Chapter VI: The Lesser Regalia

The Ampulla or Golden Eagle which contains the oil for the
Anointing of the King--The Holy Oil and its origin--James
II. paid £200 for the Holy Oil at his Coronation--The Golden
Eagle described--Its great age--The Coronation Spoon--Its
antiquity--The Handle probably of Byzantine origin--The Spoon
fully described--The Swords--The Sword of State described--A
Military Emblem of the Sovereignty--The Two-handed Sword
of Edward I.--At George III.’s Coronation the Sword of
State having been forgotten the Lord Mayor’s Sword was used
instead--The Deputy Earl Marshal assures His Majesty that the
mistake shall not occur again at the next Coronation--The Three
Swords--“Curtana,” the Sword of Mercy--The Sword of Justice
Spiritual--The Sword of Justice Temporal--The Jewelled State
Sword--The most valuable in the world--At the Coronation is
offered by the King to the Church--After being placed on the
Altar is redeemed for 100 shillings--Sword described--The
Gold Spurs another Military Emblem--Known as St. George’s
Spurs--Spur Money--The Bracelets--A very ancient Emblem
of Sovereignty--The Bracelets worn by Saul when King--The
Bracelets described.

THE AMPULLA

Mr. Chaffers, in his book on English goldsmiths, says: “The ancient ampulla, used at the coronation of English sovereigns, was, according to Mezeray, of lapis lazule, with a golden eagle at the top enriched with pearls and diamonds.” There is unhappily no relic of this beautiful jewel left, nor is any indication of the size given; but the mention of a golden eagle is interesting, as it at all events shows that if we have kept nothing else we have kept the tradition.

There is an ancient legend that a holy cream was given to St. Thomas of Canterbury, by the Virgin Mary, for the anointing of the kings of England. This cream was preserved in a golden eagle, which was also divine. The only Christian kings who used to be anointed were the kings of England, France, Jerusalem and Sicily, and afterwards the kings of Scotland, by special Papal favour. The kings of England and France had a special additional right to be anointed with the holy cream or chrisma--a sacred unguent made chiefly of olive oil and balm, and only used in the more sacred ceremonies of the Church, ordination of priests, consecration of bishops, and a few other functions, in all of which it was considered as conferring a specially sacred character to the persons anointed with it. Elaborate directions are given, in coronation services, for the royal anointing. This usually includes the making of a cross on the king’s head with the chrisma; on the other places, the hands, the breast, the shoulders, etc., the anointing was done with holy oil. James II. paid his apothecary, “James St. Armand, Esq.,” £200 for the cream for his coronation.

The golden eagle itself measures about nine inches in height, with the pedestal. The diameter of the pedestal is three and a half inches. The stretch of the wings is seven inches. It weighs about ten ounces of solid gold, and the cavity of the body is capable of containing about six ounces of oil. The head screws off at the neck for the cavity to be filled, and the oil pours out of the beak. This pouring out of the oil, as well as dipping the fingers in the spoon and anointing the sovereign, is always done by the Archbishop of Canterbury.

Mr. W. Jones, in his book on _Crowns and Coronations_, published in London in 1883, says: “It is said that the eagle now existing is the real original ampulla, which was first used at the coronation of Henry IV.” (Oct. 13th, 1399). Few of those who have written about this eagle venture to give any opinion about its antiquity, and, at first sight, the surface does not seem very old. The pedestal is, apparently, of seventeenth century make, and the whole of the outside of the bird, down to the minutest feathers, has been gone over with chased work, very likely at the same period; but probably it will be admitted that the general form of the bird lends itself to the theory that it was made at a much earlier period, especially the body (Fig. 43); indeed this may well be of Byzantine origin. Undoubtedly there is one thing about it that is much earlier than Charles II., and that is the very primitive screw with which the head is screwed on. It seems therefore very probable that Sir Robert Vyner found the body of an ancient eagle at Westminster when he had to remake the regalia for Charles II., that he added a pedestal and wings to this body, and then went over the whole surface with a graver. The eagle itself is an emblem of imperial domination. It may be an indication of the ancient claim of the sovereigns of England to be Emperors of Britain and Lords Paramount of all the islands of the West.

Sandford gives an engraving of the ampulla, which appears exactly as it is to-day. He considered it to be an ancient piece of plate, and says that this and the spoon were preserved from destruction by having been kept at Westminster.

THE SPOON

Two of the articles now existing among the regalia kept in the Tower are possibly, at least in part, of great age. These are the ampulla, or golden eagle, above described, and the anointing spoon. Both of these have marks upon them of considerable antiquity, and of the two the spoon has been less altered than the eagle. Before describing the spoon as it now is, it will be as well to note what antiquaries of authority have already said concerning it.

Henry Shaw, in his exquisitely illustrated book on the dresses and decorations of the Middle Ages, published in London in 1843, gives a fine coloured illustration of the spoon. He says: “It has most probably been used in the coronation of our monarchs since the twelfth century,” ... “its style of ornamentation seems to prove that it was made at that period,” ... “there can of course be no doubt of its antiquity.” He says it is of gold--a natural mistake; but, as a matter of fact, it is of silver, heavily gilt. He restores the handle itself with blue enamel, and the two circles above and below the pearls with green enamel.

Mr. W. Jones, in his book on _Crowns and Coronations_, already referred to, says: “The spoon from its extreme thinness appears to be ancient”; and “it seems probable that this spoon may have been used at the coronation of our monarchs since the twelfth century.”

Mr. Cripps, in _Old English Plate_, considers the entry in the lists of the regalia in the time of Charles II. to prove that the coronation spoon was at all events remade for him. Lastly, in 1890, when a most valuable paper on _The Spoon and its History_ was read at the Society of Antiquaries by Mr. C. J. Jackson, F.S.A., and Queen Victoria was graciously pleased to lend this specimen for exhibition, the general opinion was that it might be attributed to the twelfth or thirteenth centuries.

Having examined the spoon very carefully, the conclusion has been arrived at that the handle at all events is undoubtedly old, probably Byzantine. This part of the spoon is about seven and a half inches long, and is divided into three parts, tapering towards the end. The end division is wreathed, and the extreme tip is of a flattened cup-like form. Then comes a boss which may be intended to represent an animal’s head. Next is a division that at one time contained enamel; the metal-work on this is not filigree, as described by Mr. Shaw, but “champlevé,” a different form of preparation for enamel work. The lower surface is rough, as might be expected, but no traces now remain of enamel. The pattern is a decorated scroll. Then comes a square boss with rounded corners, having a chased circle on each of its faces, which marks the beginning of the third and most decorative part of the handle, which thickens considerably in the centre. A circular ornament, with traces of chased work upon it, is the chief attempt at decoration. Above and below this are two pearls, none of them ancient, and beyond these two circular ornamental spaces with “champlevé” work, which Mr. Shaw shows filled with green enamel. Then next to the bowl is an ornament which somewhat resembles a fanciful head, and the stem is joined to the bowl by a prolongation downwards, a modification of the “keel and disc” fashion well known to have been used in early Christian spoons. The handle shows no sign whatever of recent workmanship, either on the sides, the front, or the back, except regilding. The patterns on the back are quite simple, and the knot in the thickest part is certainly of an ancient design, all the corners are rounded everywhere, and the forms show wear consistently all over it. The regilding perhaps destroyed small bits of enamel which in Shaw’s time may have existed in protected corners, and given him some authority for his green and blue restorations.

The bowl, which is about two and a quarter inches long, has work upon it which is more difficult to fix as having been made at any particular time. In the first place, the shape of it does not agree with the generally understood shapes used in mediæval domestic spoons. It is divided by a ridge down the middle into two parts, into which the Archbishop dips his two fingers, and at its junction with the stem there is an engraved leaf pattern, the treatment of which is comparatively modern. The front of the bowl is engraved with a design which has some appearance of antiquity, but the manner of treating it does not appear altogether satisfactory. Indeed, it appears very probable that the bowl was remade by Sir Robert Vyner, and that the ancient bowl may have had the curious ridge down the middle, although it is doubtful whether it had the pattern on the front or the leaf pattern at the back.

It is also noteworthy that in the various accounts where a spoon is mentioned nothing is said about the enamelling, which undoubtedly existed, neither is there any mention of the four pearls.

Both this spoon and the golden eagle have much sacredness connected with them. They are both used in that part of the coronation which is specially holy, and when the regalia were removed to the Tower from Westminster Abbey, it is quite possible that these two precious objects were retained by the Abbey authorities on the ground of their belonging to them; indeed, Sandford, speaking of the plunder of the regalia from Westminster Abbey, expressly excepts the ampulla and spoon, and it is therefore reasonable to believe that these were kept separately. He says: “All the regalia, _except the ampulla and spoon_ (both of which were constantly kept in the church of Westminster), being sacrilegiously plundered away.”

THE SWORDS

There are five swords now kept in the Tower. The largest of these is the Sword of State--a two-handed sword, the length of the blade of which is about thirty-two inches, and the breadth thereof about two inches. The quillion of the sword is formed by an arrangement lengthwise of the lion and the unicorn in gilt metal, with a double rose between them. The grip of the sword and the pommel are also of gilt metal, the former has on it in raised work designs of the portcullis, fleur-de-lys and harp, whilst on the latter are a thistle, orb and other emblems. The upper end of the scabbard has a metal sheathing, gilt, in the form of a portcullis, whilst the lower end has a shoe of gilt metal with designs of portcullis and the lion crest of England upon a crown, and finishes with an orb and cross. The scabbard itself is covered with crimson velvet encircled with gilded metal plates bearing designs in high relief. Of these the centre plate bears the full royal coat of arms of England, with supporters, whilst the other plates bear the Tudor badges of the portcullis, the double Tudor rose, and the thistle of Scotland, the harp of Ireland, and the fleurs-de-lys of France.

Swords are found upon the Great Seals of all our English sovereigns from the time of Edward the Confessor, usually on the reverses, but they have no particular form, and simply mean that the King is a soldier and the head of the army. In token of which the sovereign is girded with the sword after being anointed. In Westminster Abbey with the coronation chair is kept a large two-handed sword, said to have belonged to Edward I. It is a state sword of great size, and the form of the handle is evidently the original of three of the other swords which are now kept in the Tower. At the coronation of George III., the Earl Marshal forgot the Sword of State, so that one had to be borrowed from the Lord Mayor to replace it, for being only an emblem any sword suffices. The King very naturally reproved Lord Effingham, the Deputy Earl Marshal for this neglect, and he in his confusion replied: “It is true, sir; but I have taken care that the next coronation shall be regulated in the exactest manner possible.”

There are three other swords besides this state sword which are of considerable interest. One of these is called “Curtana,” another the “Sword of Justice to the Spirituality,” and the third the “Sword of Justice to the Temporality,” and these are all now of the same pattern. They were figured by Sir Edward Walker, but the handles then given are different from those that now exist. The most curious of these is “Curtana,” or the “Sword of Mercy,” which is also known as the sword of Edward the Confessor. It was formerly the privilege of the Earls of Chester to carry this sword before the King, but the earldom of Chester being merged into that of the Prince of Wales another peer is selected by the King for this privilege. The Swords Spiritual and Temporal are also carried by peers selected by His Majesty, and at the last coronation were carried by two Field-Marshals, Earl Roberts and Viscount Kitchener. The point of the sword “Curtana” is blunt, cut off square, though in Sir Edward Walker’s account it is shown as jagged. This blunted point is supposed to be typical of the quality of mercy. The handles of the three swords are of a simple pattern, all gilded; the pommels being thick octagonal plates with circular centres. The scabbards are covered with crimson velvet ornamented with a running scroll in gold braid. The length of “Curtana” is about thirty-two inches, and the breadth of the blade is two inches. The other two swords are four inches longer, and the breadth of their blades is a little less, and they are both pointed in the usual manner.

THE JEWELLED SWORD OF STATE

The Jewelled Sword of State is considered to be the most beautiful and valuable sword in the world. It was made for George IV., costing £6,000, and presents a mass of jewels of all colours set in dull gold. At the coronation this sword is borne by the Keeper of the Jewel House as one of the military emblems, and is offered by the King in homage to the Church. The Archbishop of Canterbury receives the sword and places it on the Altar, which ceremony being accomplished the King redeems it on payment of one hundred shillings.

The hilt and quillion are a mass of diamonds interspersed with coloured precious stones set so thickly that the gold setting is scarcely visible. On the extreme top of the hilt is a large diamond with four large rubies arranged equidistantly below. Then come two more rows of large emeralds and diamonds. The hilt itself bears a device of oak leaves and acorns in emeralds and diamonds. The quillions, thick set with small diamonds, have at their extremities lions’ heads also in diamonds. In the centre of the quillion is a very large and remarkably beautiful emerald valued at £2,500. The scabbard is of dull gold. At the upper end it is ornamented with a sapphire, a ruby, two diamonds, and a yellow sapphire arranged in the form of a cross and enclosed in laurel sprays set with brilliants. The main part of the scabbard has the badges of the rose for England, the thistle for Scotland, and the shamrock for Ireland, worked in rubies, emeralds, and diamonds. These three devices are thrice repeated down the length of the scabbard. Each badge is separated from those above and below by crossed golden sprays of laurel and palm.

The “chape,” or lower end of the scabbard is decorated with a repetition of the oak leaf and acorn design described on the hilt, but on a smaller scale. At the extreme end of the scabbard is set in diamonds a large oval turquoise.

The reverse side of the scabbard is of plain gold, ornamented with devices, but is not jewelled.

THE SPURS

In the list of the regalia made for Charles II., and drawn out in 1685 in preparation for the coronation of James II., mention is made of a pair of golden spurs. They are figured both in Sir Edward Walker’s account of the coronation of Charles II., and in Sandford’s account of the coronation of James II., and appear to be the same now as they were then, with the exception of the straps and buckles. They were made by Sir Robert Vyner, and are of the kind known as “prick” spurs, as they do not end in a rowel, but in a sharp point projecting from a conventional flower. They are of solid gold, richly chased in flowing patterns, and have straps of crimson velvet embroidered in gold. They are known as St. George’s spurs, and are one of the emblems of knighthood and chivalry, and with the sword help to mark the military character of the sovereign. At the coronation these spurs are presented to the sovereign, and immediately deposited on the altar, being afterwards redeemed by the payment of some handsome fee. This procedure, indeed, takes place with most of the articles used at the coronation, one after the other.

In former days no one was allowed to enter a sacred edifice with military arms upon him. These were generally left with one of the attendants at the door or in the porch, while their owner went inside to pray. When the prayers were finished and the soldier came out again, he had to redeem his accoutrements with such money as he had available, and “spur money” had always to be taken into consideration when an armed knight went to his devotions.

THE BRACELETS

In the account of the death of Saul as given by the Amalekite, the “crown that was upon his head, and the bracelet that was on his arm,” (2 Sam. i. 10.) were taken from him, and bracelets appear to have been at different times used as one of the emblems of sovereignty.

They were worn by Babylonian and Assyrian monarchs, and it is stated that in Persia, even at the present time, only the Shah and his sons are allowed to wear them. They were used at the coronation of English sovereigns until lately, and are mentioned in accounts of the coronations of Richard II., Henry VIII., Edward VI., Mary and Elizabeth. In the list of the regalia made for the coronation of Charles II., by Sir Robert Vyner, mention is made of bracelets, and these same are now in the Tower, but the enamel has undoubtedly been restored. It is identical in colour and preservation with the similar designs that are to be found on what is known as the “Queen’s Ivory Sceptre,” made for Mary of Modena.

These bracelets are one and a half inches in breadth, and two and a half in diameter. They are made of solid gold, and are lined with crimson velvet, which is fastened on with red silk drawn through holes pierced in the edges. The edges are marked by raised gold fillets with diagonal lines in blue enamel. The emblems of the three kingdoms and the fleurs-de-lys of France are enamelled on the surface of the bracelets. The designs are cut out of gold, forming shallow spaces into which the enamel is fused. This is known as “champlevé” enamel work. The double roses are coloured a rich crimson, with little green leaves between the outer petals; the thistles have green cups, pale purple heads and dark green leaves. The harps are pale blue with deep gold strings, and the fleurs-de-lys are a deep rich yellow. These emblems are divided from each other by a dark blue four-petalled flower, with gold centre, and on the fastening of each bracelet are three of these little blue flowers.

THE AMPULLA]

THE ANOINTING SPOON]

THE JEWELLED STATE SWORD

THE SWORD OF STATE

“CURTANA” OR SWORD OF MERCY]

THE BRACELETS

ST. GEORGE’S SPURS]

QUEEN ELIZABETH’S SALT-CELLAR]

SERJEANT-AT-ARMS’ MACE]