Object of the Day, Museum Edition: Hogarth's Richard III, 1840

Staffordshire Flatback
David Garrick as Richard III
Based on the painting by Hogarth
The Victoria & Albert Museum

The recent discovery of the bones of the misunderstood monarch, Richard III makes this porcelain figure all the more interesting.  Here, we see a glazed earthenware flatback figure of David Garrick as Richard III. He is seated in a white tent, wearing a green coat with a textured “ermine” border with gilt details on both the tent and on his costume.

These earthenware flatbacks and figurines were designed as mantelpiece decorations, and, as we know, were first produced in Staffordshire in the late 1830s—originally with figures of Queen Victoria and Prince Albert. As the decades passed, and the figures became more popular, they were created in a wide range of popular subjects ranging from the Royal to the theatrical.

This flatback of celebrated actor David Garrick as Richard III depicts the famous tent scene before the Battle of Bosworth, when Richard is haunted by the ghosts of those he had murdered. The composition was modeled after a painting from 1745 by William Hogarth. I like that the V&A has pointed out, “In the painting his hand is raised in a gesture of horror and not the rather benign royal wave it appears to be in the flatback.”

Just a biographical note on David Garrick (1717-1779)—he was recognized as one of the greatest actors ever in both comedy and tragedy. Born in Hereford, Garrick came to London in 1737 to work as a wine merchant but made his London debut as an actor at Goodman's Fields as Richard III in 1741. Later, he managed the Theatre Royal Drury Lane from 1747 until 1776.

Sculpture of the Day: Edmund Kean as Richard III, 1840

Figure, 1840
The Victoria & Albert Museum

We’ve seen another Staffordshire figure of Richard III which was based on a painting by William Hogarth of David Garrick playing the role in the play by William Shakespeare. Here, we see a figure of the great English actor-manager Edmund Kean (1787-1833) in the title role of Shakespeare's Richard III. Kean first played Richard III at Drury Lane Theatre in 1814 and it became one of his most celebrated roles, along with Macbeth and Iago. The poet Coleridge commented that watching Kean act was like “reading Shakespeare by flashes of lightning.”


This glazed figure of Edmund Kean as Richard III. He stands with his legs apart, his weight on his left leg with the knee bent. He is looking to his right, wearing white breeches striped in gold, a white breast-plate delineated with gold, and a knee-length cloak lined in orange and edged with a white border which is meant to simulate ermine. The figure is said to accurately reproduce the costume worn by Kean as Richard III.

Sculpture of the Day: Hogarth's Richard III, 1840

Staffordshire Flatback
David Garrick as Richard III
Based on the painting by Hogarth
The Victoria & Albert Museum

I just saw one of these on a recent antiquing excursion with my parents. Here, we see a glazed earthenware flatback figure of David Garrick as Richard III. He is seated in a white tent, wearing a green coat with a textured “ermine” border with gilt details on both the tent and on his costume.

These earthenware flatbacks and figurines were designed as mantelpiece decorations, and, as we know, were first produced in Staffordshire in the late 1830s—originally with figures of Queen Victoria and Prince Albert. As the decades passed, and the figures became more popular, they were created in a wide range of popular subjects ranging from the Royal to the theatrical.

This flatback of celebrated actor David Garrick as Richard III depicts the famous tent scene before the Battle of Bosworth, when Richard is haunted by the ghosts of those he had murdered. The composition was modeled after a painting from 1745 by William Hogarth. I like that the V&A has pointed out, “In the painting his hand is raised in a gesture of horror and not the rather benign royal wave it appears to be in the flatback.”

Just a biographical note on David Garrick (1717-1779)—he was recognized as one of the greatest actors ever in both comedy and tragedy. Born in Hereford, Garrick came to London in 1737 to work as a wine merchant but made his London debut as an actor at Goodman's Fields as Richard III in 1741. Later, he managed the Theatre Royal Drury Lane from 1747 until 1776.

Object of the Day, Museum Edition: The Comet, 1789

A Return of the Comet is expected this Year and to be within our horizon from the month of Octr 1788 to Augt 1789 but is expected to be most -visible (if it forces itself upon our Notice).

"The Comet"
Aquatint by James Sayers, 1789
Version housed in the Victoria & Albert Museum

This aquatint (a printmaking technique like engraving wherein an acid is applied to a metal plate) is entitled “The Comet” and is the work of engraver James Sayers. A satirical piece, Sayers has placed in the composition the Prince of Wales at the time (later the Prince Regent, later still King George IV) at the head of the comet, notable contemporary characters make up its tail.

This piece was published in London by Thomas Cornell. Those pictured behind the future King George IV are: Edmund Burke, Sir Grey Cooper, Edward Stanley Smith the Twelfth Earl of Derby, Charles James Fox, Frederick North the Second Earl of Guilford, Thomas Powys the First Baron of Lilford, William John Kerr the Fifth Marquess of Lothian, David Murray the Second Earl of Mansfield, Charles Howard the Eleventh Duke of Norfolk, William Henry Cavendish Bentinck the Third Duke of Portland, William Douglas the Fourth Duke of Queensberry, Alexander Wedderburn the First Earl of Rosslyn (Lord Loughborough), John Montagu the Fourth Earl of Sandwich, John Sawbridge, Richard Brinsley Sheridan, John Warren, Richard Watson and Christopher Wilson.

To quote Homer Simpson, “Mmmmm…Fourth Earl of Sandwich.” As for the rest, well, they’re less delicious.

Another version of this piece, located at the V&A, is in the collection of The British Museum. So, what makes this so important that two major museums display it? What’s going on here?

The piece was produced during one of George III’s famous bouts of illness—leading to his famed madness. The King was not expected, at first, to recover and supporters of the randy Prince of Wales expected him to ascend the throne.  However, George III rallied and his eldest boy's followers found that they were no closer to the throne than ever.  Still, the Prince of Wales looked forward to surpassing his rickety father.  This is summed up visual in the drawing we see above.

A comet is cutting through the design diagonally and downwards from the right to the left. The comet’s head is that of the future King George IV surrounded by a star, while the tail contains the heads of his disappointed followers. Immediately after the Prince is the head of Richard Sheridan, with a gloomy expression. Behind him are James Fox, with a melancholy countenance, and an angry Duke of Portland.

After them comes the wig in back view of Lord Loughborough and a host of other disgruntled hangers-on. On the background is etched “A Return of the Comet” which appeared in 1761. The text reads:

A Return of the Comet is expected this Year and to be within our horizon from the month of Octr 1788 to Augt 1789 but is expected to be most -visible {if it forces itself upon our Notice) in the Winter months Febry & March ------ vide Dr Trusslers Almanack


By some of the ancient Astronomers Comets were deemed Meteors kindled in the Air and designed as Presages or unlucky Omens of some disastrous Catastrophe------


The Peripateticks deemed them not permanent Bodies but bodies newly produced and in a short Time to perish again, and affirmed that they were made up of Exhalations in the terrestrial Regions------


Sr Isaac Newton asserts That the Tail of a Comet is nothing else than a fine Vapour which the Head of the Comet emits by its heat that Heat the Comet receives from the Sun and the magnitude of the Tail is always proportional to the degree of heat which the Comet receives, and Comets which are nearest to the Sun have the longest Tails------' 18 February 1789

The version exhibited at The British Museum.

 

Object of the Day, Museum Edition: The Comet, 1789

A Return of the Comet is expected this Year and to be within our horizon from the month of Octr 1788 to Augt 1789 but is expected to be most -visible (if it forces itself upon our Notice).

"The Comet"
Aquatint by James Sayers, 1789
Version housed in the Victoria & Albert Museum

This aquatint (a printmaking technique like engraving wherein an acid is applied to a metal plate) is entitled “The Comet” and is the work of engraver James Sayers. A satirical piece, Sayers has placed in the composition the Prince of Wales at the time (later the Prince Regent, later still King George IV) at the head of the comet, notable contemporary characters make up its tail.

This piece was published in London by Thomas Cornell. Those pictured behind the future King George IV are: Edmund Burke, Sir Grey Cooper, Edward Stanley Smith the Twelfth Earl of Derby, Charles James Fox, Frederick North the Second Earl of Guilford, Thomas Powys the First Baron of Lilford, William John Kerr the Fifth Marquess of Lothian, David Murray the Second Earl of Mansfield, Charles Howard the Eleventh Duke of Norfolk, William Henry Cavendish Bentinck the Third Duke of Portland, William Douglas the Fourth Duke of Queensberry, Alexander Wedderburn the First Earl of Rosslyn (Lord Loughborough), John Montagu the Fourth Earl of Sandwich, John Sawbridge, Richard Brinsley Sheridan, John Warren, Richard Watson and Christopher Wilson.

To quote Homer Simpson, “Mmmmm…Fourth Earl of Sandwich.” As for the rest, well, they’re less delicious.

Another version of this piece, located at the V&A, is in the collection of The British Museum. So, what makes this so important that two major museums display it? What’s going on here?

The piece was produced during one of George III’s famous bouts of illness—leading to his famed madness. The King was not expected, at first, to recover and supporters of the randy Prince of Wales expected him to ascend the throne.  However, George III rallied and his eldest boy's followers found that they were no closer to the throne than ever.  Still, the Prince of Wales looked forward to surpassing his rickety father.  This is summed up visual in the drawing we see above.

A comet is cutting through the design diagonally and downwards from the right to the left. The comet’s head is that of the future King George IV surrounded by a star, while the tail contains the heads of his disappointed followers. Immediately after the Prince is the head of Richard Sheridan, with a gloomy expression. Behind him are James Fox, with a melancholy countenance, and an angry Duke of Portland.

After them comes the wig in back view of Lord Loughborough and a host of other disgruntled hangers-on. On the background is etched “A Return of the Comet” which appeared in 1761. The text reads:

A Return of the Comet is expected this Year and to be within our horizon from the month of Octr 1788 to Augt 1789 but is expected to be most -visible {if it forces itself upon our Notice) in the Winter months Febry & March ------ vide Dr Trusslers Almanack


By some of the ancient Astronomers Comets were deemed Meteors kindled in the Air and designed as Presages or unlucky Omens of some disastrous Catastrophe------


The Peripateticks deemed them not permanent Bodies but bodies newly produced and in a short Time to perish again, and affirmed that they were made up of Exhalations in the terrestrial Regions------


Sr Isaac Newton asserts That the Tail of a Comet is nothing else than a fine Vapour which the Head of the Comet emits by its heat that Heat the Comet receives from the Sun and the magnitude of the Tail is always proportional to the degree of heat which the Comet receives, and Comets which are nearest to the Sun have the longest Tails------' 18 February 1789

The version exhibited at The British Museum.

 

Person of the Week: Jim Carter

BBC

We watch a lot of British period drama. Inevitably, we see the same few actors appearing in multiple things from the original Upstairs, Downstairs and its continuation to Cranford and Downton Abbey.



Jim Carter stars in both Cranford and Downton Abbey. As a young man, this Yorkshire native abandoned his studies in law to pursue a career in acting. He was one of the founding members of a Brighton theatre troop. Since 1984, he has performed in many films including: Top Secret! (1984), A Month in the Country (1987), The Madness of King George (1994), Richard III (1995), Brassed Off (1996), Shakespeare in Love (1998), The Little Vampire (2000), Ella Enchanted (2004), The Thief Lord (2006). The Golden Compass (2007), the first in the His Dark Materials trilogy, House Of 9 (2005) and Alice in Wonderland.

Mr. Carter, with imposing voice and stern expression, is best known as Mr. Carter, the loyal butler in Downton Abbey and for his enjoyable turn as a budding railway planner in Cranford. For his many years of exceptional performances, Jim Carter is our “Person of the Week.”

Object of the Day, Museum Edition: The Tudor Rose Sweetmeat Dish, 1925-6

The Victoria & Albert Museum

This dear sweatmeat dish takes the form of a Tudor Rose--raised and chased, with cast feet.

It was made in London between 1925 and 1926 by Omar Ramsden (born 1873 - died 1939). The reverse is marked OMAR RAMSDEN ME FECIT (OMAR RAMSDEN MADE ME). Ramsden trained at the Sheffield School of Art, and later moved to London where he set up a partnership with Alwyn Carr in 1899. After the First World War, Carr left the partnership and Ramsden worked alone, producing fashionable silver pieces in the Arts and Crafts style.

The Tudor Rose (sometimes called the Union Rose) is a traditional heraldic emblem of England with obvious origins from the Tudor dynasty wherein Henry Tudor (whose symbol was the red rose), upon taking the crown from Richard III and marrying Elizabeth of York, conjoined his symbol with that of his wife (the white rose of York), The Tudor rose is often surmounted by a crown and flanked by the thistles of Scotland or a thistle and clover of Ireland.

Object of the Day, Museum Edition: A Porcelain Figure of William Shakespeare, 1765

William Shakespeare
Derby Porcelain
1765
The Victoria & Albert Museum

When I first saw this Derby porcelain figure from about 1765 in the collection of the V&A, I didn’t immediately recognize it as William Shakespeare (1564-1616). The modern idea of Shakespeare’s countenance has developed over time and is based on hundreds of different representations of the celebrated writer. What he exactly looked like, we’ll never really know. This is but one interpretation of Shakespeare—rendered almost one hundred sixty years after his death.

This figurine of “The Bard” is based on the life-size white marble statue by Peter Scheemakers in the monument designed by William Kent, erected in Poets' Corner in Westminster Abbey. The monument was erected in 1740, 124 years after Shakespeare's death. It was sponsored by the Earl of Burlington, Dr Mead, Alexander Pope and one Mr. Martin. It’s important to note that William Shakespeare is not buried in Poet’s Corner in the Abbey, but is, rather, buried in Stratford upon Avon though many suggested that his remains should be moved from Stratford to Westminster Abbey. That idea was abandoned after awhile and the monument remains just that—a monument and not a tomb.

We see Shakespeare depicted as pointing to a scroll which is inscribed with Prospero's Act IV lines from The Tempest:The Cloud capt Tow’rs, The Gorgeous Palaces, The Solemn Temples, 
The Great Globe itself, Yea all which it Inherit, Shall Dissolve; 
And like the baseless Fabrick of a Vision, Leave not a wrack behind. 

The scroll rests on a pedestal which is adorned with the carved heads of Queen Elizabeth I, Henry V and Richard III.

This handsome figure is the work of the Derby factory which produced three versions of the figurine in the late 1750s to mid-1760s. It was often sold as a pair with a figure of John Milton.

Sculpture of the Day: A Porcelain Figure of William Shakespeare, 1765

William Shakespeare
Derby Porcelain
1765
The Victoria & Albert Museum

When I first saw this Derby porcelain figure from about 1765 in the collection of the V&A, I didn’t immediately recognize it as William Shakespeare (1564-1616). The modern idea of Shakespeare’s countenance has developed over time and is based on hundreds of different representations of the celebrated writer. What he exactly looked like, we’ll never really know. This is but one interpretation of Shakespeare—rendered almost one hundred sixty years after his death.

This figurine of “The Bard” is based on the life-size white marble statue by Peter Scheemakers in the monument designed by William Kent, erected in Poets' Corner in Westminster Abbey. The monument was erected in 1740, 124 years after Shakespeare's death. It was sponsored by the Earl of Burlington, Dr Mead, Alexander Pope and one Mr. Martin. It’s important to note that William Shakespeare is not buried in Poet’s Corner in the Abbey, but is, rather, buried in Stratford upon Avon though many suggested that his remains should be moved from Stratford to Westminster Abbey. That idea was abandoned after awhile and the monument remains just that—a monument and not a tomb.

We see Shakespeare depicted as pointing to a scroll which is inscribed with Prospero's Act IV lines from The Tempest:
The Cloud capt Tow’rs, The Gorgeous Palaces, The Solemn Temples, 
The Great Globe itself, Yea all which it Inherit, Shall Dissolve; 
And like the baseless Fabrick of a Vision, Leave not a wrack behind. 

The scroll rests on a pedestal which is adorned with the carved heads of Queen Elizabeth I, Henry V and Richard III.

This handsome figure is the work of the Derby factory which produced three versions of the figurine in the late 1750s to mid-1760s. It was often sold as a pair with a figure of John Milton.

Sculpture of the Day: A Porcelain Figure of William Shakespeare, 1765

William Shakespeare
Derby Porcelain
1765
The Victoria & Albert Museum

When I first saw this Derby porcelain figure from about 1765 in the collection of the V&A, I didn’t immediately recognize it as William Shakespeare (1564-1616). The modern idea of Shakespeare’s countenance has developed over time and is based on hundreds of different representations of the celebrated writer. What he exactly looked like, we’ll never really know. This is but one interpretation of Shakespeare—rendered almost one hundred sixty years after his death.

This figurine of “The Bard” is based on the life-size white marble statue by Peter Scheemakers in the monument designed by William Kent, erected in Poets' Corner in Westminster Abbey. The monument was erected in 1740, 124 years after Shakespeare's death. It was sponsored by the Earl of Burlington, Dr Mead, Alexander Pope and one Mr. Martin. It’s important to note that William Shakespeare is not buried in Poet’s Corner in the Abbey, but is, rather, buried in Stratford upon Avon though many suggested that his remains should be moved from Stratford to Westminster Abbey. That idea was abandoned after awhile and the monument remains just that—a monument and not a tomb.

We see Shakespeare depicted as pointing to a scroll which is inscribed with Prospero's Act IV lines from The Tempest:

The Cloud capt Tow’rs, The Gorgeous Palaces, The Solemn Temples,
The Great Globe itself, Yea all which it Inherit, Shall Dissolve;
And like the baseless Fabrick of a Vision, Leave not a wrack behind.

The scroll rests on a pedestal which is adorned with the carved heads of Queen Elizabeth I, Henry V and Richard III.

This handsome figure is the work of the Derby factory which produced three versions of the figurine in the late 1750s to mid-1760s. It was often sold as a pair with a figure of John Milton.

Object of the Day, Museum Edition: The Tudor Rose Sweetmeat Dish, 1925-6

The Victoria & Albert Museum

This dear sweatmeat dish takes the form of a Tudor Rose--raised and chased, with cast feet.

It was made in London between 1925 and 1926 by Omar Ramsden (born 1873 - died 1939). The reverse is marked OMAR RAMSDEN ME FECIT (OMAR RAMSDEN MADE ME). Ramsden trained at the Sheffield School of Art, and later moved to London where he set up a partnership with Alwyn Carr in 1899. After the First World War, Carr left the partnership and Ramsden worked alone, producing fashionable silver pieces in the Arts and Crafts style.

The Tudor Rose (sometimes called the Union Rose) is a traditional heraldic emblem of England with obvious origins from the Tudor dynasty wherein Henry Tudor (whose symbol was the red rose), upon taking the crown from Richard III and marrying Elizabeth of York, conjoined his symbol with that of his wife (the white rose of York), The Tudor rose is often surmounted by a crown and flanked by the thistles of Scotland or a thistle and clover of Ireland.

Unusual Artifacts: The Lost Cups of Dogus-Tobias

A tale of tumult and terror, the Legend of the Lost Cups of Dogus-Tobias was proven to have been fact, a discovery corresponding with the discovery of the bones of Richard III.  

Perhaps one of the most astounding examples of the brilliance of ancient goldsmiths, these chalices of hammered, brightly-colored gold were thought to have been lost for centuries.  Said to have been crafted in the fires of Mount Doom during the Thirteenth Century, the cups are thought to be the work of Bertram, the elder who crafted the vessels to be used in the serving of Ghinghar-aile, an unusually fizzy tonic thought to settle the stomach.  Only in these chalices, it was believed, would the tonic work.  

The little recorded Battle of Hamsanwish of 1432 saw the cups stolen by the people of stupid Flanders who, in typical troll-like fashion, hid them away so that they might be used to calm the dyspeptic stomachs of their royal family.  From the vaults of the stupid Flanderseses, the vessels are historically thought to have been stolen by Roman Castavette, a blockade runner in the employ of Elizabeth of Montgomery.  After a 1660 fire destroyed the Montgomery estate, Monty Hall, the chalices were again stolen by an unknown party.  They did not resurface until 1999 when they were discovered with an odd job lot of antiques auctioned off by Lord Cadbury of Cremehg.  

OR...
NOT...

APRIL FOOLS'

My mother has been making these little cups out of the foil of Easter candy for as long as I can remember.  Instead of throwing them away, last year, I saved them JUST FOR TODAY!

Painting of the Day: Augustus, Duke of Sussex, 1780

Prince Augustus
Benjamin West, 1780
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

From 1780, we have Augustus, Duke of Sussex as painted by Benjamin West (1738-1820). This is one of several paintings by West added to the Royal Collection by Queen Mary (1867-1953).

West came to England from Italy in 1763 and became part of the movement to create a national school of history painting—a goal supported by King George III. George III awarded West his patronage and West found himself closely associated with the newly founded Royal Academy in 1768. There, he was one of the first artists to exhibit.

By 1772, West was considered to be the “Historical Painter to the King,” and was paid an annual stipend by the Crown. As part of his commission, he offered artistic instruction to the princesses. In 1791, West succeeded Richard Dalton as Surveyor of the King’s Pictures. Though dated 1780, the portrait that we see above was not exhibited at the Royal Academy until 1782. While the painting of Prince Augustus in front of a view of Windsor was commissioned by Queen Charlotte, at some point, it left the Royal Collection only to be returned in 1934 when Queen Mary purchased it. 

Painting of the Day: Augustus, Duke of Sussex, 1780

Prince Augustus
Benjamin West, 1780
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

From 1780, we have Augustus, Duke of Sussex as painted by Benjamin West (1738-1820). This is one of several paintings by West added to the Royal Collection by Queen Mary (1867-1953).

West came to England from Italy in 1763 and became part of the movement to create a national school of history painting—a goal supported by King George III. George III awarded West his patronage and West found himself closely associated with the newly founded Royal Academy in 1768. There, he was one of the first artists to exhibit.

By 1772, West was considered to be the “Historical Painter to the King,” and was paid an annual stipend by the Crown. As part of his commission, he offered artistic instruction to the princesses. In 1791, West succeeded Richard Dalton as Surveyor of the King’s Pictures. Though dated 1780, the portrait that we see above was not exhibited at the Royal Academy until 1782. While the painting of Prince Augustus in front of a view of Windsor was commissioned by Queen Charlotte, at some point, it left the Royal Collection only to be returned in 1934 when Queen Mary purchased it. 

Object of the Day, Museum Edition: A Japanned Cabinet on a Stand, 1690-1700

Japanned Cabinet on a Silvered Softwood Stand with applied Lime Decoration
1690-1700
This and all related images from:
The Victoria & Albert Museum

They way in which a person furnishes his home has always been a way to show friends and neighbors an individual’s personal taste and social status. Around 1660, one of the most prestigious pieces of furniture that a household could possess was a highly decorative cabinet on a stand.   These cabinets, valuable in their own right, also served as a means of displaying rare and beautiful objects.   

Here, we see such a cabinet.  This example has been “japanned”  a technique which imitated the expensive lacquer made in East Asia. This cabinet belonged to Sir Richard Hill (1655-1727), who became Deputy Paymaster to William III's forces in Flanders.  It is made of softwood, with carved elements pieced out in lime.   It was made in England between 1690-1700, built on an oak carcass, with softwood dust-boards and oak drawer linings.  The stand and cresting of carved and silvered softwood mirrors the French style which was fashionable of the time.  

Object of the Day, Museum Edition: A Japanned Cabinet on a Stand, 1690-1700

Japanned Cabinet on a Silvered Softwood Stand with applied Lime Decoration
1690-1700
This and all related images from:
The Victoria & Albert Museum

They way in which a person furnishes his home has always been a way to show friends and neighbors an individual’s personal taste and social status.  Around 1660, one of the most prestigious pieces of furniture that a household could possess was a highly decorative cabinet on a stand.   These cabinets, valuable in their own right, also served as a means of displaying rare and beautiful objects.   

Here, we see such a cabinet.  This example has been “japanned”  a technique which imitated the expensive lacquer made in East Asia. This cabinet belonged to Sir Richard Hill (1655-1727), who became Deputy Paymaster to William III's forces in Flanders.  It is made of softwood, with carved elements pieced out in lime.   It was made in England between 1690-1700, built on an oak carcass, with softwood dust-boards and oak drawer linings.  The stand and cresting of carved and silvered softwood mirrors the French style which was fashionable of the time.  

Card of the Day: St. Edward’s Crown

In the Crown Jewels of Britain, there are a lot of crowns. Several monarchs wanted their own special crowns, others were made for particular purposes. Others still, were changed and altered over the centuries. Of all of them, this one—St. Edward’s Crown—is the very first one any monarch wears.


The original crown of St Edward the Confessor (for whom the present crown is named) was worn by him at Christmas in 1065. That crown, in fact, may have incorporated jewels and gold from a crown worn earlier by Alfred the Great. In 1066, also on Christmas Day, St Edward's Crown was most likely used in the coronation of King William I as a symbol of his inheritance by “right rather than conquest.” The same crown was used, thereafter, for the coronations of William Rufus (1087), Henry I (1100), Stephen (1135), Henry II (1154), Richard I (1189 and 1194), and John (1199).

Then, things changed a bit—as they do. In 1216, at the first coronation of King Henry III, a different crown was used. Some contend that the original St Edward's Crown had been among the crown jewels that were lost by King John (John is an unlucky name in the Royal family). However much evidence shows that the original crown and regalia survived until 1642, and that these were kept in the Treasury of Westminster until the time of King Henry VIII who, at least, didn’t try to eat them. Most believe that St. Edward’s crown was employed in 1533 for the coronation of Anne Boleyn, but that it was then subsequently destroyed by Oliver Cromwell's order during the English Civil War. St. Edward’s Crown was re-created in 1661 for the coronation of King Charles II.

(C) The Historic Royal Palaces

The present crown that we call St Edward's Crown contains much of that crown that had been made in 1661 for the coronation of King Charles II, and also pearls from earrings worn by Queen Elizabeth I. The crown as it is today, is constructed of solid gold with a design which features a base with four crosses pattée alternating with four fleurs-de-lis, within which a velvet cap with an ermine border is set beneath two arches surmounted by a cross. In all, the crown is set with 444 precious stones. Until, 1911, the stones were often removed and set in different ways or with different stones for each coronation. In 1911, for the coronation of King George V and Queen Mary, the stones were permanently set. In more recent coronation, only Queen Victoria and her son, King Edward VII, decided not to be crowned with St Edward's Crown--mostly because of its weight of 4 lb 12 ounces. They used the lighter and far more sparkly Imperial State Crown. However, Queen Mary, a stickler for tradition, encouraged her husband, King George V, to wear the proper coronation crown.

The crown is commemorated in this cigarette card by Churchman Cigarette Co.