Object of the Day, Museum Edition: Hat Badge with St. George and the Dragon, 1520

Hat Badge
English, 1520
The Royal Collection

St. George has long been emblematic of Britain and his figure has graced many an important work of art from jewelry to painting. Here, we have a high-relief figure of St. George on horseback as he slays that eternally troublesome the dragon. St. George, as he usually does, holds aloft a sword with a seed-pearl handle. The saint’s armor is adorned with a pattern of crimped gold ribbons. The same pattern is repeated on the translucent red enamel of the horse's caparison. The background shows a walled town in opaque white and blue enamel. George is not the only figure in the scene. To his right is a Princess, kneeling in prayer. The whole of the scene is mounted in a raised frame with scale-like ornament in black enamel and gold and is meant to be worn as a hat badge.


The reverse of this badge which dates to 1520 features an arabesque-style ornament of the same crimped gold ribbons which are inset with stylized gold rosettes on a translucent green enamel.

This is part of a suite of small gold and enamel reliefs (émail en ronde bosse), made by the same workshop. The exact identity of the workshop is uncertain and theories about its location range from Spain and southern Germany to the Danube region.

The oddest thing about this hat badge is the unusual representation of St. George. In usual iconography, St George is represented as a young beardless knight with helmet. However, here St. George is shown with a full beard and curly hair.

How the badge came to be entered in the Royal Collection is unknown, however, it is exactly the type of jewel that shop-a-holic King George IV liked to purchase. It’s thought to have been acquired from Rundell, Bridge & Rundell (the Royal goldsmiths from 1797 to 1840). When one looks back at the historic log of inventories of the Collection, one can see an entry that states the existence of a “curious ancient enamelled Badge of the Garter, in glass case” listed in an inventory of jewels at Windsor Castle in 1830. Most likely, that refers to this particular jewel. 

Mastery of Design: Badge of the Order of the Golden Fleece, c. 1810

Badge of the Order of the Golden Fleece
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Created around 1810, this garter badge of gold, silver, opals and yellow and white diamonds was acquired by our ol' pal Prince Albert, consort of Queen Victoria, Queen of the United Kingdom (1819-61).  Queen Victoria had the badge made for Albert as a gift for his birthday in 1841.

I've written about many orders and badges and garters and garter stars over the years, but this one, which I just happened to stumble upon this past weekend, is particularly smashing and sumptuous.

I'm sure Prince Albert wore it with great pride.

Crown Copyright
The Royal Collection
Image Courtesy of
Her Majesty Queen Elizabeth II

Our friends at the Royal Collection were especially kind in providing some backstory for this lovely badge.  I'm told that this was the first foreign order received by Prince Albert following his marriage to Queen Victoria.  While Albert had received foreign orders before, they were awarded by his German relatives, and Queen Victoria knew that such gifts could not continue since they would be construed by the public as political gestures.  Knowing that the population was already a little distrustful of her German prince bridegroom, Victoria concocted other ways of keeping her young hubby happy, bestowing orders upon him which she had prearranged.  Honors that typically would have been bestowed upon the Sovereign, Victoria arranged to be given to her consort.  First of all, she was a Queen, and female monarchs often weren't given such honors, so Albert could accept them on her behalf.  It was a good idea, both politically and socially...and personally.

Sometimes, however, an honor was offered which was somewhat problematic.  When a particular state offered an order to the Queen, and, thereafter Prince Albert, it was typically assumed that this would be rewarded with some offer on the part of the Crown to that state.  So, when the offer of the Golden Fleece to the Prince in 1841 by the Regency government of Spain, on behalf of the 11-year-old Queen Isabella II, the Queen approached the acceptance of the honor with much cautious negotiation.  

Finally, it was agreed that the Prince would accept the Order and would be invested by the Duke of Wellington, who acted as young Isabella’s proxy in his position as a Grandee of Spain and a Knight of the Golden Fleece. 

The Queen wrote to (Uncle) King Leopold, describing the ceremony which took place on April 27, 1841:

Albert has rec’d the Golden Fleece; … he was invested by the Duke of Wellington, whom the Regency had charged as Grandee of Spain and having the Order, to present it to him. The old Duke and Alva [the Spanish Ambassador] … were delighted at this, & the old Duke … appeared in a new Spanish Uniform made for the occasion.

This badge of the Order of the Golden Fleece was quite a visual departure from previous badges associated with the honor.  Those were originally adorned with the Order's symbol,
a ram’s fleece - an allusion to the Burgundian wool trade as well as to the Golden Fleece of Greek mythology - hanging from a shower of sparks from a flint being struck by a briquette.

The Prince's Spanish Honors
Crown Copyright
The Royal Collection

In Prince Albert's badge, opals take the form of the briquette and flint.  It's possible that the badge was adapted from an earlier piece.  The sparks are set with brilliant-cut diamonds.  And, it's possible that this was a badge which had been sold to Rundell, Bridge & Co. in 1830, described in their accounts as a "Golden Fleece in brilliants."

Opals were the Prince's favorite gemstone, and, so, this badge was the one which he wore most often (of the foreign honors he received).  The opal badge can be seen in his portrait by Winterhalter of 1842 and in photographs by Fenton.  I would like to note, however, that Winterhalter seems to have confused the opal badge and another of the Spanish Honors, using the ruby sparks from another honor in place of the brilliant-cut diamonds which flank the opal badge.

The badge is displayed with Prince Albert's other Spanish honors in the Royal Collection.

Winterhalter's portrait of the Prince, 1842, showing the "mashup" of two badges at Albert's throat.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Saturday Sparkle: The Thistle Badge of the Prince of Wales

Thistle Badge
Blue-Grey and White Onyx,
Diamonds, Gold, Silver, Enamel
Miniature on Ivory
1703-1807
Originally made for King James II
The Royal Collection

The onyx cameo of St. Andrew set into this badge dates to the early Eighteenth Century and was originally carved as a garter badge for King James II. Over the centuries, the badge was altered considerably. Its present condition owes to a redesign from around 1764 when the reverse of the cameo was layered with an enamel design of a thistle. In 1772, a locket was embedded into the enamel. The locket housed a portrait miniature of Princess Louise.


There’s some debate about the origin of the opulent diamond mounting. Some records indicate that this garter jewel was set in a frame of large diamonds as early as 1703 with its presentation to King James II. However, other records show that the diamond mounting was added with the enamel backing in the mid-Eighteenth Century. It could be that the badge has had several settings though the cut and quality of the diamonds suggests creation in the Eighteenth Century.

In 1807, the Cardinal of York, bequeathed the Thistle Badge to the Prince of Wales. Later, the Thistle Badge (having become symbolic of Scotland) was displayed by King William IV as part of the “Honours of Scotland.”

Mastery of Design: A Warriors’ “Bravery” Brooch of Diamonds, 1750

Brooch
Rose-cut Diamonds Set in Silver
Western Europe, 1750
Given as a trophy.
Victoria & Albert Museum

Extravagant diamond pieces were not reserved exclusively for ladies prior to the Nineteenth Century. Men often wore opulent jewels not only as adornment, but also as symbols of their station. Going into the Nineteenth Century, Royal gentlemen (such as Prince Albert) continued to wear gemstone badges and brooches, but the practice fell out of favor with people not associated with royalty. Pity.


This diamond brooch from 1750 is a good example of a gentleman’s piece of jewelry. Made in Western Europe, the brooch contains dozens of large rose-cut diamonds set in silver. The design is based on military weapons—a canon, pistol, arrows, axe, flag and plumed helmet. Such a piece was given to a man as a symbol of his bravery and as a trophy of battle. He would wear it proudly to remind himself and others of his accomplishments.

Gifts of Grandeur: Queen Victoria’s Insignia of the Order of the Garter, 1840

Lesser George
Agate Cameo by Nathaniel Marchant
Setting of Gold and Diamonds
Early Nineteenth Century
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Created by Nathaniel Marchant (1739-1816), this “Lesser George” insignia of the Order of the Garter is a work of brown on gray agate, gold and diamonds. While Royal Family oral history states that this chivalric badge was once worn by King George IV, it’s important to note that it was not recorded in the inventory of the Royal Collection until the accession of George’s niece, Queen Victoria, in 1837.

The badge clearly predates Victoria’s reign and is thought to be one of two which were made for King George IV while he was either still Prince of Wales or Prince Regent, filling-in for his ailing father, King George III. The more informal of the two, this badge features a lovely cameo of St. George about to vanquish the dragon, signed by Marchant. It’s likely that the setting is later.

The 1837 record of the badge, being its first mention, states only that Queen Victoria asked that this “Lesser George” be removed from Windsor Castle for “the Queen’s use.” That same year, the badge was take to Rundells where it was altered or repaired. Victoria favored this badge and wore it often. She was painted wearing the piece several times—notably by Franz Zaver Winterhalter. 

Mastery of Design: The Thistle Badge of the Prince of Wales

Thistle Badge
Blue-Grey and White Onyx,
Diamonds, Gold, Silver, Enamel
Miniature on Ivory
1703-1807
Originally made for King James II
The Royal Collection

The onyx cameo of St. Andrew set into this badge dates to the early Eighteenth Century and was originally carved as a garter badge for King James II. Over the centuries, the badge was altered considerably. Its present condition owes to a redesign from around 1764 when the reverse of the cameo was layered with an enamel design of a thistle. In 1772, a locket was embedded into the enamel. The locket housed a portrait miniature of Princess Louise.


There’s some debate about the origin of the opulent diamond mounting. Some records indicate that this garter jewel was set in a frame of large diamonds as early as 1703 with its presentation to King James II. However, other records show that the diamond mounting was added with the enamel backing in the mid-Eighteenth Century. It could be that the badge has had several settings though the cut and quality of the diamonds suggests creation in the Eighteenth Century.

In 1807, the Cardinal of York, bequeathed the Thistle Badge to the Prince of Wales. Later, the Thistle Badge (having become symbolic of Scotland) was displayed by King William IV as part of the “Honours of Scotland.”

Mastery of Design: Badge of the Order of the Golden Fleece, c. 1810

Badge of the Order of the Golden Fleece
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Created around 1810, this garter badge of gold, silver, opals and yellow and white diamonds was acquired by our ol' pal Prince Albert, consort of Queen Victoria, Queen of the United Kingdom (1819-61).  Queen Victoria had the badge made for Albert as a gift for his birthday in 1841.

I've written about many orders and badges and garters and garter stars over the years, but this one, which I just happened to stumble upon this past weekend, is particularly smashing and sumptuous.

I'm sure Prince Albert wore it with great pride.

Crown Copyright
The Royal Collection
Image Courtesy of
Her Majesty Queen Elizabeth II

Our friends at the Royal Collection were especially kind in providing some backstory for this lovely badge.  I'm told that this was the first foreign order received by Prince Albert following his marriage to Queen Victoria.  While Albert had received foreign orders before, they were awarded by his German relatives, and Queen Victoria knew that such gifts could not continue since they would be construed by the public as political gestures.  Knowing that the population was already a little distrustful of her German prince bridegroom, Victoria concocted other ways of keeping her young hubby happy, bestowing orders upon him which she had prearranged.  Honors that typically would have been bestowed upon the Sovereign, Victoria arranged to be given to her consort.  First of all, she was a Queen, and female monarchs often weren't given such honors, so Albert could accept them on her behalf.  It was a good idea, both politically and socially...and personally.

Sometimes, however, an honor was offered which was somewhat problematic.  When a particular state offered an order to the Queen, and, thereafter Prince Albert, it was typically assumed that this would be rewarded with some offer on the part of the Crown to that state.  So, when the offer of the Golden Fleece to the Prince in 1841 by the Regency government of Spain, on behalf of the 11-year-old Queen Isabella II, the Queen approached the acceptance of the honor with much cautious negotiation.  

Finally, it was agreed that the Prince would accept the Order and would be invested by the Duke of Wellington, who acted as young Isabella’s proxy in his position as a Grandee of Spain and a Knight of the Golden Fleece. 

The Queen wrote to (Uncle) King Leopold, describing the ceremony which took place on April 27, 1841:

Albert has rec’d the Golden Fleece; … he was invested by the Duke of Wellington, whom the Regency had charged as Grandee of Spain and having the Order, to present it to him. The old Duke and Alva [the Spanish Ambassador] … were delighted at this, & the old Duke … appeared in a new Spanish Uniform made for the occasion.

This badge of the Order of the Golden Fleece was quite a visual departure from previous badges associated with the honor.  Those were originally adorned with the Order's symbol,
a ram’s fleece - an allusion to the Burgundian wool trade as well as to the Golden Fleece of Greek mythology - hanging from a shower of sparks from a flint being struck by a briquette.

The Prince's Spanish Honors
Crown Copyright
The Royal Collection

In Prince Albert's badge, opals take the form of the briquette and flint.  It's possible that the badge was adapted from an earlier piece.  The sparks are set with brilliant-cut diamonds.  And, it's possible that this was a badge which had been sold to Rundell, Bridge & Co. in 1830, described in their accounts as a "Golden Fleece in brilliants."

Opals were the Prince's favorite gemstone, and, so, this badge was the one which he wore most often (of the foreign honors he received).  The opal badge can be seen in his portrait by Winterhalter of 1842 and in photographs by Fenton.  I would like to note, however, that Winterhalter seems to have confused the opal badge and another of the Spanish Honors, using the ruby sparks from another honor in place of the brilliant-cut diamonds which flank the opal badge.

The badge is displayed with Prince Albert's other Spanish honors in the Royal Collection.

Winterhalter's portrait of the Prince, 1842, showing the "mashup" of two badges at Albert's throat.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Mastery of Design: The Dame Joan Evans Order of Santiago, 18th C.

The Order of Santiago
From the Collection of Dame Joan Evans
The Victoria & Albert Museum

Made in the Eighteenth Century, this pendant badge represents the Order of Santiago. The spokes of the badge are set with white topaz in gold and the sword cross consists of lush garnets. 


From the collection of Dame Joan Evans, this badge is quite rare. The Order of Santiago is the senior of the four Spanish Military orders.

Sunday Sparkle: The Greater George Garter Badge

The Greater George
Garter Badge
Eighteenth Century, English
Diamonds, Sapphires, Rubies, Amethysts,
Silver and Gold
The Royal Collection

Queen Charlotte had her hands full with her husband, King George III. Perhaps this is why she preferred to stay by herself at Buckingham House (now Buckingham Palace) while George rattled around on his own. George had shown signs of mental decay for quite awhile before his rumored “madness.” Evidence of that is chronicled in an account from 1805 wherein George III became quite distressed before the annualInstallation of the Knights of the Garter on St. George’s Day. You see, in 1804, King George III had asked that the important garter jewels be stored away for safekeeping. He wanted them to be so safe, in fact, that he had hidden them away himself. By 1805, he couldn’t remember what he’d done with them.


It seems, he should have asked his wife. The missing “Greater George” was found in 1819 upon the death of Queen Charlotte. George III had brought the jewels to Buckingham House for safekeeping—perhaps unbeknownst to his wife. This magnificent garter badge was found in a drawer in the Queen’s bedroom when her possessions were being inventoried for auction.

“The Greater George” is of unknown provenance, but most likely dates to the Eighteenth Century, having been made by an English jeweler. Clearly, the piece has been altered over time. It features a diamond-encrusted figure of St. George which is highlighted by rubies and sapphires. The impressive fleur-de-lis of large, brilliant-cut diamonds at the top is a later addition—added in an attempt to make the large piece a little less cumbersome to wear.

These days, The Greater George is guarded and its owners know exactly where it is.

Mastery of Design: A Warriors’ “Bravery” Brooch of Diamonds, 1750

Brooch
Rose-cut Diamonds Set in Silver
Western Europe, 1750
Given as a trophy.
Victoria & Albert Museum

Extravagant diamond pieces were not reserved exclusively for ladies prior to the Nineteenth Century. Men often wore opulent jewels not only as adornment, but also as symbols of their station. Going into the Nineteenth Century, Royal gentlemen (such as Prince Albert) continued to wear gemstone badges and brooches, but the practice fell out of favor with people not associated with royalty. Pity.


This diamond brooch from 1750 is a good example of a gentleman’s piece of jewelry. Made in Western Europe, the brooch contains dozens of large rose-cut diamonds set in silver. The design is based on military weapons—a canon, pistol, arrows, axe, flag and plumed helmet. Such a piece was given to a man as a symbol of his bravery and as a trophy of battle. He would wear it proudly to remind himself and others of his accomplishments.

Object of the Day, Museum Edition: Hat Badge with St. George and the Dragon, 1520

Hat Badge
English, 1520
The Royal Collection

St. George has long been emblematic of Britain and his figure has graced many an important work of art from jewelry to painting. Here, we have a high-relief figure of St. George on horseback as he slays that eternally troublesome the dragon. St. George, as he usually does, holds aloft a sword with a seed-pearl handle. The saint’s armor is adorned with a pattern of crimped gold ribbons. The same pattern is repeated on the translucent red enamel of the horse's caparison. The background shows a walled town in opaque white and blue enamel. George is not the only figure in the scene. To his right is a Princess, kneeling in prayer. The whole of the scene is mounted in a raised frame with scale-like ornament in black enamel and gold and is meant to be worn as a hat badge.


The reverse of this badge which dates to 1520 features an arabesque-style ornament of the same crimped gold ribbons which are inset with stylized gold rosettes on a translucent green enamel.

This is part of a suite of small gold and enamel reliefs (émail en ronde bosse), made by the same workshop. The exact identity of the workshop is uncertain and theories about its location range from Spain and southern Germany to the Danube region.

The oddest thing about this hat badge is the unusual representation of St. George. In usual iconography, St George is represented as a young beardless knight with helmet. However, here St. George is shown with a full beard and curly hair.

How the badge came to be entered in the Royal Collection is unknown, however, it is exactly the type of jewel that shop-a-holic King George IV liked to purchase. It’s thought to have been acquired from Rundell, Bridge & Rundell (the Royal goldsmiths from 1797 to 1840). When one looks back at the historic log of inventories of the Collection, one can see an entry that states the existence of a “curious ancient enamelled Badge of the Garter, in glass case” listed in an inventory of jewels at Windsor Castle in 1830. Most likely, that refers to this particular jewel. 

Mastery of Design: Queen Victoria’s Insignia of the Order of the Garter, 1840

Lesser George
Agate Cameo by Nathaniel Marchant
Setting of Gold and Diamonds
Early Nineteenth Century
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Created by Nathaniel Marchant (1739-1816), this “Lesser George” insignia of the Order of the Garter is a work of brown on gray agate, gold and diamonds. While Royal Family oral history states that this chivalric badge was once worn by King George IV, it’s important to note that it was not recorded in the inventory of the Royal Collection until the accession of George’s niece, Queen Victoria, in 1837.

The badge clearly predates Victoria’s reign and is thought to be one of two which were made for King George IV while he was either still Prince of Wales or Prince Regent, filling-in for his ailing father, King George III. The more informal of the two, this badge features a lovely cameo of St. George about to vanquish the dragon, signed by Marchant. It’s likely that the setting is later.

The 1837 record of the badge, being its first mention, states only that Queen Victoria asked that this “Lesser George” be removed from Windsor Castle for “the Queen’s use.” That same year, the badge was take to Rundells where it was altered or repaired. Victoria favored this badge and wore it often. She was painted wearing the piece several times—notably by Franz Zaver Winterhalter. 

Mastery of Design: The Dame Joan Evans Order of Santiago, 18th C.

The Order of Santiago
From the Collection of Dame Joan Evans
The Victoria & Albert Museum

Made in the Eighteenth Century, this pendant badge represents the Order of Santiago. The spokes of the badge are set with white topaz in gold and the sword cross consists of lush garnets. 


From the collection of Dame Joan Evans, this badge is quite rare. The Order of Santiago is the senior of the four Spanish Military orders.

Object of the Day, Museum Edition: Hat Badge with St. George and the Dragon, 1520

Hat Badge
English, 1520
The Royal Collection

St. George has long been emblematic of Britain and his figure has graced many an important work of art from jewelry to painting. Here, we have a high-relief figure of St. George on horseback as he slays that eternally troublesome the dragon. St. George, as he usually does, holds aloft a sword with a seed-pearl handle. The saint’s armor is adorned with a pattern of crimped gold ribbons. The same pattern is repeated on the translucent red enamel of the horse's caparison. The background shows a walled town in opaque white and blue enamel. George is not the only figure in the scene. To his right is a Princess, kneeling in prayer. The whole of the scene is mounted in a raised frame with scale-like ornament in black enamel and gold and is meant to be worn as a hat badge.


The reverse of this badge which dates to 1520 features an arabesque-style ornament of the same crimped gold ribbons which are inset with stylized gold rosettes on a translucent green enamel.

This is part of a suite of small gold and enamel reliefs (émail en ronde bosse), made by the same workshop. The exact identity of the workshop is uncertain and theories about its location range from Spain and southern Germany to the Danube region.

The oddest thing about this hat badge is the unusual representation of St. George. In usual iconography, St George is represented as a young beardless knight with helmet. However, here St. George is shown with a full beard and curly hair.

How the badge came to be entered in the Royal Collection is unknown, however, it is exactly the type of jewel that shop-a-holic King George IV liked to purchase. It’s thought to have been acquired from Rundell, Bridge & Rundell (the Royal goldsmiths from 1797 to 1840). When one looks back at the historic log of inventories of the Collection, one can see an entry that states the existence of a “curious ancient enamelled Badge of the Garter, in glass case” listed in an inventory of jewels at Windsor Castle in 1830. Most likely, that refers to this particular jewel.