The Home Beautiful: A Magnificent Enameled Presentation Box and Champagne Flute 17th-20th C.

Champagne Glass and Presentation Case
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.

From the Royal Collection, we have this silver and blue enamel Art Deco pentagonal presentation box.  The two hinged front doors open to reveal a magnificent champagne glass on a silver stand.  Across the bottom of both doors and the silver stand, gilt metal plaques boast a continuous inscription which reads:

THIS ANCIENT ENGLISH CHAMPAGNE GLASS, MADE IN THE REIGN OF

KING CHARLES II,

SHORTLY AFTER THE DISCOVERY OF THE SPARKLING WINE OF CHAMPAGNE BY DOM PIERRE PERRIGNON, AND BELIEVED TO BE

THE OLDEST DRINKING VESSEL OF ITS KIND IN EXISTANCE, WAS PRESENTED WIH HOMAGE AND RESPECT TO THEIR MAJESTIES KING

GEORGE V AND QUEEN MARY TO MARK THE MEMORABLE AND HAPPY OCCASION OF THE SILVER JUBILEE OF THEIR ACCESION TO THE THRONE 16TH MAY, 1935 BY THE WINE PRODUCERS AND PEOPLE OF CHAMPAGNE.

The entire box fits into a red leather carry case designed and made by Hermès.

This late seventeenth-century lobed drinking glass with splayed rim sits upon a baluster stem and a circular and spirally-molded foot.

As impressive as this important glass is, the Art Deco presentation case is equally important.

Enameler Jean Goulden (1878-1946) was commissioned to create the case by the large Champagne houses (Reims and Épernay), grape growers, cork makers and glass makers, after the ;eague had collectively purchased the champagne glass in London on November 6, 1934 from the collection of Grant R. Francis, who was known as one of the most important glass collectors of the twentieth century. 

Goulden's original designs for the casket exist in the collection of his son.  The artist had originally studied medecine and art in Paris before becoming a major-doctor during the first world war,  being stationed in Macedonia where he remained for some time as the guest of the monks' communities of the Mont of Athos.  There, he studied Byzantine enamels in the company of Paul Jouve (1880-1973). 

When Goulden returned to France, he joined Jean Dunard (1877-1942) who introduced him to the champlevé enameling technique.  Known for their fineness and rarity, Goulden's works are considered the best of the era and he is considered important in the development of the Art Deco style in the decorative arts.  His work is characterized by stong black lines and bright colors, and the use of a geometric or cubist style.

Painting of the Day: Charles II Giving Audience at Christ’s Hospital, 1680

Charles II Giving Audience at Christ's Hospital
1680
The Victoria & Albert Museum

Here we see a painting that served as a preparatory work for a larger picture whose main theme was the glorification of Charles II (1630-1685). In it, we see the King with the governors, masters and children of Christ's Hospital, a London charity school.

This painting dates to the early 1680s and is the work of Antonio Verrio who was responsible for some of the redecoration of Windsor Castle.

Verrio (ca. 1639-1707) was born in Lecce, South Italy and studied in Naples before travelling through Italy and France where he settled for a while in Toulouse. Later, he went to London where he was commissioned for the decoration of the state rooms at Windsor Castle (1675-ca.1684) and the new state apartments at Hampton Court Palace (1700-02).

Gifts of Grandeur: The Grendon/Lane Fob Watch, 1640-1660

Fob Watch
Henry Grendon, 1640-1660
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

We know what a watch fob is, but what’s a fob watch? A fob watch—popular in the Seventeenth Century—was a jewel wherein the works of the watch and the face were embedded behind a gemstone. The overall look is that of a watch fob, yet, on closer look, you see that the two are one. To be honest, I’ve only heard of fob watches—they’re like the unicorns of the watch world. But, finally, here’s one we can see! Thanks to Her Majesty Queen Elizabeth II for the use of these photos of the elusive fob watch from the Royal Collection.

This rock crystal and silver gilt fob watch is fitted with a hinged leather, steel-studded and red velvet lined case. The watch peeks out from behind the facetted rock crystal and shows an elaborately floral engraved watch face. The piece is fitted with fixed suspension ring. This unusual jewel was created between 1640 and 1660.

The piece was presented by King Charles II to Jane Lane in 1651—under rather unusual circumstances. According to the Royal Collection:

"Fleeing after his defeat at the Battle of Worcester in 1651, he [Charles II] lodged for short while near Wolverhampton, with a certain Col. Lane. From there he travelled on horseback to Bristol, with the colonel’s sister, Jane Lane, disguised as his servant and riding pillion behind him. The King gave Jane Lane a watch in recognition of her bravery and resourcefulness, which was most carefully preserved in the Lane family until 1928, when Maj-Gen. Sir John Lane returned it to George V. The watch, which is by Henry Grendon, is in a faceted rock-crystal case, with an outer protective case of leather embellished with silver pinwork. Grendon, a well-known maker of his day with premises in the Royal Exchange, was admitted to the Clockmaker’s Company in 1640, only nine years after it received its royal charter" 

Since the watch was given to King George V, we know that it was well-preserved. No doubt, Queen Mary got her regal hands on it and made sure that this odd bit of watch-making and political history would survive forever.

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

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

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

Mastery of Design: The Major William Careless Locket, c. 1653

Locket
C. 1653
The Victoria & Albert Museum

This copper-gilt locket is made in two parts and hinged at the top. The front is engraved with the arms and motto of one Major William Careless. The reverse is engraved with a scene showing Careless and King Charles II hiding in the oak tree. A portrait of Careless and an inscription appear in the locket’s interior.

So, why are they hiding in a tree? After the Royalist defeat at the Battle of Worcester in 1651, the young Charles II and Colonel Careless took refuge in Shropshire where it is believed that they hid from the searching Cromwellian soldiers by climbing up into “a great oak.” With them, they took, “some victuals for the whole day viz. bread, cheese, small beer, and nothing else.” In the words of Nelson Muntz, “Haw, haw!”

The inscription reads:Renowned Carlos! thow has won the day 


(Loyalty Lost) by helping Charles away, 


From Kings-Blood-Thirsty-Rebels in a Night, 


made black with Rage, of theives, & Hells dispight 


Live! King-Loved Sowle thy fame be Euer Spoke 


By all whilst England Beares a Royall Oake'

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.

The Home Beautiful: A Magnificent Enameled Presentation Box and Champagne Flute 17th-20th C.

Champagne Glass and Presentation Case
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.

From the Royal Collection, we have this silver and blue enamel Art Deco pentagonal presentation box.  The two hinged front doors open to reveal a magnificent champagne glass on a silver stand.  Across the bottom of both doors and the silver stand, gilt metal plaques boast a continuous inscription which reads:

THIS ANCIENT ENGLISH CHAMPAGNE GLASS, MADE IN THE REIGN OF

KING CHARLES II,

SHORTLY AFTER THE DISCOVERY OF THE SPARKLING WINE OF CHAMPAGNE BY DOM PIERRE PERRIGNON, AND BELIEVED TO BE

THE OLDEST DRINKING VESSEL OF ITS KIND IN EXISTANCE, WAS PRESENTED WIH HOMAGE AND RESPECT TO THEIR MAJESTIES KING

GEORGE V AND QUEEN MARY TO MARK THE MEMORABLE AND HAPPY OCCASION OF THE SILVER JUBILEE OF THEIR ACCESION TO THE THRONE 16TH MAY, 1935 BY THE WINE PRODUCERS AND PEOPLE OF CHAMPAGNE.

The entire box fits into a red leather carry case designed and made by Hermès.

This late seventeenth-century lobed drinking glass with splayed rim sits upon a baluster stem and a circular and spirally-molded foot.

As impressive as this important glass is, the Art Deco presentation case is equally important.

Enameler Jean Goulden (1878-1946) was commissioned to create the case by the large Champagne houses (Reims and Épernay), grape growers, cork makers and glass makers, after the ;eague had collectively purchased the champagne glass in London on November 6, 1934 from the collection of Grant R. Francis, who was known as one of the most important glass collectors of the twentieth century. 

Goulden's original designs for the casket exist in the collection of his son.  The artist had originally studied medecine and art in Paris before becoming a major-doctor during the first world war,  being stationed in Macedonia where he remained for some time as the guest of the monks' communities of the Mont of Athos.  There, he studied Byzantine enamels in the company of Paul Jouve (1880-1973). 

When Goulden returned to France, he joined Jean Dunard (1877-1942) who introduced him to the champlevé enameling technique.  Known for their fineness and rarity, Goulden's works are considered the best of the era and he is considered important in the development of the Art Deco style in the decorative arts.  His work is characterized by stong black lines and bright colors, and the use of a geometric or cubist style.

Painting of the Day: Study of Queen Victoria and Prince Albert in Costumes of the Time of Charles II, 1851

Queen Victoria and Prince Albert in Fancy Dress
Franz Zaver Winterhalter, 1851
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

From the Royal Collection, this 1853 oil sketch by Queen Victoria’s preferred portraitist Franz Xaver Winterhalter (1805-73) depicts Queen Victoria and Prince Albert in fancy dress. Their Majesties attended a costume ball with the theme of “The Time of Charles II.”

Prince Albert insisted that his costume be made entirely of British materials to show his support of textile trade. The Queen’s costume was designed by the celebrated French artist Eugène Lami. In her journal, after the ball, on July 13, 1851, Queen Victoria wrote:

... My costume was of grey moiré antique, ornamented with gold lace, - a very long waist & sleeves trimmed with old lace. The petticoat showing under the dress which was all open in front, was of rich gold and silver brocade (Indian manufacture) richly trimmed with silver lace... In my hair I wore an arrangement of pearls. The shoes and gloves were embroidered to match the dress.

Painting of the Day: The Major William Careless Locket, c. 1653

Locket
C. 1653
The Victoria & Albert Museum

This copper-gilt locket is made in two parts and hinged at the top. The front is engraved with the arms and motto of one Major William Careless. The reverse is engraved with a scene showing Careless and King Charles II hiding in the oak tree. A portrait of Careless and an inscription appear in the locket’s interior.

So, why are they hiding in a tree? 

As we've discussed with previous artifacts showing the same scene, after the Royalist defeat at the Battle of Worcester in 1651, the young Charles II and Colonel Careless took refuge in Shropshire where it is believed that they hid from the searching Cromwellian soldiers by climbing up into “a great oak.” With them, they took, “some victuals for the whole day viz. bread, cheese, small beer, and nothing else.” In the words of Nelson Muntz, “Haw, haw!”

The inscription reads:Renowned Carlos! thow has won the day 


(Loyalty Lost) by helping Charles away, 


From Kings-Blood-Thirsty-Rebels in a Night, 


made black with Rage, of theives, & Hells dispight 


Live! King-Loved Sowle thy fame be Euer Spoke 


By all whilst England Beares a Royall Oake'

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.

Drawing of the Day: Da Vinci's Pulcinella, c. 1490

Fragment of a Drawing of Pulcinella by Leonardo da Vinci, 1490
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

From the Royal Collection, here’s a very interesting pen and ink drawing. Created in 1490, here is Leonardo da Vinci’s idea of Pulcinella’s traditional grotesque visage.

The work was acquired by Charles II, King of Great Britain (1630-85), who purchased it from Thomas Howard, 2nd Earl of Arundel. The early history of this fragment is unknown, really. By 1582, it was in the collection of Francesco Melzi from whose heirs the drawing was purchased by Pompeo Leoni. How the piece came into the hands of the Earl of Arundel us unknown. Da Vinci depicts Pulcinella in profile to the left. Only this fragment—with odd intersecting lines drawn on the verso—remains of the original drawing which is believed to have been from da Vinci’s “Codex Atlanticus,” folio 173 verso-a.

At some point in the last five-hundred and some years, someone--while cataloging this in the Royal Collection--wrote a number on Pulcinella's chin (either 29 or 24).  Why?  I'm sure Queen Mary would have clobbered them if she knew.

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Painting of the Day: Study of Queen Victoria and Prince Albert in Costumes of the Time of Charles II, 1851

Queen Victoria and Prince Albert in Fancy Dress
Franz Zaver Winterhalter, 1851
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

From the Royal Collection, this 1853 oil sketch by Queen Victoria’s preferred portraitist Franz Xaver Winterhalter (1805-73) depicts Queen Victoria and Prince Albert in fancy dress. Their Majesties attended a costume ball with the theme of “The Time of Charles II.”

Prince Albert insisted that his costume be made entirely of British materials to show his support of textile trade. The Queen’s costume was designed by the celebrated French artist Eugène Lami. In her journal, after the ball, on July 13, 1851, Queen Victoria wrote:

... My costume was of grey moiré antique, ornamented with gold lace, - a very long waist & sleeves trimmed with old lace. The petticoat showing under the dress which was all open in front, was of rich gold and silver brocade (Indian manufacture) richly trimmed with silver lace... In my hair I wore an arrangement of pearls. The shoes and gloves were embroidered to match the dress.

Gifts of Grandeur: The Grendon/Lane Fob Watch, 1640-1660

Fob Watch
Henry Grendon, 1640-1660
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

We know what a watch fob is, but what’s a fob watch? A fob watch—popular in the Seventeenth Century—was a jewel wherein the works of the watch and the face were embedded behind a gemstone. The overall look is that of a watch fob, yet, on closer look, you see that the two are one. To be honest, I’ve only heard of fob watches—they’re like the unicorns of the watch world. But, finally, here’s one we can see! Thanks to Her Majesty Queen Elizabeth II for the use of these photos of the elusive fob watch from the Royal Collection.

This rock crystal and silver gilt fob watch is fitted with a hinged leather, steel-studded and red velvet lined case. The watch peeks out from behind the facetted rock crystal and shows an elaborately floral engraved watch face. The piece is fitted with fixed suspension ring. This unusual jewel was created between 1640 and 1660.

The piece was presented by King Charles II to Jane Lane in 1651—under rather unusual circumstances. According to the Royal Collection:

"Fleeing after his defeat at the Battle of Worcester in 1651, he [Charles II] lodged for short while near Wolverhampton, with a certain Col. Lane. From there he travelled on horseback to Bristol, with the colonel’s sister, Jane Lane, disguised as his servant and riding pillion behind him. The King gave Jane Lane a watch in recognition of her bravery and resourcefulness, which was most carefully preserved in the Lane family until 1928, when Maj-Gen. Sir John Lane returned it to George V. The watch, which is by Henry Grendon, is in a faceted rock-crystal case, with an outer protective case of leather embellished with silver pinwork. Grendon, a well-known maker of his day with premises in the Royal Exchange, was admitted to the Clockmaker’s Company in 1640, only nine years after it received its royal charter" 

Since the watch was given to King George V, we know that it was well-preserved. No doubt, Queen Mary got her regal hands on it and made sure that this odd bit of watch-making and political history would survive forever.

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

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

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

Card of the Day: Queen Elizabeth I's Salt Cellar

One of the more obscure and little-known objects of the Coronation Regalia is pictured in the fiftieth and final card of the Churchman Cigarette Company’s 1935 Silver Jubilee Series. Here, we see “Queen Elizabeth’s Salt,” which is also known as “The Great Salt” and is believed to have been a favorite of Queen Elizabeth I. This is actually one of nearly a dozen such “salts” which are housed along with the Crown Jewels. However, this one, due to its unique shape, is thought to be the most magnificent.


The oldest salt cellar of the eleven in the Jewel Tower at the Tower of Londo, “The Great Salt” certainly dates from the reign of Elizabeth I. It is thought to be a model of the White Tower. It has been used at the coronation banquets of most monarchs from the time of King Charles II.

Now, that’s it for our “Card of the Day” feature. For awhile, anyway. I’ve got my eyes open for more monarchy-related cigarette cards, but, to be honest, I already own and have shared with you most of the sets that were produced. Can you believe that we’ve already looked at 120 of them? Still, if I find more, I’ll snatch them up.

In the meantime, I’ve got some new nifty things in queue waiting to take the place of the cards. So, tomorrow, we begin our “Obscure Book of the Day” feature. This feature will take you through my collection of odd Royalty-related ephemera from actual historical Coronation and Jubilee Celebration Programs to vintage children’s books about various monarchs from the past, to, even, strange magazines about the love lives of Britain’s Royal Family. There’s a lot of this stuff on my shelves and it’s all very interesting. So, get ready for a few weeks of fun ahead.

Gifts of Grandeur: The Major William Careless Locket, c. 1653

Locket
C. 1653
The Victoria & Albert Museum

This copper-gilt locket is made in two parts and hinged at the top. The front is engraved with the arms and motto of one Major William Careless. The reverse is engraved with a scene showing Careless and King Charles II hiding in the oak tree. A portrait of Careless and an inscription appear in the locket’s interior.

So, why are they hiding in a tree? After the Royalist defeat at the Battle of Worcester in 1651, the young Charles II and Colonel Careless took refuge in Shropshire where it is believed that they hid from the searching Cromwellian soldiers by climbing up into “a great oak.” With them, they took, “some victuals for the whole day viz. bread, cheese, small beer, and nothing else.” In the words of Nelson Muntz, “Haw, haw!”

The inscription reads:

Renowned Carlos! thow has won the day


(Loyalty Lost) by helping Charles away,


From Kings-Blood-Thirsty-Rebels in a Night,


made black with Rage, of theives, & Hells dispight


Live! King-Loved Sowle thy fame be Euer Spoke


By all whilst England Beares a Royall Oake'

Object of the Day, Museum Edition: A Silver Spirit Flask, 1690

Spirit Flask
Silver, 1690
The Victoria & Albert Museum

Here we see a silver spirit flask that bears the arms of Charles Beauclerk (1670-1726), the elder illegitimate son of Charles II by his mistress, the actress Nell Gwyn. Nell and Charles had a rocky relationship. He rebuked her after she referred to their six year old son as a “bastard.” Gwyn’s response was, "Your majesty has given me no other name by which to call him."

Never one to enjoy being challenged, Charles II gave his son the name Beauclerk and created him Baron Heddington and Earl of Burford. In January of 1684, he was created Duke of St Albans and in April of 1694 he was married to Diana, second daughter and eventually sole heiress of Aubrey, 20th and last Duke of Oxford.

His flask is engraved with scrolling foliage in the style of the artist Blaise Gentot and has been brilliantly constructed with a removable base which serves as a cup with a gilt interior and a top which can be inverted and used to unscrew the internal stopper.

Painting of the Day: Charles II Giving Audience at Christ’s Hospital, 1680

Charles II Giving Audience at Christ's Hospital
1680
The Victoria & Albert Museum

Here we see a painting that served as a preparatory work for a larger picture whose main theme was the glorification of Charles II (1630-1685). In it, we see the King with the governors, masters and children of Christ's Hospital, a London charity school.


This painting dates to the early 1680s and is the work of Antonio Verrio who was responsible for some of the redecoration of Windsor Castle.

Verrio (ca. 1639-1707) was born in Lecce, South Italy and studied in Naples before travelling through Italy and France where he settled for a while in Toulouse. Later, he went to London where he was commissioned for the decoration of the state rooms at Windsor Castle (1675-ca.1684) and the new state apartments at Hampton Court Palace (1700-02).

Card of the Day: The Legend of the Coronation Ring

The fortieth card in the 1935 Silver Jubilee Series by the Churchman Cigarette Company depicts the "Legend of the Coronation Ring" which is also known as the "Legend of St. Edward’s Ring" or the "Legend of the Confessor’s Ring."


The story of Saint Edward's ring was first printed in England by William Caxton, in the "Golden Legende.” As the legend goes, King Edward the Confessor was approached by a beggar, "a fayre old man." Since Edward was unattended and had neither money nor purse, the saintly King removed a ring from his own finger and gave it to the beggar.

Later, two English pilgrims, lost in the Holy Land, met "a fayre ancient man, wyth whyte heer for age,” who asked them who they were and where they were from. When he heard that they were lost English pilgrims, the old man offered assistance and led them to a majestic city where he offered them food and lodging.

The next morning, the old man traveled with the two pilgrims and led them to the right road. As they journeyed he took delight in the pilgrims’ talk of their saintly King, Edward. After awhile, the old man bid them farewell and said, " I am Johan, the Evangelist, and saye ye unto Edward, your kynge, that I greet him well." With that, he removed from his finger a gold ring which they were to give to their monarch on their return to their own country. The old man then vanished.

When the pilgrims returned to England, they took the ring to Edward, who at once recognized it as the one he had given to the venerable, old beggar.

Okely dokely.

This ring is thought to have been buried with Edward in his shrine in Westminster Abbey. Whether or not that’s true or if the ring survives is a matter of debate. Still, the legend of St. Edward's ring is commemorated in three places in the Abbey: over a gate leading into Dean's Yard, in the glass of one of the eastern windows, and on the screen which divides the Confessor's shrine from the Choir.

At some point, a new ring was fashioned which was used for the Coronation of Charles II. " The Wedding-Ring of England, pledge of the Marriage that is made between the King and his people," is placed on the third finger of the Sovereign's right hand during the Coronation.  A different ring with a violet-colored ruby was used for King James II.

A ring has been used in all English coronations since the Tenth Century. The Sovereign’s ring is meant as a symbol is faith which represents the new monarch’s marriage to the nation. During the coronation ceremony, the ring is blessed with two prayers by the Archbishop before being given to the sovereign who is meant to wear it on the right hand. Legend states that the tighter the ring fits, the longer and more successful the monarch’s reign will be. That was a good omen for Queen Victoria who, as we’ve discussed, had the ring jammed on the wrong finger during her coronation. It seems to have worked since her reign was—for now—the longest of any monarch.

Today, the Sovereign’s Ring used at the coronations was made for King William IV in 1831. This is the ring that has been used at the coronation of every succeeding monarch, with the exception of Queen Victoria whose tiny fingers couldn’t handle her uncle’s large ring. The current ring weighs 84.45 carats and is set with a large sapphire surrounded by diamonds. Five rubies are set on the sapphire in the form of a cross. The design represents the red cross of St. George and the blue flag of St. Andrew.

Queen Victoria’s ring was a smaller version of William IV’s coronation ring. Hers weighed 42.74 carats and was of a similar design--set with a large sapphire surrounded by 20 diamonds. Five rubies form a cross on top of the sapphire and 31 diamonds decorate the shank of the ring.

Unfolding Pictures: The Battle of Worcester Fan, 1715-1730

Fan
Paper Leaf, Ivory Sticks
1715-1730
The Victoria & Albert Museum

Folding fans with paper or fabric leaves originated in Japan and weren’t introduced to Europe until the second half of the Sixteenth Century as European makers adopted the technique of the Japanese while introducing their own style of adornment.

This simple folding fan dates beween 1715 and 17230 and was made in England with plain, un-carved ivory sticks, and a paper leaf painted with gouache (opaque watercolor), with accents of gold paint.


The painted leaf symbolizes Jacobite support for the Stuart Royal Family after George I, Elector of Hanover, succeeded to the British throne in 1714. Depicted on the left is Charles II who is shown hiding in a tree after his defeat by Cromwell at the Battle of Worcester in 1651.

He is joined by Queen Anne who is depicted as ascending to heaven after her death in 1714, while beside her a lady mourns the loss of the crown. On the right of the leaf, we see the Stuart arms, with a white rose and two rosebuds below. The rose, a symbol of the House of Stuart, is notable in that it represents the son of James II, James Francis Edward ('James III' or the 'Old Pretender'). The two buds are his sons, Charles Edward and Henry Benedict.

The leaf, overall, is painted in a dark-toned gouache, with a brown and green ground, and is edged with a formal, gilt, scalloped border filled with floral decoration. The reverse of the fan is adorned with a stiffly naturalistic floral spray on a silver ground. The initials “L” and “I” are written in ink on the top left border.

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.

Card of the Day: St. George’s Spurs and the Bracelets

The thirtieth card of the 1935 Silver Jubilee series by the Churchman Cigarette Company depicts two important parts of the coronation regalia—St. George’s Spurs and the Armills (or bracelets).


The Spurs of St. George serve as emblems of knighthood and chivalry. These golden spurs were made for the 1661 coronation of King Charles II as ordered by Sir Robert Dyner. It is believed that they were modeled after a pair of pre-Thirteenth century spurs. The fabric straps are fashioned of crimson velvet which has been embroidered in gold.

Initially, the spurs were buckled to the feet of the Sovereign during the coronation ceremony, but this proved to be cumbersome. Most recently, they’ve only been touched to the Sovereign's heels.

As for the bracelets, there are actually two sets of armills in the Jewel House at the Tower of London. One enameled set was made for King Charles II but was never used until later coronations. These were also made by Sir Robert Dyner, from an ancient pattern. This set of armills bears enameled emblems and are lined with crimson velvet, fastening with a clasp in the shape of a Tudor Rose.

A second set of engraved gold was made in 1953 for Queen Elizabeth II. These were a gift from the nations of the Commonwealth. Regardless of which set is used, they are meant to symbolize sincerity and wisdom.