The Sword of General Sir William Fenwick Williams, Baronet of Kars, in the Royal Armouries (IX.1841) and Aspects of High Victorian Sword Design

Notes

• See AVB Norman & G. Wilson, Treasures from the Tower of London: Arms and Armour. London, Arms & Armour Press, 1982, Cat No. 39 Plate. XXII; also G. Wilson ‘Antoine Vecht, the Nine-teenth Century Cellini’, The First Park Lane Arms Fair, London, 17–18 February 1984, The Hillingdon Press: 16–23; see also (for Hunt & Roskell) J. Culme The Directory of Gold and Silversmiths Jewellers and Allied Traders, 1838–1914 from the London Assay Office Registers, 2 vols, Antique Collectors’ Club 1987, Woodbridge, Suffolk, vol. 1, pp. 245–7; and L. Southwick London Silver-hilted Swords, Their makers, suppliers and allied traders with directory, Leeds, Royal Armouries, 2001a, pp.143–4, 248, Colour plate 29 and cover. Incidentally, the author once showed photographs of the Fenwick Williams sword to Leslie Durbin (1913–2005), the renowned British silversmith, who made the silver parts of the Stalingrad Sword in 1943, and asked his opinion of the token. He replied that the sword was ‘of exceptional design and quality and of superb workmanship, especially the figures in niches on the hilt’.
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• The Illustrated London News of Saturday 20 September 1856 (No. 821, Vol. XXIX) p. 306, which fully described and illustrated General Williams’ sword, records this figure as ‘Truth’ (and it is probable that this information came from the manufacturers). In keeping with what happened at Kars and Fenwick Williams’ prudent decision to save the lives of those under his care by not opposing the overwhelming forces against him, the figure could equally well be that of ‘Prudentia’, who, in various representations, holds similar attributes to ‘Truth’.
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• The Illustrated London News op. cit. (note 2) above stated mistakenly that the figure on the scabbard was that of Victory not Fame (see Main Text).
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• See ‘Catalogue of works of art in silver and jewellery exhibited by Hunt and Roskell’, p. 9, entry ‘XVI A Sword’, International Exhibition of 1862. The Illustrated Catalogue of the Industrial Department. British Division, Vol. II, London, Printed for Her Majesty’s Commissioners, where the Fenwick Williams sword was exhibited and Thomas Brown is described as the designer. Brown studied at the Royal Academy and gained ‘honorary medals’, see Culme op. cit 1987 (note 1) p. 212.
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• See the Illustrated London News, Saturday, 20 September 1856 (No. 821, Vol. XXIX) p. 306. For an account of Antoine Vechte, see Wilson (1984) and Southwick (2001a) p. 248, op. cit. (note 1).
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• Norman & Wilson 1982, op. cit., (note 1), p. 60.
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• For a painting of this event, see Major-General Williams and his staff leaving Kars, 28 November 1855, by Thomas J. Barker. National Army Museum, London (acc. no. 6307–3).
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• Brompton Cemetery Burial Register No. 82, No. 118074. The ceremony was performed by the Rev. H. Denning.
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• Brompton Cemetery Burial Book No. 393, receipt 116209, entry 117774, ‘Grave 9ft long by 4ft wide and 7 foot deep’. Regrettably, after frequent searches, Williams’ grave can no longer be identified in the area of the cemetery in which it was originally placed. This popular burial ground in which many personalities who made a mark on their times are buried, such as George Alfred Henty (died 16 Nov. 1902) the war correspondent for the Standard and the boy’s adventure writer, Emmeline Pankhurst, the Suffragette (1852–1928), Richard Tauber, the singer (1891–1948), Constant Lambert (1905–51) composer and conductor, Admiral Charles Fremantle (1800–69) founder of Fremantle, Australia, and several Crimea VC winners, like Gen. Sir Frederick Maude VC (1821–1907) and others, is very crowded and numerous gravestones are weathered and completely unreadable.
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• Journal and Proceedings of the House of Assembly, Halifax, Nova Scotia, 16 February 1856. National Archives, Kew, CO 220/46, p. 58.
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• Journal of Proceedings of Her Majesty’s Legislative Council of the Province of Nova Scotia, Halifax, 19 February 1856. National Archives, Kew, CO 220/47.
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• Journal and Proceedings of the House of Assembly, Halifax, Nova Scotia, 19 February 1856. National Archives, Kew, CO 220/46, p. 67.
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• Illustrated London News, No. 821, vol. XXIX, p. 306.
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• The banquet and presentation of a sword to the Earl of Cardigan for his services in the Crimea in ‘the Hall of the Stock Exchange, Leeds’ is recorded in the Illustrated London News, Saturday 13 September 1856 (No. 820, Vol. XXIX), Supplement p. 279. Only the event was recorded, the sword was not described nor illustrated. Colonel Lake’s ‘Sword of Honour’ presented by the inhabitants of his native town of Ramsgate, following his return from Kars, was described and illustrated in the Illustrated London News of Saturday, 2 August 1856 (No. 814, vol. XXIX) p. 121 (see also note 53).
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• Private collection. Sold at Christie’s London Sale of Arms & Armour, 21 May 1980, lot 22 (ill); see also L. Southwick The Price Guide to Antique Edged Weapons, Antique Collectors’ Club, Woodbridge, Suffolk, 1982a, No. 523; also Southwick ‘Presentation Swords: a selection of British Swords awarded from 1780, Part Two’, Antique Collecting, The Journal of the Antique Collectors’ Club, December 1982b, Vol. 17, No. 7 (Woodbridge, Suffolk) pp. 16–20; also L. Southwick op. cit. 2001a (note 1), colour plate 27.
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• National Army Museum, London (acc. no. 6310–133).
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• See L. Southwick, ‘Tokens of Admiration [Gifts to Sir James Outram]’, Antique Dealer and Collectors’ Guide, July 1995, pp. 40–43 and 64, figs. 1–3.
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• National Maritime Museum, Greenwich, PLT 0175.
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• Discussed in L. Southwick ‘The City of London Freedom Boxes and Caskets’ (forthcoming).
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• See B. Robson Swords of the British Army, The Regulation Patterns, 1788 to 1914, The Revised Edition, National Army Museum, 1996, pp. 204–9 (ills).
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• See L. Southwick, 1982a, op. cit. (note 15) no. 521 and also L. Southwick ‘The maker’s mark of Thomas Price on British Presentation Swords’, Arms & Armour, Journal of the Royal Armouries, Vol. 4, No. 1, 2007, pp. 5–44.
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• See L. Southwick ‘The Sword presented to Major William George Drummond Stewart, VC, in Recognition of his Services in the Crimean War and Indian Mutiny Campaign’, Arms & Armour, Journal of the Royal Armouries, Vol. 5, No. 2, 2008, pp. 108–141, fig. 22; also the Illustrated London News of Saturday, 5 July 1856 (No. 809, Vol. XXIX) pp. 5–6. The sword was manufactured by ‘Mr D.C. Rait, of Buchanan-street, Glasgow, and is a beautiful work of ornamental art’. Clyde’s career was most distinguished, beginning with being a young officer at the start of the Peninsular Campaign at Vimiero 1808 until 1813, then serving in the colonies and in China (1813–1846), in India (1847–53) and commanding the Highland Brigade in the Crimea, after which this sword was presented. Shortly afterwards, following the outbreak of mutiny in India, Campbell was appointed Commander-in-Chief India and put the rebellion down (see Main Text).
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• Private collection.
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• See L. Southwick, 1982b, op. cit. (note 15), pp. 16–20, fig. 30 (see this article for other swords of interest).
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• See Southwick. 1982a, op. cit. (note 15), p. 183, fig. 521, and Southwick 1982b, op. cit. (note 15), p. 16, fig. 19.
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• Private collection.
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• The ‘Presentation of a State [sic] Sword to Colonel the Hon. Percy Herbert, CB, MP’, is described and illustrated in the Illustrated London News, of Saturday 30 August 1856 (No. 818, Vol. XXIX) pp. 209–10. General Lord Chelmsford’s sword is described and illustrated in The Art Journal 1880, p. 371 (the sword was accompanied by a fine vase, also made by Hunt & Roskell).
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• See Stuart W. Pyhrr, Jose-A. Gody & Silvio Leydi Heroic Armour of the Italian Renaissance: Filippo Negroli and his Contemporaries. Metropolitan Museum of Art, New York, Published in conjunction with the exhibition at the museum from 8 October 1998–17 January 1999 (Harvey N. Abrams Inc. NY) 1998.
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• Discussed and illustrated in detail in Pyhrr et al., 1998, op. cit. (note 28) Cat no. 42, pp. 216–224. For other works see Jose–A. Godoy & Silvio Leydi ‘PARURES TRIOMPHALES. Le manierisme dans l’art de l’armure italienne’. Geneva, Musée Rath, Exhibition 20 mars–20 juillet 2003, Geneva 2003; also John F. Hayward ‘The Sigman Shield’, Journal of the Arms & Armour Society Vol. II, 1956–58, pp. 21–42; and J. F. Hayward ‘European Armour’, Victoria & Albert Museum, HMSO 1965, Cat Nos. 11, 20–22, 26, 28, 30, 32.
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• For further fine images of courtly extravagance, including swords and arms, see Dirk Syndram & Antje Scherner (eds) Princely Splendour. The Dresden Court 1580–1620. Metropolitan Museum of Art, New York & Staatliche Kunstsammlungen, Dresden, Catalogue for an exhibition held in Hamburg, New York, Rome and Dresden in 2004–5, pub. 2004, see in particular Cat no. 14 ‘Pointed Morion and Shield’, Milan c.1570 and Cat no.15 ‘Breastplate from a Parade Armour’, French, before 1588. For a further account of the French designers and craftsmen, see J. F. Hayward ‘The Mannerist Goldsmiths: 2, France and the School of Fontainebleau, Parts 1 & 2’ The Connoisseur, nos 152–153 (1963).
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• Victoria & Albert Museum (E2362–1910), illus-trated in J. F. Hayward Victoria and Albert Museum, Swords & Daggers, HMSO 1963, fig. 42.
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• Victoria & Albert Museum, M.59–1947, illustrated in Hayward 1963, op. cit. (note 31), fig. 24.
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• Victoria & Albert Museum, M.111–1953, illustrated in Hayward 1963, op. cit. (note 31), fig. 24b.
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• Victoria & Albert Museum, M.659–1910, illustrated in Hayward 1963, op. cit. (note 31), fig. 25, date suggeted as c.1670. See also A.V.B. Norman Small-Swords and Military Swords, Arms & Armour Press, London, 1967, fig. 7, date suggested as c.1650–60.
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• See Wilson, 1984, op. cit. (note 1), 16–23 and Southwick, 2001a, op. cit. (note 1), p. 248.
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• John Culme has informed me that the late Shirley Bury had once told him that she had ‘come across suggestions that Vechte was a very reluctant employee of Hunt & Roskell and was only in London for them on sufference. The company set him up in his own workshop (somewhere in Soho rather than near the company’s main workshop site in Harrison Street), and that he refused to speak English, using members of his family as translators’. Vechte is also recorded as being listed as a ‘modeller’ at 28 Denmark Grove, Islington, in the Post Office Directory of 1856, from where he may have undertaken other commissions.
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• For the Titan Vase, see M. Digby Wyatt International Arts of the XIXth Century at the Great Exhibition MDCCCLI. London 1853, p. XXVI. Also see the catalogue of the Great Exhibition of the Works of Industry of all Nations. Official Descriptive and Illustrated Catalogue. London, Royal Commission, 1851, 3 vols, which describes the Titan Vase by Vechte (p. 686, No. 3) as follows: ‘The vase, of Etruscan form, embossed from thin sheets of silver in the highest and lowest possible relief. The subject which is treated in the style of Michael Angelo, is the destruction of the Titans by Jupiter, who made war upon them for having imprisoned his father Saturn…. Supported by the handles of the vase, two bold presumptuous giants stand out in full relief, vainly menacing the father of gods and men. On the foot are fallen distorted figures, representing Vice and Presumption, writhing in the agonies of death, also figures of Time and Fate (the former with his scythe, the latter grasping serpents)’. Figures in low relief include ‘Satyrs and Bacchanals, Neptune in his chariot drawn by sea horses, Crocodiles, winged serpents, fiery dragons, and other fabulous monsters of sea and land, wage war with one another’. Following the Great Exhibition of 1851, the vase was exhibited again in London eleven years later at The International Exhibition of 1862, op. cit. (note 4) Cat. Vol. II, p. 51 (18). Another notable item designed and executed by Vechte for Hunt & Roskell and exhibited in the International Exhibition of 1862 was the ‘Breadalbane Candelabrum’ intended to form ‘a repository for a number of the Poniatowski gems, which are rendered translucent by interior lights…. This work, which is in height nearly six feet [183 cm], is composed of silver and iron, richly damascened with gold’, see J. Culme, Nineteenth-Century Silver, Country Life Books, Hamlyn Publishing Group Ltd., 1977, p. 68 and p. 70 (illustrated centre), and the 1862 Exhibition Catalogue, op. cit. (note 4), Vol. II p. 46.
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• Pyhrr et al. 1998, op. cit. (note 28), and Hayward 1956–58, op. cit. (note 29).
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• See Wyatt 1853, op. cit. (note 37), plate CV.
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• See Shirley Bury ‘The Lengthening shadow of Rundell’s, Parts 1–3’, The Connoisseur, CLXI: 1966, fig. 22. Also, for further details of prominent silver manufacturers and the great exhibitions of this period, see J. Culme 1977, op. cit. (note 37). Vechte’s influence is also clearly found on ‘The Outram Shield’ (now on loan to the Victoria & Albert Museum), a work of silver and damascened steel, diameter 37½ in (95 cm), presented to Sir James Outram ‘of HM Bombay Army, by his friends, admirers, and brother officers. The shield illustrates some of the most important events in the career of Sir James Outram, commencing with the subjugation of the Bhils in 1822, and terminating with the Relief of Lucknow 1857. The frame of the shield is of steel, richly damaskened with gold, and contains eight medallion portraits of Sir James’s companions in the Lucknow Campaign, and his companions in the Persian War’. The shield was exhibited in the International Exhibition held in London in 1862 and was designed, and the silver work undertaken, by Henry Hugh Armstead (1828–1905), but bears the maker’s mark of the retailer, J. S. Hunt of Hunt & Roskell, for whom Vechte, Armstead and others worked (see Bury 1966, op. cit, Part 3, p. 219–221, fig. 20). See also The International Exhibition 1862 catalogue, British Division, Vol. II op. cit. (note 4) pp. 47–9, No. 6. (Another recorded work by Armstead for Hunt & Roskell exhibited in 1862 was the ‘Kean Testimonial to Charles Kean FSA, the actor, dated 22 March 1862’ (ibid. p. 51 No. 21).
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• Pyhrr et al. 1998, op. cit. (note 28) and Hayward 1956–58, op. cit. (note 29). Other classically inspired presentation shields also may have had some influence on Vechte’s work, such as The Shield of Achilles, designed and modelled by John Flaxman (1755–1826), whose work in the first quarter of the 19th century for the royal goldsmiths, Rundell, Bridge & Rundell, was highly admired and influenced a generation. See Shirley Bury & Michael Snodin ‘The Shield of Achilles by John Flaxman, RA’, Sotheby’s Art at Auction, 1983–84, London, pp. 274–283, and Philippa Glanville Silver in England, London 1987, pp. 249–251. (An example of the ‘Shield of Achilles’, now in the Royal Collection, RCIN 51266, was supplied by Rundell, Bridge & Rundell to George IV in 1821).
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• Benvenuto Cellini (1500–71), the Italian Mannerist sculptor, medallist and metalworker, generally regarded as the finest goldsmith in history (see his famous salt-cellar, the saliera, modelled in Rome for Ippolito d’Este in 1540 and completed in France for Francis I, now in the Kunsthistorisches Museum, Vienna, inv. no. KK881). See also Angus Patterson Fashion and Armour in Renaissance Europe. Proud Lookes and Brave Attire, V&A Publishing 2009, pp. 86–97, for the various techniques of decorating fine arms and weapons.
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• Victoria & Albert Museum (inv. no. 546–1868). See Bury 1966 op. cit. (note 40), Part 3, pp. 221–2, fig. 22.
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• Wilson 1984, op. cit. (note 1), p. 19.
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• The Gilbert Collection (2:1 to 8–2008), on loan to the Victoria & Albert Museum, London (exhibited Room 70, case 7); see also Grand Nationales du Grand Palais, Paris, 1991 ‘un age d’or des arts decoratifs 1814–1848’, Cat. pp. 295–6, No. 153.
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• See the Catalogue of the Great Exhibition of 1851, op. cit. (note 37), pp. 1254–5, for an account of Gueyton and some of the works he exhibited.
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• In the 1851 Great Exhibition, op. cit. (note 37), Froment-Meurice submitted a ‘Group carved in ivory, and objects of Gold and silversmiths’ work’ (originally shown in Paris in 1849) in which he praised his team of workers, including ‘The chasers who executed the figures in repousse for the Duc de Luynes, were MM. Muleret, Alexandre Daubergne, Fanniere, and Poux. Three of these gentlemen received their education in the atelier of M. Vechte, whilst M. Fanniere is a nephew and a pupil of the celebrated Fauconnier’ (see also Wyatt 1853, op. cit. (note 37), Vol. 2, Plate XCIII).
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• The sword of the Comte de Paris is discussed and illustrated in H. Bouilhet L’Orfevrerie Francaise aux XVIII et XIX siecles, Paris, 1910, 3 vols, see Vol. 2, p. 229; also Galerie Nationales du Grand Palaise, Paris Exhibition Un age d’or des arts decoratifs, 1814–48. 10 Octobre–30 Decembre, 1991, Reunion des Museé Nationaux, Cat. p. 376, No. 212; and also the Museé de la Vie Romantique, Paris, Tresors d’Argent les Froment-Meurice orfevres, romantiques parisiens, Exh. 4 Feb–16 June 2003, Paris Museé, Cat No. 8, p. 84.
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• Museé Rolin, Paris, inv. no. OA18. Changarnier’s sword is also discussed in Bouilhet op. cit. 1910 (note 48), p.275; Grand Nationales du Grand Palais (1991) op. cit., (note 48), p. 479, No. 280; and Museé de la Vie Romantique, Paris (2003), op. cit. (note 48), ‘Froment-Meurice’, p. 39, Cat No. 18 (ill).
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• See also the Russian silver-gilt mounted hunting hanger of exhibition quality sold at Bonhams, Knightsbridge, London, Antique Arms, Armour and Modern Sporting Guns, on Thursday, 27 July 2006, Lot 292 (ill). The hilt was cast and chased in the round with a huntsman in medieval costume blowing his horn with hounds baying at his feet and, on the ground, a dead boar, stage and heron. The scabbard mounts were also decorated with vivid hunting scenes. The silver parts of the weapon were struck with the St Petersburg marks for 1851, maker’s mark of Karl Tegelsten, and the assaymaster’s mark of Aleksandre Mitin.
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• Victoria & Albert Museum, acc. no. 159–1851, illustrated in A. North An Introduction to European Swords, HMSO, 1982, p. 38 fig. 79. A comparable hunting hanger of the same date, signed by the same manufacturers, ‘Marrel Paris’, is now in the Metropolitan Museum of Art New York (acc. no. 1987·161). See also the mid 19th-century continental hunting hanger of exhibition quality, unsigned but possibly French, sold at Bonhams, Knightsbridge, London. Antique Arms & Armour including the Norman H. Dixon Collection, 18 April 2012, Lot 254 (ills)).
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• The ‘style troubadour’, whilst most popular in France between c.1820 and c.1840s, was also adopted on English, German and Austrian works of art. John Culme has informed me that, a few years ago, the London firm of Anthony Marks sold a ‘very fine decorative silver-gilt and enamel ewer, set with semiprecious stones in this style, made in Germany in 1843’.
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• I am indebted to Philip J. Lankester for sending me details of this sword.
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• See The International Exhibition of 1862, op. cit (note 4), Vol. II, ‘British Division’, Class XXXIII ‘Works in Precious Metals’, p. 49 (11), where Napier’s sword is described again in detail, an account similar to the one found in the Main Text above.
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• As with Outram in 1843, General Sir Charles Napier was, in addition to his sword, presented with ‘a superb centre-piece of table plate’ by the ‘Belooch Sirdars of Scinde’, also made by Hunt & Roskell. Both gifts were described and illustrated in the Illustrated London News, Saturday, 25 September 1852 (Vol. 21) p. 244.
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• The whereabouts of Colonel Lake’s sword are not known, but the sword was described and illustrated in the Illustrated London News (No. 814, Vol. XXIX) of Saturday, 2 August 1856, p. 121 (see Main Text).
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• Wolseley’s sword was described and illustrated in the Illustrated London News of Saturday, 24 October 1874 (No. 1835, Vol. LXV) p. 401.
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• See L. Southwick ‘The Design Competitions for Swords of Honour Presented by the Corporation of the City of London between 1868 and 1901’, Journal of the Arms & Armour Society, XVII, 2. September 2001b (pp. 91–121): 102–5 and 107.
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• National Army Museum, London, acc. no. 6612–7.
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• L. Southwick ‘Patriotic Fund Swords, Part 1, Journal of the Arms & Armour Society, Vol. XII, No. 4, September 1987, plate LXXXI.
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• National War Museum of Scotland, inv. no. L1932–113 (see also note 62).
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• See P. P. Bober & R. O. Rubinstein Renaissance Artists and Antique Sculpture. A Handbook of Sources, London, 1986, (reprinted with minor revisions, 1987) Harvey Miller Publishers, pp. 200–202 and nos. 169 and 170, for an account of Victory and her attributes. The figure of ‘History’ (modelled after Victory) is also sometimes later portrayed recording the deeds of heroes on a shield, on an oval palette, or in a book, for example, the figure of ‘Historia’ in C. Ripa Iconologia (1644 and 1645 and other editions).
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• See L. Goldscheider Michelangelo, Paintings, Sculpture, Architecture, Complete Edition, London, Phaidon Press, Sixth Edition 1996 (first published 1953): Pope Julius’ tomb: 20–21, plates 234–6; Medici tombs: 25, plates 167–8. The first design and contract for the Julius tomb is dated March 1505 and the work commenced in 1513. After several changes and delays the monument was finally finished and erected in February 1545. Michelangelo designed the monument and sculpted the figures of Moses, Rachel and Leah. The Madonna with Christ child, the Prophet and Sybil were sculpted by the Florentine master, Raffaello da Montelupo. The Medici tombs were by Michelangelo. They were commissioned by Cardinal Giulio de’ Medici, afterwards Pope Clement VII, and planned in 1520. The tomb of Lorenzo II is datable to 1524–34 and that of Giuliano to 1526–34.
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• See The River Tiber, marble, Roman early 2nd century ad, Musée du Louvre, Paris (inv. no. 356), also Bober & Rubinstein 1986 op. cit. (note 62), No. 65. See also poses of other river gods in the same work, especially nos. 64, 66–7. Also for slumbering female figures not dissimilar to our images, see for example, the Roman copy of a Hellenistic Pergame original c.200 bc of ‘Ariadne Asleep’ (no. 79). Also, see the Roman ‘Nymph of a Fountain’ or ‘Spring Sleeping’ (No. 62).
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• See Mary L. Levkoff, Hearst the Collector, Catalogue published in conjunction with the exhibition at the Los Angeles County Museum of Art (9 November 2008–1 February 2009), published by Abrams, New York, 2008, pp. 230–1, Cat. No 118 (ill); also Jeremy Warren et al. Beauty & Power, Renaissance and Baroque Bronzes from the Peter Marino Collection, Vol. 1, The Wallace Collection, London 2010 (a catalogue accompanying an exhibition shown at the Wallace Collection, London, the Huntingdon Museum, San Marino, California, and the Minneapolis Institute of Art in 2010–2011), Chapter 15 ‘The River Nile and the River Tiber’, pp. 166–177, fig. 5a–b and others. See also Francis Haskell & Nicholas Penny, Taste and the Antique. The Lure of Classical Sculpture 1500–1900, Yale University Press, 1988, Cat, no. 65, pp. 272–3, where the authors draw attention to ‘a copy in relief [of the Nile statue] about a foot high appears on the pedestal of Thomas Banks’s monument in St Paul’s Cathedral of 1804–05 commemorating [Captain] George Blagdon Westcott [HMS Majestic] killed at the Battle of the Nile in 1798’.
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• See Bober & Rubinstein 1986, op. cit. (note 62), No. 65 and ill. 65.
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• Wisdom was, of course, one of the main attributes and powers of both Athena and Minerva and the goddesses are often shown being accompanied by one of the symbols of ‘Wisdom’, namely, the serpent (see Figure 12 in this work).
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• See Haskell & Penny 1988, op. cit. (note 65), Cat. no. 63, pp. 269–272 (fig. 140). 60. See also A.M. Sommella and M.E. Tittoni Monti Masterpieces of the Capitoline Museum, Rome 1996, p. 8. See also the Roman Minerva, a copy of a Greek statue of 4th century bc, in the Palazzo Pitti, Florence, in Bober & Rubinstein, op. cit. (note 62), No. 42, pp. 81–82; also the Pallas of Velletri, Roman copy of Greek original now in the Louvre, in Haskell & Penny 1988, op. cit. (note 65), No. 69, pp. 284–6.
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• For the figure of ‘London’ on freedom tokens, see the large chased gold box presented by the City of London to King Christian VII of Denmark on the occasion of his visit in 1768, signed ‘G.M. Moser fecit/1769’, commissioned from the London retailer, James Hunt, in 1768, but delivered to the King a year later (Royal Collection, Rosenborg Castle, Copenhagen, inv. no.14·96); and the plaster cast of the London freedom box, also by Moser and supplied by Hunt, presented by the City to Edward Augustus, Duke of York and Albany, 1761 (Fitzwilliam Museum, Cambridge, inv. no. M.3–1979). Both the above works are described, discussed and illustrated in Richard Edgcumbe, The Art of the Gold Chaser in Eighteenth-Century London, OUP, 2000, pp., 116–117, fig. 102, and pp. 110–111, No. 22 fig. 93.
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• See note 2 above. An interesting classically inspired Victorian statue of ‘Prudentia’ (not unlike the standing figure on the Fenwick Williams’ hilt) survives in a niche on the first floor level of the corner of The Prudential Assurance Office, St Andrew’s Square, Edinburgh, a building dated 1897. Her hair is tied in a bun, she holds a mirror in her left hand and a calliper in her right.
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• Ripa, op. cit. (note 62), 1645 (ed), p. 508.
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• See Bober & Rubinstein 1986, op. cit. (note 62), p. 58 No. 11, and also Haskell & Penny 1988, op. cit. (note 65), No. 74, pp. 300–1.
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• See note 56.
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• See The International Exhibition 1862 op. cit. (note 4), ‘British Division’ Vol. II, p. 49 (13).
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• Ibid.
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• See L. Southwick ‘The Recipients, Goldsmiths and Costs of the Swords presented by the Corporation of the City of London, Journal of the Arms & Armour Society, XIII 3, March 1990: pp. 173–220, pl. LXXI. See also L. Southwick 2001b, op. cit. (note 58), pp.110–113, fig. 5.
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• This sword was stolen in a burglary in the 1980s and has not, as far as I am aware, been recovered.
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• It is probable that an image of this sword is that depicted on the outside spine of London’s Roll of Fame, 1757–1884, London 1884. Although the image is unclear, it is one that does not match any other known London sword of the period (see Main Text), but it does appear to fit the manufacturer’s description of the Seymour sword (a sword presented only a year before the book was published). Also, the late Derek Spalding, formerly of Peter Dale Ltd., supplied the author with a dark unclear photocopy of the sword with brief details (used by the owners for insurance purposes), in case the whereabouts of the stolen sword ever became known to him.
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• See Southwick 2001b, op. cit. (note 58), pp. 110–113.
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• See W. E. May & P.G.W. Annis, Swords for Sea Service, HMSO, London, 1970 (2 vols), Vol. 1 pp. 51–2 and Vol. 2, Plate 49.
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• George Kenning & Son were established at 18 Little Britain, City of London, in 1860, where the firm was described as ‘embroider, gold and silver laceman, spangle and tinsel maker, army and navy accoutrement maker, sword cutler, importer of german wires, manufacturer of masonic regalia’, see Culme 1987, op. cit. (note 1), Vol. 1, p. 271.
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• See note 78.
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• See Southwick 1990, op. cit. (note 76), pp. 210–213.
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• See Southwick 2001b, op. cit. (note 58), pp. 109–10.
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• Collection of Sir Alan Outram Bart, on loan to the Victoria & Albert Museum, London, see South-wick op. cit. 1982b, p. 16, fig. 21. See also L. South-wick 1995, op. cit. (note 17), pp. 40–43, 64, colour plate fig. 4.
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• See Southwick 2001a, op. cit., p.180
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• Ibid.
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• See Wyatt 1853, op. cit. (note 37), plates 3 and 8. See also James D. Lavin, ‘The Zuloaga Armourers’, Journal of the Arms & Armour Society. XII, 2, September, 1986, pp. 63–148.
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• See T. Rodrigues (ed) Treasures of the North, An Exhibition to Benefit The Christie Hospital Manchester, held at Christie’s King Street, London, 13 January–13 February 2000 and at The Whitworth Art Gallery, Manchester, 25 February–9 April 2000, Cat. No. 176. I am greatly indebted to the late Claude Blair for drawing this sword to my attention and for sending me details from the exhibition catalogue.
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• See Claude Blair ‘An English Sword with an Ottoman Blade in the Swiss National Museum — The Hilt and Scabbard’, in K. Stuber and H. Wetter (eds) Blankwaffen, Festschrift Hugo Schneider zu seinem 65. Zurich, 1982, pp. 57–68. Swords for Knights of the Garter (Britain’s premier order) and of the Bath were invariably of cross-hilted form and are depicted as such from 1600 onwards, such as those in the portraits by Robert Peake of Edward Herbert, Lord Herbert of Cherbury, c.1604 and in those by Sir Peter Lely of Prince Rupert and of James, Duke of York (later James II) dated 1674 (It must be stressed that the columned settings in the Lely portraits, as well as the renditions of the Garter robes and the poses are precisely the same: only the faces are different). Also the Great Wardrobe accounts of the 17th and 18th century invariably show the swords acquired for the Garter ceremony were not greatly expensive, like that in the King’s cutler Edward Younger’s warrant for payment, dated 27 December 1670, ‘For a sword for the order of St George for the Prince of Orange’ (later King William III) costing £1-16s-00d (National Archives LC9/272); and nearly a century later, John Beckett’s warrant in the Great Wardrobe accounts of 10 October 1762 to 5 January 1763 for providing ‘a neat plain silver gilt Instalation [sic] Sword with silver Gilt Wyre Gripe & Scabbard [costing] with belt, £5-2s-0d, for his Serene Highness the Duke of Mecklenburgh Strelitz’ as a Knight of the Order of the Garter (NA. LC9/293, f. 122). However, like Westminster’s sword, others could be far more elaborate and costly, such as the cross-hilted gold and diamond embellished Garter sword commissioned from Rundell, Bridge & Rundell by Lord Castlereagh in 1818, for his own installation into the Order, now on loan to the Victoria & Albert Museum (3·1·2–1999), a sword struck with London Assay marks for 1819–20 (For further details of the above sword-cutlers and suppliers, see Southwick 2001a, op. cit., note 1 above).
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• See Southwick 2001a, op. cit. (note 1), pp. 124–6 and 143–144.
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• See Southwick 1990, op. cit. (note 76), p. 207, No. 36. Formerly in the Collection of the late Val J. Forgett (USA), this sword is described and illustrated in the Peter Finer Catalogue MMVIII, Ilmington, Warwickshire, 2008, no. 39.
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• Southwick 1990, op. cit. (note 76), pp. 207–8 No. 37. Sold at Bonhams London Sale of Antique Arms & Armour, 27 July 2006, Lot 517 (ill); also discussed in L. Southwick ‘Three Royal Swords Emerge From The Past’, Jewellery Studies 12 (2012)(ills).
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• For John Linnit, see L. Southwick ‘New light on the goldsmith, jeweller and boxmaker, John Linnit’, Silver Studies, Journal of the Silver Society, Autumn: 2008b: 21–29 (ills). For Charles Frederick Hancock (born 1807, in business 1849, retired 1869, a one-timer partner in Hunt & Roskell) see Culme 1987, op. cit. (note 1), Vol. 1, pp. 208–9.
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• See Southwick 1990, op. cit. (note 76), p. 208, No. 38.
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• Illustrated London News, No. 1067, vol. XXXVI, p. 61951. See also Southwick 1990, op. cit. (note 76), p. 208.
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• Dodd’s invoice, formerly at the Corporation of London Records Office, Guildhall (now at the London Metropolitan Archives), under Common Council Papers, 9 February 1860. His bill, dated 1 October 1859, marks the day the sword was delivered to the Guildhall to await presentation. The date, 9 February 1860, above is the day that Dodd’s bill was paid. The sword was presented to Lord Clyde eleven months later, on 20 December 1860, the day when the recipient and his comrade-in-arms, Sir James Outram, were in London. Both Clyde and Outram received the Freedom of the City and their swords of honour for their part in subduing the Mutiny in India at a special reception in their honour at the Guildhall at the same time, see London’s Roll of Fame, 1884, op. cit. (note 78), pp. 250–255.
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• Property of Sir Alan Outram, Bart, on loan to the Victoria & Albert Museum, London. Outram’s City of London sword was also accurately shown with Clyde’s token in the Illustrated London News of Saturday, 29 December 1860 (No. 1067 vol. XXXVII) pp. 618–20. See also Southwick 1990, op. cit. (note 76), pp. 208–9, No. 39, Plate LXX A–B; Southwick 1995, op. cit (note 17), pp. 43 and p. 64, fig 6; and Southwick 2001a, op. cit. (note 1), colour plate 30.
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• Both Lord Clyde and Sir James Outram, Bart. were distinguished Scots, who had spent many years in India and elsewhere. Outram (1803–63) ‘the Bayard of India’, as Sir Charles Napier described him in 1843, was one of the most intelligent and courageous officers (soldier, hunter, Political Agent, Resident and Commissioner) to have served in the subcontinent in the 19th century. Moreover, several regiments distinguished themselves in the Indian Mutiny campaign and at the capture of Lucknow (such as the 7th and 9th Light Dragoons, the 60th Foot and the 2nd Battalion Rifle Brigade), but also the 42nd Highland Regiment, ‘the Black Watch’ and, probably most notably, the 93rd Highlanders (Lord Clyde, C-in-C India, was the regiment’s colonel), thus making it pertinent to have a figure of a highland soldier on Outram’s sword of honour (see Southwick 2008a, op. cit., note 22 above).
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• An exception to this trend is the fine Mamelukehilted testimonial sword presented by the 1st Earl of Lytton, Viceroy of India, at the pageant at Delhi on 1 January 1877, when Queen Victoria was declared Empress of India. This fine sword (now in a private collection) is struck with London Assay Marks for 1877–78, the maker’s mark of Robert Hennel (IV), and a blade signed ‘Henry Wilkinson, Pall Mall, London’; see Southwick 1982a, op. cit. (note 15), p. 184, fig. 526; Southwick 1982b, op. cit. (note 15), pp. 16–18, fig. 22; and Southwick 2001a, op. cit. (note 1), plate 119. For the Hennel family of gold and silversmiths in this period, see Culme 1987, op. cit. (note 1), Vol. 1, pp. 226–7.
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• See Southwick 2001b, op. cit. (note 58).
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• See T. Murdoch and M. Snodin ‘Admiral Keppel’s freedom box from the City of London’. The Burlington Magazine, June 1993. See also Southwick 2001b, op. cit. (note 58), pp. 92–4, fig 1.
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• See L. Southwick, forthcoming, ‘The City of London Freedom Boxes and Caskets’.
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• Ibid. The list includes men like Dr Edward Jenner (1803), Sir Robert Peel, MP (1829) Captain John Ross (1833), the Rev Dr David Livingstone (1857), Sir George Airy, the Astronomer Royal (1875), Henry Moreton Stanley (1886) and many others.
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• See Southwick 1990, op. cit. (note 76), p. 209, No. 40; and Southwick 2001b, op. cit. (note 58), pp. 97–102.
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• Southwick 2001b, op. cit. (note 58): 97–102.
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• See Southwick 1990, op. cit. (note 76), p. 10, No. 44. See also Southwick 2001b, op. cit. (note 58) pp. 105–6.
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• Ibid.
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• National Army Museum, London (acc. no. 6310–317).
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• National Army Museum, London (acc. no. 6310–318).
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• For J. R. Gaunt, see Southwick 2001a, op. cit. (note 1), p.115.
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• Special supplements of the Illustrated London News, 1900–1901.
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• I should like to thank the Hampshire Record Office for suggesting the view of the Solent, which appears on Earl Roberts’ sword.
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• Roberts had close ties with Portsmouth. He had been made a freeman of the city in 1898 and had become a Burgess of the town; and he was also aware of the strong links between Portsmouth and the British military services, not only as a naval base, but also as an embarkation and arrival point for British troops.
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• See Southwick 1990, op. cit. (note 76), p. 210, No. 45.
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• See Southwick 2001b, op. cit. (note 58), pp. 117–118 and also Southwick 1990, op. cit. (note 76), pp. 211–213. When swords of honour were resolved to be given by the Court of Common Council of the Corporation of London to the General Officers and Admirals following the end of the Great War in 1919, the planned competition appears to have been abandoned because of lack of time and all the swords were provided to the Corporation by the Goldsmiths & Silversmiths Ltd, the most prominent firm of the day. However, following the end of the Second World War, six of the eight swords awarded were made following a very limited ‘design competition’ (see Southwick 1990, op. cit., note 76 above, pp. 213–217). The successful designers — Leslie Durbin, R. G. Baxendale, Robert Y. Gooden, Cyril J. Shiner, R. J. Day, and A. G. Brooker — have all since died, but personal communications and conversations by the present writer with Leslie Durbin and Robert Gooden, before their deaths, suggested that all of these then ‘up-and-coming craftsmen and designers’ were personally nominated by the London Goldsmiths’ Company (acting on behalf of the Corporation of London) to submit designs, all of which were accepted. Gooden wrote: ‘The Goldsmiths’ Company were asked by the Corporation to organise a limited Competition for the design of a sword to be presented to Viscount Montgomery, or so we were given to understand, and six (I think) of us were nominated and submitted drawings. In the upshot all six designs were accepted and presentations were made to two of the most distinguished figures in each of the three fighting services, my design going to Alanbrooke. …though I had no part in the allocation…’ (pers. comm). Robert Gooden greatly admired Field Marshal Viscount Alanbrooke, Chief of the Imperial General Staff (1941–46), and he was delighted that his design was used for his sword (a token now in the Royal Artillery Institution, Woolwich). Leslie Durbin (who served in the RAF during the war and who had close ties with the Goldsmiths’ Company, following his part in the making of the Stalingrad Sword of 1943) was aware that he was designing the sword for Marshal of the Royal Air Force Lord Tedder of Glenguin (1890–1967)(pers. comm). For these makers and designers, see Southwick 2001a, op. cit. (note 1). Following the publication of this work in 2001, Robert Gooden died, aged 92, on 24 March 2002, and Leslie Durbin died, also aged 92, on 24 February 2005.
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• Robson 1996, op. cit. (note 20), pp. 165–8.
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• See Southwick 2001b, op. cit. (note 58), pp. 113–117.
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