THE KING’S PLATE
The Baptismal Font for Royal Princes--Made in the Reign of
Charles II.--Used till 1840, when Queen Victoria ordered a New
Font--Charles II.’s font described--The Alms Dish belonging
to it--And the Flagons--The Flagons described--The Maundy
Dish--Used on Maundy Thursday at Westminster Abbey--The ancient
ceremony--The Dish described--The Alms Dish and Flagon of
William and Mary--Described--Used in the Chapel of St. Peter
ad Vincula in the Tower--Charles II.’s Wine Fountain--Its
uses--Presented by the Borough of Plymouth--Queen Anne adds
432 ounces of pure gold to it--The Fountain described--Queen
Elizabeth’s Salt-cellar--The oldest piece of Royal Plate in
the Tower--Described--St. George’s Salts--Eleven in number--To
replace those destroyed by the Commonwealth--A set of four
described--Their curious history--Upside down for 98 years--The
weight of each, 54 ounces, 12 dwts.--A second set of four St.
George’s Salts--Height of each 16¼ inches--Three St. George’s
Salts of different patterns--Described--Height and weight
of each--The Salt of State--In the form of a castle, richly
jewelled--Presented to Charles II. by the City of Exeter--Used
at Coronation Banquets from Charles II. to George IV.--The
Salt described in detail--A miniature fortress with portcullis
and armed with guns--The receptacles for the salt--Height of
tower 18½ inches--Probably made in Exeter, 1660--The eight
Royal Maces--Charles II., James II., William and Mary, George
I.--The origin of the Mace--A cavalry weapon--A policeman’s
truncheon--Borne by Serjeants-at-Arms--Two Maces of Charles
II. described--A drinking cup at the head of a Mace--The State
Trumpets.
THE BAPTISMAL FONT
The Baptismal Font, the alms dish or basin, together with two very
handsome flagons, form a set of silver-gilt plate made for Charles II.
on his restoration. The font was intended to be used for the baptismal
ceremony of princes and princesses of the blood royal who might
thereafter be born. The first recorded christening at which it was used
was that of the Princess Augusta (afterwards Duchess of Brunswick),
third daughter of Frederick Louis, Prince of Wales, at St. James’s
Palace, on August 29th, 1737, but doubtless it had been used at earlier
royal baptisms.
It was next used for the baptism of George IV., which took place in the
Grand Council Chamber in St. James’s Palace on September 8th, 1762.
George III. was not himself christened in this font, but it was used
for all his children except Prince Alfred. The latest recorded ceremony
in which it was used was that of Prince Octavus on March 23rd, 1779.
Queen Victoria, in 1840-41, ordered a new silver-gilt font, which is
kept at Windsor, and in this Edward VII., the Empress Frederick, and
the other children of Queen Victoria were christened. The old font
at the Tower has consequently, at any rate, temporarily, fallen into
disuse.
Charles II.’s font has the general appearance of a large, covered bowl
standing on a slender, rounded column, giving a somewhat top-heavy
effect. The bowl has a diameter of seventeen and five-eighths inches,
and is six inches in depth. It has a flat and plain edge with narrow
lines incised under the lip. The body is embossed with designs showing
various flowers and six amorini in different poses. One of these
is holding a torch, another a mantle, a third a hammer, whilst the
other three hold respectively a sword, ropes, and a sheaf of corn.
The royal arms of the Stuarts are engraved inside the bowl. The cover
of the font is dome-shaped, divided into four tiers, on top of which
stands a vase-shaped pedestal supporting two figures representing St.
Philip baptising the eunuch. The cypher of Charles II. surmounted
by a crown is engraved on the cover. The lower and broadest tier is
embossed with six amorini in various attitudes, whilst the smaller
upper tiers are decorated with acanthus and water leaves. Supporting
the bowl of the font is a high, rounded column, divided halfway up by
a large compressed knop and decorated with acanthus leaves, tulips and
other flowers. The knop is divided by narrow, flat moulding into two
sections, chased with acanthus foliage. The column stands on a circular
splayed base, also chased with acanthus foliage, and measuring only
nine and a half inches in diameter. The cypher of Charles II. with the
royal arms, garter and motto, are engraved on the base.
The basin or alms dish which goes with the font is a massive and
handsome piece of plate. On a plain centre are engraved large the royal
arms of the Stuarts surrounded by an embossed laurel circlet. The broad
border of the basin is embossed with various devices; the outlines of
monster faces; three amorini differently posed and holding sprays of
flowers, and three large birds--probably intended for eagles--with
spreading wings. The intervening spaces are filled in with flowers in
bold outline.
The two flagons, which are of very handsome design, probably had no
original connection with the font and alms dish, but became intimately
associated with them from having been used as one set at the baptism
of many princes and princesses, amongst whom were all the children of
George III. The high relief designs on these flagons are perhaps hardly
clerical, however classical. They have more the shape and appearance of
tankards, and though they have a general similitude, differ somewhat in
design and size, and may therefore be separately described. The larger
is undoubtedly of German origin, made, as the marks show, at Hamburg;
but the decoration on the borders of the cover and at the base are
probably English. The design in high relief on the drum represents a
bacchanalian scene of limited morality; the lip is moulded and plain.
The base is wide and splays from a plain moulding on the drum, and is
boldly embossed with the faces of cuttle-fish. The handle is scrolled
and foliated, and has a grotesque head on the shoulder and at the lower
end. The thumbpiece is formed of a double-foliated scroll. The cover
has a wide border which is decorated with the same devices as the
base, and on top is a circular medallion on which may be seen repoussé
figures of Venus and Adonis seated near trees with a Cupid before
them. The height of this tankard is eleven inches, and its diameter at
the mouth is five and three-quarter inches.
The second and slightly smaller flagon or tankard is also of German
origin, and shows the same Hamburg marks as the larger. The decorations
on the borders of the cover and the base are as before, and the handle
and thumbpiece are the same. The bacchanalian scene on the drum, which
is in high relief, leaves little to the imagination. The scene on the
medallion on top of this flagon differs from that on the larger flagon,
in that Adonis has now assumed a helmet, whilst Cupid is clinging to
the limbs of Venus. The height of this tankard is ten inches, and the
diameter at the mouth is five and seven-eighths inches.
THE MAUNDY DISH
This dish is taken once a year, under a guard of the Yeomen of the
Guard, to Westminster Abbey, and there used for the distribution of
the Maundy money to the aged poor. This ceremony takes place on the
Thursday before Good Friday, and the number of the poor thus benefited
is the same as the King’s age in that year. The actual Maundy money
consists of a silver penny, silver twopenny, silver threepenny, and
silver fourpenny; but other handsome doles in money and clothing are
at the same time made. The ceremony was inaugurated in the reign of
Charles II. in place of the more ancient custom of distributing the
Royal Bounty; and the Maundy Dish, though it bears the cypher of
William and Mary, dates back to the reign of Charles II.
The dish is of silver-gilt, perfectly plain, twenty-five and
three-quarter inches in diameter, and weighing two hundred and two
ounces. The maker’s mark is an orb and star on a plain shield, the
same as that shown on four of the St. George’s salts, and the date of
manufacture is the same, viz. 1660-61.
FLAGON AND ALMS DISH OF WILLIAM AND MARY
Two fine pieces of church plate made for William and Mary are amongst
the royal plate at the Tower. The set probably included two cups or
chalices, but no trace of these can be found in any later reigns.
The flagon is of silver-gilt, stands seventeen inches high, and has
a large handle and hinged cover. The body has plain moulded edges,
and is covered with boldly embossed cherubs’ faces, scrolled acanthus
foliage, and festoons of roses and fruit on a granulated surface. The
base splays broadly outwards and is decorated with acanthus leaves.
The handle is plain, terminating at the bottom in a plain flat disc.
At the top is a thumbpiece for opening the lid, which is pierced with
a heart and a triangular opening. The cover is shallow, is embossed
with acanthus leaves, and has on top a small plain knob. The cypher
of William and Mary surmounted by a royal crown is on the front of
the flagon. The maker’s mark is S. H. linked together on a circular
cartouche. The date of manufacture is 1691-92.
The alms dish which goes with this flagon is of very handsome design.
It is of silver-gilt, twenty-seven and three-quarter inches in
diameter, and has in the centre in high relief a representation of the
Last Supper. Below this is a panel showing the cypher of William and
Mary surmounted by a royal crown. The wide rim of the dish is embossed
boldly with four winged cherubs’ heads, in the intervals between which
are displayed scrolls of acanthus foliage garlands and fruit on a
granulated ground. The maker’s name was Francis Garthorne, his mark
being F. G. with a rosette below on a shield. The dish was made in
1691-92.
Both the flagon and the alms dish are used three times a year in the
Chapel of St Peter ad Vincula within the Tower: on Christmas Day,
Easter Sunday and Whit-Sunday.
Though they do not form a portion of the royal plate it may here be
mentioned that the sacramental plate in daily use in the Chapel of
St. Peter ad Vincula, though not so ornate, is considerably older
than these, dating back to Charles I. There are a chalice and small
patin dated 1629; another chalice and small patin dated 1637 and 1638
respectively, and one large patin dated 1682. All are inscribed with
the monogram C. R. surmounted by a royal crown, the first four pieces
pertaining to the reign of Charles I. and the last to that of Charles
II. It is a matter for satisfaction that this ancient plate escaped the
organised destruction of the Cromwellian era.
THE WINE FOUNTAIN OF CHARLES II.
This is a very fine piece of plate and somewhat appropriate to the
Merry Monarch. If in actual use a barrel of wine would be placed high
up in an obscure corner of the room. From this a pipe would run to a
hole at the bottom of the fountain, and through this the wine would in
accordance with the law of levels rise to the topmost figure and thence
flow down into the open receptacles below. As there is no escape from
these except on to the table, it would be incumbent on the company to
keep on dipping their beakers into the generous flood to avoid not only
an overflow, but also so important a matter as the waste of good wine.
There is, however, no record of this fountain having been thus used;
more probably it has served as a handsome centre-piece at royal
banquets, loaded with fruit and sweets. Whatever its intended use
the fountain is undoubtedly the finest piece of royal plate in the
Tower. It was made by Sir Robert Vyner, at a cost of £400[3] to order
of the Borough of Plymouth, and was presented by the loyal citizens
thereof to their king on his restoration. It is of silver, richly gilt,
this gold-covering having on several occasions been renewed. At the
coronation of Queen Anne no less than four hundred and thirty-two
ounces of pure gold were used, and again in the reigns of George II.
and George IV. rich coatings of gold were added.
The base consists of a large circular dome, resting on four mermaids,
each mermaid having a double tail. The dome is embossed with four
shaped and scrolled panels, each depicting a cupid riding a dolphin.
Between each panel are the outlines of monster faces.
Resting on the dome is a broad dish or basin divided into four large
shallow receptacles for wine. Each of the four receptacles shows
in repoussé a different subject. These are severally: Neptune and
Amphitrite; two tritons riding marine monsters, one spearing the other;
mermaids and dolphins; and two sea nymphs riding a dolphin, with a
merman holding a bowl of flowers. These four large receptacles are
connected by small-shaped oval depressions in which grotesque faces are
shown in repoussé. The shaped borders are also decorated with repoussé
work.
Rising from this broad basin is a tall octagonal column with four broad
faces and four narrow ones. On the broad faces are plain niches, two
of which show in high relief figures of Neptune standing with one foot
on a dolphin, and the other two show sea nymphs seated and holding
conch shells over their heads, also in high relief. Between each of
these panels and beneath them is an escalloped shell projecting from
the column and so placed as to catch the first flow of wine from above.
The four narrow faces of the column as well as the top and bottom are
decorated with embossed festoons and garlands of fruit.
On the top of the octagonal column is a short vase-shaped ornament,
chased and embossed with acanthus leaves, which forms a pedestal for a
tall, lightly clothed female figure. The figure which is in classical
style is held to represent either Erinnys or Cleopatra, probably the
latter. Round her uplifted arms may be seen encircling serpents.
The total height of the wine fountain is thirty inches. The width
of the broad basin is twenty-eight and a quarter inches, whilst the
diameter of the base is thirteen and three-quarter inches. There are
no hall or maker’s marks, but from documentary evidence it is known to
have been manufactured in 1660.
QUEEN ELIZABETH’S SALT-CELLAR
Among the many lists of royal treasure in Rymer’s _Fœdera_ is one which
gives details of the plate which was given to the Duke of Buckingham
and the Earl of Holland to sell for Charles I. in 1625 on the occasion
of his trouble with Spain. Unfortunately no figures are given, but
the descriptions are elaborate enough to show that many of the pieces
must have been of great beauty. There are also minute descriptions of
many of these treasures given in the Calendars of the Exchequer from
Edward II. to Henry VIII. What with one king selling some, and another
king losing some, and the Commonwealth making at last a clean sweep
of anything royal they could lay hands upon, it is little wonder that
there are but few pieces left of the old royal treasure of England.
Among the fine collection at the Tower is only one piece that can
claim any greater age than the time of Charles II., and this is known
as Queen Elizabeth’s “Great” Salt-cellar. Salt-cellars, it should be
said, were called “Great” in distinction from the “Trencher” salts, the
former being used to mark the difference in rank between the guests at
table, whereas the latter, which were quite small, were put near each
guest for use only.
This salt-cellar is in three divisions--the lower part, which holds the
salt in a shallow basin, then four brackets, and the lid raised upon
them.
This arrangement is peculiar, and it seems as if the lid was at one
time fitted in the lower portion, and that it had been lifted up on
the brackets by way of improvement. The brackets as they now are do
not appear to be of the same workmanship, or to be quite in keeping
with the rest, but they may have been substituted for others which
originally existed in the same place, or made to match others of
Charles II.’s which have the same kind of heightening.
The body of the salt-cellar is divided externally into three
compartments by grotesque figures with scroll prolongations and flat
pieces curving outwards above their heads, terminating in masks.
In each compartment is an allegorical figure of one of the Virtues
within a circular wreath, charmingly designed and executed in low
repoussé and fine chased work. The foot has two decorated bands: one
flat with an elaborate design of cupids and flowers, and the lower one
curved outwards and covered with masks, flat scrolls, and conventional
flower sprays. There are three feet designed in the form of sphinxes’
heads with forepaws.
Above the allegorical figures the lip broadens out into a projecting
piece ornamented with fruits and flowers in high relief, and over this
is the shallow salt basin.
The four scrolls supporting the top are in the form of dolphins with
ornamental tails, and the lid itself is a very fine specimen of
Elizabethan goldsmith’s work. The main part of the lid is ornamented
with fruit and flower groups, characteristic strap and cartouche work,
and allegorical figures within oval laurel wreaths. Above this comes an
urn-like superstructure with three scroll handles having animals’ feet
and human masks. A smaller urn form supports the figure of a knight in
armour with a long sword and a shield.
ST. GEORGE’S SALTS
There are altogether in the Jewel House at the Tower eleven great
salt-cellars known as St. George’s Salts. Of these eight are in sets of
four, whilst the remaining three are each of different designs. They
are all of the same date 1660-61, and form a portion of royal plate
which was made for Charles II. to replace that lost and melted down
during the last years of the reign of Charles I. and the Commonwealth.
A SET OF FOUR
These salts, of which there are four, were part of the royal plate
made for Charles II. on his restoration. They are of silver-gilt,
cylindrical in shape--standing ten inches in height and about six
inches in diameter--and are embossed with large flowers and foliage
on a burnished ground. At the top is a shallow depression for holding
salt, whilst from three points in the rim rise scrolled brackets curved
outwards and ending in serpents’ heads. These brackets were intended to
support a napkin so as to protect the salt from dust. But somehow this
origin got lost sight of, the three brackets being mistaken for legs,
and the salts turned upside down and stood upon these.
In 1820, when the royal plate was being overhauled for the coronation
of George IV., nobody seems to have discovered this error, and there
naturally being no receptacle for salt in the bottoms, Rundell, Bridge
and Rundell were instructed to make four new shallow dishes for this
purpose. These were fitted into the bottoms of the salts and bear the
Crest, Garter, and Crown of George IV. The salts thus stood upside down
for the space of ninety-eight years, during which time a desultory
correspondence went on regarding which was the right way up. It was
only in 1918 that the matter was finally and definitely decided, and
the salts turned over with the brackets upwards. To those who made
this decision two things were manifest. Firstly, that the brackets
had never been intended for legs, because that position caused the
serpents to stand on their heads, an indignity which no goldsmith would
impose upon them. And secondly, the floral designs on the cylinder were
manifestly upside down, when the salts used their brackets as legs. The
shallow salt dishes made for George IV., therefore, are found to be
superfluous, and the exchequer of those days might have saved £38 10s.
0d., which was the cost of making them.
The salts themselves were made in 1660-61, and bear the maker’s mark
F.L., with a pellet between the letters and a bird below, in a shaped
shield.
The weight marked on one of the salts is fifty-four ounces twelve
dwts., and it may be taken that the rest are the same.
A SECOND SET OF FOUR
These four salts are of the form known as the “hour-glass,” on the
top of which is a canopy supported by four brackets. These also were
made for Charles II., when the royal plate melted down by Charles I.
to cover his necessities was being replaced. They bear on the rim the
cypher of Charles II. in roman capitals surmounted by a royal crown.
The only injury which these have suffered is the loss by one of its
canopy. This was replaced by Rundell, Bridge and Rundell, for the
coronation of George IV., at a cost of £5 18s.
The upper and lower portions of the salt are boldly embossed with
acanthus leaves and plain leaves, whilst at the waist is a large plain
depressed knop separated into sections by three concave flutings. The
base is slightly domed and embossed with grotesque faces. At the top
under the canopy is a small circular depression four and one-eighth
inches in diameter for holding salt. The domed canopy is supported by
four brackets and is crowned by a knight in armour, with sword drawn,
and mounted on caracoling charger.
The height of these salts is sixteen and a quarter inches, and they
have a diameter at the base of nine and three-quarter inches. They bear
the mark of an unknown maker, an orb and star on a plain shield, which
same mark is to be seen on the “Maundy Dish.” The date of manufacture
is 1660.
THREE VARIED SALTS
We now come to the three St. George’s Salts, each of a different
pattern, though two of them are sufficiently alike to serve as a
pair. All three have a canopy on top supported by three brackets and
surmounted by a mounted knight in armour, presumably St. George. They
are all of the same date and by the same maker. The first of these
three salts has a trumpet-shape body resting on three lions couchant,
the base being ornamented with bold scrolls. Large upright acanthus
leaves alternating with plain leaves decorate the body. Near the top is
a convex section which is embossed with four rams’ heads, with clusters
of fruit in the intervals. Above this is a plain circular shallow
receptacle for holding salt. The brackets which support the dome make
the letter “C,” the dome itself being embossed with flowers. St.
George, who is riding a very small horse with an exceedingly luxurious
tail and mane, has in some previous age lost his sword.
This salt is fourteen inches in height; is marked as weighing sixty-one
ounces two dwts., and was made in 1660. The maker’s mark is T.A., with
a mullet between two pellets below, on a plain shield.
The second salt of this series is also trumpet-shape, but rests on a
broad flat base without lions couchant as legs. The ornamentation is
very similar except that on the base are four shaped panels containing
faces in high relief. St. George is mounted on a very similar steed,
but is here armed with a gigantic sword considerably longer than
himself. The height of this salt is thirteen and a quarter inches, and
the weight inscribed is 53--1--2. The date and maker’s mark are the
same as those given for the previous salt.
The third salt by this maker, though in general appearance similar
to the first two, has, on examination, several points of difference.
The canopy and the effigy of St. George with a huge sword are as in
the second salt, but the convex belt below the salt pan is absent,
and instead a large convex belt near the base, with a row of large
burnished oval bosses, such as may be seen on challenge bowls for
recording the winners’ names. Below this comes a domed base embossed,
and standing ball feet, each clutched by a lion’s paw. The height of
this salt is fifteen and a quarter inches, and the marked weight is
sixty-six ounces. The date and maker’s mark are the same as the first
two of this series.
THE SALT OF STATE
One of the most conspicuous pieces of royal plate at the Tower is
the State salt-cellar, presented to Charles II., on his restoration,
by the city of Exeter. By some it is supposed to represent the White
Tower, whilst others think that the design was taken from the crest on
the common seal of the city of Exeter. More probably, however, it was
merely a fancy design originating with the goldsmith and his craftsmen.
It may generally be described as a square tower with turrets at each
corner, whilst from the roof rises a circular superstructure which in
its turn is surmounted by a large crown. The edifice stands on a broad
plinth supported by four balled legs. The whole is of silver, richly
gilded and encrusted with jewels. This salt occupied the place of
honour at the coronation banquets of all the English monarchs from the
reign of Charles II. to that of George IV., since which it has ceased
to be used. It has frequently been re-gilt, and lost stones replaced or
new ones added; amongst other occasions for the coronations of James
II., William and Mary, Queen Anne, George I., II., III. and IV.; on the
last occasion the charge made by Rundell, Bridge and Rundell being £133
17s. 0d.
A closer inspection of the salt discloses a mass of detail unobserved
from even a moderate distance, which it may be of interest to
describe. Taking the main tower; on one face is an entrance gateway of
Renaissance design with a circular arch, and having a portcullis. On
each side of the door are pillars supporting a scrolled ornament set
with a large blue stone and two emeralds. On the opposite face of the
tower is another gateway approached by five semi-circular steps, and
having an arched summit resting on two pillars. On each side of each
of these two gateways may be seen the muzzles of guns projecting from
embrasures. The first floor of the tower is lighted by double windows
on each face, with a large emerald over each light. In a line below the
windows on all faces of the tower is a row of large stones, sapphires,
rubies and emeralds. The muzzles of three guns project through those
two faces which are not armed with artillery on the ground floor. The
usual battlements along the roof are replaced by an ornamental border
below which on each face is a large square crystal. On one side of the
tower below the windows are two long boxes for holding salt.
The turrets at the four corners of the tower which form the flank
defence are each armed with five guns, three being close to the base
and two at the top. Above and below these the turrets are pierced for
bows and arrows and harquebus. The turrets have domed roofs surmounted
by pinnacles. These pinnacles cover small circular receptacles for
salt, one and five-eighths inches in diameter.
The massive superstructure which rises from the roof of the main tower
is circular in shape, and has four latticed windows with double lights.
It has a plain circular pan two and three-quarter inches in diameter
for salt. Between each of the windows is a large emerald. Standing on
this circular tower is a row of slender columns through which may be
seen clearly three field guns on wheels. The columns support a domed
roof set with a ruby, two emeralds and an amethyst, which in its turn
is surmounted by more slender columns, on which stands a large royal
crown.
The whole edifice stands on a circular domed base to represent the
earth, on which may be descried flowers, snails and precious stones,
emeralds, sapphires, rubies, amethysts and turquoises. There are also
three large lizards and eight frogs. This base rests on four large
plain ball feet surmounted by dragons. The height of the tower itself
is eighteen and a half inches.
The maker’s name is not known, but probably he was a goldsmith of
Exeter. His mark is I. H. in a shaped shield, and the date of the work
is 1660.
THE MACES
There are in the Tower of London eight maces, two dating from the reign
of Charles II., two from that of James II., three from that of William
and Mary, and one from that of George I.
The mace was originally a weapon used by cavalry soldiers, and the
general shape of the ancient maces--a short handle with a broad
head--is retained in the ornamental maces used at our coronations, in
Parliament, by the mayors of towns, and in other cognate cases. The
crowned mace indicates the delegation of royal authority, and is a mark
of dignity, used on ceremonial occasions, and carried in procession by
chosen officials. A policeman’s truncheon is really a small mace, and
was until lately surmounted by a crown.
The royal maces are carried at coronations by the serjeants-at-arms,
originally a corps of twenty-four knights, or gentlemen of higher
degree. This corps, whose duty it was to be in attendance on the king’s
person, is said to have been instituted by Richard I. They were
mounted at the coronation of Charles II. (Fig. 44), but on foot at that
of James II.
[Illustration: FIG. 44. THE SERJEANTS-AT-ARMS CARRYING THEIR MACES.
FROM THE CORONATION PROCESSION OF CHARLES II. AFTER WENCESLAUS HOLLAR.]
Of the eight maces in the Tower, the oldest and finest are two that
were most likely made by Sir Robert Vyner for Charles II., whose
initials are upon them. They are of silver-gilt, measure a little over
four feet in length, and weigh thirty-four lbs.
The head of each of these maces, which have served as models to
the other royal maces, consists of a massive rounded bowl, divided
externally into four compartments, each bearing a crown flanked by
the initials C. R. Under the crowns, in high repoussé work, finished
with chasing, may be seen the emblems of the four kingdoms: the
rose, thistle and harp, for England, Scotland and Ireland, and the
fleur-de-lys for France. The compartments are marked out by ornamental
scroll divisions, on each of which is a conventional female figure.
Above this is a crown, the rim of which, widening slightly outwards,
bears eight small crosses-patée, and eight small fleurs-de-lys,
raised on points, and with pearl points between each. From alternate
crosses-patée rise two arches, dipping at the point of intersection,
with a row of “pearls” along the centre of each.
From the point of intersection rises a large orb with fillet round
the thickest part of it, and an arch crossing it at the top. On the
top of the mound is a cross-patée with a “pearl” in the centre, and
also one at each extremity of the three upper arms. In many instances
these bowls at the top of maces were made to unscrew, and were used as
drinking-cups, being provided with a short foot as well--the ornamental
crown at the top also being removable.
The handle of the mace is chased and ornamented with a graceful design
of superimposed arches, in each of which is either a rose or a thistle.
It is divided into three divisions by two broad knops of oblate form,
repoussés and chased in a simple design. The upper of these divisions
is much the smallest, and is further decorated with three ornamental
brackets of open tracery with masks and curves richly designed. The
foot widens out into a rounded boss repoussé and chased in a pattern
resembling that of the smaller knops, but more ornamentally treated and
differently proportioned, and the foot has another smaller thickening
decorated in the same way.
The remaining maces are all made on the same plan, but they are larger,
and differ in the details of the ornamentation, and also in the
initials of the sovereign for whom they were made--James II., William
and Mary, or George I.
THE STATE TRUMPETS
Amongst the royal plate may be mentioned the fifteen state trumpets
which are kept in the Jewel House in the Tower. These are of silver,
and from each depends a silk banneret, richly embroidered in gold,
portraying the royal arms, as well as the cypher of the reigning
monarch. There were originally sixteen trumpets, but one disappeared,
as articles of value frequently did in olden days, and has not been
replaced. These trumpets are used at the coronation to blow a fanfare
when the King is proclaimed.
The Archbishop of Canterbury speaks thus to the people: “Sirs, I
here present unto you King George, the undoubted king of this realm:
wherefore all you who are come this day to do your homage, are you
willing to do the same?” The people signify their willingness and joy
by loud and repeated exclamations, all with one voice crying out: “God
save King George.”
Then the trumpets sound.[4]
FOOTNOTES:
[3] About £2,000 of our money.
[4] From the coronation service.