lys
points, and two pendants each with three pearls at the ends (Fig. 10),
and after this the pendants seem to have been discontinued.
[Illustration: FIG. 10. CROWN WITH THREE TREFOILS AND PEARLED
PENDANTS. FROM GREAT SEAL OF HENRY I.]
[Illustration: FIG. 11. CROWN WITH THREE FLEURS-DE-LYS, ON HELMET.
FROM FIRST GREAT SEAL OF HENRY I.]
[Illustration: FIG. 12. CROWN WITH THREE FLEURS-DE-LYS, AND PEARLS
BETWEEN EACH. FROM PENNY OF EDWARD I.]
On the first Great Seal of Henry III. a crown with three fleurs-de-lys
is shown surmounting a barred helmet (Fig. 11), and Edward I. wore
a similar crown with three fleurs-de-lys, but having supplementary
pearls between each (Fig. 12); and this form lasted for a long time, as
modifications of it are found on the coins of all the kings till Henry
VII. On the third Great Seal of Edward IV. the King wears a crown with
five fleurs-de-lys, the centre one being larger than the others, and
the crown is arched and has a cross at the top (Fig. 13). Henry VI. on
his first between it and the French crown, which has the fleur-de-lys
only and surmounts the coat of arms of that country. The King himself
wears an arched crown, but the impressions are so bad that the details
of it cannot be followed.
[Illustration: FIG. 13. CROWN WITH FIVE FLEURS-DE-LYS, AND ORNAMENTAL
ARCHES WITH CROSS AT THE TOP. FROM THE THIRD GREAT SEAL OF EDWARD IV.]
[Illustration: FIG. 14. CROWN WITH THREE CROSSES-PATÉE AND PEARLS
BETWEEN THEM. FROM THE FIRST SEAL FOR FOREIGN AFFAIRS OF HENRY VI.]
[Illustration: FIG. 15. CROWN WITH CROSSES-PATÉE ALTERNATE WITH
FLEURS-DE-LYS, WITH ARCHED MOUND AND CROSS AT THE TOP. FROM GREAT SEAL
OF HENRY VII.]
Henry VII. on his Great Seal uses, as ornaments for the crown,
crosses-patée alternate with fleurs-de-lys, and also arches with an orb
and cross at the top (Fig. 15); and, on some of his coins, he reverts
to the three fleurs-de-lys with points between them, arches being
still used, with the orb and cross at the top (Fig. 16). An ornamental
form of crown bearing five ornamental leaves alternately large and
small, with arches, orb and cross at the top (Fig. 17), occurs on the
shillings of Henry VII. On the crowns of Henry VIII., as well as upon
his Great Seals, the alternate crosses-patée and fleurs-de-lys are
found on the rim of the crown, which is arched, and has an orb and
cross at the top, and this is the form that has remained ever since
(Fig. 18). So we may consider that the growth of the ornament on the
rim of the crown has followed a regular sequence from the points with
one pearl at the top, of Æthelstan, to the trefoil of Canute; the
arches began with Edward the Confessor, and the centre trefoil turned
into the cross-patée of Henry VI. The fact that the remaining trefoils
became eventually fleurs-de-lys is probably only a natural expansion of
form, and does not appear to have had anything to do with the French
fleur-de-lys, which was adopted at a later period as an heraldic
bearing for an entirely different reason. The royal coat of arms of
England did bear for a long time in one of its quarterings the actual
fleurs-de-lys of France, and this, no doubt, has given some reason to
the idea that the fleurs-de-lys on the crown had also something to do
with France; but, as a matter of fact, they had existed on the crown of
England long anterior to our use of them on the coat of arms, as well
as remaining there subsequently to their discontinuance on our royal
escutcheon.
[Illustration: FIG. 16. CROWN WITH THREE FLEURS-DE-LYS, AND TALL
POINTS BETWEEN THEM, WITH MOUND AND CROSS AT THE TOP. FROM GROAT OF
HENRY VII.]
[Illustration: FIG. 17. CROWN WITH FIVE ORNAMENTED TREFOILS, ARCHED,
WITH MOUND AND CROSS AT THE TOP. FROM SHILLING OF HENRY VII.]
[Illustration: FIG. 18. CROWN WITH CROSSES-PATÉE AND FLEURS-DE-LYS
ALTERNATE, ARCHED, WITH MOUND AND CROSS AT THE TOP. FROM CROWN OF HENRY
VIII.]
The cross-patée itself may possibly have been evolved in a somewhat
similar way from the three pearls of William I., as we often find
the centre trefoil, into which, as we have seen, these three points
eventually turned, has a tendency to become larger than the others; and
this difference has been easily made more apparent by squaring the ends
of the triple leaf.
With regard to the arches over the crowns, indicating independent
sovereignty, although now and then arches of some kind seem to have
been used, particularly by Edward the Confessor, Harold, William I.,
Stephen, Edward IV., and Richard III., it was not until Henry VII. that
the arches became regularly added.
The arches used by Henry VII., Henry VIII., Edward VI., and Mary
I., were two complete curves or segments of circles, crossing over
the top and rising from opposite crosses-patée. Elizabeth added two
additional arches, of similar size and character, rising from opposite
fleurs-de-lys, and James I. and Charles I. followed her example.
When, however, Charles II. commissioned Sir Robert Vyner to make
him two new crowns, although in the main they were to “retayne the
old fashion” of those destroyed by the Commonwealth Government, he
reverted to the old number of two arches only, rising from opposite
crosses-patée, and this form has been continued until the crown of
India was made for George V., having the four arches as first used by
Queen Elizabeth.
As well as the official crowns of England, which have just been
described, there has often been in recent times a second or state
crown, and this, although it has in general design followed the pattern
of the official crown, has been much more elaborately ornamented, and
in it has been set and reset some of the historic gems possessed by our
nation. The fact that these state crowns have in turn been denuded of
their jewels, accounts for the fact that the old settings of some of
them still exist.
[Illustration: FIG. 19. THE STATE CROWN OF WILLIAM IV.]
Charles II.’s state crown is figured in Sir Edward Walker’s account of
his coronation, but the illustration of it is of such an elementary
character that little reliance can be placed on it: the actual setting
of this crown, however, was the property of the late Lord Amherst
of Hackney, and the spaces from which the great ruby and the large
sapphire--both of which are now in King George V.’s state crown--have
been taken, are clearly seen. James II.’s state crown, which is very
accurately figured in Sandford’s account of his coronation, and some of
the jewels of which are still in the Tower, also had this great ruby as
its centre ornament. In Sir George Nayler’s account of the coronation
of George IV., there is a figure of his so-called “New Crown,” the
arches of which are composed of oak-leaf sprays with acorns, and the
rim adorned with laurel sprays. The setting of this crown also belonged
to the late Lord Amherst of Hackney, and so does another setting of a
small state queen’s crown, the ownership of which is doubtful. William
IV. appears to have had a very beautiful state crown, with arches of
laurel sprays and a cross at the top with large diamonds. It is figured
in Robson’s _British Herald_, published in 1830 (Fig. 19).
There is one other crown of great interest which, since the time
of James Sixth of Scotland and First of England, forms part of the
regalia. This is the crown of Scotland, which is among the most ancient
pieces of state jewellery which exist in the Kingdom.
Edward I., after his defeat of John Baliol in 1296, carried off the
crown of Scotland to England, and Robert Bruce had another made for
himself. This in its turn, after Bruce’s defeat at Methven, fell into
Edward’s hands. Another crown seems to have been made for Bruce in
1314, when he was established in the sovereignty of Scotland after
Bannockburn, and the present crown probably consists largely of the
material of the old one, and most likely follows its general design. It
has, however, much French work about it, as well as the rougher gold
work made by Scottish jewellers, and it seems probable that the crown,
as it now is, is a reconstruction by French workmen made under the care
and by the order of James V. about 1540. It was with this crown that
Mary Queen of Scots was crowned when she was nine months old.
[Illustration: FIG. 20. THE SCOTTISH CROWN.]
In 1661 the Scottish regalia were considered to be in danger from
the English, and were sent to Dunnottar Castle for safety. From 1707
until 1818 they were locked up in a strong chest in the crown-room
of Edinburgh Castle, and Sir Walter Scott, in whose presence the box
was opened, wrote an account of them in 1819. The crown consists of a
fillet of gold bordered with flat wire. Upon it are twenty-two large
stones, set at equal distances--_i.e._ nine carbuncles, four jacynths,
four amethysts, two white topazes, two crystals with green foil behind
them, and one topaz with yellow foil. Behind each of these gems is
a gold plate, with bands above and below of white enamel with black
spots, and between each stone is a pearl. Above the band are ten
jewelled rosettes, and ten fleurs-de-lys alternately, and between each
a pearl. Under the rosettes and fleurs-de-lys are jewels of blue enamel
and pearls alternately. The arches have enamelled leaves of French work
in red and gold upon them, and the mount at the top is of blue enamel,
studded with gold stars. The cross at the top is black enamel, with
gold arabesque patterns; in the centre is an amethyst, and in this
cross and in the corners are Oriental pearls set in gold. At the back
of the cross are the letters I. R. V. (James Rex V.) in enamel work. On
the velvet cap are four large pearls, in settings of gold and enamel
(Fig. 20).
Generally, the Scottish work in gold is cast solid and chased, the
foreign work being thinner and repoussé. Several of the diamonds are
undoubtedly old, and are cut in the ancient Oriental fashion, and many
of the pearls are Scottish. It is kept in Edinburgh Castle with the
rest of the Scottish regalia. None of the other pieces at all equal it
in interest, as with the exception of the coronation ring of Charles
I. they are of foreign workmanship, or, at all events, have been so
altered that there is little or no original work left upon them.
[Illustration: FIG. 21. THE CORONATION RING OF CHARLES I.]
The coronation ring just mentioned is, however, worthy of special
remark, for these rings are usually kept as the personal property of
the sovereigns for whom they were made. It formed part of the bequest
of Cardinal York to George III., and is very interesting because,
although a ring has formed part of the coronation jewels from the
earliest times, this is the only existing one which is the property
of the nation. It was, moreover, evidently intended originally to be
used by different people, as it is jointed like a bracelet with a very
long spring to the snap, and is capable of fitting fingers of different
sizes (Fig. 21). It consists of a pale ruby with red foil behind it,
engraved on which is a couped cross, enclosed in a circle of twenty-six
table diamonds, set close and foiled at the back.
The coronation ring of William IV. is a sapphire set with a cross of
five rubies, four rectangular and the centre one square. The stones
probably represent the red cross of St. George upon the blue ground
of the flag of St. Andrew. Surrounding the sapphire are fourteen
brilliants, and other diamonds are set at the junction of the bezel and
the ring. The sapphire is 0.6 inch at its greatest diameter. The ring
was worn by Edward VII. and by George V. (Fig. 22).
Queen Victoria’s ring is copied on a small scale from the ring of
William IV. It is of gold set with a cabochon sapphire just over half
an inch at its greatest diameter. The sapphire has on it a cross
of five rubies, four rectangular and one square, all enclosed in a
framework of twenty-four small brilliants. There are other diamonds at
the junction of the bezel (Fig. 24).
[Illustration: FIG. 22. THE CORONATION RING OF WILLIAM IV., EDWARD
VII. AND GEORGE V.]
[Illustration: FIG. 23. THE QUEEN’S RING WORN BY QUEEN ADELAIDE AND
QUEEN ALEXANDRA.]
[Illustration: FIG. 24. THE CORONATION RING OF QUEEN VICTORIA.]
The Queen’s ring was worn by Queen Adelaide and Queen Alexandra. It is
a ruby of just over half an inch at its greatest diameter, enclosed by
fourteen brilliants and has thirteen small rubies set round the outside
of the ring (Fig. 23).
Although it is not now part of the royal treasure, there is one
remarkable piece of plate existing which ought to be so: and a note
concerning it may perhaps not be out of place here, as it may to some
extent serve to show what magnificent works of art our sovereigns
once possessed. It is a splendid enamelled gold cup of the fourteenth
century which belonged to our kings from the time of Henry VI. until
James I., who gave it away. But if it is not now among the regalia it
is next thing to it, as it is the property of the nation, and forms
one of the chief ornaments of the wonderful “gold room” at the British
Museum. It is certainly one of the finest specimens of mediæval enamel
work existing. The cup originally was on a short stem, but under the
Tudors it was heightened, and the added piece bears characteristic
Tudor enamels in high relief. On the cup itself, the lid and the foot,
are shown in lustrous translucent enamel events in the life of St.
Agnes; round the edges of the foot and the lid were ornamental edgings
of gold and pearls, much of which is now gone; and the actual top,
which no doubt was very ornamental, is also gone.
The history of this cup has been carefully traced, and it formed part
of the treasure of France as well as of England; its actual beginning
is, however, still in mystery.
Having given this general account of the regalia in the past, we may
pass to the crowns and regal emblems now to be seen in the Jewel House
of the Tower of London.
THE KING’S CROWNS
The King has three crowns:--
(1) King Edward the Confessor’s Crown, also known as St.
Edward’s Crown.
(2) The Imperial State Crown.
(3) The Imperial Crown of India.
ST. EDWARD’S CROWN
The crown known as St. Edward’s Crown was made for the coronation of
Charles II. in 1662, by Sir Robert Vyner. It was ordered to be made as
nearly as possible after the pattern of the ancient crown destroyed
by the Commonwealth, and the designs shown in the works of Sir Edward
Walker and Francis Sandford, demonstrate that in essential form it is
the same now as then; indeed, the existing crown is in all probability
mainly composed of the same materials as that made by Sir Robert
Vyner. The crown consists of a rim or circlet of gold, adorned with
rosettes of precious stones, surrounded by diamonds. The centre gems of
these rosettes are rubies, emeralds and sapphires. From the rim rise
four crosses-patée, and four fleurs-de-lys alternately, adorned with
diamonds and other gems. From the tops of the crosses rise two complete
arches of gold, crossing each other, and curving deeply downwards at
the point of intersection. These arches are considered to be the mark
of independent sovereignty. They are edged with rows of silver pearls,
and have gems and clusters of gems upon them. From the intersection of
the arches springs a mound of gold, encircled by a fillet from which
rises a single arch, both of which are ornamented with pearls and gems.
On the top of the arch is a cross-patée of gold, set with coloured gems
and diamonds. At the top of the cross is a large spheroidal pearl, and
from each of the side arms, depending from a little gold bracket, is a
beautifully formed pear-shaped pearl. The crown is shown in the Tower,
and has inside it a crimson velvet cap, turned up with miniver, which
is worn with it.
This is the crown of England, and is the one with which the king is
crowned when he ascends the throne.
THE IMPERIAL STATE CROWN
This beautiful piece of jewellery was originally made by Rundell and
Bridge for Queen Victoria in 1838. Many of the gems in this crown are
of very ancient origin, whilst others can count their age by centuries
or even by decades. The weight of the crown is 39 oz. 5 dwt. It
consists of a circlet of open work in silver, bearing in the front the
second largest portion of the Star of Africa, and on the reverse side
the great sapphire from the crown of Charles II. which was bequeathed
to George III. by Cardinal York, with other Stuart treasure, among
which were also several old diamonds which are still set in this crown.
At one end the Stuart sapphire is partly pierced, and though it is
not a thick stone, it is of a fine colour. The remainder of the rim is
filled in with rich jewel clusters, having alternately sapphires and
emeralds in their centres, enclosed in ornamental borders thickly set
with diamonds. These clusters are separated from each other by trefoil
designs also thickly set with diamonds. The rim is bordered above
and below with bands of large pearls, and above the rim are shallow
festoons of diamonds, caught up between the larger ornaments by points
of emeralds encircled with diamonds, and a large pearl above each.
On these festoons are set alternately eight crosses-patée and eight
fleurs-de-lys of silver set with gems. The crosses-patée are thickly
set with brilliants and have each an emerald in the centre, except that
which is in the front of the crown. This contains the most remarkable
jewel belonging to the regalia, a large spinel ruby of irregular
drop-like form, measuring about two inches in length, which belonged to
the Black Prince. (See p. 55.) Its irregular outline makes it possible
to recognise the place that it has formerly occupied in the older royal
crowns, and it seems always to have been given the place of honour.
In the centre of each of the very ornamental fleurs-de-lys is a ruby,
and the rest of the ornamentation on them is composed of rose diamonds,
large and small. From each of the crosses-patée, the upper corners of
which have each a large pearl upon them, rises an arch of silver worked
into a design of oak leaves and acorns. Probably this feature in the
crown relates to the escape of Charles II. in the oak tree at Boscobel
on September 8th, 1651. These leaves and the cups of the acorns
are all closely encrusted with a mass of large and small diamonds,
rose, brilliant and table cut; the acorns themselves being formed of
drop-shaped pearls of large size. From the four points of intersection
of the arches at the top of the crown depend large egg-shaped pearls,
which according to the Tower traditions were once the earrings of
Queen Elizabeth. From the centre of the arches, which slope slightly
upwards, springs a mound with a cross-patée above it. The mound is
ornamented all over with close lines of brilliant diamonds, and the
fillet which encircles it, and the arch which crosses over it, are
both ornamented with one line of large rose-cut diamonds set closely
together. The outer lines of the arms of the cross are marked by a
row of small diamonds close together, and in the centre of each arm
is a large diamond, the remaining spaces being filled with more small
diamonds. The cross-patée at the top has in the centre a large sapphire
of magnificent colour set openly, which is said to have come out of the
ring of Edward the Confessor, which was buried with him in his shrine
at Westminster, and the possession of it is supposed to give to the
owner the power of curing the cramp. If this be indeed the stone which
belonged to St. Edward, it was probably recut in its present form of a
“rose” for Charles II., even if not since his time.
Not counting the Black Prince’s ruby, or the Stuart and Edward the
Confessor sapphires, this crown contains--
Four rubies,
Eleven emeralds,
Sixteen sapphires,
Two hundred and seventy-seven pearls,
Two thousand seven hundred and eighty-three diamonds.
The large Black Prince’s ruby has been valued at £110,000, but it is
indeed priceless historically.
When this crown is required by the King for the opening of Parliament
or like ceremonies, it is provided with a little box, lined with white
velvet, and having a sliding draw at the bottom with a boss on which
the crown fits closely, so that it is safe during its journey from the
Tower.
The velvet cap turned up with miniver, known as the cap of maintenance,
is kept with it.
This crown is the most valuable, and we may safely add the most
beautiful, in the world, worthy of a sovereign on whose Dominions the
sun never sets.
THE IMPERIAL CROWN OF INDIA
This crown has a somewhat curious history though entirely modern.
When it was decided in accordance with His present Majesty’s express
desire that he should travel to India, there to be crowned Emperor of
India, in the city of the Great Moguls, a question arose regarding the
crown to be used for the ceremony. Apparently, according to the laws
of England, the King is not allowed to take his crown out of England,
possibly an echo of those ancient days when kings of England frequently
temporarily disposed of their regal emblems to cover their present
necessities. Moreover, there were considerable risks by sea and land
which it was inadvisable that the historic crown of England should
incur. It was therefore decided to make a new crown to be named the
Imperial Crown of India.
It is a finely designed crown of the usual English pattern, with four
crosses-patée and four fleurs-de-lys alternately set on the upper rim
of the circlet. The circlet is of open work, with oval or circular
bosses of coloured stones, emeralds and sapphires alternately, the
centre stone being a remarkably fine cabochon emerald, separated by
diamond-shaped bosses of diamonds, and double trefoils filling the
spaces between. In the centre of the front cross-patée is a very
fine Indian ruby. A fine emerald is set in the lower part of each
fleur-de-lys and another very fine one in the centre of the cross-patée
at the top. All the rest of the stones are diamonds.
The arches over English crowns, whatever their number may have been,
have hitherto only pointed slightly upwards, been practically level at
their tops, or depressed in the centre, as are those of St. Edward’s
crown and the crown of the Prince of Wales.
In this new crown for the Emperor of India a new pattern for the arches
has been adopted, and it is nearly the same as that used for the crowns
of Queen Alexandra as well as that made for Queen Mary.
The arches are no longer complete, but are kept as half-arches, and the
continuous reverse curve, known architecturally as an ogee, has been
adopted. There are eight of these half-arches, one rising from the top
of each cross-patée, and one from the top of each fleur-de-lys. They
do not quite join at the top, but finish with small additional outward
curves which flatten slightly at their points, thereby allowing room
for some fair-sized brilliants to be set upon them. These projections,
which are close to each other, form a singularly effective collar for
the support of the rich mound and cross at the top. Each half-arch is
of open work, closely set with diamonds, and broadens out towards its
centre, narrowing sharply towards its upper end. The outline is evenly
kept all along, and the wreath within it is a graceful conventional
design of leaves and flowers.
It was made by Messrs. Garrard for the coronation of King George V. as
Emperor of India at Delhi in 1912.
THE QUEEN’S CROWNS
There are three queens’ crowns or diadems in the Tower:--
The Crown of Queen Mary of Modena, consort of James II.
The Diadem of Queen Mary of Modena, consort of James II.
The State Crown of Queen Mary, consort of George V.
THE CROWN OF QUEEN MARY OF MODENA
The crown that Queen Mary of Modena wore on her return to Westminster
Hall after her coronation is figured by Sandford. It is now in the
Tower. Though it may be accepted that it is the same crown, there are
alterations in the crosses and fleurs-de-lys which surmount the rim,
as well as in the cross above the mound; the main feature, however, of
the crown, the row of large diamonds round the rim, is the same in both
cases, as are the arches. The only gems used in the crown are diamonds
and pearls, and some of the diamonds are very large. It is probable
that the alterations and improvements which have been effected were
made for the queen at the coronation of William and Mary. The crown has
the crimson velvet cap turned up with miniver, which is kept with it.
THE DIADEM OF QUEEN MARY OF MODENA
It will be remembered that in one of the pictures of the coronation
procession of Charles II. going to be crowned, he wears only the velvet
cap of maintenance, and it seems that in many of these processions a
cap or circlet not actually a crown was worn as well, crowns themselves
being used on the return journey to Westminster Hall. In the Tower
we possess both the circlet or diadem and the crown that belonged to
Mary of Modena, and which she wore in her proceeding to, and on her
return from, her coronation. The diadem, the simpler of the two, is the
one she wore first. This diadem has along its upper edge a row of large
pearls, rising into a point in the front, with a single diamond at
its highest point. Beneath this is a rich floral spray, in thick gold
open work, elaborately modelled and chased, having large diamonds as
leaves and flowers. Beyond this spray, on each side, are a succession
of large rosettes, in open work of gold, with large diamonds in their
centres and small diamonds set all round them. This diadem is said to
have cost £110,000. There is no record of its having been used by any
queen except Mary of Modena, and it undoubtedly differs from the figure
of it given by Sandford; but as he shows certain of its peculiarities,
such for instance as the gold open work in clusters, and the single gem
in the front, it is just possible that, allowing freely for artistic
licence, he intends his figure to represent it even as it is now.
THE STATE CROWN OF QUEEN MARY, CONSORT OF GEORGE V.
This beautiful and light diamond crown was made for the coronation of
Queen Mary in 1911 by Messrs. Garrard, the Court Jewellers.
In the centre of the circlet is one of the lesser Cullinan diamonds of
square shape, and the rest of the ornamentation, in open work, consists
of diamond bosses of circular form divided by quatrefoils, each
composed of four fine single diamonds.
The circlet is surmounted by four crosses-patée and four fleurs-de-lys
as usual in English crowns, the Koh-i-Nur being set in the centre of
the front cross-patée.
The Elizabethan plan of having four complete arches over the top of the
crown is followed in principle, only that the arches are not actually
complete but halved, so that they are really eight half-arches of
reversed continuous curves, tapering upwards. In architecture this
form is known as an ogee arch. The half-arches, rising from the tops
of the crosses-patée and the tops of the fleurs-de-lys, are broad at
their bases and taper sharply upwards. Their outlines are marked by a
narrow fillet and the spaces between the fillets are each filled with
a graduated line of six brilliants. At their tops each half-arch has a
small additional outward curve, on the extreme end of which is a single
diamond.
The graceful design of ogee arches for closed crowns has often been
used abroad, especially in France, but until lately it has not been
used in England. The arches support an orb, mound or monde, with
a cross-patée above it, in the centre of which is set a beautiful
drop-shaped Cullinan diamond.
The device of an orb surmounted by a cross, which is only a version of
the royal orb itself (see p. 32) has long been used as a finial to all
English royal crowns. The cross, however, has gradually changed its
shape from the original Latin form to that of a cross-patée, probably
because this particular form has for a long time held the place of
honour as the centre ornament above the circlet on all the English
royal crowns. The design, as a whole, signifies the dominion of the
Christian Faith over the world.
THE PRINCE OF WALES’ CROWN
The eldest son of the sovereigns of England was originally called
the “Lord Prince.” Edward I., whose son Edward was born at Carnarvon
Castle, invested him with the principality of Wales. This young prince,
on the death of his elder brother Alphonso, became heir-apparent to the
throne, and since that time the title has been borne by the eldest son
of the sovereign. The eldest son of the King or Queen of England is
born Duke of Cornwall, and deemed of full age on his birthday, so that
he is entitled to the revenues of his Duchy. Since the Union he is also
Duke of Rothesay and Seneschal of Scotland from his birth, and at the
pleasure of the sovereign he is created by patent Prince of Wales.
The crown of the Prince of Wales, as eldest son of the King, is of
gold, and is ornamented with imitation gem clusters and pearls. From
the rim rise four crosses-patée and four fleurs-de-lys alternately, and
from two opposite crosses rises a single arch, dipping deeply towards
the centre. At the top is a mound of gold with imitation pearls,
and above this a cross-patée also with pearls. This crown is placed
before the Prince of Wales’ seat in the House of Lords when the King
opens Parliament. Before the Restoration of Charles II. the coronet
of the Prince of Wales had no arch, and it was by that king’s order
that the arch was added, thus making it a crown, with the mound and
cross-patée at the top. The coronets of sons, brothers, and uncles of
the sovereigns are exactly like that of the Prince of Wales with the
exception of the arch, which is not used in their case. The coronets of
the princesses of Great Britain are also without the arches, and two of
the crosses-patée are replaced by strawberry leaves. The crown is shown
at the Tower with the crimson velvet cap turned up with miniver, which
is worn with it.
As Prince of Wales, H. R. H. wears a separate coronet, which consists
of a circlet of gold ornamented with pearls and amethysts. Fixed upon
the circlet at intervals are four crosses-patée, alternating with
fleurs-de-lys. The crosses-patée and the fleurs-de-lys are pierced,
and within the outlines of the one run sprays of the Rose of England,
and of the other the Daffodil of Wales. The spaces between the
crosses-patée and the fleurs-de-lys are filled with rosebud sprays.
[Illustration: Plate I
ST. EDWARD’S CROWN]
[Illustration: Plate II
THE IMPERIAL STATE CROWN]
[Illustration: Plate III
THE IMPERIAL CROWN OF INDIA]
[Illustration: Plate IV
THE CROWN OF QUEEN MARY OF MODENA CONSORT OF JAMES II]
[Illustration: Plate V
THE DIADEM OF QUEEN MARY OF MODENA CONSORT OF JAMES II]
[Illustration: Plate VI
THE STATE CROWN OF QUEEN MARY CONSORT OF GEORGE V]
[Illustration: Plate VII
THE PRINCE OF WALES’ CROWN]
CHAPTER IV
THE ROYAL SCEPTRES
The Sceptres of Æthelred II.--Canute--Edward the
Confessor--Harold--Henry III.--Henry IV.--Henry VII.--Charles
II.--The Sceptres from James II. to George IV.--Queen
Victoria--Edward VII.--George V.--The King’s Sceptre with the
Dove--The Queen’s Sceptre with the Cross--The Queen’s Sceptre
with the Dove--The Queen’s Ivory Rod--St. Edward’s Staff.
On coins of earlier date than those of Æthelred II. there are no
indications of sceptres carried by the kings; but on some of his coins
occurs a rod with three pearls at the top (Fig. 25). On some of the
coins of Canute this triple head develops into a clearly marked trefoil
(Fig. 26). Although he retains the simpler form of the three pearls
generally, Edward the Confessor shows sometimes a sceptre with a cross
at the top, the prototype of the present sceptre with the cross (Fig.
27); and, on the reverse of his first Great Seal, he bears in his right
hand a sceptre with a dove, the prototype of the present sceptre with
the dove (Fig. 28). These two forms have subsisted from the time of
Edward until to-day. Harold, on some of his coins, bears a sceptre with
four pearls at the top (Fig. 29), and further ornamentation on the
handle. On some of the coins of William I. a distinct cross-patée is
used, and William also uses a form of a triple leaf or flower, which is
generally known as a sceptre-fleury; and one or other of these forms is
found on coins until the time of John, after whose reign the sceptres
seem to have been discontinued on coins until the time of Henry VII.
Henry III., on his second Great Seal, bears a sceptre with a dove
standing upon a small orb--the first instance of this form (Fig. 30).
[Illustration: FIG. 25. SCEPTRE WITH THREE PEARLS AT THE TOP. FROM
PENNY OF ÆTHELRED II.]
[Illustration: FIG. 26. SCEPTRE WITH TREFOIL AND PEARLS AT THE TOP.
FROM PENNY OF CANUTE.]
[Illustration: FIG. 27. SCEPTRE WITH CROSS-PATÉE. FROM PENNY OF EDWARD
THE CONFESSOR.]
[Illustration: FIG. 28. SCEPTRE WITH DOVE AT THE TOP. FROM THE FIRST
GREAT SEAL OF EDWARD THE CONFESSOR.]
On Edward III.’s second Seal “of absence” he is shown holding a
curious sceptre, the top of which is in the form of a small shrine
or monstrance; and Henry IV., on his second Seal, shows a sceptre in
which the top of the sceptre-fleury develops into a clearly marked
fleur-de-lys (Fig. 31); while Henry VI., on his Seal “for French
affairs,” carries a sceptre bearing at the top a “hand of Justice.”
This form is, however, a foreign one, and, probably, was not ever used
on a really English sceptre.
On some of Henry VII.’s coins, and on others of a later date, the
sceptre-fleury, more or less elaborate, constantly occurs, the only
marked departure from this pattern being the ornamental emblematic
sceptres found on the reverses of some of our gold coins, from the time
of Charles II. until George I., the heads of which are in the forms
of cross-patée, harp, thistle, and fleur-de-lys. The last three are,
however, evidently only symbolical, and are not likely to have had any
real existence. Similar symbolical sceptres have occurred in recent
times on some of our newer coinage, and on the reverse of some of our
most recent issues occur typical representations of the Sceptre with
the Orb and Cross, and the Sceptre with the Dove. It will be noticed
that the sceptres now shown in the Tower combine very completely the
elements existing in the old forms of the sceptres of England as they
are found on coins and Great Seals. The Royal Sceptre with the Cross
bears as its chief ornament the cross itself as used by Edward the
Confessor, and beneath this the sphere which first shows on the sceptre
of Henry III.
The second or Queen’s Sceptre with the Cross has what may be called
a double fleur-de-lys, which is in fact an amplification of the
sceptre-fleury found on the coins of Canute. The Sceptre with the Dove
is a very old form, and is not peculiar to England alone, as it has a
religious signification which is common to all Christian countries.
[Illustration: FIG. 29. SCEPTRE WITH FOUR PEARLS AT THE TOP. FROM
PENNY OF HAROLD.]
[Illustration: FIG. 30. SCEPTRE WITH DOVE AND MOUND. FROM THE SECOND
GREAT SEAL OF HENRY III.]
[Illustration: FIG. 31. SCEPTRE WITH FLEUR-DE-LYS AT THE TOP. FROM THE
SECOND GREAT SEAL OF HENRY IV.]
THE KING’S ROYAL SCEPTRE WITH THE CROSS
The King’s Royal Sceptre with the Cross is of gold. It is figured in
Sir Edward Walker’s account of the coronation of Charles II.; it is
also shown in the same form, namely a fleur-de-lys surmounted by an orb
and cross, but more elaborated, in Sandford’s account of the coronation
of James II. It is also shown in the account of the coronation of
George IV. by Sir George Nayler.
The orb at the top is not specially described by Sir Edward Walker, but
Sandford describes it as an amethyst, and in George IV.’s coronation
book it is shown blue, which doubtless indicates the same stone. The
fleur-de-lys which originally supported this orb was in course of
time developed into an elaborate piece of goldsmith’s work (Fig. 32),
thickly jewelled with coloured gems and diamonds, with supplementary
curves and sprays of enamel work.
In the sceptre as it is now some of the lower parts of the ancient
top are still retained in a modified form. From the centre of this
ornamental groundwork spring four large and two small enamelled curves,
the larger ones jewelled on their outer surfaces, which clasp the great
drop-shaped Star of Africa (see p. 56) diamond firmly (Fig. 33). The
curves can be opened and the stone removed whenever it is required
to be worn as a pendant. Above the diamond the enamelled scrolls and
jewels of the old head are still retained with some minor additions.
On this glittering foot rests the great amethyst orb, faceted all over,
and having round the centre a jewelled band with an arch of gold,
rubies and diamonds. The cross-patée at the top is thickly set with
diamonds, a large emerald being in the centre.
The entire length of the sceptre is about three feet, the upper part
is wreathed, collars of gems and enamels enclose a smooth portion as
a grip, and the end is incrusted with rich sprays of gold and enamels
thickly jewelled with coloured stones and diamonds.
The foot widens out into a spherical boss with ornamental incrustations
of gold, enamels and precious stones. It is probable that much of the
sceptre, excepting the addition of the Star of Africa, is largely of
the same design as when it was originally made by Sir Robert Vyner,
though it has doubtless been often repaired and the enamels remade as
necessary.
This sceptre is placed in the right hand of the sovereign at the
coronation.
[Illustration: FIG. 32. THE ROYAL SCEPTRE WITH THE CROSS BEFORE THE
INSERTION OF THE STAR OF AFRICA.]
[Illustration: FIG. 33. THE ROYAL SCEPTRE WITH THE CROSS SHOWING THE
STAR OF AFRICA AS IT AT PRESENT APPEARS.]
THE KING’S SCEPTRE WITH THE DOVE
THE ROD OF EQUITY[1]
The Sceptre with the Dove is of gold, and both in Walker’s account
of the coronation of Charles II. and Sandford’s of that of James II.
(Fig. 34) it is shown as bearing the same general design as that now
existing. It is a rod of gold measuring three feet seven inches in
length. At the top is a mound, also of gold, with a fillet round the
centre, studded with diamonds, and an arch above it ornamented in the
same way. From the top of the mound rises a golden cross, on which is
sitting a white enamelled dove, with extended wings; the eye, beak,
and feet are of gold. A little below the mound is a band studded
with diamonds, and beneath this another band, with drooping designs,
ornamented with coloured gems and diamonds. In the centre of the
sceptre is an ornamental band of enamels and gems, and gold open work
with coloured gems, enamels and diamonds. Nearer to the end is another
band with large jewels, and at the foot is a boss encircled with a
jewelled band and also an enamelled band. The dove is typical of the
Holy Ghost, who was considered especially to control the actions of
kings, and for this reason a sceptre with the dove has been constantly
used by kings from a very remote period. In France it was formerly the
custom to let white doves loose in the church after the coronation of
the kings.
This sceptre is borne in the left hand of the sovereign at the
coronation.
[Illustration: FIG. 34. SCEPTRE WITH DOVE, CROSS AND MOUND. FROM SIR
EDWARD WALKER’S ACCOUNT OF THE CORONATION OF CHARLES II.]
[Illustration: FIG. 35. SCEPTRE WITH CROSS, MOUND AND FLEUR-DE-LYS,
MADE FOR MARY OF MODENA, QUEEN-CONSORT OF JAMES II.]
THE QUEEN’S SCEPTRE WITH THE CROSS
The Queen’s Sceptre with the Cross is first figured in Sandford,
as it was made for Queen Mary of Modena (Fig. 35); and, with some
alterations, that now existing in the Tower agrees with his account.
The sceptre is all of gold ornamented with diamonds. At the top is
a double fleur-de-lys, with three leaves bending upwards and three
bending downwards, all thickly jewelled with diamonds of fair size.
Above this is a mound of gold with a fillet set thickly with diamonds,
and an arch over the top of the globe jewelled in the same way. The
cross-patée at the top has a large diamond in each of its arms and
a large one in the centre. In the middle of the sceptre is a space
closely ornamented with sprays formed of open work in gold, with leaves
and flowers composed of large and small diamonds. Beyond this is a
clear space and an elaborately jewelled boss at the end. It is two feet
ten inches in length.
THE QUEEN’S SCEPTRE WITH THE DOVE
The Queen’s Sceptre with the Dove resembles that of the King, but is a
little smaller.
The mound at the top is surmounted by a cross on which is a white
enamelled dove with outstretched wings. Encircling the mound is a
fillet ornamented with coloured gems and diamonds, and leaves enamelled
white and red. The arch over the top of the mound is decorated in a
similar manner. About the middle of the sceptre is a collar of dark
blue enamel ornamented with gems and designs in white enamel. Nearer to
the foot is another more elaborate collar with sprays of open work in
gold ornamented thickly with gems and enamels. The foot of the sceptre
is a boss with ornaments of gold, gems and enamels.
This sceptre is not mentioned in Sandford’s account of the coronation
of James II. The Queen on that occasion used only the small ivory
sceptre with the dove with closed wings, which is described below.
This small ivory sceptre would very probably not have been considered
near enough in design to the King’s to satisfy the desire for equality
of ceremony which was so prevalent at the coronations of William and
Mary. It is therefore nearly certain that the larger gold sceptre with
the dove was made for Mary II., and that it was purposely made very
like that of the King. It was mislaid for a time, owing probably to
some of the many changes that have at various times taken place in the
Tower, but was discovered in 1814 at the back of a shelf in the Jewel
House.
THE QUEEN’S IVORY ROD
In the list of the regalia destroyed under the Commonwealth in 1649
an entry will be found of an ivory staff with a dove at the top, and
such a staff is now in the Tower. It is stated in the list to have been
made for Queen Mary of Modena, consort of James II., and is very likely
a copy of the older sceptre. It is made in three pieces with collars
of gold over the junctions, and measures altogether three feet one
and a half inches in length. The top of the sceptre has a mound and a
cross-patée of gold surmounted by a white enamelled dove with closed
wings, and with eyes, beak, and feet of gold. The mound at the top of
the sceptre, and one also at the other end, have champlevé enamels upon
them of identical workmanship with that upon the bracelets which, as
we have seen, were the work of Sir Robert Vyner. Doubtless the designs
upon this sceptre were copied by the royal goldsmith of James II. to
match those made for Charles II. The designs in both these mounds are
the double rose, thistle, harp, and fleur-de-lys, separated by a small
blue quatrefoil. A similar ornamentation is on the boss at the foot of
the sceptre.
The fact that the mound at the foot of this sceptre nearly resembles
that at the top both in size and ornamentation reminds us that at one
time the stems of the orbs themselves were very long, so much so that
it is sometimes difficult to say which is orb and which is sceptre.
This peculiarity will be seen on reference to some of the sketches
showing the early forms of orbs. (See p. 32.) All the sceptres have
large bosses at their lower ends, but in no other instance does it so
nearly approach the size of the mound at the top.
ST. EDWARD’S STAFF
KNOWN ALSO AS THE ROD OF JUSTICE AND EQUITY
So many portions of the English regalia are named after Edward the
Confessor that he may almost be called the patron saint of the regal
emblems. In his honour Henry III. rebuilt Westminster Abbey, and he
is godfather not only to the official English crown, but to the sword
“Curtana,” (see p. 38) as well as this curious rod of justice and
equity. A rod of this kind has been used at all our coronations from
the earliest times. In the first known account of the coronation of
our Anglo-Saxon kings, that of Æthelred II.,[2] it is said that after
the crown and the sceptre had been given to the king a “Virga,” or
rod, was presented. The words used on the presentation were in Latin,
and signified “Receive this rod of Justice and Equity.” No description
of the rod exists, but it was clearly different from the sceptre, the
words used being “Receive this sceptre, the emblem of the power of the
King.” The king very probably held the sceptre in one hand and the Rod
of Justice in the other.
There is every probability that the staff now known as St. Edward’s
Staff is the survival of the ancient rod, and it may be a copy of the
“long rodd of silver gilt” mentioned in the list of the royal plate and
jewels destroyed in 1649 (see p. 7), but the ornamentation now upon it
appears to be consistent with the belief that it was designed anew by
Sir Robert Vyner. It is supposed to be a staff to guide the footsteps
of the king, and in furtherance of this purpose is tipped with a pike
of steel four inches and a quarter long.
The entire length of St. Edward’s staff is four feet seven inches and
a half, and it may be described as a rod of gold divided at intervals
with collars of ornamental leaf patterns. At the top is a mound and
cross-patée, and tradition says that formerly a piece of the true cross
was enclosed within the mound.
[Illustration: Plate VIII
THE KING’S ROYAL SCEPTRE]
[Illustration: Plate IX
THE QUEEN’S SCEPTRE WITH THE DOVE
THE KING’S SCEPTRE WITH THE DOVE]
[Illustration: Plate X
THE QUEEN’S IVORY ROD
ST. EDWARD’S STAFF]
FOOTNOTES:
[1] Though this sceptre is now used at coronations and at them is
specifically named the Rod of Equity and Mercy, it is interesting to
note that St. Edward’s Staff (see p. 30) appears to have an even older
tradition giving it the title of the Rod of Justice and Equity.
[2] Cotton MS. Claudius A 111. p. 9 _Coronatio Æthelredi Regis_. Now in
the British Museum.
CHAPTER V
THE ROYAL ORBS
The Origin of the Orb--Signifies the Domination of the
Christian Religion--An Emblem of Sovereignty--Edward the
Confessor--William the Conqueror--Henry I.--Richard Cœur de
Lion--Henry III.--Henry VII.--Henry VIII.--Charles II. to
George V.--The King’s Orb described--The Queen’s Orb--Made for
Mary II. wife of William III.--The Queen’s Orb described.
The orb with the cross above it is a very ancient Christian emblem; it
signifies the domination of the Christian religion over the world. It
was used by the Byzantine or Roman emperors of the Eastern Empire, from
whom it was borrowed by our Saxon kings. An instance of its early use
exists in the British Museum on a magnificent carved ivory diptych of
about the fifth century, representing an archangel holding in his left
hand an orb with cross, very closely resembling that which is found on
the Great Seal of Queen Elizabeth; in fact, we may say that the orb
and the cross has been one of the emblems of independent Christian
sovereignty longer than any other actual forms now used either here or
on the Continent.
The orb is first found on English coins of Edward the Confessor, and
shows as a sphere with a cross upon it. It does not occur often on
coins, but may be seen upon some of those of the Tudor kings and the
finer coins of James I.; but on none of these is there any variation in
its form, and the cross is always a short one.
[Illustration: FIG. 36. ORB WITH CROSS-PATÉE ON SHORT STEM. FROM GREAT
SEAL OF WILLIAM I.]
[Illustration: FIG. 37. ORB WITH DOVE AND CROSS-PATÉE ON SHORT STEM.
FROM THE FOURTH GREAT SEAL OF HENRY I.]
[Illustration: FIG. 42. ORB WITH ORNAMENTAL CROSS. FROM THE SECOND
GREAT SEAL OF HENRY VII.]
On the Great Seals of England, of which there is a complete series in
the British Museum, there is a certain degree of difference in the
forms of the orb. It first appeared on the Great Seal of Edward the
Confessor, and is a simple sphere held in his left hand. William I.
used a cross above the sphere (Fig. 36), and this cross in some form
or other has invariably been used since. On Henry I.’s fourth Great
Seal a dove is shown above the cross-patée (Fig. 37), and Stephen and
Henry II. used the same design. Richard I. (Fig. 38) and John both
used a tall, thin cross with leaves issuing from its stem; and Henry
III. (Fig. 39) carries a beautiful orb with a very tall ornamented
stem bearing a cross above it, and on his second Great Seal an orb
with a tall plain stem, and a smaller orb with cross-patée at the top
(Fig. 40). From Edward I. to Richard III. the stems of the crosses
above the orb were very tall, and the crosses themselves small. Henry
VII. carries an orb with a tall stem (Fig. 41), above which is a much
larger cross than was used by his immediate predecessors, and each of
the ends of the cross are ornamented with a trefoil. Henry VII., on his
second Seal (Fig. 42), entirely does away with the stem on which the
cross had hitherto been placed, and the cross, itself ornamented, rests
directly on the top of the orb, as does that on the orb now in the
Tower which was made for Mary II. The orb which was made by Sir Robert
Vyner for Charles II., and which is now in the Tower, has a large
amethyst beneath the cross, which may be considered to take the place
of the stem upon which, as we have seen, the cross was superimposed
from the time of William I. to Henry VIII.
[Illustration: FIG. 38. ORB WITH CROSS ON TALL ORNAMENTAL STEM. FROM
THE FIRST GREAT SEAL OF RICHARD I.]
[Illustration: FIG. 39. ORB WITH CROSS ON TALL ORNAMENTAL STEM. FROM
THE FIRST GREAT SEAL OF HENRY III.]
[Illustration: FIG. 40. ORB WITH CROSS AND MOUND ON TALL STEM. FROM
THE SECOND GREAT SEAL OF HENRY III.]
[Illustration: FIG. 41. ORB WITH ORNAMENTAL CROSS ON TALL STEM. FROM
THE GREAT SEAL OF HENRY VII.]
THE KING’S ORB
The orb, mound, or globe is placed in the sovereign’s right hand on
being crowned, and after that is carried in the left hand. It is never
put into the hands of any but kings or queens regnant. The orb of
England is remarkable for the fine amethyst cut in the facets, one and
a half inches in height, on which the cross-patée stands. The golden
ball itself is six inches in diameter, and has a fillet of gold round
the centre, outlined by fine pearls and ornamented with clusters of
gems, set in borders of white and red enamel of similar workmanship to
that upon St. Edward’s crown. The centre stones of these clusters are
large rubies, sapphires, and emeralds alternately, and in each case
the coloured stones are surrounded by diamonds. An arch, of similar
design to the fillet, crosses the upper part of the orb, and the
beautiful cross above the large amethyst has in the centre on one side
an emerald, and on the other a sapphire. The outlines of the cross are
marked by rows of diamonds, and there are three large diamonds down
the centre of each arm. The jewels in the centre of each side are also
encircled by diamonds, and between the lower foot of the cross and
the amethyst is a collar of small diamonds. At the end of each of the
upper arms of the cross is a large pearl, and in each of the four inner
corners is also a large pearl.
This orb was made by Sir Robert Vyner for Charles II. It is figured in
Sir Edward Walker’s account of his coronation. The large amethyst is
clearly shown, but the bands encircling it are of a different and more
ornate pattern from those now existing; very possibly something has
been done to the orb since it was first made, but probably the extent
of this alteration has been a re-setting of gems and the re-making of
all the enamel work.
THE QUEEN’S ORB
As has been before mentioned, there was a certain degree of
complication about the coronation of William and Mary, and in some
instances the regalia had to be doubled. No doubt what could be altered
was altered, so that many of the things which were only intended for
the use of a Queen-consort actually did duty for a Queen-regnant; but
one thing had to be made entirely anew, and that was an orb, so that
the Queen, as well as her husband, should have the necessary emblem
of independent sovereignty. But the orb which was made for her is by
no means so handsome as that made for the King, nor is it quite so
large. It has a fillet round the centre outlined with large pearls, and
ornamented with rubies, sapphires and emeralds, alternately circular
and octagonal, set in collars of gold. An arch crosses the upper half,
ornamented in a similar manner, and at the top a cross, studied with
rubies, sapphires and diamonds, differently arranged on each side,
rests immediately on the orb.
[Illustration: Plate XII
THE QUEEN’S ORB]
[Illustration: Plate XI
THE KING’S ORB]
CHAPTER VI
THE LESSER REGALIA
The Ampulla or Golden Eagle which contains the oil for the
Anointing of the King--The Holy Oil and its origin--James
II. paid £200 for the Holy Oil at his Coronation--The Golden
Eagle described--Its great age--The Coronation Spoon--Its
antiquity--The Handle probably of Byzantine origin--The Spoon
fully described--The Swords--The Sword of State described--A
Military Emblem of the Sovereignty--The Two-handed Sword
of Edward I.--At George III.’s Coronation the Sword of
State having been forgotten the Lord Mayor’s Sword was used
instead--The Deputy Earl Marshal assures His Majesty that the
mistake shall not occur again at the next Coronation--The Three
Swords--“Curtana,” the Sword of Mercy--The Sword of Justice
Spiritual--The Sword of Justice Temporal--The Jewelled State
Sword--The most valuable in the world--At the Coronation is
offered by the King to the Church--After being placed on the
Altar is redeemed for 100 shillings--Sword described--The
Gold Spurs another Military Emblem--Known as St. George’s
Spurs--Spur Money--The Bracelets--A very ancient Emblem
of Sovereignty--The Bracelets worn by Saul when King--The
Bracelets described.
THE AMPULLA
Mr. Chaffers, in his book on English goldsmiths, says: “The ancient
ampulla, used at the coronation of English sovereigns, was, according
to Mezeray, of lapis lazule, with a golden eagle at the top enriched
with pearls and diamonds.” There is unhappily no relic of this
beautiful jewel left, nor is any indication of the size given; but the
mention of a golden eagle is interesting, as it at all events shows
that if we have kept nothing else we have kept the tradition.
There is an ancient legend that a holy cream was given to St. Thomas
of Canterbury, by the Virgin Mary, for the anointing of the kings of
England. This cream was preserved in a golden eagle, which was also
divine. The only Christian kings who used to be anointed were the kings
of England, France, Jerusalem and Sicily, and afterwards the kings of
Scotland, by special Papal favour. The kings of England and France
had a special additional right to be anointed with the holy cream or
chrisma--a sacred unguent made chiefly of olive oil and balm, and
only used in the more sacred ceremonies of the Church, ordination of
priests, consecration of bishops, and a few other functions, in all
of which it was considered as conferring a specially sacred character
to the persons anointed with it. Elaborate directions are given, in
coronation services, for the royal anointing. This usually includes the
making of a cross on the king’s head with the chrisma; on the other
places, the hands, the breast, the shoulders, etc., the anointing was
done with holy oil. James II. paid his apothecary, “James St. Armand,
Esq.,” £200 for the cream for his coronation.
The golden eagle itself measures about nine inches in height, with the
pedestal. The diameter of the pedestal is three and a half inches.
The stretch of the wings is seven inches. It weighs about ten ounces of
solid gold, and the cavity of the body is capable of containing about
six ounces of oil. The head screws off at the neck for the cavity to
be filled, and the oil pours out of the beak. This pouring out of the
oil, as well as dipping the fingers in the spoon and anointing the
sovereign, is always done by the Archbishop of Canterbury.
[Illustration: FIG. 43. THE AMPULLA.]
Mr. W. Jones, in his book on _Crowns and Coronations_, published in
London in 1883, says: “It is said that the eagle now existing is the
real original ampulla, which was first used at the coronation of Henry
IV.” (Oct. 13th, 1399). Few of those who have written about this eagle
venture to give any opinion about its antiquity, and, at first sight,
the surface does not seem very old. The pedestal is, apparently, of
seventeenth century make, and the whole of the outside of the bird,
down to the minutest feathers, has been gone over with chased work,
very likely at the same period; but probably it will be admitted that
the general form of the bird lends itself to the theory that it was
made at a much earlier period, especially the body (Fig. 43); indeed
this may well be of Byzantine origin. Undoubtedly there is one thing
about it that is much earlier than Charles II., and that is the very
primitive screw with which the head is screwed on. It seems therefore
very probable that Sir Robert Vyner found the body of an ancient eagle
at Westminster when he had to remake the regalia for Charles II., that
he added a pedestal and wings to this body, and then went over the
whole surface with a graver. The eagle itself is an emblem of imperial
domination. It may be an indication of the ancient claim of the
sovereigns of England to be Emperors of Britain and Lords Paramount of
all the islands of the West.
Sandford gives an engraving of the ampulla, which appears exactly as it
is to-day. He considered it to be an ancient piece of plate, and says
that this and the spoon were preserved from destruction by having been
kept at Westminster.
THE SPOON
Two of the articles now existing among the regalia kept in the Tower
are possibly, at least in part, of great age. These are the ampulla, or
golden eagle, above described, and the anointing spoon. Both of these
have marks upon them of considerable antiquity, and of the two the
spoon has been less altered than the eagle. Before describing the spoon
as it now is, it will be as well to note what antiquaries of authority
have already said concerning it.
Henry Shaw, in his exquisitely illustrated book on the dresses and
decorations of the Middle Ages, published in London in 1843, gives
a fine coloured illustration of the spoon. He says: “It has most
probably been used in the coronation of our monarchs since the twelfth
century,” ... “its style of ornamentation seems to prove that it was
made at that period,” ... “there can of course be no doubt of its
antiquity.” He says it is of gold--a natural mistake; but, as a matter
of fact, it is of silver, heavily gilt. He restores the handle itself
with blue enamel, and the two circles above and below the pearls with
green enamel.
Mr. W. Jones, in his book on _Crowns and Coronations_, already referred
to, says: “The spoon from its extreme thinness appears to be ancient”;
and “it seems probable that this spoon may have been used at the
coronation of our monarchs since the twelfth century.”
Mr. Cripps, in _Old English Plate_, considers the entry in the lists
of the regalia in the time of Charles II. to prove that the coronation
spoon was at all events remade for him. Lastly, in 1890, when a most
valuable paper on _The Spoon and its History_ was read at the Society
of Antiquaries by Mr. C. J. Jackson, F.S.A., and Queen Victoria was
graciously pleased to lend this specimen for exhibition, the general
opinion was that it might be attributed to the twelfth or thirteenth
centuries.
Having examined the spoon very carefully, the conclusion has been
arrived at that the handle at all events is undoubtedly old, probably
Byzantine. This part of the spoon is about seven and a half inches
long, and is divided into three parts, tapering towards the end.
The end division is wreathed, and the extreme tip is of a flattened
cup-like form. Then comes a boss which may be intended to represent an
animal’s head. Next is a division that at one time contained enamel;
the metal-work on this is not filigree, as described by Mr. Shaw, but
“champlevé,” a different form of preparation for enamel work. The lower
surface is rough, as might be expected, but no traces now remain of
enamel. The pattern is a decorated scroll. Then comes a square boss
with rounded corners, having a chased circle on each of its faces,
which marks the beginning of the third and most decorative part of
the handle, which thickens considerably in the centre. A circular
ornament, with traces of chased work upon it, is the chief attempt at
decoration. Above and below this are two pearls, none of them ancient,
and beyond these two circular ornamental spaces with “champlevé” work,
which Mr. Shaw shows filled with green enamel. Then next to the bowl is
an ornament which somewhat resembles a fanciful head, and the stem is
joined to the bowl by a prolongation downwards, a modification of the
“keel and disc” fashion well known to have been used in early Christian
spoons. The handle shows no sign whatever of recent workmanship, either
on the sides, the front, or the back, except regilding. The patterns
on the back are quite simple, and the knot in the thickest part is
certainly of an ancient design, all the corners are rounded everywhere,
and the forms show wear consistently all over it. The regilding perhaps
destroyed small bits of enamel which in Shaw’s time may have existed
in protected corners, and given him some authority for his green and
blue restorations.
The bowl, which is about two and a quarter inches long, has work
upon it which is more difficult to fix as having been made at any
particular time. In the first place, the shape of it does not agree
with the generally understood shapes used in mediæval domestic spoons.
It is divided by a ridge down the middle into two parts, into which
the Archbishop dips his two fingers, and at its junction with the
stem there is an engraved leaf pattern, the treatment of which is
comparatively modern. The front of the bowl is engraved with a design
which has some appearance of antiquity, but the manner of treating
it does not appear altogether satisfactory. Indeed, it appears very
probable that the bowl was remade by Sir Robert Vyner, and that the
ancient bowl may have had the curious ridge down the middle, although
it is doubtful whether it had the pattern on the front or the leaf
pattern at the back.
It is also noteworthy that in the various accounts where a spoon is
mentioned nothing is said about the enamelling, which undoubtedly
existed, neither is there any mention of the four pearls.
Both this spoon and the golden eagle have much sacredness connected
with them. They are both used in that part of the coronation which is
specially holy, and when the regalia were removed to the Tower from
Westminster Abbey, it is quite possible that these two precious objects
were retained by the Abbey authorities on the ground of their belonging
to them; indeed, Sandford, speaking of the plunder of the regalia from
Westminster Abbey, expressly excepts the ampulla and spoon, and it
is therefore reasonable to believe that these were kept separately.
He says: “All the regalia, _except the ampulla and spoon_ (both of
which were constantly kept in the church of Westminster), being
sacrilegiously plundered away.”
THE SWORDS
There are five swords now kept in the Tower. The largest of these
is the Sword of State--a two-handed sword, the length of the blade
of which is about thirty-two inches, and the breadth thereof about
two inches. The quillion of the sword is formed by an arrangement
lengthwise of the lion and the unicorn in gilt metal, with a double
rose between them. The grip of the sword and the pommel are also
of gilt metal, the former has on it in raised work designs of the
portcullis, fleur-de-lys and harp, whilst on the latter are a thistle,
orb and other emblems. The upper end of the scabbard has a metal
sheathing, gilt, in the form of a portcullis, whilst the lower end has
a shoe of gilt metal with designs of portcullis and the lion crest
of England upon a crown, and finishes with an orb and cross. The
scabbard itself is covered with crimson velvet encircled with gilded
metal plates bearing designs in high relief. Of these the centre plate
bears the full royal coat of arms of England, with supporters, whilst
the other plates bear the Tudor badges of the portcullis, the double
Tudor rose, and the thistle of Scotland, the harp of Ireland, and the
fleurs-de-lys of France.
Swords are found upon the Great Seals of all our English sovereigns
from the time of Edward the Confessor, usually on the reverses, but
they have no particular form, and simply mean that the King is a
soldier and the head of the army. In token of which the sovereign is
girded with the sword after being anointed. In Westminster Abbey with
the coronation chair is kept a large two-handed sword, said to have
belonged to Edward I. It is a state sword of great size, and the form
of the handle is evidently the original of three of the other swords
which are now kept in the Tower. At the coronation of George III., the
Earl Marshal forgot the Sword of State, so that one had to be borrowed
from the Lord Mayor to replace it, for being only an emblem any sword
suffices. The King very naturally reproved Lord Effingham, the Deputy
Earl Marshal for this neglect, and he in his confusion replied: “It
is true, sir; but I have taken care that the next coronation shall be
regulated in the exactest manner possible.”
There are three other swords besides this state sword which are of
considerable interest. One of these is called “Curtana,” another the
“Sword of Justice to the Spirituality,” and the third the “Sword of
Justice to the Temporality,” and these are all now of the same pattern.
They were figured by Sir Edward Walker, but the handles then given
are different from those that now exist. The most curious of these is
“Curtana,” or the “Sword of Mercy,” which is also known as the sword
of Edward the Confessor. It was formerly the privilege of the Earls
of Chester to carry this sword before the King, but the earldom of
Chester being merged into that of the Prince of Wales another peer
is selected by the King for this privilege. The Swords Spiritual and
Temporal are also carried by peers selected by His Majesty, and at the
last coronation were carried by two Field-Marshals, Earl Roberts and
Viscount Kitchener. The point of the sword “Curtana” is blunt, cut off
square, though in Sir Edward Walker’s account it is shown as jagged.
This blunted point is supposed to be typical of the quality of mercy.
The handles of the three swords are of a simple pattern, all gilded;
the pommels being thick octagonal plates with circular centres. The
scabbards are covered with crimson velvet ornamented with a running
scroll in gold braid. The length of “Curtana” is about thirty-two
inches, and the breadth of the blade is two inches. The other two
swords are four inches longer, and the breadth of their blades is a
little less, and they are both pointed in the usual manner.
THE JEWELLED SWORD OF STATE
The Jewelled Sword of State is considered to be the most beautiful
and valuable sword in the world. It was made for George IV., costing
£6,000, and presents a mass of jewels of all colours set in dull gold.
At the coronation this sword is borne by the Keeper of the Jewel House
as one of the military emblems, and is offered by the King in homage
to the Church. The Archbishop of Canterbury receives the sword and
places it on the Altar, which ceremony being accomplished the King
redeems it on payment of one hundred shillings.
The hilt and quillion are a mass of diamonds interspersed with coloured
precious stones set so thickly that the gold setting is scarcely
visible. On the extreme top of the hilt is a large diamond with four
large rubies arranged equidistantly below. Then come two more rows of
large emeralds and diamonds. The hilt itself bears a device of oak
leaves and acorns in emeralds and diamonds. The quillions, thick set
with small diamonds, have at their extremities lions’ heads also in
diamonds. In the centre of the quillion is a very large and remarkably
beautiful emerald valued at £2,500. The scabbard is of dull gold. At
the upper end it is ornamented with a sapphire, a ruby, two diamonds,
and a yellow sapphire arranged in the form of a cross and enclosed in
laurel sprays set with brilliants. The main part of the scabbard has
the badges of the rose for England, the thistle for Scotland, and the
shamrock for Ireland, worked in rubies, emeralds, and diamonds. These
three devices are thrice repeated down the length of the scabbard. Each
badge is separated from those above and below by crossed golden sprays
of laurel and palm.
The “chape,” or lower end of the scabbard is decorated with a
repetition of the oak leaf and acorn design described on the hilt,
but on a smaller scale. At the extreme end of the scabbard is set in
diamonds a large oval turquoise.
The reverse side of the scabbard is of plain gold, ornamented with
devices, but is not jewelled.
THE SPURS
In the list of the regalia made for Charles II., and drawn out in 1685
in preparation for the coronation of James II., mention is made of a
pair of golden spurs. They are figured both in Sir Edward Walker’s
account of the coronation of Charles II., and in Sandford’s account
of the coronation of James II., and appear to be the same now as
they were then, with the exception of the straps and buckles. They
were made by Sir Robert Vyner, and are of the kind known as “prick”
spurs, as they do not end in a rowel, but in a sharp point projecting
from a conventional flower. They are of solid gold, richly chased
in flowing patterns, and have straps of crimson velvet embroidered
in gold. They are known as St. George’s spurs, and are one of the
emblems of knighthood and chivalry, and with the sword help to mark the
military character of the sovereign. At the coronation these spurs are
presented to the sovereign, and immediately deposited on the altar,
being afterwards redeemed by the payment of some handsome fee. This
procedure, indeed, takes place with most of the articles used at the
coronation, one after the other.
In former days no one was allowed to enter a sacred edifice with
military arms upon him. These were generally left with one of the
attendants at the door or in the porch, while their owner went inside
to pray. When the prayers were finished and the soldier came out again,
he had to redeem his accoutrements with such money as he had available,
and “spur money” had always to be taken into consideration when an
armed knight went to his devotions.
THE BRACELETS
In the account of the death of Saul as given by the Amalekite, the
“crown that was upon his head, and the bracelet that was on his arm,”
(2 Sam. i. 10.) were taken from him, and bracelets appear to have been
at different times used as one of the emblems of sovereignty.
They were worn by Babylonian and Assyrian monarchs, and it is stated
that in Persia, even at the present time, only the Shah and his
sons are allowed to wear them. They were used at the coronation of
English sovereigns until lately, and are mentioned in accounts of
the coronations of Richard II., Henry VIII., Edward VI., Mary and
Elizabeth. In the list of the regalia made for the coronation of
Charles II., by Sir Robert Vyner, mention is made of bracelets, and
these same are now in the Tower, but the enamel has undoubtedly been
restored. It is identical in colour and preservation with the similar
designs that are to be found on what is known as the “Queen’s Ivory
Sceptre,” made for Mary of Modena.
These bracelets are one and a half inches in breadth, and two and a
half in diameter. They are made of solid gold, and are lined with
crimson velvet, which is fastened on with red silk drawn through holes
pierced in the edges. The edges are marked by raised gold fillets
with diagonal lines in blue enamel. The emblems of the three kingdoms
and the fleurs-de-lys of France are enamelled on the surface of the
bracelets. The designs are cut out of gold, forming shallow spaces into
which the enamel is fused. This is known as “champlevé” enamel work.
The double roses are coloured a rich crimson, with little green leaves
between the outer petals; the thistles have green cups, pale purple
heads and dark green leaves. The harps are pale blue with deep gold
strings, and the fleurs-de-lys are a deep rich yellow. These emblems
are divided from each other by a dark blue four-petalled flower, with
gold centre, and on the fastening of each bracelet are three of these
little blue flowers.
[Illustration: Plate XIII
THE AMPULLA]
[Illustration: Plate XIV
THE ANOINTING SPOON]
[Illustration: Plate XV
THE JEWELLED STATE SWORD
THE SWORD OF STATE
“CURTANA” OR SWORD OF MERCY]
[Illustration: Plate XVII
THE BRACELETS
ST. GEORGE’S SPURS]
[Illustration: Plate XVI
QUEEN ELIZABETH’S SALT-CELLAR]
[Illustration: Plate XVIII
SERJEANT-AT-ARMS’ MACE]
CHAPTER VII
THE KING’S PLATE
The Baptismal Font for Royal Princes--Made in the Reign of
Charles II.--Used till 1840, when Queen Victoria ordered a New
Font--Charles II.’s font described--The Alms Dish belonging
to it--And the Flagons--The Flagons described--The Maundy
Dish--Used on Maundy Thursday at Westminster Abbey--The ancient
ceremony--The Dish described--The Alms Dish and Flagon of
William and Mary--Described--Used in the Chapel of St. Peter
ad Vincula in the Tower--Charles II.’s Wine Fountain--Its
uses--Presented by the Borough of Plymouth--Queen Anne adds
432 ounces of pure gold to it--The Fountain described--Queen
Elizabeth’s Salt-cellar--The oldest piece of Royal Plate in
the Tower--Described--St. George’s Salts--Eleven in number--To
replace those destroyed by the Commonwealth--A set of four
described--Their curious history--Upside down for 98 years--The
weight of each, 54 ounces, 12 dwts.--A second set of four St.
George’s Salts--Height of each 16¼ inches--Three St. George’s
Salts of different patterns--Described--Height and weight
of each--The Salt of State--In the form of a castle, richly
jewelled--Presented to Charles II. by the City of Exeter--Used
at Coronation Banquets from Charles II. to George IV.--The
Salt described in detail--A miniature fortress with portcullis
and armed with guns--The receptacles for the salt--Height of
tower 18½ inches--Probably made in Exeter, 1660--The eight
Royal Maces--Charles II., James II., William and Mary, George
I.--The origin of the Mace--A cavalry weapon--A policeman’s
truncheon--Borne by Serjeants-at-Arms--Two Maces of Charles
II. described--A drinking cup at the head of a Mace--The State
Trumpets.
THE BAPTISMAL FONT
The Baptismal Font, the alms dish or basin, together with two very
handsome flagons, form a set of silver-gilt plate made for Charles II.
on his restoration. The font was intended to be used for the baptismal
ceremony of princes and princesses of the blood royal who might
thereafter be born. The first recorded christening at which it was used
was that of the Princess Augusta (afterwards Duchess of Brunswick),
third daughter of Frederick Louis, Prince of Wales, at St. James’s
Palace, on August 29th, 1737, but doubtless it had been used at earlier
royal baptisms.
It was next used for the baptism of George IV., which took place in the
Grand Council Chamber in St. James’s Palace on September 8th, 1762.
George III. was not himself christened in this font, but it was used
for all his children except Prince Alfred. The latest recorded ceremony
in which it was used was that of Prince Octavus on March 23rd, 1779.
Queen Victoria, in 1840-41, ordered a new silver-gilt font, which is
kept at Windsor, and in this Edward VII., the Empress Frederick, and
the other children of Queen Victoria were christened. The old font
at the Tower has consequently, at any rate, temporarily, fallen into
disuse.
Charles II.’s font has the general appearance of a large, covered bowl
standing on a slender, rounded column, giving a somewhat top-heavy
effect. The bowl has a diameter of seventeen and five-eighths inches,
and is six inches in depth. It has a flat and plain edge with narrow
lines incised under the lip. The body is embossed with designs showing
various flowers and six amorini in different poses. One of these
is holding a torch, another a mantle, a third a hammer, whilst the
other three hold respectively a sword, ropes, and a sheaf of corn.
The royal arms of the Stuarts are engraved inside the bowl. The cover
of the font is dome-shaped, divided into four tiers, on top of which
stands a vase-shaped pedestal supporting two figures representing St.
Philip baptising the eunuch. The cypher of Charles II. surmounted
by a crown is engraved on the cover. The lower and broadest tier is
embossed with six amorini in various attitudes, whilst the smaller
upper tiers are decorated with acanthus and water leaves. Supporting
the bowl of the font is a high, rounded column, divided halfway up by
a large compressed knop and decorated with acanthus leaves, tulips and
other flowers. The knop is divided by narrow, flat moulding into two
sections, chased with acanthus foliage. The column stands on a circular
splayed base, also chased with acanthus foliage, and measuring only
nine and a half inches in diameter. The cypher of Charles II. with the
royal arms, garter and motto, are engraved on the base.
The basin or alms dish which goes with the font is a massive and
handsome piece of plate. On a plain centre are engraved large the royal
arms of the Stuarts surrounded by an embossed laurel circlet. The broad
border of the basin is embossed with various devices; the outlines of
monster faces; three amorini differently posed and holding sprays of
flowers, and three large birds--probably intended for eagles--with
spreading wings. The intervening spaces are filled in with flowers in
bold outline.
The two flagons, which are of very handsome design, probably had no
original connection with the font and alms dish, but became intimately
associated with them from having been used as one set at the baptism
of many princes and princesses, amongst whom were all the children of
George III. The high relief designs on these flagons are perhaps hardly
clerical, however classical. They have more the shape and appearance of
tankards, and though they have a general similitude, differ somewhat in
design and size, and may therefore be separately described. The larger
is undoubtedly of German origin, made, as the marks show, at Hamburg;
but the decoration on the borders of the cover and at the base are
probably English. The design in high relief on the drum represents a
bacchanalian scene of limited morality; the lip is moulded and plain.
The base is wide and splays from a plain moulding on the drum, and is
boldly embossed with the faces of cuttle-fish. The handle is scrolled
and foliated, and has a grotesque head on the shoulder and at the lower
end. The thumbpiece is formed of a double-foliated scroll. The cover
has a wide border which is decorated with the same devices as the
base, and on top is a circular medallion on which may be seen repoussé
figures of Venus and Adonis seated near trees with a Cupid before
them. The height of this tankard is eleven inches, and its diameter at
the mouth is five and three-quarter inches.
The second and slightly smaller flagon or tankard is also of German
origin, and shows the same Hamburg marks as the larger. The decorations
on the borders of the cover and the base are as before, and the handle
and thumbpiece are the same. The bacchanalian scene on the drum, which
is in high relief, leaves little to the imagination. The scene on the
medallion on top of this flagon differs from that on the larger flagon,
in that Adonis has now assumed a helmet, whilst Cupid is clinging to
the limbs of Venus. The height of this tankard is ten inches, and the
diameter at the mouth is five and seven-eighths inches.
THE MAUNDY DISH
This dish is taken once a year, under a guard of the Yeomen of the
Guard, to Westminster Abbey, and there used for the distribution of
the Maundy money to the aged poor. This ceremony takes place on the
Thursday before Good Friday, and the number of the poor thus benefited
is the same as the King’s age in that year. The actual Maundy money
consists of a silver penny, silver twopenny, silver threepenny, and
silver fourpenny; but other handsome doles in money and clothing are
at the same time made. The ceremony was inaugurated in the reign of
Charles II. in place of the more ancient custom of distributing the
Royal Bounty; and the Maundy Dish, though it bears the cypher of
William and Mary, dates back to the reign of Charles II.
The dish is of silver-gilt, perfectly plain, twenty-five and
three-quarter inches in diameter, and weighing two hundred and two
ounces. The maker’s mark is an orb and star on a plain shield, the
same as that shown on four of the St. George’s salts, and the date of
manufacture is the same, viz. 1660-61.
FLAGON AND ALMS DISH OF WILLIAM AND MARY
Two fine pieces of church plate made for William and Mary are amongst
the royal plate at the Tower. The set probably included two cups or
chalices, but no trace of these can be found in any later reigns.
The flagon is of silver-gilt, stands seventeen inches high, and has
a large handle and hinged cover. The body has plain moulded edges,
and is covered with boldly embossed cherubs’ faces, scrolled acanthus
foliage, and festoons of roses and fruit on a granulated surface. The
base splays broadly outwards and is decorated with acanthus leaves.
The handle is plain, terminating at the bottom in a plain flat disc.
At the top is a thumbpiece for opening the lid, which is pierced with
a heart and a triangular opening. The cover is shallow, is embossed
with acanthus leaves, and has on top a small plain knob. The cypher
of William and Mary surmounted by a royal crown is on the front of
the flagon. The maker’s mark is S. H. linked together on a circular
cartouche. The date of manufacture is 1691-92.
The alms dish which goes with this flagon is of very handsome design.
It is of silver-gilt, twenty-seven and three-quarter inches in
diameter, and has in the centre in high relief a representation of the
Last Supper. Below this is a panel showing the cypher of William and
Mary surmounted by a royal crown. The wide rim of the dish is embossed
boldly with four winged cherubs’ heads, in the intervals between which
are displayed scrolls of acanthus foliage garlands and fruit on a
granulated ground. The maker’s name was Francis Garthorne, his mark
being F. G. with a rosette below on a shield. The dish was made in
1691-92.
Both the flagon and the alms dish are used three times a year in the
Chapel of St Peter ad Vincula within the Tower: on Christmas Day,
Easter Sunday and Whit-Sunday.
Though they do not form a portion of the royal plate it may here be
mentioned that the sacramental plate in daily use in the Chapel of
St. Peter ad Vincula, though not so ornate, is considerably older
than these, dating back to Charles I. There are a chalice and small
patin dated 1629; another chalice and small patin dated 1637 and 1638
respectively, and one large patin dated 1682. All are inscribed with
the monogram C. R. surmounted by a royal crown, the first four pieces
pertaining to the reign of Charles I. and the last to that of Charles
II. It is a matter for satisfaction that this ancient plate escaped the
organised destruction of the Cromwellian era.
THE WINE FOUNTAIN OF CHARLES II.
This is a very fine piece of plate and somewhat appropriate to the
Merry Monarch. If in actual use a barrel of wine would be placed high
up in an obscure corner of the room. From this a pipe would run to a
hole at the bottom of the fountain, and through this the wine would in
accordance with the law of levels rise to the topmost figure and thence
flow down into the open receptacles below. As there is no escape from
these except on to the table, it would be incumbent on the company to
keep on dipping their beakers into the generous flood to avoid not only
an overflow, but also so important a matter as the waste of good wine.
There is, however, no record of this fountain having been thus used;
more probably it has served as a handsome centre-piece at royal
banquets, loaded with fruit and sweets. Whatever its intended use
the fountain is undoubtedly the finest piece of royal plate in the
Tower. It was made by Sir Robert Vyner, at a cost of £400[3] to order
of the Borough of Plymouth, and was presented by the loyal citizens
thereof to their king on his restoration. It is of silver, richly gilt,
this gold-covering having on several occasions been renewed. At the
coronation of Queen Anne no less than four hundred and thirty-two
ounces of pure gold were used, and again in the reigns of George II.
and George IV. rich coatings of gold were added.
The base consists of a large circular dome, resting on four mermaids,
each mermaid having a double tail. The dome is embossed with four
shaped and scrolled panels, each depicting a cupid riding a dolphin.
Between each panel are the outlines of monster faces.
Resting on the dome is a broad dish or basin divided into four large
shallow receptacles for wine. Each of the four receptacles shows
in repoussé a different subject. These are severally: Neptune and
Amphitrite; two tritons riding marine monsters, one spearing the other;
mermaids and dolphins; and two sea nymphs riding a dolphin, with a
merman holding a bowl of flowers. These four large receptacles are
connected by small-shaped oval depressions in which grotesque faces are
shown in repoussé. The shaped borders are also decorated with repoussé
work.
Rising from this broad basin is a tall octagonal column with four broad
faces and four narrow ones. On the broad faces are plain niches, two
of which show in high relief figures of Neptune standing with one foot
on a dolphin, and the other two show sea nymphs seated and holding
conch shells over their heads, also in high relief. Between each of
these panels and beneath them is an escalloped shell projecting from
the column and so placed as to catch the first flow of wine from above.
The four narrow faces of the column as well as the top and bottom are
decorated with embossed festoons and garlands of fruit.
On the top of the octagonal column is a short vase-shaped ornament,
chased and embossed with acanthus leaves, which forms a pedestal for a
tall, lightly clothed female figure. The figure which is in classical
style is held to represent either Erinnys or Cleopatra, probably the
latter. Round her uplifted arms may be seen encircling serpents.
The total height of the wine fountain is thirty inches. The width
of the broad basin is twenty-eight and a quarter inches, whilst the
diameter of the base is thirteen and three-quarter inches. There are
no hall or maker’s marks, but from documentary evidence it is known to
have been manufactured in 1660.
QUEEN ELIZABETH’S SALT-CELLAR
Among the many lists of royal treasure in Rymer’s _Fœdera_ is one which
gives details of the plate which was given to the Duke of Buckingham
and the Earl of Holland to sell for Charles I. in 1625 on the occasion
of his trouble with Spain. Unfortunately no figures are given, but
the descriptions are elaborate enough to show that many of the pieces
must have been of great beauty. There are also minute descriptions of
many of these treasures given in the Calendars of the Exchequer from
Edward II. to Henry VIII. What with one king selling some, and another
king losing some, and the Commonwealth making at last a clean sweep
of anything royal they could lay hands upon, it is little wonder that
there are but few pieces left of the old royal treasure of England.
Among the fine collection at the Tower is only one piece that can
claim any greater age than the time of Charles II., and this is known
as Queen Elizabeth’s “Great” Salt-cellar. Salt-cellars, it should be
said, were called “Great” in distinction from the “Trencher” salts, the
former being used to mark the difference in rank between the guests at
table, whereas the latter, which were quite small, were put near each
guest for use only.
This salt-cellar is in three divisions--the lower part, which holds the
salt in a shallow basin, then four brackets, and the lid raised upon
them.
This arrangement is peculiar, and it seems as if the lid was at one
time fitted in the lower portion, and that it had been lifted up on
the brackets by way of improvement. The brackets as they now are do
not appear to be of the same workmanship, or to be quite in keeping
with the rest, but they may have been substituted for others which
originally existed in the same place, or made to match others of
Charles II.’s which have the same kind of heightening.
The body of the salt-cellar is divided externally into three
compartments by grotesque figures with scroll prolongations and flat
pieces curving outwards above their heads, terminating in masks.
In each compartment is an allegorical figure of one of the Virtues
within a circular wreath, charmingly designed and executed in low
repoussé and fine chased work. The foot has two decorated bands: one
flat with an elaborate design of cupids and flowers, and the lower one
curved outwards and covered with masks, flat scrolls, and conventional
flower sprays. There are three feet designed in the form of sphinxes’
heads with forepaws.
Above the allegorical figures the lip broadens out into a projecting
piece ornamented with fruits and flowers in high relief, and over this
is the shallow salt basin.
The four scrolls supporting the top are in the form of dolphins with
ornamental tails, and the lid itself is a very fine specimen of
Elizabethan goldsmith’s work. The main part of the lid is ornamented
with fruit and flower groups, characteristic strap and cartouche work,
and allegorical figures within oval laurel wreaths. Above this comes an
urn-like superstructure with three scroll handles having animals’ feet
and human masks. A smaller urn form supports the figure of a knight in
armour with a long sword and a shield.
ST. GEORGE’S SALTS
There are altogether in the Jewel House at the Tower eleven great
salt-cellars known as St. George’s Salts. Of these eight are in sets of
four, whilst the remaining three are each of different designs. They
are all of the same date 1660-61, and form a portion of royal plate
which was made for Charles II. to replace that lost and melted down
during the last years of the reign of Charles I. and the Commonwealth.
A SET OF FOUR
These salts, of which there are four, were part of the royal plate
made for Charles II. on his restoration. They are of silver-gilt,
cylindrical in shape--standing ten inches in height and about six
inches in diameter--and are embossed with large flowers and foliage
on a burnished ground. At the top is a shallow depression for holding
salt, whilst from three points in the rim rise scrolled brackets curved
outwards and ending in serpents’ heads. These brackets were intended to
support a napkin so as to protect the salt from dust. But somehow this
origin got lost sight of, the three brackets being mistaken for legs,
and the salts turned upside down and stood upon these.
In 1820, when the royal plate was being overhauled for the coronation
of George IV., nobody seems to have discovered this error, and there
naturally being no receptacle for salt in the bottoms, Rundell, Bridge
and Rundell were instructed to make four new shallow dishes for this
purpose. These were fitted into the bottoms of the salts and bear the
Crest, Garter, and Crown of George IV. The salts thus stood upside down
for the space of ninety-eight years, during which time a desultory
correspondence went on regarding which was the right way up. It was
only in 1918 that the matter was finally and definitely decided, and
the salts turned over with the brackets upwards. To those who made
this decision two things were manifest. Firstly, that the brackets
had never been intended for legs, because that position caused the
serpents to stand on their heads, an indignity which no goldsmith would
impose upon them. And secondly, the floral designs on the cylinder were
manifestly upside down, when the salts used their brackets as legs. The
shallow salt dishes made for George IV., therefore, are found to be
superfluous, and the exchequer of those days might have saved £38 10s.
0d., which was the cost of making them.
The salts themselves were made in 1660-61, and bear the maker’s mark
F.L., with a pellet between the letters and a bird below, in a shaped
shield.
The weight marked on one of the salts is fifty-four ounces twelve
dwts., and it may be taken that the rest are the same.
A SECOND SET OF FOUR
These four salts are of the form known as the “hour-glass,” on the
top of which is a canopy supported by four brackets. These also were
made for Charles II., when the royal plate melted down by Charles I.
to cover his necessities was being replaced. They bear on the rim the
cypher of Charles II. in roman capitals surmounted by a royal crown.
The only injury which these have suffered is the loss by one of its
canopy. This was replaced by Rundell, Bridge and Rundell, for the
coronation of George IV., at a cost of £5 18s.
The upper and lower portions of the salt are boldly embossed with
acanthus leaves and plain leaves, whilst at the waist is a large plain
depressed knop separated into sections by three concave flutings. The
base is slightly domed and embossed with grotesque faces. At the top
under the canopy is a small circular depression four and one-eighth
inches in diameter for holding salt. The domed canopy is supported by
four brackets and is crowned by a knight in armour, with sword drawn,
and mounted on caracoling charger.
The height of these salts is sixteen and a quarter inches, and they
have a diameter at the base of nine and three-quarter inches. They bear
the mark of an unknown maker, an orb and star on a plain shield, which
same mark is to be seen on the “Maundy Dish.” The date of manufacture
is 1660.
THREE VARIED SALTS
We now come to the three St. George’s Salts, each of a different
pattern, though two of them are sufficiently alike to serve as a
pair. All three have a canopy on top supported by three brackets and
surmounted by a mounted knight in armour, presumably St. George. They
are all of the same date and by the same maker. The first of these
three salts has a trumpet-shape body resting on three lions couchant,
the base being ornamented with bold scrolls. Large upright acanthus
leaves alternating with plain leaves decorate the body. Near the top is
a convex section which is embossed with four rams’ heads, with clusters
of fruit in the intervals. Above this is a plain circular shallow
receptacle for holding salt. The brackets which support the dome make
the letter “C,” the dome itself being embossed with flowers. St.
George, who is riding a very small horse with an exceedingly luxurious
tail and mane, has in some previous age lost his sword.
This salt is fourteen inches in height; is marked as weighing sixty-one
ounces two dwts., and was made in 1660. The maker’s mark is T.A., with
a mullet between two pellets below, on a plain shield.
The second salt of this series is also trumpet-shape, but rests on a
broad flat base without lions couchant as legs. The ornamentation is
very similar except that on the base are four shaped panels containing
faces in high relief. St. George is mounted on a very similar steed,
but is here armed with a gigantic sword considerably longer than
himself. The height of this salt is thirteen and a quarter inches, and
the weight inscribed is 53--1--2. The date and maker’s mark are the
same as those given for the previous salt.
The third salt by this maker, though in general appearance similar
to the first two, has, on examination, several points of difference.
The canopy and the effigy of St. George with a huge sword are as in
the second salt, but the convex belt below the salt pan is absent,
and instead a large convex belt near the base, with a row of large
burnished oval bosses, such as may be seen on challenge bowls for
recording the winners’ names. Below this comes a domed base embossed,
and standing ball feet, each clutched by a lion’s paw. The height of
this salt is fifteen and a quarter inches, and the marked weight is
sixty-six ounces. The date and maker’s mark are the same as the first
two of this series.
THE SALT OF STATE
One of the most conspicuous pieces of royal plate at the Tower is
the State salt-cellar, presented to Charles II., on his restoration,
by the city of Exeter. By some it is supposed to represent the White
Tower, whilst others think that the design was taken from the crest on
the common seal of the city of Exeter. More probably, however, it was
merely a fancy design originating with the goldsmith and his craftsmen.
It may generally be described as a square tower with turrets at each
corner, whilst from the roof rises a circular superstructure which in
its turn is surmounted by a large crown. The edifice stands on a broad
plinth supported by four balled legs. The whole is of silver, richly
gilded and encrusted with jewels. This salt occupied the place of
honour at the coronation banquets of all the English monarchs from the
reign of Charles II. to that of George IV., since which it has ceased
to be used. It has frequently been re-gilt, and lost stones replaced or
new ones added; amongst other occasions for the coronations of James
II., William and Mary, Queen Anne, George I., II., III. and IV.; on the
last occasion the charge made by Rundell, Bridge and Rundell being £133
17s. 0d.
A closer inspection of the salt discloses a mass of detail unobserved
from even a moderate distance, which it may be of interest to
describe. Taking the main tower; on one face is an entrance gateway of
Renaissance design with a circular arch, and having a portcullis. On
each side of the door are pillars supporting a scrolled ornament set
with a large blue stone and two emeralds. On the opposite face of the
tower is another gateway approached by five semi-circular steps, and
having an arched summit resting on two pillars. On each side of each
of these two gateways may be seen the muzzles of guns projecting from
embrasures. The first floor of the tower is lighted by double windows
on each face, with a large emerald over each light. In a line below the
windows on all faces of the tower is a row of large stones, sapphires,
rubies and emeralds. The muzzles of three guns project through those
two faces which are not armed with artillery on the ground floor. The
usual battlements along the roof are replaced by an ornamental border
below which on each face is a large square crystal. On one side of the
tower below the windows are two long boxes for holding salt.
The turrets at the four corners of the tower which form the flank
defence are each armed with five guns, three being close to the base
and two at the top. Above and below these the turrets are pierced for
bows and arrows and harquebus. The turrets have domed roofs surmounted
by pinnacles. These pinnacles cover small circular receptacles for
salt, one and five-eighths inches in diameter.
The massive superstructure which rises from the roof of the main tower
is circular in shape, and has four latticed windows with double lights.
It has a plain circular pan two and three-quarter inches in diameter
for salt. Between each of the windows is a large emerald. Standing on
this circular tower is a row of slender columns through which may be
seen clearly three field guns on wheels. The columns support a domed
roof set with a ruby, two emeralds and an amethyst, which in its turn
is surmounted by more slender columns, on which stands a large royal
crown.
The whole edifice stands on a circular domed base to represent the
earth, on which may be descried flowers, snails and precious stones,
emeralds, sapphires, rubies, amethysts and turquoises. There are also
three large lizards and eight frogs. This base rests on four large
plain ball feet surmounted by dragons. The height of the tower itself
is eighteen and a half inches.
The maker’s name is not known, but probably he was a goldsmith of
Exeter. His mark is I. H. in a shaped shield, and the date of the work
is 1660.
THE MACES
There are in the Tower of London eight maces, two dating from the reign
of Charles II., two from that of James II., three from that of William
and Mary, and one from that of George I.
The mace was originally a weapon used by cavalry soldiers, and the
general shape of the ancient maces--a short handle with a broad
head--is retained in the ornamental maces used at our coronations, in
Parliament, by the mayors of towns, and in other cognate cases. The
crowned mace indicates the delegation of royal authority, and is a mark
of dignity, used on ceremonial occasions, and carried in procession by
chosen officials. A policeman’s truncheon is really a small mace, and
was until lately surmounted by a crown.
The royal maces are carried at coronations by the serjeants-at-arms,
originally a corps of twenty-four knights, or gentlemen of higher
degree. This corps, whose duty it was to be in attendance on the king’s
person, is said to have been instituted by Richard I. They were
mounted at the coronation of Charles II. (Fig. 44), but on foot at that
of James II.
[Illustration: FIG. 44. THE SERJEANTS-AT-ARMS CARRYING THEIR MACES.
FROM THE CORONATION PROCESSION OF CHARLES II. AFTER WENCESLAUS HOLLAR.]
Of the eight maces in the Tower, the oldest and finest are two that
were most likely made by Sir Robert Vyner for Charles II., whose
initials are upon them. They are of silver-gilt, measure a little over
four feet in length, and weigh thirty-four lbs.
The head of each of these maces, which have served as models to
the other royal maces, consists of a massive rounded bowl, divided
externally into four compartments, each bearing a crown flanked by
the initials C. R. Under the crowns, in high repoussé work, finished
with chasing, may be seen the emblems of the four kingdoms: the
rose, thistle and harp, for England, Scotland and Ireland, and the
fleur-de-lys for France. The compartments are marked out by ornamental
scroll divisions, on each of which is a conventional female figure.
Above this is a crown, the rim of which, widening slightly outwards,
bears eight small crosses-patée, and eight small fleurs-de-lys,
raised on points, and with pearl points between each. From alternate
crosses-patée rise two arches, dipping at the point of intersection,
with a row of “pearls” along the centre of each.
From the point of intersection rises a large orb with fillet round
the thickest part of it, and an arch crossing it at the top. On the
top of the mound is a cross-patée with a “pearl” in the centre, and
also one at each extremity of the three upper arms. In many instances
these bowls at the top of maces were made to unscrew, and were used as
drinking-cups, being provided with a short foot as well--the ornamental
crown at the top also being removable.
The handle of the mace is chased and ornamented with a graceful design
of superimposed arches, in each of which is either a rose or a thistle.
It is divided into three divisions by two broad knops of oblate form,
repoussés and chased in a simple design. The upper of these divisions
is much the smallest, and is further decorated with three ornamental
brackets of open tracery with masks and curves richly designed. The
foot widens out into a rounded boss repoussé and chased in a pattern
resembling that of the smaller knops, but more ornamentally treated and
differently proportioned, and the foot has another smaller thickening
decorated in the same way.
The remaining maces are all made on the same plan, but they are larger,
and differ in the details of the ornamentation, and also in the
initials of the sovereign for whom they were made--James II., William
and Mary, or George I.
THE STATE TRUMPETS
Amongst the royal plate may be mentioned the fifteen state trumpets
which are kept in the Jewel House in the Tower. These are of silver,
and from each depends a silk banneret, richly embroidered in gold,
portraying the royal arms, as well as the cypher of the reigning
monarch. There were originally sixteen trumpets, but one disappeared,
as articles of value frequently did in olden days, and has not been
replaced. These trumpets are used at the coronation to blow a fanfare
when the King is proclaimed.
The Archbishop of Canterbury speaks thus to the people: “Sirs, I
here present unto you King George, the undoubted king of this realm:
wherefore all you who are come this day to do your homage, are you
willing to do the same?” The people signify their willingness and joy
by loud and repeated exclamations, all with one voice crying out: “God
save King George.”
Then the trumpets sound.[4]
FOOTNOTES:
[3] About £2,000 of our money.
[4] From the coronation service.
CHAPTER VIII
THE GREATER GEMS IN THE JEWEL HOUSE
The Koh-i-Nur or Mountain of Light--Found in the diamond mines
of Golconda--Acquired by the Great Mogul Shah Jehan--The
Emperor Aurungzebe shows the diamond to Tavernier in 1665--By
right of conquest it passes to Nadir Shah, King of Persia,
1739--Betrayed by a lady of the harem--Nadir Shah being
murdered, Ahmed Shah, a soldier of fortune, secures the
diamond--He founds the Durānni Dynasty at Kabul and leaves
the stone to his heirs--Shah Shuja flees to Lahore taking
the Koh-i-Nur--Runjeet Singh seizes it as the price of his
hospitality--Runjeet Singh being conquered by the British
surrenders it to the East India Company--The Company presents
it to Queen Victoria, 1850--Valued then at £140,000--Originally
800 carats in weight--Recut under supervision of the Prince
Consort and the Duke of Wellington--Now in Queen Mary’s
Crown--The Black Prince’s Ruby--First came into British
possession in 1367--Worn by Henry V. in his helmet at
Agincourt--Its escape--Again saved from destruction during
the Commonwealth--Set in State Crown of Charles II.--The
Crown which Colonel Blood attempted to steal--The ruby found
in Parret’s pocket--The central ornament in the King’s State
Crown--Its size and appearance--The Star of Africa--The largest
diamond ever known--Weight when found about 1½ lbs.--Presented
by the Union Government of South Africa to Edward VII.--Divided
into four great brilliants--The largest portion at head of
the King’s sceptre--The second largest portion in the band of
the King’s State Crown--The two remaining portions in Queen
Mary’s Crown--The value of the Star of Africa--The Stuart
sapphire--Belonged to Charles II.--Descended to Cardinal York,
who bequeathed it to George III.--In the band of the King’s
State Crown--Its shape and size--Sapphire of St. Edward--On
the King’s State Crown--In the Coronation Ring of Edward the
Confessor--Its escape from the Commonwealth--Queen Elizabeth’s
pearls--Their possible history--In the King’s State Crown.
THE KOH-I-NUR
THIS, the most famous diamond in the world, had a long and tragic
history before it became one of the Crown Jewels of England. The name
Koh-i-Nur translated is the “Mountain of Light,” and the diamond was so
named from its peculiar conical shape. To those who lived within sight
of the Himalayan Mountains, their crests crowned with perpetual snow,
the name was at once suggestive and suitable. The original shape of the
stone when it first came into the possession of Queen Victoria may be
seen from the model in the Jewel House.
The diamond was found in the mines of Golconda, in Southern India,
and is first heard of when in the possession of the King of Golconda.
By various intrigues and stratagems dear to the oriental heart, Shah
Jehan, the Emperor of Delhi, obtained possession of the stone in about
A.D. 1650. It was first seen by a European, the French traveller
Tavernier, when in the possession of the Emperor Aurungzebe, a
successor of Shah Jehan in A.D. 1665. The diamond remained at Delhi as
the crowning jewel of the Great Moguls till A.D. 1739. In that year by
right of conquest it fell to Nadir Shah, King of Persia. A curious
story is told of the manner in which Nadir Shah obtained possession of
the jewel. Having conquered Delhi and collected the booty which was
due to a conqueror, the Koh-i-Nur, the existence of which was well
known, failed to appear amongst it. Diligent search was made, but with
no result. At last one of the ladies of the harem of Mahomed Shah,
the King of Delhi, gave away the secret. She said that her liege lord
always wore it concealed in the folds of his turban, and as an Indian
rarely parts with his turban, even at night in cold weather, the stone,
but for treachery, was fairly safe.
On hearing this news Nadir Shah invited Mahomed Shah to dinner, and
instead of there and then killing him according to the ethics of the
age, he took advantage of an interchange of courtesies, which no
Eastern potentate without gross breach of manners could refuse. He
proposed changing turbans with his guest. With such good grace as he
could command the King of Delhi thus passed the great diamond to the
King of Persia. Nadir Shah in due course returned to his own country
bearing the Koh-i-Nur with him.
When Nadir Shah was murdered one of his bodyguard, an Afghan named
Ahmed Shah, stole the great diamond and fled with it to Afghanistan.
There he eventually became king and founded the Durānni dynasty. He
was succeeded in 1772 by his son Taimur Shah, to whom also went the
Koh-i-Nur. The next owner was Shah Shuja, another king of Kabul, who
being deposed fled as a refugee to Lahore taking the diamond with him,
and placed himself under the protection of the Maharajah Runjeet Singh.
Runjeet Singh gladly gave the refugee asylum, but took possession of
the priceless stone. With him it remained till 1849 when the British
conquered the Punjab, and the stone fell to them by the fortune of
war. It had here another curious adventure. The conquered province
was being administered by five British officers, amongst whom was Sir
John (afterwards Lord) Lawrence, on behalf of the East India Company
which then owned India. The council of five debated what was to be done
with the Koh-i-Nur and failing to come to a decision asked Sir John
Lawrence to take charge of it till a decision was arrived at. Sir John
wrapped it up in a piece of paper, put it into his waistcoat pocket
and forgot all about it. Six weeks after, in the course of business,
one of the members of the council remembered that no decision had been
come to as to the disposal of the great diamond. After some discussion
in which Sir John joined, it was decided to present the stone to Queen
Victoria from the Army of the Punjab. Immediately the council was over,
Sir John Lawrence mounted his horse, galloped home and summoned his
body-servant. “About six weeks ago,” he said, “I brought home a piece
of glass wrapped in a bit of paper and left it in my waistcoat pocket.
What have you done with that piece of glass?” “I placed it, Sahib, just
inside your dispatch case, and here it is.” For six weeks the priceless
gem had lain at the top of an open dispatch case, in a house open day
and night to the four winds!
Under the charge of Major Macheson the Koh-i-Nur travelled to England
and was presented to Queen Victoria. When in the possession of Runjeet
Singh the stone had been set in an armlet flanked by two large
diamonds. This original setting, with models of the stones as then
worn, is in the Jewel House, from which can be gathered the curious
conical shape the Koh-i-Nur then had.
The tassels of the armlet end with large pearls, each surmounted by a
ruby, all of considerable value, but eclipsed by the glory of the great
stone. It was then valued at £140,000 intrinsically; but as in the
case of the Black Prince’s ruby, a stone with such a history is indeed
priceless.
When in possession of Shah Jehan the Koh-i-Nur was uncut and weighed
nearly eight hundred carats. By the Emperor’s order, it was cut by
a Venetian named Ortensio Borgio, but as the cutting was deemed
unsuccessful Borgio was severely reprimanded and fined Rs. 10,000
(about £1,000). When brought to Europe the diamond weighed only one
hundred and eighty-six and one-sixth carats. By the Prince Consort’s
advice it was again cut down into the form of a brilliant by Messrs.
Coster of Amsterdam. Though this cutting reduced the stone to one
hundred and six and one-sixth carats in weight, its size was curiously
enough increased, for the new base ran diagonally through the old stone.
As a brilliant it was set as a brooch and so worn by Queen Victoria,
but in later reigns it has been set in the Queen’s crown, first in that
of Queen Alexandra and now in that of Queen Mary. (See p. 23.)
THE BLACK PRINCE’S RUBY
The stone which is to the English of the greatest historic interest in
the Jewel House is the Black Prince’s ruby, for it has belonged to the
royal house since 1367. Its history before that date is unknown and may
be of great antiquity, for it is pierced at one end, so as to be worn
as a pendant, as often are gems of Oriental origin, and the Orient is
exceedingly old.
The known history of the ruby commences with the King of Granada, in
whose possession it was when it was coveted by Don Pedro, the King of
Castille. That monarch took the direct road to possession by killing
the owner and annexing the stone in the year 1367. In that same year
a very signal service was performed for Don Pedro by an English force
under the Black Prince at the battle of Nagera, near Vittoria. In
gratitude Don Pedro presented the great ruby to the Black Prince, and
in an early print he may be seen wearing it sewn to his cap above the
coronet.
We next hear of the ruby as being worn by Henry V. in his coronetted
helmet at the battle of Agincourt. During this battle a personal
encounter took place between Henry V. and the Duc d’Alençon, in the
course of which a sword-cut from the Duc hewed off a piece of the
king’s coronet, but the great ruby remained unhurt and came victorious
with its owner out of the battle.
The next great adventure of the ruby was after the execution of Charles
I., when by order of Parliament all emblems of royalty were to be
destroyed or sold. The “large ballas ruby, pierced and wrapt in paper,”
and valued at £4, was bought by some unknown person who evidently gave
or sold it back at the restoration, for we find it again in the state
crown of Charles II. The setting of this crown (see p. 16), which was
in the possession of the late Lord Amherst of Hackney, clearly shows
the position and shape of the ruby, and in confirmation it was found
in Parret’s pocket, when he and Colonel Blood were captured in their
attempt to steal this same crown.
The ruby appears as the central ornament in the state crowns of Queen
Victoria and Edward VII., and occupies the same position in the state
crown of George V. now at the Tower.
The ruby is known as a ballas ruby and is of irregular drop-shape,
about two inches in length and of proportionate width. Generally it may
be described as being the size of a small hen’s egg. It has a highly
polished surface, but is uncut and is backed with a gold setting, which
darkens the stone and gives to it the colour of port wine. It was, as
has been mentioned, originally pierced at one end, but this hole has
been at a later date closed with a small ruby set in gold.
The question is often asked: “What is the value of this stone?” And the
answer may safely be given that it is priceless, for no amount of money
can buy it.
THE STAR OF AFRICA
The Star of Africa when found weighed 3,025 carats or roughly one and a
half pounds. It was four inches long, two and a quarter inches broad,
and two and a half inches deep. The base was perfectly flat and smooth
as if cut with a knife, clearly demonstrating that the diamond, huge
as it was, is only a portion of a still larger stone. It was found in
the year 1905, in the Premier Mine, near Pretoria in South Africa,
Mr. T. M. Cullinan being at that period one of the chief officials of
the mine. Hence it was then, and is even now often spoken of as, the
“Cullinan diamond.” It was bought by the Union Government of South
Africa, and presented to Edward VII. to be added to the crown jewels of
the empire. The rough diamond was cut into four great brilliants and
many smaller ones, the work being entrusted to Amsterdam cutters. The
largest portion is drop-shaped, weighs five hundred and sixteen and
a half carats, and measures two and five-sixteenth inches in length,
and one and thirteen-sixteenth at its broadest part, without doubt
the largest diamond in the world. It is set in the head of the King’s
sceptre. (See p. 27.) The second largest portion is nearly round in
shape, being one and thirteen-sixteenth inches in length, and one and
eleven-sixteenth inches in breadth, whilst its weight is three-hundred
and nine and three-sixteenth carats. This portion of the Star of Africa
is set in the band of the King’s State Crown, just below the Black
Prince’s ruby.
The third and fourth portions of the Star of Africa are in Queen
Mary’s Crown. The largest of these, which has a square appearance and
weighs ninety-six carats, is set in the band of the crown just below
the Koh-i-Nur. The fourth portion which is drop-shaped, and weighs
sixty-four carats, is to be seen in the cross-patée on the top of the
crown.
The value of a diamond of the size of the Star of Africa when
first found is difficult to gauge, for above a certain size stones
have a very restricted market. No one but a king or a queen could
appropriately wear a diamond weighing a pound and a half, whilst few
would care to possess an unusable jewel of this size. From this the
curious result may be arrived at that a diamond or other precious stone
can be so large as to be unsaleable at its true value.
THE STUART SAPPHIRE
The early history of this sapphire is somewhat obscure, though it
probably belonged to Charles II., and was certainly amongst the royal
jewels which James II. took with him when he fled to France. From him
it passed to his son, Charles Edward, the Old Pretender, who bequeathed
it to his son Henry Bentinck, known later as Cardinal York. The Stuart
cause being dead Cardinal York left the sapphire with other Stuart
relics to George III.
In Queen Victoria’s State Crown this fine jewel occupied a prominent
position in the front of the band just below the Black Prince’s ruby.
This pride of place it relinquished in favour of the great diamond, the
Star of Africa, during the reign of Edward VII., and now occupies an
exactly opposite setting at the back of the King’s State Crown. (See p.
20.)
The Stuart sapphire is oval in shape, about one and a half inches in
length, by one inch in breadth, and is set in a gold brooch. It has one
or two blemishes, but is of good colour, and was evidently deemed of
high value by the Stuarts. At one end has been drilled a hole, probably
to introduce some attachment by which the stone could be worn as a
pendant.
SAPPHIRE OF ST. EDWARD
In the centre of the cross-patée on the top of the King’s State Crown
is a sapphire with a very old English association, which may have an
older world history than the Black Prince’s ruby, or the Koh-i-Nur. It
is held to have been in the coronation ring of Edward the Confessor,
who ascended the throne in 1042, twenty-four years before the Norman
Conquest. How the stone and ring passed through the deplorable
devastation of the Commonwealth is not clear, but a small article of
this sort might easily escape unnoticed, hidden as was the Ampulla
in Westminster Abbey, or concealed during the storm by some devoted
adherent of the Stuarts. It was held in the old days to have the magic
powers of curing the cramp, and no doubt did so, assisted by implicit
faith and when applied by the King himself. Faith has performed more
wonderful miracles.
From the present appearance of the stone and its cutting as a rose
gem, it is judged that it was altered from its original shape and size
in the reign of Charles II., much as we can judge of the exact period
in which ancient stones were recut as brilliants by the date in which
these processes were first introduced. This sapphire is a very fine
stone of good colour and brilliancy, and, apart from its historic
value, is a gem of more than ordinary merit.
QUEEN ELIZABETH’S EARRINGS
Hanging below the cross-patée in the King’s State Crown are four great
pearls, drop-shaped. These by tradition were once the earrings of
Queen Elizabeth. There is no definite record of the fact, nor on the
other hand is there any evidence of their arrival in the crown from
elsewhere. A careful scrutiny has been made of such bills as exist,
submitted by the court jewellers in succeeding reigns, and no record
can be found of the provision of these four large and manifestly very
costly pearls. Though therefore it is impossible to definitely state
that they once belonged to Queen Elizabeth, it may be permissible to
accede to a long standing Tower tradition, and allow that this is a
probability. Being small and portable they, like the Ampulla and Spoon,
and Edward the Confessors’ sapphire, may easily have been escaped
through the period of the Commonwealth, and with the Black Prince’s
ruby have again come into the hands of royalty. Historically impossible
to verify, traditionally these four great pearls belonged to the Great
Queen, and we of this generation are prepared to accept them on trust.
CHAPTER IX
THE THRONE OF ENGLAND
The Throne of England known as St. Edward’s Chair--Edward I.
brings it from Scotland in 1296--Kings and Queens of England
always crowned in this Chair--Jacob’s Stone--Its history--First
arrives in Ireland--Reaches Scotland B.C. 300--King Kenneth
encloses the stone in a chair A.D. 850--Edward I. copies
this chair, Jacob’s Stone being placed beneath the seat--The
Kingston Coronation Stone--A Druidical relic--Still preserved
at Kingston--The Coronation Book--The copy used from Henry
I. to Henry VIII. now in British Museum--Queen Victoria’s
Coronation Book.
THE THRONE OF ENGLAND KNOWN AS ST. EDWARD’S CHAIR
St. Edward’s Chair may be considered to be part of the regalia, and
since it has been in England its home has always been in Westminster
Abbey. It was brought from Scotland by Edward I. in 1296, after his
defeat of John Baliol. All our kings since that time have been crowned
upon it at Westminster, except Mary I.; and even when Cromwell was
installed Lord Protector, it was taken to Westminster Hall for him. The
seat holds “Jacob’s stone,” twenty-two inches long, eleven broad, and
about six in depth, on which tradition says the patriarch Jacob slept
in the plain of Luz. Holinshed in his _Historie of Scotland_ gives
a curious story of a Greek noble, Gathelus by name, son of Cecrops
the builder of Athens. Gathelus, it is said, being of a turbulent
and wandering disposition, went from Greece into Egypt with several
companions, “anno mundi 2416.” Here he made friends with Pharao, the
king, and eventually married his daughter Scota--from whom it is said
the name of Scotia is derived.
On the death of Pharao, Gathelus, not agreeing with his successors,
left Egypt and settled at Compostella, where he was “intituled by the
name of king,” and “sat upon his marble stone in Brigantia.” The two
sons of Gathelus, however, not liking Spain, migrated to an island
“lying north ouer agaynst Spayne,” and landed at “Dundalke,” the island
being called “Hibernia,” after one of them whose name was Hyberus.
[Illustration: FIG. 45. ST. EDWARD’S CHAIR.]
They are supposed to have brought with them Jacob’s stone, and it
is described as being “in fashion like a seate or chayre, having a
fatall destinie, as the Scottes say, following it, that wheresoever it
shoulde be founde, there shoulde the Scottish men raigne and haue the
supreme gouernance. Hereof it came to passe that first in Spaine, after
in Irelande, and then in Scotlande, the kings which ruled ouer the
Scottish men receyued the crowne sitting upon that stone, untill the
time of Robert the First, king of Scotlande.” It is said to have been
taken to Ireland about 700 B.C. by Simon Brech, king of Scots. Thence
it was taken to Scotland by King Fergus, about 330 B.C., and in 850
A.D. it was placed in the Abbey of Scone by King Kenneth. He found it
at Dunstaffnage, a royal Scottish castle, the sandstone of which has a
very near resemblance to the stone itself; in fact, it is undoubtedly,
geologically speaking, the same dull reddish sandstone. It must not be
forgotten that the Mohammedans say that Jacob’s stone is now preserved
at Jerusalem, and that consequently our story is not the true one. King
Kenneth had the stone enclosed in a wooden chair, of which the present
one is a copy made for Edward I. (Fig. 45), and particulars concerning
it are to be found in his Wardrobe Accounts. It was originally gilded,
painted, and inlaid in places with glass mosaics, traces of which can
still be seen on a careful examination, especially on the back of the
chair. It was dedicated by Edward I. to St. Edward the Confessor in
1297, and the part of the Abbey in which it is kept is still known
as St. Edward’s Chapel. Edward had an engraved plate inserted in the
stone, and on it the legend--
“Ni fallat fatum, Scoti hunc quoqunque locatum
Inveniunt lapidem regnare tenentur ibidem”;
which may be translated--
“Except old saws do fail, and wizards’ wits be blind,
The Scots in place must reign where they this stone shall find.”
This plate is now gone, but a space remains to mark the place to which
it was formerly attached. A cross is cut upon the stone, and it has old
handles at the ends. Another superstition concerning it was that it
would groan or speak whenever any of the monarchs of the Scythian race
seated themselves upon it. This must have been known to Hector Boece,
who gives a fuller version of the old Scoto-Irish prophecy which, being
translated, says--
“Unless the fixed decrees of fate give way
The Scots shall govern and the sceptre sway,
Where’er this stone they find, and its dread sound obey.”
[Illustration: FIG. 46. QUEEN VICTORIA SEATED IN ST. EDWARD’S CHAIR.]
During the Great War 1914-19, the stone was removed to the vaults for
safety against the German air attacks. The four lions upon which the
chair rests are gilded, and one of them had a new face given him for
the coronation of George IV. During the coronation ceremony itself the
chair is carefully covered with cloth of gold. Its appearance when thus
prepared shows admirably in Sir George Hayter’s beautiful picture of
the coronation of Queen Victoria, in which the Queen is seen just after
she has been crowned, holding in her right hand the royal sceptre with
the cross, and in her left the sceptre with the dove, and wearing the
colobium sindonis, stole, dalmatic, and mantle. She also has a high
footstool, and the Gothic pinnacles at the top of the chair were
apparently restored for the occasion (Fig. 46).
Sacred stones have been used in many countries and at many times as
seats for the coronation ceremonies of kings; and although the stone
which has been used in England since the time of Edward I. for this
purpose came, as we have seen, from Scotland, we possess at Kingston
an old piece of what was most likely a holy Druidical stone of purely
English origin. This stone was used for the coronations of some of our
Saxon kings certainly, and, probably enough, for more of them than
is recorded. As early as the reign of Edred, in 946, in a charter,
mention is made of Kingston as the royal town in which the coronation
was usually performed, and the fact of the stone being there gives the
place its name.
During the tenth and eleventh centuries seven of our kings are known to
have been crowned at Kingston, the Saxon monarchs having a palace, as
nearly as can be ascertained, on the spot where the stone now is. The
stone itself resembles the stones of the Druids at Stonehenge, and it
is extremely likely to have had some especially sacred character (Fig.
47).
It is now resting on a septangular block of stone enclosed within an
iron railing, with a pilaster of stone at each of the seven corners.
The arrangement and design of the railing and pillars is excellent,
and under each of the columns is a penny of one of the kings that were
certainly crowned there.
[Illustration: FIG. 47. THE KINGSTON CORONATION STONE.]
THE CORONATION BOOK
It seems rather curious that, considering the importance of the
coronation oath, we have no official Bible on which it is to be taken.
The Book has, at all events since the time of Henry VIII., been
provided anew at each coronation, and indeed it is probable that if
we had possessed a fine book--possibly covered with gold and gems--it
would have been destroyed in 1649 with the rest of the regalia.
The coronation oath is very old, and is traced back a long way.
Lingard, in his history of the Anglo-Saxon Church, says it is referable
to Anthenius, Patriarch of Constantinople, who refused to crown
Anastasius until he had sworn to make no change in the established
religion. This was in the fifth century; but it is most probable that,
long before, there was some form of oath administered to rulers, by
virtue of which their protection of the religion of their subjects was
secured.
In the library of the Society of Antiquaries at Burlington House, in
one of the scrap-books, is a drawing by Vertue of a curious old book
said to have been that on which our kings from Henry I. to Henry VIII.
took their coronation oath.
This same book is now in the manuscript department of the British
Museum, and, apart from its historical interest, it has the distinction
of being one of the very few decorative bindings of English workmanship
of the twelfth century now existing.
It is a vellum manuscript of extracts from the Gospels in Latin, with
interlinear Saxon version, and it also contains all the Gospel of St.
John except some missing pages, and a few other extracts. Inside the
book are several notes concerning its history; one signed by John
Ives at “Yarmouth, St. Luke’s Day, 1772,” says it “appears to be the
original book on which our Kings and Queens took their coronation oath
before the Reformation.” Powell, in the _Repertory of Records_, 1631,
at page 123 mentions “a little booke with a crucifix,” and says it is
preserved in the chest of the King’s Remembrancer at the Exchequer.
[Illustration: FIG. 48. THE “CORONATION BOOK” OF HENRY I.]
Mr. Thomas Madox, author of the _History of the Exchequer_, considered
that it was the book formerly belonging to the Exchequer, which
was mentioned by Powell. It was shown to Mr. Madox by “Mr. Thomas
Palgrave,” who owned it in the eighteenth century; but how it left the
“chest of the King’s Remembrancer at the Exchequer” there is nothing
to show. Early in the present century it belonged to Mr. Thomas Astle,
Keeper of the Records in the Tower, and on his death, with the rest
of his library, it became the property by purchase of the Marquis of
Buckingham. Although a beautiful Gothic room had been built at Stowe in
which to keep this library, it was all sold in 1849 to Lord Ashburnham.
From Lord Ashburnham the “Stowe” library was purchased by the Trustees
of the British Museum in 1883, and so this little book became once more
national property, and is not likely to leave its present guardianship.
It is covered with thick wooden boards three-quarters of an inch thick,
covered with deerskin. On the lower cover is a sunk panel, and in this
is a figure of our Lord, finely modelled and chased. The figure shows
remains of old gilding, and the workmanship is excellent. The corners
are protected by corner-pieces of gilt metal, each with a boss and a
design of a fleur-de-lys within a circle stamped upon them, and there
is an old clasp (Fig. 48).
The figure of our Saviour and the clasp are probably contemporary
with the rest of the binding and the manuscript itself, but the
corner-pieces are apparently a subsequent addition.
As far as can be ascertained from pictures of recent coronations, the
Bible upon which the oath has been taken was covered in dark blue
velvet with gilt clasp, centre-pieces, and corners. That used by Queen
Victoria was in 1883 the property of the Rev. J. H. Sumner, Rector
of Buriton, Hants. It came to him from his father, the Bishop of
Winchester, to whom it was given after the coronation.
CHAPTER X
THE REGAL VESTMENTS
Their importance in the Coronation Ceremony--Essentially the
same now as in ancient reigns--Charles II.--James II.--Portions
of their Vestments described--Queen Victoria’s Vestments--A
Queen’s Vestments described--The Imperial Mantle--The Vestments
of Edward VII. and of George V.
The importance that has always attached to the vestments used in
the coronation ceremony of our sovereigns is evident from all the
accounts of the coronations that still exist. In the _Liber Regalis_
at Westminster the colobium sindonis, the dalmatic, the stole and
the mantle, all of them ecclesiastical, are categorically mentioned
(cf. p. 1.). In Sir Edward Walker’s _Preparation for His Majesty’s
Coronation_, the vestments used at the coronation of Charles II. are
shown to have consisted essentially of the same garments differing in
the ornamentation only (cf. p. 7.).
The vestments are clearly figured: the supertunica, or dalmatic, has
only a floral pattern upon it (Fig. 49); the armilla, also, only has a
floral pattern, but there is a cross-patée at each end, and ribbons
for tying it (Fig. 50). The imperial mantle is embroidered with floral
sprays arranged in ovals, as in the existing mantle of Queen Victoria,
and bears eagles, roses, fleurs-de-lys and coronets (Fig. 51).
[Illustration: FIG. 49. THE SUPERTUNICA OR DALMATIC WORN BY CHARLES
II. AT HIS CORONATION.]
[Illustration: FIG. 50. THE ARMILLA OR STOLE WORN BY CHARLES II. AT
HIS CORONATION.]
The vestments used by James II. again show the use of the same general
design in the three chief items as before. These are fully described
and figured in Francis Sandford’s _History of the Coronation of James
II._, and are figured on the first plate. The imperial mantle has
floral sprays arranged in ovals as already described, and also eagles,
coronets, fleurs-de-lys and roses (Fig. 52). The supertunica of cloth
of gold has still only floral sprays upon it (Fig. 53). There is also a
curious surcoat of crimson satin with openings left for the inunction
(Fig. 54). The armilla bears a rose as a centre ornament, and is
further adorned with eagles, roses, coronets and fleurs-de-lys (Fig.
55).
The vestments that were used at the coronation of Queen Victoria are
now in charge of an officer called the Keeper of the Robes, and are
kept at St. James’s Palace. They consist, like the vestments we have
just mentioned, of the
Colobium Sindonis,
Dalmatic,
Stole,
Imperial Mantle,
and to a considerable extent they preserve the ancient forms and
designs of ornamentation.
[Illustration: FIG. 51. PALL OR ROYAL MANTLE WORN BY CHARLES II. AT
HIS CORONATION.]
[Illustration: FIG. 52. THE PALL OR ROYAL MANTLE OF CLOTH OF GOLD WORN
BY JAMES II. AT HIS CORONATION.]
The colobium sindonis, the first vestment put upon the sovereign after
the anointing, represents the alb of a priest, or the rochet of a
bishop. It is a sleeveless garment of soft fine linen, edged with lace,
and with a deep lace flounce of nine inches in depth (Fig. 56). It is
open at the side, and cut low at the neck, also edged all round with
lace. It is gathered in at the waist and opens on the left shoulder,
fastening with three small buttons. Upon the right shoulder are three
sham buttons to match. At the coronation a thick gold cord with heavy
bullion tassels is worn at the waist over the “colobium,” corresponding
to the girdle of the alb.
[Illustration: FIG. 53. SUPERTUNICA OR DALMATIC WORN BY JAMES II. AT
HIS CORONATION.]
[Illustration: FIG. 54. SURCOAT OF CRIMSON SATIN--OPENED FOR THE
ANOINTING ON BOTH SHOULDERS AND ON THE BEND OF THE ARMS AND AT THE
BACK--WITH CRIMSON TAFFETA TIES. WORN BY JAMES II. AT HIS CORONATION.]
[Illustration: FIG. 55. ARMILLA OR STOLE WORN BY JAMES II. AT HIS
CORONATION.]
The dalmatic, or supertunica, is put on after the colobium sindonis. It
is a long jacket of cloth of gold, with wide pointed sleeves, without
any fastening at all. The edges are all trimmed with gold lace. The
design, woven into the cloth of gold, is a wavy pattern of palm leaves,
outlined green, enclosing at regular intervals pink roses with green
leaves, green shamrocks, and purple thistles. All these designs are
in very pale colours, and the effect of them when the cloth of gold
is moved is very delicate and beautiful. It is lined throughout with
rose-coloured silk (Fig. 57).
The stole now, in religious ceremonies, succeeds the alb immediately;
but, in the coronation service, it succeeds the dalmatic, as it did in
the eleventh and twelfth centuries, and it is so worn now by the Greek
and Russian deacons. So here our kings preserve an ancient custom which
the Western Church has lost. The stole was used at one time crossed
over the breast, and one was found on the body of Edward I., worn in
this manner, when his tomb at Westminster was opened in 1774; and it
certainly was worn in this fashion abroad. This is the manner in which
the stole is worn by a priest, but not by a bishop, when vested for
Mass. A fine example of this manner of wearing the royal stole can be
seen on the beautiful bulla of the Emperor Frederick III., made in the
fifteenth century. A specimen of it is now exhibited in one of the
show-cases in the British Museum. The Emperor holds a sceptre in his
right hand and an orb in his left.
[Illustration: FIG. 56. THE COLOBIUM SINDONIS WORN BY QUEEN VICTORIA
AT HER CORONATION.]
[Illustration: FIG. 57. DALMATIC WORN BY QUEEN VICTORIA AT HER
CORONATION.]
[Illustration: FIG. 58. ARMILLA OR STOLE WORN BY QUEEN VICTORIA AT HER
CORONATION.]
Queen Victoria’s stole is a band of cloth of gold, three inches wide
and five feet two inches long, with bullion fringe at each end. It is
heavily embroidered with silver thread and a little colour. The centre
ornament is a pink rose, the remaining ornaments are silver imperial
eagles, silver and green shamrocks, silver, green, and purple thistles,
and pink roses. Each of these emblems is divided from the next one to
it by a silver coronet, and at each end is a square panel with a blue
and white torse above and below, worked with a red cross of St. George
on a silver ground. It is lined with rose silk, and was worn by Queen
Victoria hanging from the neck and depending at each side. It will be
seen that the ornaments upon this stole resemble those of both Charles
II. and James II., but that they are more ornate (Fig. 58).
[Illustration: FIG. 59. PALL OR IMPERIAL MANTLE WORN BY QUEEN VICTORIA
AT HER CORONATION.]
The Imperial mantle is the last garment to be put upon the sovereign.
The mediæval rubric describes this as four-square, embroidered with
golden eagles. The four corners are supposed to represent the four
quarters of the globe, subject to divine power, and it is analogous to
the cope of a bishop. The magnificent mantle worn by Queen Victoria is
sixty-five inches long, and measures across the shoulders twenty-eight
inches. It is edged all round with golden bullion fringe two and a
half inches deep, and is lined with rose-coloured silk. To the upper
edge is attached a gold morse or clasp, with a silver edge faceted to
represent diamonds (Fig. 59). In the centre of this morse is the figure
of an eagle in repoussé work, and at each of the sides a spray of rose,
shamrock, and thistle similarly worked. There is a hook at the back of
the neck to prevent the robe slipping. The design, woven into the cloth
of gold, is a branched pattern arranged in ovals, outlined in purple
silk and caught together by silver coronets and silver fleurs-de-lys
alternately. In the spaces thus formed are red and white Tudor roses
with green leaves, green shamrocks, purple and green thistles and
silver eagles. The coloured silks used in this mantle are in stronger
tints than those used on the dalmatic. It will be observed that there
is a strong similarity in the general design of the ornamentation of
this garment and of that used on the mantles of Charles II. and James
II.
The stole of King Edward VII. was of woven gold tissue made at
Spitalfields, and the ornamentation upon it was embroidered at the
Royal School of Art Needlework, South Kensington. The devices upon it
were the white imperial eagle, the Tudor rose, thistle and shamrock,
each ensigned with a royal coronet. At each end was the red cross of
St. George on a white ground.
The dalmatic was of woven gold tissue with a repeating arabesque
pattern all over it in a rich brown; it had a belt of cloth of gold
with a gold buckle. It was made at Spitalfields.
At Spitalfields also was made the splendid mantle of King Edward
VII., of cloth of gold richly embroidered at the Royal School of Art
Needlework. A thin scroll of laurel is arranged over the whole surface
of the mantle, leaving open spaces in each of which is enclosed one
or other of the national badges: the white eagle, the Tudor rose, the
thistle, the shamrock, the royal crown or the white lotus of India. In
all cases white is correctly heraldically represented in silver. The
morse is of cloth of gold, with the device of an imperial eagle in the
centre flanked by two rose sprays.
The stole of King George V. has the same emblems upon it as those of
Queen Victoria and King Edward VII., with the addition of the white
lotus of India and the red dragon of Wales. It was made at Spitalfields
and embroidered.
The dalmatic has wide sleeves and is made of cloth of gold; it has also
a girdle with flat gold buckles. It was made at Spitalfields.
The mantle of George IV. was used again by George V. It was also made
at Spitalfields, and is a beautiful example of the weaving done there
by the descendants of the French Huguenot refugees who settled there
on the revocation of the edict of Nantes. It is of cloth of gold, the
designs of roses, thistles and shamrock being woven with it. The morse
is in the form of a golden eagle (Fig. 60).
[Illustration: FIG. 60. THE IMPERIAL MANTLE OF GEORGE IV., USED ALSO
BY GEORGE V.]
THE END
APPENDIX A
LIST OF THE CROWN JEWELS AND PLATE IN THE JEWEL HOUSE, TOWER OF LONDON,
A.D. 1919
I. _Crowns and Diadem_--
1. King Edward the Confessor’s Crown
2. The Imperial State Crown
3. The Imperial Indian Crown
4. Crown of Queen Mary of Modena
5. Crown of Queen Mary, Consort of King George V.
6. Diadem of Queen Mary of Modena
7. Crown of the Prince of Wales
II. _Sceptres and Staff_--
1. The King’s Royal Sceptre
2. The King’s Sceptre with the Dove, or Rod of Equity
3. The Queen’s Sceptre with the Cross
4. The Queen’s Sceptre with the Ivory Dove
5. James I. Sceptre with the Dove
6. St Edward’s Staff
III. _Orbs_--
1. The King’s Orb
2. The Queen’s Orb
IV. _Rings_--
1. The King’s Coronation Ring
2. The Queen’s Coronation Ring
3. Queen Victoria’s Coronation Ring
V. _Swords_--
1. The King’s Jewelled State Sword
2. The King’s Sword of State
3. The Sword Spiritual
4. The Sword Temporal
5. “Curtana” or the Sword of Mercy
VI. _Spurs and Bracelets_--
1. St. George’s gold spurs
2. Gold bracelets
VII. _Maces_--
1. Charles II.
2. do.
3. James II.
4. do.
5. William and Mary
6. do.
7. do.
8. George I.
VIII. _Ecclesiastical Plate_--
1. The Ampulla
2. The Anointing Spoon
3. The Royal Baptismal Font (Charles II.)
4. Alms Dish (Charles II.)
5. Flagon (William and Mary)
6. Alms Dish do.
IX. _State Trumpets and Banners_--
1. Fifteen State Trumpets
2. Twenty Bannerets
X. _Royal Plate_--
1. Queen Elizabeth’s Salt-cellar
2. Charles II.’s Salt-cellar. (State-cellar)
3. do.
4. do.
5. do.
6. do.
7. do.
8. do.
9. do.
10. do.
11. do.
12. do.
13. do.
14. Charles II.’s Wine Fountain
15. Twelve Salt Spoons
16. Two Tankards (George IV.)
XI. _Other Plate and Valuables_--
1. The Maundy Dish
2. George IV.’s Monde
3. Model of Koh-i-Nur Diamond, with original setting
4. Model of Cullinan Diamond (the Star of Africa), as found
5. Steel hammer and chisel, used in cutting the Cullinan Diamond
APPENDIX B
THE CORONATION SERVICE
(SUCH PORTIONS AS ARE CONCERNED WITH THE REGALIA)
THE PREPARATION
_In the morning upon the day of the Coronation early, care is
to be taken that the_ Ampulla _be filled with Oil and, together
with the_ Spoon, _be laid ready upon the Altar in the Abbey
Church_.
THE LITANY
_The Noblemen who carry in procession the_ Regalia, _except
those who carry the Swords, come near to the Altar, and present
in order every one what he carries to the Archbishop, who
delivers them to the Dean of_ Westminster, _to be by him placed
upon the Altar, and then retire to the places appointed for
them_.
THE OATH
[Sidenote: The Oath.]
_The Sermon being ended, and his Majesty having, in the
presence of the Two Houses of Parliament, made and signed the
Declaration, the Archbishop goeth to the King, and standing
before him, administers the Coronation Oath, first asking the
King_,
Sir, is your Majesty willing to take the Oath?
_And the King answering_,
I am willing.
_The Archbishop ministereth these questions; and the King,
having a Book in his hands, answers each Question severally as
follows_:
_Archb._ Will you solemnly promise and swear to govern the People of
this United Kingdom of _Great Britain_ and _Ireland_, and the Dominions
thereto belonging, according to the Statutes in Parliament agreed on,
and the respective Laws and Customs of the same?
_King._ I solemnly promise so to do.
_Archb._ Will you to your power cause Law and Justice, in Mercy, to be
executed in all your Judgments?
_King._ I will.
_Archb._ Will you to the utmost of your power maintain the Laws of God,
the true Profession of the Gospel, and the Protestant Reformed Religion
established by Law? And will you maintain and preserve inviolably the
Settlement of the Church of _England_, and the Doctrine, Worship,
Discipline, and Government thereof, as by Law established in _England_?
And will you preserve unto the Bishops and Clergy of _England_, and
to the Church therein committed to their charge, all such Rights and
Privileges, as by Law do or shall appertain to them, or any of them?
_King._ All this I promise to do.
[Sidenote: The Bible to be brought.]
_Then the King arising out of his Chair, supported as before,
and assisted by the Lord Great Chamberlain, the Sword of State
being carried before him, shall go to the Altar, and there
being uncovered, make his Solemn Oath in the sight of all the
People, to observe the Premisses: Laying his right hand upon
the Holy Gospel in the Great Bible, which is now brought from
the Altar by the Archbishop, and tendered to him as he kneels
upon the steps, saying these words_:
The things which I have here before promised, I will perform, and keep.
So help me God.
[Sidenote: And a Silver Standish.]
_Then the King kisseth the Book, and signeth the_ Oath.
THE ANOINTING
_The King having thus taken his Oath, returns again to his
Chair, and kneeling at his Faldstool, the Archbishop beginneth
the Hymn_, Veni Creator Spiritus, _and the Choir singeth it
out_.
_This being ended, the Archbishop saith this Prayer_:
[Sidenote: _Here the Archbishop lays his hand upon the_ Ampulla.]
O LORD, Holy Father, who by anointing with Oil didst of old make and
consecrate kings, priests, and prophets, to teach and govern thy people
Israel: Bless and sanctify thy chosen servant GEORGE, who by our office
and ministry is now to be anointed with this Oil, and consecrated
King of this Realm: Strengthen him, O Lord, with the Holy Ghost the
Comforter; Confirm and stablish him with thy free and princely Spirit,
the Spirit of wisdom and government, the Spirit of counsel and ghostly
strength, the Spirit of knowledge and true godliness, and fill him, O
Lord, with the Spirit of thy holy fear, now and for ever. _Amen._
_This Prayer being ended, the Choir singeth_:
ANTHEM
[Sidenote: 1 Kings i. 39, 40.]
Zadok the priest and Nathan the prophet anointed Solomon king; and all
the people rejoiced and said: God save the king, Long live the king,
May the king live for ever. Amen. Hallelujah.
_In the meantime, the King, rising from his devotions,
having been disrobed of his Crimson Robes by the Lord Great
Chamberlain, and having taken off his Cap of State,[5] goes
before the Altar, supported and attended as before._
_The King sits down in King Edward’s Chair (placed in the
midst of the_ Area _over against the Altar, with a Faldstool
before it), wherein he is to be anointed. Four Knights of the
Garter (summoned by Garter King of Arms) hold over him a rich
Pall of Silk, or Cloth of Gold, delivered to them by the Lord
Chamberlain: The Dean of_ Westminster, _taking the_ Ampulla
_and_ Spoon _from off the Altar, holdeth them ready, pouring
some of the Holy Oil into the Spoon, and with it the Archbishop
anointeth the King in the form of a Cross_:
1. _On the Crown of the Head, saying_:
Be thy Head anointed with Holy Oil, as kings, priests, and prophets
were anointed.
2. _On the Breast, saying_:
Be thy Breast anointed with Holy Oil.
3. _On the Palms of both the Hands, saying_:
Be thy Hands anointed with Holy Oil:
And as Solomon was anointed king by Zadok the priest and Nathan the
prophet, so be you anointed, blessed, and consecrated King over this
People, whom the Lord your God hath given you to rule and govern. In
the Name of the Father, and of the Son, and of the Holy Ghost. Amen.
_Then the Dean of_ Westminster _layeth the_ Ampulla _and_ Spoon
_upon the Altar, and the King kneeleth down at the Faldstool,
and the Archbishop, standing, saith this Prayer or Blessing
over him_:
Our Lord Jesus Christ, the Son of God, who by his Father was anointed
with the Oil of gladness above his fellows, by his Holy Anointing pour
down upon your Head and Heart the blessing of the Holy Ghost, and
prosper the works of your Hands: that by the assistance of his heavenly
grace you may preserve the people committed to your charge in wealth,
peace, and godliness; and after a long and glorious course of ruling
this temporal kingdom wisely, justly, and religiously, you may at last
be made partaker of an eternal kingdom, through the merits of Jesus
Christ our Lord. _Amen._
_This Prayer being ended, the King arises and resumes his seat
in King Edward’s Chair, while the Knights of the Garter give
back the Pall to the Lord Chamberlain; whereupon the King again
arising, the Dean of_ Westminster _puts upon his Majesty the_
Colobium Sindonis _and the_ Supertunica _or_ Close Pall of
Cloth of Gold, _together with a_ Girdle _of the same_.
THE PRESENTING OF THE SPURS AND SWORD, AND THE GIRDING AND OBLATION OF
THE SAID SWORD
[Sidenote: The Spurs.]
_The_ Spurs _are brought from the Altar by the Dean of_
Westminster, _and delivered to the Lord Great Chamberlain, who,
kneeling down, touches his Majesty’s heels therewith, and sends
them back to the Altar_.
[Sidenote: The Sword of State returned.]
[Sidenote: Another Sword brought.]
_Then the Lord, who carries the_ Sword of State, _delivering
the said Sword to the Lord Chamberlain (which is thereupon
deposited in the Traverse in Saint_ Edward’s _Chapel) he
receives from the Lord Chamberlain, in lieu thereof, another_
Sword, _in a_ Scabbard _of_ Purple Velvet, _provided for the
King to be girt withal, which he delivereth to the Archbishop;
and the Archbishop, laying it on the Altar, saith the following
Prayer_:
Hear our prayers, O Lord, we beseech thee, and so direct and support
thy servant King GEORGE, who is now to be girt with this Sword, that
he may not bear it in vain; but may use it as the minister of God for
the terror and punishment of evildoers, and for the protection and
encouragement of those that do well, through Jesus Christ our Lord.
_Amen._
[Sidenote: Delivered to the King.]
_Then the Archbishop takes the_ Sword _from off the Altar, and
(the Archbishop of_ York _and the Bishops of_ London _and_
Winchester _and other Bishops assisting, and going along with
him) delivers it into the King’s Right Hand, and he holding it,
the Archbishop saith_:
Receive this Kingly Sword, brought now from the Altar of God, and
delivered to you by the hands of us the Bishops and servants of God,
though unworthy.
[Sidenote: Girt about the King.]
_The King standing up, the_ Sword _is girt about him by the
Lord Great Chamberlain; and then, the King sitting down, the
Archbishop saith_:
With this Sword do justice, stop the growth of iniquity, protect the
Holy Church of God, help and defend widows and orphans, restore the
things that are gone to decay, maintain the things that are restored,
punish and reform what is amiss, and confirm what is in good order:
that doing these things you may be glorious in all virtue; and so
faithfully serve our Lord Jesus Christ in this life, that you may reign
for ever with him in the life which is to come.
[Sidenote: Offered and redeemed.]
_Then the King, rising up, ungirds his Sword, and, going to
the Altar, offers it there in the Scabbard, and then returns
and sits down in King Edward’s Chair: and the Peer, who first
received the Sword, offereth the price of it, and having thus
redeemed it, receiveth it from the Dean of_ Westminster, _from
off the Altar, and draweth it out of the Scabbard, and carries
it naked before his Majesty during the rest of the solemnity_.
_Then the Bishops who had assisted during the offering return
to their places._
THE INVESTING WITH THE _ARMILLA_ AND IMPERIAL MANTLE, AND THE DELIVERY
OF THE ORB
[Sidenote: The Armilla and Imperial Mantle.]
[Sidenote: The Orb.]
_Then the King arising, the_ Armilla _and_ Imperial Mantle
_or_ Pall of Cloth of Gold, _are by the Master of the Robes
delivered to the Dean of_ Westminster, _and by him put upon
the King, standing; the Lord Great Chamberlain fastening the
Clasps: The King sits down, and then the_ Orb _with the_ Cross
_is brought from the Altar by the Dean of_ Westminster, _and
delivered into the King’s hand by the Archbishop, pronouncing
this Blessing and Exhortation_:
Receive this Imperial Robe, and Orb; and the Lord your God endue you
with knowledge and wisdom, with majesty and with power from on high;
the Lord cloath you with the Robe of Righteousness, and with the
garments of salvation. And when you see this Orb set under the Cross,
remember that the whole world is subject to the Power and Empire of
Christ our Redeemer.
_The King delivers his Orb to the Dean of_ Westminster, _to be
by him laid on the Altar_.
THE INVESTITURE _PER ANNULUM ET BACULUM_
[Sidenote: The Ring.]
_Then the Officer of the Jewel House delivers the King’s_ Ring
_to the Archbishop, in which a Table Jewel is enchased; the
Archbishop puts it on the Fourth Finger of his Majesty’s Right
Hand, and saith_:
Receive this Ring, the ensign of Kingly Dignity, and of Defence of
the Catholic Faith; and as you are this day solemnly invested in the
government of this earthly kingdom, so may you be sealed with that
Spirit of promise, which is the earnest of an heavenly inheritance, and
reign with him who is the blessed and only Potentate, to whom be glory
for ever and ever. Amen.
_Then the Dean of_ Westminster _brings the_ Sceptre _with the_
Cross _and the_ Sceptre _with the_ Dove _to the Archbishop_.
[Sidenote: The Glove.]
_The_ Glove, _presented by the Lord of the Manor of_ Worksop,
_being put on, the Archbishop delivers the_ Sceptre _with the_
Cross _into the King’s Right Hand saying_:
Receive the Royal Sceptre, the ensign of Kingly Power and Justice.
_And then he delivers the_ Sceptre _with the_ Dove _into the King’s
Left Hand, and saith_:
RECEIVE the Rod of Equity and Mercy: and God, from whom all holy
desires, all good counsels, and all just works do proceed, direct and
assist you in the administration and exercise of all those powers
which he hath given you. Be so merciful that you be not too remiss; so
execute Justice that you forget not Mercy. Punish the wicked, protect
and cherish the just, and lead your people in the way wherein they
should go.
_The Lord of the Manor of_ Worksop _supports his Majesty’s Right Arm._
THE PUTTING ON OF THE CROWN
[Sidenote: St. _Edward’s_ Crown.]
_The Archbishop, standing before the Altar, taketh the_ Crown
_into his hands, and laying it again before him upon the Altar,
saith_:
[Sidenote: _Here the King must be put in mind to bow his Head._]
O God, the Crown of the faithful: Bless we beseech thee and sanctify
this thy servant GEORGE our King: and as thou dost this day set a
Crown of pure Gold upon his Head, so enrich his Royal Heart with thine
abundant grace, and crown him with all princely virtues, through the
King Eternal Jesus Christ our Lord. _Amen._
[Sidenote: The King Crowned.]
_Then the King sitting down in King Edward’s Chair, the
Archbishop, assisted with other Bishops, comes from the
Altar; the Dean of_ Westminster _brings the_ Crown, _and the
Archbishop taking it of him reverently putteth it upon the
King’s Head. At the sight whereof the People, with loud and
repeated shouts, cry_, God save the King; _the Peers and the
Kings of Arms put on their Coronets; and the Trumpets sound,
and by a Signal given, the great Guns at the_ Tower _are shot
off._
_The Acclamation ceasing, the Archbishop goeth on and saith_:
Be strong and of a good courage: Observe the commandments of God, and
walk in his holy ways: Fight the good fight of faith, and lay hold on
eternal life; that in this world you may be crowned with success and
honour, and when you have finished your course, receive a Crown of
Righteousness, which God the righteous Judge shall give you in that day.
_Then the Choir singeth_:
Be strong and play the man: Keep the commandments of the Lord thy God,
and walk in his ways.
THE PRESENTING OF THE HOLY BIBLE
[Sidenote: The Bible.]
_Then shall the Dean of_ Westminster _take the_ Holy Bible
_from off the Altar, and deliver it to the Archbishop, who
shall present it to the King, first saying these words to him_:
Our Gracious King; we present you with this Book, the most valuable
thing that this world affords. Here is Wisdom; This is the Royal Law;
These are the lively Oracles of God.
_Then the King delivers back the Bible to the Archbishop, who
gives it to the Dean of_ Westminster, _to be reverently placed
again upon the Holy Altar; and the Archbishops and Bishops
return to their places_.
THE INTHRONIZATION
_The_ Te Deum _being ended, the King is lifted up into his
Throne by the Archbishops and Bishops, and other Peers of the
Kingdom; and being_ Inthronized, _or placed therein, all the
Great Officers, those that bear the Swords and the Sceptres,
and the Nobles who had borne the other Regalia, stand round
about the steps of the Throne; and the Archbishop standing
before the King saith_:
Stand firm, and hold fast from henceforth the Seat and State of Royal
and Imperial Dignity, which is this day delivered unto you, in the
Name and by the authority of Almighty God, and by the hands of us
the Bishops and servants of God, though unworthy: And as you see us
to approach nearer to God’s Altar, so vouchsafe the more graciously
to continue to us your Royal favour and protection. And the Lord God
Almighty, whose Ministers we are, and the Stewards of his Mysteries,
establish your Throne in righteousness, that it may stand fast for
evermore, like as the sun before him and as the faithful witness in
heaven. _Amen._
FOOTNOTES:
[5] The Cap of State was put on at the beginning of the Sermon.
APPENDIX C
KEEPERS OF THE REGALIA[6]
1. Abbot and Monks of Westminster, 1042-66, in the reign of
Edward the Confessor.
2. First official Keeper of the Regalia, 1216, in the reign of
Henry III.
3. Bishop of Carlisle, 1230, in the reign of Henry III.
4. John de Flete, 1337, in the reign of Edward III.
5. Robert de Mildenhall, 1347, in the reign of Edward III.
6. Thomas Chitterne, 1418, in the reign of Henry VI.
7. Thomas Cromwell, Earl of Essex, in the reign of Henry VIII.
8 & 9. “The two Carys,” both Privy Councillors.
10. Marquis of Winchester, 1553, in the reign of Edward VI.
11. Sir Henry Mildmay, in the reign of Charles I. and
interregnum.
12. Sir Gilbert Talbot, 1661 to 1691, in the reigns of Charles
II., James II., and William and Mary.
13. Talbot Edwards, Assistant Keeper, died 1674, in the reigns
of Charles II. and James II.
14. Sir Francis Lawley, from 1691 to 1697, in the reign of
William and Mary.
15. Heneage Mountague, from 1697 to 1698, in the reign of
William and Mary.
16. Charles Godfrey, from 1698 to 1716, in the reigns of
William and Mary, Queen Anne, and George I.
17. Hon. James Brudenell, from 1716 to 1730, in the reigns of
George I. and George II.
18. Charles Townshend, Lord Lynn, from 1730 to 1739, in the
reign of George II.
19. William Neville, Lord Abergavenny, from 1739 to 1745, in
the reign of George II.
20. John Campbell, Lord Glenorchie, from 1745 to 1756, in the
reign of George II.
21. Sir Richard Lyttleton, from 1756 to 1763, in the reigns of
George II. and George III.
22. Henry Vane, Earl of Darlington, from 1763 to 1782, in the
reign of George III.
_In 1782 the Office was suppressed and its duties transferred
to the Lord Chamberlain (Stat. 22, Geo. III., c. 82). The
Office was again revived in the person of Lieut.-Colonel
Charles Wyndham who charged with the Scots Greys at Waterloo._
23. Lieut.-Colonel Charles Wyndham, died in 1872, in the reign
of Queen Victoria.
24. Colonel John Cox Gawler, late 73rd Foot, in the reign of
Queen Victoria.
25. Lieut.-General George Dean-Pitt, C.B., 1882-3, in the reign
of Queen Victoria.
26. Captain Arthur John Loftus, late 10th Hussars, in the reign
of Queen Victoria.
27. Lieut.-General Sir Michael Biddulph, G.C.B., in the reign
of Queen Victoria.
28. Lieut.-General Sir Frederick Middleton, K.C.M.G., C.B., to
1898, in the reign of Queen Victoria.
29. General Sir Hugh Gough, V.C., G.C.B., from 1898 to 1909, in
the reigns of Queen Victoria and Edward VII.
30. General Sir Robert Low, G.C.B., from 1909 to 1911, in the
reign of Edward VII.
31. General Sir Arthur Wynne, G.C.B., from 1911 to 1917, in the
reign of George V.
32. Major-General Sir George Younghusband, K.C.M.G., K.C.I.E.,
C.B. (present holder), 1917, in the reign of George V.
FOOTNOTES:
[6] Named at various periods “Master and Treasurer of the Jewel House,”
“Keeper of the Crown Jewels,” “Keeper of the Regalia,” now named
“Keeper of the Jewel House.”
INDEX
Æthelred II., coronation of, 1
Alms dish of William and Mary, 43
Ampulla, the, 34
Anointing spoon, the, 35
Arched crown, 12
---- ----, meaning of, 15
Baptismal font, the, 41
Black Prince’s ruby, 11, 20, 21, 55
Book, the Coronation, 61
Bracelets, the, 40
Charles I., coronation ring of, 17
Charles II., coronation of, 3, 8
----, new regalia made for, 8
----, vestments of, 64
Commonwealth, regalia broken up by the, 6
Coronation Book, the, 61
Coronation of Æthelred II., 1
---- ---- Charles II., 3, 8
---- ---- George IV., 3
---- ---- Queen Victoria, 2
---- ---- William and Mary, 3
---- ring of Charles I., 17
---- ---- ---- Queen Victoria, 18
---- ---- ---- William IV., 18
Coronations, order of, 1
Coronet, Prince of Wales’, 24
Cross-patée and fleur-de-lys, development of, 14
Crown, arched, 12
----, ----, meaning of, 15
Crown, Imperial, of India, 21
----, ----, ---- ----, made for George V., 22
----, ---- State, the, 19
---- new, the, 3
---- of Queen Mary of Modena, 22
---- ---- Scotland, 16
---- ---- State, the, 9
----, Prince of Wales’, 24
----, St. Edward’s, 19
----, State, of Queen Mary, 23
Crowns, queens’, 22
----, State, 16
Cullinan diamond (_see_ Star of Africa) “Curtana,” 38
Diadem of Queen Mary of Modena, 22
Earrings, Queen Elizabeth’s, 20, 58
Edward the Confessor, regalia in time of, 5
---- ---- ---- sapphire, 20, 21
Edward VII., vestments of, 69
Elizabeth, Queen, earrings of, 20, 58
Equity, rod of, 28
----, rod of justice and, 30
Flagon of William and Mary, 43
Fleur-de-lys and cross-patée, development of, 14
Font, baptismal, 41
George IV., coronation of, 3
George V., Imperial Crown of India made for, 22
----, vestments of, 70
History of the Royal orbs, 31
---- ---- ---- ---- sceptres, 25 _et seq._
Imperial Crown of India, 21
---- ---- ---- ---- made for George V., 22
---- State Crown, the, 19
India, Imperial Crown of, 21
Ivory rod, the Queen’s, 29
Jewelled sword of State, 38
James II., regalia altered for, 9
----, vestments of, 65
Justice and equity, rod of, 30
Keeper of the regalia, first appointment, 6
King’s orb, 32
---- royal sceptre with the cross, 27
---- sceptre with the dove, 28
Koh-i-nur, the, 23, 53
_Liber Regalis_, 1
Maces, the, 50
Mary of Modena, Queen, diadem of, 22
---- ---- ----, ----, crown of, 22
----, Queen, State crown of, 23
Maundy dish, the, 43
Military emblems, 3
New crown, the, 3
Orb, the, 2
----, ---- King’s, 32
----, ---- Queen’s, 33
Orbs, the royal, history of, 31
Order of the coronations, 1
Pawning of the regalia, 6
Prince of Wales’ coronet, 24
---- ---- ---- crown, 24
Queen Elizabeth’s earrings, 20, 58
---- ---- salt-cellar, 45
Queens’ crowns, 22
---- ivory rod, 29
---- orb, 33
---- sceptre with the cross, 28
---- ---- with the dove, 29
Regal vestments, the, 64
Regalia altered for James II., 9
---- broken up by the Commonwealth, 6
---- in the time of Edward the Confessor, 5
----, keeper of the, first appointment, 6
----, new, made for Charles II., 8
----, pawning of the, 6
---- removed to the Tower, 5
----, Scottish, 17
Ring, coronation, of Charles I., 17
----, ----, ---- Queen Victoria, 18
----, ----, ---- William IV., 18
Rod, ivory, the Queen’s, 29
---- of equity, 28
---- ---- justice and equity, 30
Royal crown, history of, 12
---- orbs, history of, 31
Ruby, Black Prince’s, 11, 20, 55
----,---- ----, value of, 21
St. Edward, sapphire of, 21, 57
St. Edward’s crown, 19
---- chair (_see_ Throne of England)
---- staff, 30
St. George’s salts, 47
Salt-cellar, Queen Elizabeth’s, 45
Salt of State, the, 49
Salts, St. George’s, 47
Sapphire of St. Edward, 21, 57
----, Stuart, 20, 57
Sceptre with the cross, the King’s royal, 27
Sceptre with the cross, the Queen’s, 28
---- ---- ---- dove, the King’s, 28
---- ---- ---- ----, ---- Queen’s, 29
Sceptres, earliest known, 25
----, history of the royal, 25 _et seq._
----, two kinds of, 2
Scotland, crown of, 16
Scottish regalia, 17
Sovereign, priestly and military character of the, 2
Spoon, the, 35
Spurs, the, 39
Staff, St. Edward’s, 30
Star of Africa, 19, 27, 56
State crown of Queen Mary, 23
---- crowns, 16
---- trumpets, the, 51
Stuart sapphire, 20, 57
Sword of State, jewelled, 38
Swords, the, 37 _et seq._
Throne of England, 59
Tower, regalia removed to the, 5
Trumpets, the State, 51
Vestments of Charles II., 64
---- ---- Edward VII., 69
---- ---- James II., 65
---- ---- Queen Victoria, 65
----, regal, the, 64
Victoria, Queen, coronation of, 2
----, ----, ---- ring of, 18
----, ----, vestments of, 65
William and Mary, coronation of, 3
William IV., coronation ring of, 18
Wine fountain of Charles II., 44
PRINTED BY CASSELL & COMPANY, LIMITED, LA BELLE SAUVAGE, LONDON, E.C.4.
A list of figures in the text.
Fig. 01. Crown, with three points, bearing each a single pearl, on
helmet. From penny of Æthelstan.
Fig. 02. Crown with three points, each bearing one pearl. From
halfpenny of Æthelstan.
Fig. 03. Crown with three trefoils. From penny of Canute.
Fig. 04. Crown with arches, pearls, and pearled pendants. From penny
of Edward the Confessor.
Fig. 05. Crown with pearled arches. From penny of Harold II.
Fig. 06. Crown with three points bearing each three pearls. From Great
Seal of William I.
Fig. 07. Crown with pearled arches and pendants. From penny of William
I.
Fig. 08. Crown with five points each bearing one pearl, with pearled
pendants. From Great Seal of William II.
Fig. 09. Crown with three trefoils and pearled arches. From penny of
Stephen.
Fig. 10. Crown with three trefoils and pearled pendants. From Great
Seal of Henry I.
Fig. 11. Crown with three fleurs-de-lys, on helmet. From first Great
Seal of Henry I.
Fig. 12. Crown with three fleurs-de-lys, and pearls between each. From
penny of Edward I.
Fig. 13. Crown with five fleurs-de-lys, and ornamental arches with
cross at the top. From the third Great Seal of Edward IV.
Fig. 14. Crown with three crosses-patée and pearls between them. From
the first Seal for Foreign Affairs of Henry VI.
Fig. 15. Crown with crosses-patée alternate with fleurs-de-lys, with
arched mound and cross at the top. From Great Seal of Henry VII.
Fig. 16. Crown with three fleurs-de-lys, and tall points between them,
with mound and cross at the top. From groat of Henry VII.
Fig. 17. Crown with five ornamented trefoils, arched, with mound and
cross at the top. From shilling of Henry VII.
Fig. 18. Crown with crosses-patée and fleurs-de-lys alternate, arched,
with mound and cross at the top. From crown of Henry VIII.
Fig. 19. The state crown of William IV.
Fig. 20. The Scottish crown.
Fig. 21. The Coronation Ring of Charles I.
Fig. 22. The Coronation Ring of William IV., Edward VII. and George V.
Fig. 23. The Queen's Ring worn by Queen Adelaide and Queen Alexandra.
Fig. 24. The Coronation Ring of Queen Victoria.
Fig. 25. Sceptre with three pearls at the top. From penny of Æthelred
II.
Fig. 26. Sceptre with trefoil and pearls at the top. From penny of
Canute.
Fig. 27. Sceptre with cross-patée. From penny of Edward the Confessor.
Fig. 28. Sceptre with dove at the top. From the first Great Seal of
Edward the Confessor.
Fig. 29. Sceptre with four pearls at the top. From penny of Harold.
Fig. 30. Sceptre with dove and mound. From the second Great Seal of
Henry III.
Fig. 31. Sceptre with fleur-de-lys at the top. From the second Great
Seal of Henry IV.
Fig. 32. The Royal Sceptre with the Cross before the insertion of the
Star of Africa.
Fig. 33. The Royal Sceptre with the Cross showing the Star of Africa
as it at present appears.
Fig. 34. Sceptre with dove, cross and mound. From Sir Edward Walker's
account of the coronation of Charles II.
Fig. 35. Sceptre with cross, mound and fleur-de-lys, made for Mary of
Modena, Queen-Consort of James II.
Fig. 36. Orb with cross-patée on short stem. From Great Seal of
William I.
Fig. 37. Orb with dove and cross-patée on short stem. From the fourth
Great Seal of Henry I.
Fig. 38. Orb with cross on tall ornamental stem. From the first Great
Seal of Richard I.
Fig. 39. Orb with cross on tall ornamental stem. From the first Great
Seal of Henry III.
Fig. 40. Orb with cross and mound on tall stem. From the second Great
Seal of Henry III.
Fig. 41. Orb with ornamental cross on tall stem. From the Great Seal
of Henry VII.
Fig. 42. Orb with ornamental cross. From the second Great Seal of
Henry VII.
Fig. 43. The ampulla.
Fig. 44. The serjeants-at-arms carrying their maces. From the
coronation procession of Charles II. after Wenceslaus Hollar.
Fig. 45. St. Edward's chair.
Fig. 46. Queen Victoria seated in St. Edward's chair.
Fig. 47. The kingston coronation stone.
Fig. 48. The "coronation book" of Henry I.
Fig. 49. The supertunica or dalmatic worn by Charles II. at his
coronation.
Fig. 50. The armilla or stole worn by Charles II. at his coronation.
Fig. 51. Pall or royal mantle worn by Charles II. at his coronation.
Fig. 52. The pall or royal mantle of cloth of gold worn by James II.
at his coronation.
Fig. 53. Supertunica or dalmatic worn by James II. at his coronation.
Fig. 54. Surcoat of crimson satin opened for the anointing on both
shoulders and on the bend of the arms and at the back with crimson
taffeta ties. Worn by James II. at his coronation.
Fig. 55. Armilla or stole worn by James II. at his coronation.
Fig. 56. The colobium sindonis worn by Queen Victoria at her
coronation.
Fig. 57. Dalmatic worn by Queen Victoria at her coronation.
Fig. 58. Armilla or stole worn by Queen Victoria at her coronation.
Fig. 59. Pall or imperial mantle worn by Queen Victoria at her
coronation.
Fig. 60. The imperial mantle of George IV., used also by George V.
Transcriber’s Notes.
Italic text is indicated with _underscores_, bold text with =equals=.
Small/mixed capitals have been replaced with ALL CAPITALS.
Evident typographical and punctuation errors have been corrected
silently. Inconsistent spelling/hyphenation has been normalised.
Half-titles and reiterations of chapter titles have been discarded.
Where convenient, short footnotes have been embedded in the text.
Remaining footnotes have been sequentially numbered and relocated to
the end of the relevant chapter.
To improve text flow, numbered plates have been relocated between chapters; page
numbers in the list of plates have been discarded.
Black and white illustrations in the text have been relocated between
paragraphs.
A list of black and white figures in the text has been compiled by the
transcriber and appended to the end of the book.
Cover art created for this eBook is granted to the public domain.
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