The Home Beautiful: King James II’s Coronation Cup, 1685

Cup and Cover
Made from Silver from the Coronation of James II, 1685
The Victoria & Albert Museum

We’ve seen a lot of Coronation Cups here at Stalking the Belle Époque from the commemorative cups in my own collection of Royal memorabilia to the similar items which are housed in the Royal Collection and the V&A, but we’ve never seen one like this.

This magnificent silver-gilt cup and cover were made from silver that was reclaimed from the precious metal which originally decorated the canopies used during King James II's coronation in 1685. After the ceremony, the silver was divided amongst the barons who carried the canopies which covered James II during the coronation.

Two of the barons (from the same family)--Cresheld Draper, MP for Winchelsea and Gawden Draper--combined their share of the coronati0n silver to make this commemorative cup which has been chased and engraved with stylized scenes from the coronation depicting, especially, the barons carrying one of the canopies. This was a clever way to commemorate the participation of the Draper family in the event.

The four figures carrying the canopy are rendered in the fashionable chinoiserie style. These figures are flat-chased on one side and commemorate the original use of the silver. The family’s coat of arms and an inscription in Latin explain the scene.

The Latin inscription reads “Hoc obtinui Ex in aug: Iac: 2.d Et Mar: Ap:23.85” which translates as “I obtained this from the Coronation of James II and Mary, April 23 1685.”

Object of the Day, Museum Edition: The Old Pretender Doll, 1680

The Old Pretender Doll, 1680
The Victoria & Albert Museum

Made in 1680, this doll of gessoed and painted wood, leather, and satin trimmed with metallic lace and fringe is known as “The Old Pretender” and is one of the oldest dolls in the collection of the Victoria & Albert Museum.
The doll was carved from wood which was then covered with gesso (a mixture of plaster and glue) before being elbaborately painted. The doll is fashionably dressed in the style of the time of its creation. It wears a wig made of human hair and has been adorned with “beauty spots” which have been painted on the face. Such beauty spots or “patches” were worn over blemishes and scars from pox during this period and were considered by some to be fashionable, and, by others, to be quite vulgar.


This delicate plaything is associated with the court of King James VII of Scotland who was also known as King James II of England and Wales and was kept at the palace of Holyroodhouse in Edinburgh. The doll is throught to have later been given to a family of loyal supporters by James II's son James Edward (acknowledged James VII in Scotland but not James III in England and Wales who was subsequently known as “The Old Pretender”). Hence the doll’s name—an homage to the giver of this unusual gift. 

The Home Beautiful: King James II’s Coronation Cup, 1685

Cup and Cover
Made from Silver from the Coronation of James II, 1685
The Victoria & Albert Museum

We’ve seen a lot of Coronation Cups here at Stalking the Belle Époque from the commemorative cups in my own collection of Royal memorabilia to the similar items which are housed in the Royal Collection and the V&A, but we’ve never seen one like this.

This magnificent silver-gilt cup and cover were made from silver that was reclaimed from the precious metal which originally decorated the canopies used during King James II's coronation in 1685. After the ceremony, the silver was divided amongst the barons who carried the canopies which covered James II during the coronation.

Two of the barons (from the same family)--Cresheld Draper, MP for Winchelsea and Gawden Draper--combined their share of the coronati0n silver to make this commemorative cup which has been chased and engraved with stylized scenes from the coronation depicting, especially, the barons carrying one of the canopies. This was a clever way to commemorate the participation of the Draper family in the event.

The four figures carrying the canopy are rendered in the fashionable chinoiserie style. These figures are flat-chased on one side and commemorate the original use of the silver. The family’s coat of arms and an inscription in Latin explain the scene.

The Latin inscription reads “Hoc obtinui Ex in aug: Iac: 2.d Et Mar: Ap:23.85” which translates as “I obtained this from the Coronation of James II and Mary, April 23 1685.”

Mastery of Design: Mary of Modena's Diadem, 1685

Mary of Modena's Diadem
Sir John Viner, 1685
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The Royal Goldsmith during the reign of Queen Mary II and King William III, Sir Robert Viner, 1st Baronet (1631-88) created this diadem in 1685 of gold, silver, quartz crystal, pearls, velvet and ermine.

The diadem was purchased by Queen Mary of Modena, Consort of James II, King of Great Britain (1658-1718). It is comprised of a gold circlet which comes to a peak at the front. A border of pearls adorns the piece above foliated scrolls of rose-cut quartz crystal clusters and rosettes which are mounted with gold wire. A purple velvet cap and ermine band are fitted into the circlet.

The quartz crystals that we see today were installed as replacements to the diamonds which were originally rented from a supplier for the coronation of 1685. Queen Mary II wore this, her step-mother's diadem, at the procession leading up to her own coronation on April 11, 1689, and it was worn again by Queen Anne in 1702. Some believe that it was also worn by George II's consort, Queen Caroline, in 1727, but this can’t be confirmed. The piece fell into disuse by the reign of King George III, and the quartz has remained ever since. Previously, for important occasions, diamonds were again hired and worn in place of the quartz.

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.

Object of the Day, Museum Edition: King James II’s Coronation Cup, 1685

Cup and Cover
Made from Silver from the Coronation of James II, 1685
The Victoria & Albert Museum

We’ve seen a lot of Coronation Cups here at Stalking the Belle Époque from the commemorative cups in my own collection of Royal memorabilia to the similar items which are housed in the Royal Collection and the V&A, but we’ve never seen one like this.

This magnificent silver-gilt cup and cover were made from silver that was reclaimed from the precious metal which originally decorated the canopies used during King James II's coronation in 1685. After the ceremony, the silver was divided amongst the barons who carried the canopies which covered James II during the coronation.

Two of the barons (from the same family)--Cresheld Draper, MP for Winchelsea and Gawden Draper--combined their share of the coronati0n silver to make this commemorative cup which has been chased and engraved with stylized scenes from the coronation depicting, especially, the barons carrying one of the canopies. This was a clever way to commemorate the participation of the Draper family in the event.

The four figures carrying the canopy are rendered in the fashionable chinoiserie style. These figures are flat-chased on one side and commemorate the original use of the silver. The family’s coat of arms and an inscription in Latin explain the scene.

The Latin inscription reads “Hoc obtinui Ex in aug: Iac: 2.d Et Mar: Ap:23.85” which translates as “I obtained this from the Coronation of James II and Mary, April 23 1685.”

The Art of Play: The Old Pretender Doll, 1680

The Old Pretender Doll, 1680
The Victoria & Albert Museum

Made in 1680, this doll of gessoed and painted wood, leather, and satin trimmed with metallic lace and fringe is known as “The Old Pretender” and is one of the oldest dolls in the collection of the Victoria & Albert Museum.
The doll was carved from wood which was then covered with gesso (a mixture of plaster and glue) before being elbaborately painted. The doll is fashionably dressed in the style of the time of its creation. It wears a wig made of human hair and has been adorned with “beauty spots” which have been painted on the face. Such beauty spots or “patches” were worn over blemishes and scars from pox during this period and were considered by some to be fashionable, and, by others, to be quite vulgar.


This delicate plaything is associated with the court of King James VII of Scotland who was also known as King James II of England and Wales and was kept at the palace of Holyroodhouse in Edinburgh. The doll is throught to have later been given to a family of loyal supporters by James II's son James Edward (acknowledged James VII in Scotland but not James III in England and Wales who was subsequently known as “The Old Pretender”). Hence the doll’s name—an homage to the giver of this unusual gift.

Painting of the Day: Landscape with Birds by Roelandt Savery, 1615

Landscape with Birds
Roelandt Savery
Oil on Board, 1615
Acquired by King James II
The Royal Collection

This rather curious and surprisingly grim oil painting on board comes from the hand of Roelandt Savery who was known for his interest in natural history and his representations of scenes of both natural and imaginary animals which ranged from the whimsical to the terrifying.


He notably painted many scenes of birds, but this one is particularly odd. Historian Karel van Mander described the painting as being “nightmarish,” with trees which have “fallen down so awkwardly you would scarcely belief it in a dream.” The composition relies on forced Gothic patterns, uncomfortable shading and brutal lines which belie the natural beauty of the birds.

The painting of was acquired by James II who seemed to be drawn to nightmarish pursuits and who had, at best, a troubled reign.