Mastery of Design: The Edward East Clock Watch, 1645

Clock Watch
Edward East, 1645
The Victoria & Albert Museum

Beautiful and functional, this clock-watch strikes the hours and also has an alarm mechanism. The back plate is signed “Eduardus East Londini.”

Edward East (born 1602, died around 1697) was, in 1660, appointed Chief Clockmaker to King, Charles II (ruled 1660-1685). He enjoyed a large and thriving business until 1697, when he may have died. It has, however been noted, that he never really wanted to be a clockmaker and only entered the profession reluctantly.

Despite his rumored resistance, he talent in the profession is undeniable as evidenced by the

finely engraved naturalistic flowers on the reverse of the case. These are in the style of the prints published for the use of engravers and enamellers by Jacques Vauquer (1621-1686) in Paris.

King Charles I was always fascinated by mechanical objects, and also enjoyed making gifts of them. It is thought that this watch was made for the King who gifted it to his sister, Elizabeth, Queen of Bohemia to, in turn, gave it to Gilbert Spencer in 1661. 

The Art of Play: King Charles I’s Rocking Horse, 1610

Rocking Horse Belonging to King Charles I
1610
The Museum of Childhood
The Victoria & Albert Museum

Of the two-hundred rocking horses in the collection of the Museum of Childhood at the Victoria & Albert Museum, this is the oldest. The horse, made of softwood and elm, was made in 1610 specifically for King Charles I–son of James VI and Anne of Denmark—when he was a child. Charles’ childhood was marked by ill-health and a variety of speech disorders which kept the prince secluded and largely indoors. This rocking horse probably provided the soon-to-be-king with a much needed distraction.


It’s rather amazing that this item has survived over four hundred years in the excellent condition that it’s in. A plaque affixed to the horse states that the horse was, “Purchased on 18 June, 1906, at Cheshunt House, Hertfordshire.” Theobalds House—the favorite home of James VI—was the location of James death and the announcement that Charles I would be king. Theobalds House stood near Cheshunt House in Hertfordshire. When the house was largely demolished in the Eighteenth Century, most of its contents were absorbed into the surrounding stately homes. This rocking horse seems to have made its way into Cheshunt House where it remained for three hundred years.

Unfolding Pictures: A Stuart Dynasty Fan, c. 1600

Fan from the Stuart Collection
Circa 1600
Leather, Bone
Purchased by George V, 1910
Crown Copyright
The Royal Collection
Images Courtesy of
Her Majesty Queen Elizabeth II

In 1910, as instructed by Queen Mary (of Teck), King George V purchased a set of twenty-four relics reputedly belonging to the Royal Stuart Family of the late Sixteenth and early Seventeenth Centuries. Among these items is this leather-leaf fan with bone sticks and guards which is said to have belonged to King Charles I.


The leather leaf of this fan shows an open-work pattern which was typical of the era, most likely copied from a book. The pattern was transferred to the leather by pricking the leaf with pin holes which traced the design’s outline. The area within the pinholes was then meticulously cut with a knife.

Traces of red and green pigment are still visible on the bone sticks and guards which also show signs of having been adorned with some kind of metal sheeting—copper or possibly tin—which was affixed with copper wire via small holes in the bone.

In 1916, Queen Mary proudly displayed this fan and the other twenty-three items in the newly arranged, “Stuart Room” in Windsor Castle. 

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

Object of the Day, Museum Edition: A Miniature of King Charles I when Prince of Wales, 1616

Miniautre of King Charles I when Prince of Wales.  Watercolor on vellum applied to card.
Sir Balthazar Gerbier, 1616
Nineteenth Century silver frame.
The Victoria & Albert Museum

What a pretty lady. Oh! Wait…it’s not a lady. This rather awkward miniature of a very feminine-looking gent is by an amateur painter, Sir Balthazar Gerbier, explaining its rough and confusing look. Gerbier was born in the Netherlands, and basically, he trained for the life of a courtier, including the useful art of drawing. Unprepared for anything else, Gerbier entered the service of Prince William of Orange in 1615 who sent the man to England in an ambassadorial capacity in 1616. While in England, Gerbier transferred his services and allegiance to the then Earl (later the Duke) of Buckingham who was a very close companion of King James I. Gerbier became the Duke of Buckingham’s domestic architect and adviser on art, roles for which he was ill-suited.

During the early 17th century in England, a gentleman was expected to show an interest in miniature painting as a complement to their gentlemanly knowledge of heraldry which was a favored skill under the early Stuart monarchs. Gerbier was ambitious, but not especially skilled in much of anything, so, to him, a knowledge of miniature painting techniques must have seemed useful.

Gerbier entered the service of King Charles I in 1628, just after the assassination of the Duke of Buckingham. The Dutchman’s charms found favor with Charles I and he was knighted in 1638. The two had previously been quite chummy through his association with Buckingham.

This youthful portrait of the future Charles I shows Charles just after he had been made Prince of Wales. The prince is depicted wearing the blue ribbon of the Order of the Garter. Clearly, this clunky miniature was not painted from life, but rather is a clumsy copy of a full-size portrait.

This is not the original frame. The miniature was re-set in the Nineteenth Century in this silver frame with a rolled edge bezel and a loop made up of wire flanked by two detached scrolls of flat wire.

The same miniature on the right with another by Gerbier on the left depicting, perhaps, the Duke of Gloucester.

Painting of the Day: Charles II When Prince of Wales, 1644-1645

Click image for larger size.
Miniature of Watercolor on Vellum
After Dobson, by G.I.
England, 1640
Depicting King Charles II when Prince of Wales
This and all related images from:
The Victoria & Albert Museum

Here’s a lovely miniature portrait of a man showing his head and shoulders. He’s wearing a suit of armor as well as the Collar and Order of the Garter. Since this is a formal portrait, he’s wearing a Greater George insignia. Because he’s been granted the Order of the Garter, we can tell that this is an important man. He is, in fact, the Princes of Wales (later King Charles II). At the time of this painting, he was about fourteen years old.

The miniature is a work of watercolor on vellum after a portrait by William Dobson. All we know about the monogrammist/watercolorist is the fact that his or her initials were G.I. This is one of three miniatures by G.I. which have been identified.

The armor that the Prince is wearing here still survives in the “Armouries” (you may have noticed that I spell English things in the English manner because it seems nicer that way) of the Tower of London. The painting is still set in its original gold locket which was enameled in blue.

This image was important during the English Civil War. King Charles I had been captured, tried and executed as “a public enemy” in 1649 and the Crown fell. During the Civil War years, miniatures such as this one—depicting Royal figures—were worn by those loyal to the monarchy to show their support. By 1660, the monarchy was reinstated and Charles II returned from abroad to reclaim his rightful throne and take up where Charles I left off.

Painting of the Day: Charles I of England and Queen Henrietta Maria, 17th C.

Click image for larger size.
Charles I of England and Queen Henrietta Marie
Gonzales Coques after Anthony van Dyck
Seventeenth Century
The Victoria & Albert Museum

A handsome and unusual double portrait, this canvas by Gonzales Coques (1614-1684) depicts King Charles I of England. He is shown wearing the Order of the Garter. At his side is his wife, Queen Henrietta Maria, depicted with the peaceful symbols of a laurel wreath and an olive branch. Set against a lush landscape revealed behind a drape, the Royal couple is presented in an interior with a table upon which sits the crown, scepter and orb.

This painting is one of two double portraits of Charles I and his Queen Consort. The first, dating to 1632, by Anthony can Dyck, now in the collection of the Archiepiscopal Castle and Gardens in the Czech Republic, was much larger. Gonzales was commissioned to paint this smaller version, making his painting as much of a scaled-down copy of van Dyck’s as possible.

Van Dyck’s original was proudly displayed above the drawing room mantel is Somerset House in London—Queen Henrietta Marie's private residence since 1628. Records show that the commission had originally been granted to Daniel Mytens (sometimes recorded as Mitjens), but Queen Henrietta found his work to be unsatisfactory and van Dyck was contacted. The painting, he was told, must create a pleasing sense of the union of the King (making his sovereignty obvious) and the Queen who should show that she offered herself and her power peacefully to the King. The Queen’s father, King Henry IV, was often shown with a laurel wreath, and so, van Dyck chose this as the Queen’s attribute. He added the olive branch of peace as a means of also demonstrating the influence of Charles I’s father, famously peaceable King James I. 

Gonzales’ small-scale copy of van Dyck’s original is decidedly faithful to its source. While the original remained in Royal ownership for many centuries, this version was purchased in the Nineteenth Century by the Reverend Chauncy Hare Townshend who is well known to readers of this site not only for his impressive collection of art, but, especially for the massive assortment of jewels which the ultra-wealthy, fashionable and not-too-religious reverend amassed over his lifetime. 

Unfolding Pictures: A Stuart Dynasty Fan, c. 1600

Fan from the Stuart Collection
Circa 1600
Leather, Bone
Purchased by George V, 1910
Crown Copyright
The Royal Collection
Images Courtesy of
Her Majesty Queen Elizabeth II

In 1910, as instructed by Queen Mary (of Teck), King George V purchased a set of twenty-four relics reputedly belonging to the Royal Stuart Family of the late Sixteenth and early Seventeenth Centuries. Among these items is this leather-leaf fan with bone sticks and guards which is said to have belonged to King Charles I.


The leather leaf of this fan shows an open-work pattern which was typical of the era, most likely copied from a book. The pattern was transferred to the leather by pricking the leaf with pin holes which traced the design’s outline. The area within the pinholes was then meticulously cut with a knife.

Traces of red and green pigment are still visible on the bone sticks and guards which also show signs of having been adorned with some kind of metal sheeting—copper or possibly tin—which was affixed with copper wire via small holes in the bone.

In 1916, Queen Mary proudly displayed this fan and the other twenty-three items in the newly arranged, “Stuart Room” in Windsor Castle. 

The Art of Play: King Charles I’s Rocking Horse, 1610

Rocking Horse Belonging to King Charles I
1610
The Museum of Childhood
The Victoria & Albert Museum

Of the two-hundred rocking horses in the collection of the Museum of Childhood at the Victoria & Albert Museum, this is the oldest. The horse, made of softwood and elm, was made in 1610 specifically for King Charles I–son of James VI and Anne of Denmark—when he was a child. Charles’ childhood was marked by ill-health and a variety of speech disorders which kept the prince secluded and largely indoors. This rocking horse probably provided the soon-to-be-king with a much needed distraction.


It’s rather amazing that this item has survived over four hundred years in the excellent condition that it’s in. A plaque affixed to the horse states that the horse was, “Purchased on 18 June, 1906, at Cheshunt House, Hertfordshire.” Theobalds House—the favorite home of James VI—was the location of James death and the announcement that Charles I would be king. Theobalds House stood near Cheshunt House in Hertfordshire. When the house was largely demolished in the Eighteenth Century, most of its contents were absorbed into the surrounding stately homes. This rocking horse seems to have made its way into Cheshunt House where it remained for three hundred years.

Gifts of Grandeur: A Badge of the Order of The Garter, 1640

Insignia
Order of the garter
Lesser George
Gold and Enamel, 1640
The Victoria & Albert Museum

Yay! It’s an insignia of the Order of the Garter! I always like these. I like the garter stars most of all, but these little Georges are always a treat. The Order of the Garter was founded in 1348, on St. George’s Day, by King Edward III. It’s the oldest order of chivalry in Europe. It’s also Britain’s highest order and honor.

When granted the Order of the Garter, the individual is given a set of chivalric insignia. He’s set up with a Greater George (I’ll explain more below) for formal use, a Lesser George for everyday wear, and a star to wear on his cloak. These stars, at first, were embroidered with metallic thread, but, if you were special, yours could be a pin made of gold and diamonds.

By the time of Henry VIII, the badges were designed to be worn on a collar. Henry introduced the collar which consisted of 26 Tudor roses within blue garters, with an image of St George killing the dragon hanging by a gold tassel.

That particular image of George slaying the dragon is known as “The Greater George.” So, any garter badge with that depiction is known as such. The one that we see above is known as a “Lesser George.” This version would have been worn for more informal occasions. The Lesser George depicts St. George and the dragon, pre-kill, surrounded by a garter and the motto of the Order.

The twenty-six Tudor roses on the collar symbolize the twenty-six members of the order. The order consists only of twenty-six living members at a time. The collar was not to be set with precious stones. I’m not sure why, but that was the rule. The stars and other insignia could, however, be adorned with any sort of gems that were in fashion at the time.

While the example we see here is made of gold and enamel, other examples of the period are, in fact, set with gems. Greater Georges usually boasted more gems than their informal brothers, but every once in awhile, a Lesser George sparkled with diamonds and other gems. Charles I, for example, wore one set with over 400 diamonds. He wore it to his execution—as one does.

This particular Lesser George was once owned by Thomas Wentworth, who was knighted by King James I and created Earl of Strafford by Charles I in 1640. The Earl represented Yorkshire in Parliament and though he outwardly fought for more honesty and accountability in government, he was actually a rather nasty, greedy and ruthless bloke who made himself many enemies. He was tried for treason during the war with Scotland, and, executed. Presumably, unlike Charles I, he didn’t wear his insignia to the chopping block.

I should note that since being made in 1640, this insignia has, unavoidably, suffered some damage. At one time, George would have been holding a sword or a spear or some other sharp weapon which one might use to bother a dragon. That’s long gone and he’s just holding his little hand up—empty.

Painting of the Day: Charles I of England and Queen Henrietta Maria, 17th C.

Click image for larger size.
Charles I of England and Queen Henrietta Marie
Gonzales Coques after Anthony van Dyck
Seventeenth Century
The Victoria & Albert Museum

A handsome and unusual double portrait, this canvas by Gonzales Coques (1614-1684) depicts King Charles I of England. He is shown wearing the Order of the Garter. At his side is his wife, Queen Henrietta Maria, depicted with the peaceful symbols of a laurel wreath and an olive branch. Set against a lush landscape revealed behind a drape, the Royal couple is presented in an interior with a table upon which sits the crown, scepter and orb.

This painting is one of two double portraits of Charles I and his Queen Consort. The first, dating to 1632, by Anthony can Dyck, now in the collection of the Archiepiscopal Castle and Gardens in the Czech Republic, was much larger. Gonzales was commissioned to paint this smaller version, making his painting as much of a scaled-down copy of van Dyck’s as possible.

Van Dyck’s original was proudly displayed above the drawing room mantel is Somerset House in London—Queen Henrietta Marie's private residence since 1628. Records show that the commission had originally been granted to Daniel Mytens (sometimes recorded as Mitjens), but Queen Henrietta found his work to be unsatisfactory and van Dyck was contacted. The painting, he was told, must create a pleasing sense of the union of the King (making his sovereignty obvious) and the Queen who should show that she offered herself and her power peacefully to the King. The Queen’s father, King Henry IV, was often shown with a laurel wreath, and so, van Dyck chose this as the Queen’s attribute. He added the olive branch of peace as a means of also demonstrating the influence of Charles I’s father, famously peaceable King James I. 

Gonzales’ small-scale copy of van Dyck’s original is decidedly faithful to its source. While the original remained in Royal ownership for many centuries, this version was purchased in the Nineteenth Century by the Reverend Chauncy Hare Townshend who is well known to readers of this site not only for his impressive collection of art, but, especially for the massive assortment of jewels which the ultra-wealthy, fashionable and not-too-religious reverend amassed over his lifetime. 

Painting of the Day: Charles II When Prince of Wales, 1644-1645

Click image for larger size.
Miniature of Watercolor on Vellum
After Dobson, by G.I.
England, 1640
Depicting King Charles II when Prince of Wales
This and all related images from:
The Victoria & Albert Museum

Here’s a lovely miniature portrait of a man showing his head and shoulders. He’s wearing a suit of armor as well as the Collar and Order of the Garter. Since this is a formal portrait, he’s wearing a Greater George insignia. Because he’s been granted the Order of the Garter, we can tell that this is an important man. He is, in fact, the Princes of Wales (later King Charles II). At the time of this painting, he was about fourteen years old.

The miniature is a work of watercolor on vellum after a portrait by William Dobson. All we know about the monogrammist/watercolorist is the fact that his or her initials were G.I. This is one of three miniatures by G.I. which have been identified.

The armor that the Prince is wearing here still survives in the “Armouries” (you may have noticed that I spell English things in the English manner because it seems nicer that way) of the Tower of London. The painting is still set in its original gold locket which was enameled in blue.

This image was important during the English Civil War. King Charles I had been captured, tried and executed as “a public enemy” in 1649 and the Crown fell. During the Civil War years, miniatures such as this one—depicting Royal figures—were worn by those loyal to the monarchy to show their support. By 1660, the monarchy was reinstated and Charles II returned from abroad to reclaim his rightful throne and take up wear Charles I left off.

Gifts of Grandeur: A Badge of the Order of The Garter, 1640

Insignia
Order of the garter
Lesser George
Gold and Enamel, 1640
The Victoria & Albert Museum

Yay! It’s an insignia of the Order of the Garter! I always like these. I like the garter stars most of all, but these little Georges are always a treat. The Order of the Garter was founded in 1348, on St. George’s Day, by King Edward III. It’s the oldest order of chivalry in Europe. It’s also Britain’s highest order and honor.

When granted the Order of the Garter, the individual is given a set of chivalric insignia. He’s set up with a Greater George (I’ll explain more below) for formal use, a Lesser George for everyday wear, and a star to wear on his cloak. These stars, at first, were embroidered with metallic thread, but, if you were special, yours could be a pin made of gold and diamonds.

By the time of Henry VIII, the badges were designed to be worn on a collar. Henry introduced the collar which consisted of 26 Tudor roses within blue garters, with an image of St George killing the dragon hanging by a gold tassel.

That particular image of George slaying the dragon is known as “The Greater George.” So, any garter badge with that depiction is known as such. The one that we see above is known as a “Lesser George.” This version would have been worn for more informal occasions. The Lesser George depicts St. George and the dragon, pre-kill, surrounded by a garter and the motto of the Order.

The twenty-six Tudor roses on the collar symbolize the twenty-six members of the order. The order consists only of twenty-six living members at a time. The collar was not to be set with precious stones. I’m not sure why, but that was the rule. The stars and other insignia could, however, be adorned with any sort of gems that were in fashion at the time.

While the example we see here is made of gold and enamel, other examples of the period are, in fact, set with gems. Greater Georges usually boasted more gems than their informal brothers, but every once in awhile, a Lesser George sparkled with diamonds and other gems. Charles I, for example, wore one set with over 400 diamonds. He wore it to his execution—as one does.

This particular Lesser George was once owned by Thomas Wentworth, who was knighted by King James I and created Earl of Strafford by Charles I in 1640. The Earl represented Yorkshire in Parliament and though he outwardly fought for more honesty and accountability in government, he was actually a rather nasty, greedy and ruthless bloke who made himself many enemies. He was tried for treason during the war with Scotland, and, executed. Presumably, unlike Charles I, he didn’t wear his insignia to the chopping block.

I should note that since being made in 1640, this insignia has, unavoidably, suffered some damage. At one time, George would have been holding a sword or a spear or some other sharp weapon which one might use to bother a dragon. That’s long gone and he’s just holding his little hand up—empty.

Gifts of Grandeur: A Miniature of King Charles I when Prince of Wales, 1616

Miniautre of King Charles I when Prince of Wales.  Watercolor on vellum applied to card.
Sir Balthazar Gerbier, 1616
Nineteenth Century silver frame.
The Victoria & Albert Museum

What a pretty lady. Oh! Wait…it’s not a lady. This rather awkward miniature of a very feminine-looking gent is by an amateur painter, Sir Balthazar Gerbier, explaining its rough and confusing look. Gerbier was born in the Netherlands, and basically, he trained for the life of a courtier, including the useful art of drawing. Unprepared for anything else, Gerbier entered the service of Prince William of Orange in 1615 who sent the man to England in an ambassadorial capacity in 1616. While in England, Gerbier transferred his services and allegiance to the then Earl (later the Duke) of Buckingham who was a very close companion of King James I. Gerbier became the Duke of Buckingham’s domestic architect and adviser on art, roles for which he was ill-suited.

During the early 17th century in England, a gentleman was expected to show an interest in miniature painting as a complement to their gentlemanly knowledge of heraldry which was a favored skill under the early Stuart monarchs. Gerbier was ambitious, but not especially skilled in much of anything, so, to him, a knowledge of miniature painting techniques must have seemed useful.

Gerbier entered the service of King Charles I in 1628, just after the assassination of the Duke of Buckingham. The Dutchman’s charms found favor with Charles I and he was knighted in 1638. The two had previously been quite chummy through his association with Buckingham.

This youthful portrait of the future Charles I shows Charles just after he had been made Prince of Wales. The prince is depicted wearing the blue ribbon of the Order of the Garter. Clearly, this clunky miniature was not painted from life, but rather is a clumsy copy of a full-size portrait.

This is not the original frame. The miniature was re-set in the Nineteenth Century in this silver frame with a rolled edge bezel and a loop made up of wire flanked by two detached scrolls of flat wire.

The same miniature on the right with another by Gerbier on the left depicting, perhaps, the Duke of Gloucester.

Precious Time: The Edward East Clock Watch, 1645

Clock Watch
Edward East, 1645
The Victoria & Albert Museum

Beautiful and functional, this clock-watch strikes the hours and also has an alarm mechanism. The back plate is signed “Eduardus East Londini.”

Edward East (born 1602, died around 1697) was, in 1660, appointed Chief Clockmaker to King, Charles II (ruled 1660-1685). He enjoyed a large and thriving business until 1697, when he may have died. It has, however been noted, that he never really wanted to be a clockmaker and only entered the profession reluctantly.

Despite his rumored resistance, he talent in the profession is undeniable as evidenced by the

finely engraved naturalistic flowers on the reverse of the case. These are in the style of the prints published for the use of engravers and enamellers by Jacques Vauquer (1621-1686) in Paris.

King Charles I was always fascinated by mechanical objects, and also enjoyed making gifts of them. It is thought that this watch was made for the King who gifted it to his sister, Elizabeth, Queen of Bohemia to, in turn, gave it to Gilbert Spencer in 1661.

Card of the Day: The Ampulla and Spoon

As we continue our look at the Coronation Jewels and Regalia via the 1935 Churchman Cigarette Card series for the Silver Jubilee of King George V and Queen Mary, let’s take a glance at two objects that we rarely get to see: The Ampulla and the Spoon.


The Ampulla was made around 1661 and is in the form of a golden eagle, some 8 inches high with a wingspan of 7.75 inches. This vessel holds the holy oil which is used to anoint the Sovereign during the Coronation Ceremony. In short, it’s a fancy gold spewer. The oil pours forth from the beak (there is a tiny hole in the bird’s throat to allow the flow of oil). The oil is poured into the spoon which we’ll examine in a moment.

Some historians believe that the eagle’s head is older than the body. This has been conjectured because the screw thread which attaches the head to the body seems to be of Fourteenth Century rather than Seventeenth Century design. There was another Ampulla, but Oliver Cromwell disposed of that one during the Commonwealth period. He caused a lot of trouble.

From the Web site of the English Monarchs

Now, to the spoon. The spoon is the oldest piece in the regalia, dating to the late Twelfth or early Thirteenth century. The spoon has been re-gilt twice throughout its existence, and four small pearls were added to the stem for the Coronation of Charles II in 1661. These, somehow were lost, and were replaced in 1689. The spoon is used to anoint the monarch’s head, palms and breast.

In 1649, when Cromwell was selling off the King's goods, Clement Kynnersley, a Yeoman of the Removing Wardrobe to Charles I, bought this spoon for 16 shillings, and upon the Restoration in 1660, he took up the same post with Charles II, triumphantly returning this object to the King. Today, both the Ampulla and the Spoon are on display at the Jewel House at the Tower of London.

Unfolding Pictures: A Stuart Dynasty Fan, c. 1600

Fan from the Stuart Collection
Circa 1600
Leather, Bone
Purchased by George V, 1910
The Royal Collection

In 1910, as instructed by Queen Mary (of Teck), King George V purchased a set of twenty-four relics reputedly belonging to the Royal Stuart Family of the late Sixteenth and early Seventeenth Centuries. Among these items is this leather-leaf fan with bone sticks and guards which is said to have belonged to King Charles I.


The leather leaf of this fan shows an open-work pattern which was typical of the era, most likely copied from a book. The pattern was transferred to the leather by pricking the leaf with pin holes which traced the design’s outline. The area within the pinholes was then meticulously cut with a knife.

Traces of red and green pigment are still visible on the bone sticks and guards which also show signs of having been adorned with some kind of metal sheeting—copper or possibly tin—which was affixed with copper wire via small holes in the bone.

In 1916, Queen Mary proudly displayed this fan and the other twenty-three items in the newly arranged, “Stuart Room” in Windsor Castle.

The Art of Play: King Charles I’s Rocking Horse, 1610

Rocking Horse Belonging to King Charles I
1610
The Museum of Childhood
The Victoria & Albert Museum

Of the two-hundred rocking horses in the collection of the Museum of Childhood at the Victoria & Albert Museum, this is the oldest. The horse, made of softwood and elm, was made in 1610 specifically for King Charles I–son of James VI and Anne of Denmark—when he was a child. Charles’ childhood was marked by ill-health and a variety of speech disorders which kept the prince secluded and largely indoors. This rocking horse probably provided the soon-to-be-king with a much needed distraction.


It’s rather amazing that this item has survived over four hundred years in the excellent condition that it’s in. A plaque affixed to the horse states that the horse was, “Purchased on 18 June, 1906, at Cheshunt House, Hertfordshire.” Theobalds House—the favorite home of James VI—was the location of James death and the announcement that Charles I would be king. Theobalds House stood near Cheshunt House in Hertfordshire. When the house was largely demolished in the Eighteenth Century, most of its contents were absorbed into the surrounding stately homes. This rocking horse seems to have made its way into Cheshunt House where it remained for three hundred years.