Chapter VII: 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.

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.