1.
Prince of Wales
–
Prince of Wales was a title granted to princes born in Wales from the 12th century onwards, the term replaced the use of the word king. Since the 13th century, the title is granted to the apparent to the English or British monarch. The title is granted to the heir apparent as a personal honour or dignity. The title Earl of Chester is always given in conjunction with that of Prince of Wales, the Prince of Wales usually has other titles and honours. The wife of the Prince of Wales is entitled to the title Princess of Wales, Prince Charless first wife, Diana, used that title but his second wife, Camilla, uses only the title Duchess of Cornwall because the other title has become so popularly associated with Diana. The Prince of Wales is the heir apparent of the monarch of the United Kingdom, no formal public role or responsibility has been legislated by Parliament or otherwise delegated to him by law or custom, either as heir apparent or as Prince of Wales. He has also represented the Queen and the United Kingdom overseas at state, for most of the post-Roman period, Wales was divided into several smaller states. Before the Norman conquest of England, the most powerful Welsh ruler at any time was generally known as King of the Britons. In the 12th and 13th centuries, this evolved into Prince of Wales. In Latin, the new title was Princeps Walliae, and in Welsh it was Tywysog Cymru, the literal translation of Tywysog is leader. Only a handful of native princes had their claim to the overlordship of Wales recognised by the English Crown, the first known to have used such a title was Owain Gwynedd, adopting the title Prince of the Welsh around 1165 after earlier using rex Waliae. In 1240, the title was inherited by his son Dafydd ap Llywelyn. Instead he styled himself as Prince of Wales around 1244, the first Welsh prince to do so, in 1246, his nephew Llywelyn ap Gruffudd succeeded to the throne of Gwynedd, and used the style as early as 1258. In 1267, with the signing of the Treaty of Montgomery, three Welshmen, however, claimed the title of Prince of Wales after 1283. The first was Madog ap Llywelyn, a member of the house of Gwynedd and his revolt was suppressed, however, after the Battle of Maes Moydog in March 1295, and the prince was imprisoned in London. It is Owain Glyndŵr, however, whom many Welsh people regard as being the last native Prince, on 16 September 1400, he was proclaimed Prince of Wales by his supporters, and held parliaments at Harlech Castle and elsewhere during his revolt, which encompassed all of Wales. It was not until 1409 that his revolt in quest of Welsh independence was suppressed by Henry IV. However, the story may well be apocryphal, as it can only be traced to the 16th century, and, in the time of Edward I, the English aristocracy spoke Norman French, not English
Prince of Wales
–
Incumbent
HRH The Prince Charles since 26 July 1958
Prince of Wales
–
Prince of Wales
Prince of Wales
–
Edward of Caernarfon
Prince of Wales
–
Edward of Woodstock, the Black Prince
2.
Emblem
–
An emblem is an abstract or representational pictorial image that represents a concept, like a moral truth, or an allegory, or a person, like a king or saint. Although the words emblem and symbol are used interchangeably, an emblem is a pattern that is used to represent an idea or an individual. An emblem crystallizes in concrete, visual terms some abstraction, a deity, an emblem may be worn or otherwise used as an identifying badge or patch. For example, in America, police officers badges refer to their personal metal emblem whereas their woven emblems on uniforms identify members of a particular unit. A real or metal shell, the emblem of St. James the Apostle, sewn onto the hat or clothes. In the Middle Ages, many saints were given emblems, which served to them in paintings and other images, St. Catherine had a wheel, or a sword, St. Anthony Abbot, a pig. These are also called attributes, especially when carried by or close to the saint in art. Kings and other grand persons increasingly adopted personal devices or emblems that were distinct from their family heraldry. The most famous include Louis XIV of Frances sun, the salamander of Francis I of France, the boar of Richard III of England, pisanello produced many of the earliest and finest of these. A symbol, on the hand, substitutes one thing for another, in a more concrete fashion, The Christian cross is a symbol of the Crucifixion. The Red Cross is one of three representing the International Red Cross. A red cross on a background is the emblem of humanitarian spirit. The crescent shape is a symbol of the moon, it is an emblem of Islam, the skull and crossbones is a symbol identifying a poison. The skull is an emblem of the nature of human life. A totem is specifically an animal emblem that expresses the spirit of a clan, heraldry knows its emblems as charges. The lion passant serves as the emblem of England, the lion rampant as the emblem of Scotland, an icon consists of an image, that has become standardized by convention. A logo is an impersonal, secular icon, usually of a corporate entity, since the 15th century the terms of emblem and emblematura belong to the termini technici of architecture. They mean an iconic painted, drawn, or sculptural representation of a concept affixed to houses, Emblem in this sense refers to a didactic or moralizing combination of picture and text intended to draw the reader into a self-reflective examination of his or her own life
Emblem
–
The
Wilton Diptych (c. 1395–99) features
angels wearing
white hart (a deer), the personal emblem of King
Richard II of England.
Emblem
–
"The big eat the small", a political emblem from an
emblem book, 1617
3.
Coat of arms
–
A coat of arms is an heraldic visual design on an escutcheon, surcoat, or tabard. The coat of arms on an escutcheon forms the central element of the heraldic achievement which in its whole consists of shield, supporters, crest. A coat of arms is traditionally unique to a person, family, state. The ancient Romans used similar insignia on their shields, but these identified military units rather than individuals, the first evidence of medieval coats of arms has been attributed to the 11th century Bayeux Tapestry in which some of the combatants carry shields painted with crosses. However, that heraldic interpretation remains controversial, coats of arms came into general use by feudal lords and knights in battle in the 12th century. By the 13th century, arms had spread beyond their initial battlefield use to become a flag or emblem for families in the social classes of Europe. Exactly who had a right to use arms, by law or social convention, in the German-speaking regions both the aristocracy and burghers used arms, while in most of the rest of Europe they were limited to the aristocracy. The use of spread to the clergy, to towns as civic identifiers. Flags developed from coats of arms, and the arts of vexillology, the coats of arms granted to commercial companies are a major source of the modern logo. Despite no widespread regulation, heraldry has remained consistent across Europe, some nations, like England and Scotland, still maintain the same heraldic authorities which have traditionally granted and regulated arms for centuries and continue to do so in the present day. In England, for example, the granting of arms is and has controlled by the College of Arms. Unlike seals and other emblems, heraldic achievements have a formal description called a blazon. Many societies exist that also aid in the design and registration of personal arms, in the heraldic traditions of England and Scotland, an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son, wives, undifferenced arms are used only by one person at any given time. Other descendants of the bearer could bear the ancestral arms only with some difference. One such charge is the label, which in British usage is now always the mark of an apparent or an heir presumptive. Because of their importance in identification, particularly in seals on legal documents and this has been carried out by heralds and the study of coats of arms is therefore called heraldry. In time, the use of arms spread from military entities to educational institutes, the author Helen Stuart argues that some coats of arms were a form of corporate logo
Coat of arms
–
The German
Hyghalmen Roll, ca. late 15th century, illustrates the German practice of thematic repetition from the arms in the crest
Coat of arms
Coat of arms
–
The
Zechariah Seal coat of arms.
4.
Crest (heraldry)
–
A crest is a component of a heraldic display, consisting of the device borne on top of the helm. Originating in the decorative sculptures worn by knights in tournaments and, to an extent, battles. A normal heraldic achievement consists of the shield, above which is set the helm, on which sits the crest, the word crest derives from the Latin crista, meaning tuft or plume, perhaps related to crinis, hair. They first appeared in a context in the form of the metal fans worn by knights in the 12th and 13th centuries. These were primarily decorative, but may also have served a purpose by lessening or deflecting the blows of opponents weapons. These fans were generally of one colour, later evolving to repeat all or part of the arms displayed on the shield. The fan crest was developed by cutting out the figure displayed on it, to form a metal outline. Torses did not come into use in Britain until the 15th century, and are still uncommon on the Continent. Crests were also mounted on a furred cap known as a chapeau. By the 16th century the age of tournaments had ended, and their illustrated equivalents consequently began to be treated as simply two-dimensional pictures. In the same period, different helms began to be used for different ranks, sovereigns and knights helms faced forwards, whereas those of peers, torses also suffered artistically, being treated not as silken circlets, but as horizontal bars. Heraldry in general underwent something of a renaissance in the late 19th and early 20th centuries, crests are now generally not granted unless they could actually be used on a physical helm, and the rules about directions of helms are no longer rigidly observed. The use of crests was once restricted to those of tournament rank, i. e. knights and above and they are not generally used by women and clergymen, as they did not participate in war or tournaments and thus would not have helms on which to wear them. Some heraldists are also of the opinion that crests, as devices, are not suited for use by corporate bodies. This practice did not exist in Britain until the modern era, and arms with more than one crest are still rare. After the 16th century, it common for armigers to detach the crest and wreath from the helm. This led to the use of the term crest to mean arms. Unlike a badge, which can be used by any amount of relatives and retainers, a crest is personal to the armiger, and its use by others is considered usurpation
Crest (heraldry)
–
The Knight of the Guillichini, wearing a crest in the form of an eagle, at the
Saracen Joust in
Arezzo, Italy.
Crest (heraldry)
–
Sir Geoffrey Luttrell, with fan crests displaying his arms on both his helmet and his horse's head. From the
Luttrell Psalter, circa 1330.
Crest (heraldry)
–
Arms of the
Margrave of Brandenburg-Ansbach, with fifteen crested helms.
Crest (heraldry)
–
Stalls in the Thistle Chapel. From left to right: the stall of
Lord Hope of Craighead;
Lady Marion Fraser;
Sir Eric Anderson; the
Earl of Elgin; and
Lord Mackay of Clashfern.
5.
Dunstable Swan Jewel
–
The Dunstable Swan Jewel is a gold and enamel brooch in the form of a swan made in England or France in about 1400 and now in the British Museum, where it is on display in Room 40. The jewel is a medieval example of the then recently developed. The jewel is formed as a standing or walking mute swan gorged with a collar in the form of a royal crown with six fleur-de-lys tines. There is a chain terminating in a ring attached to the crown. The swan is 3.2 cm high and 2.5 cm wide, the swans body is in white enamel, its eyes are of black enamel, which also once covered the legs and feet, where only traces now remain. Tiny fragments of pink or red enamel remain on the beak, the jewel is a unique survival of the most expensive form of livery badge, otherwise only known from inventories and representations in paintings. In the Wilton Diptych, Richards own badge has pearls on the antler tips, which the angels badges lack. In 1483 King Richard III ordered 13,000 fustian badges with his emblem of a boar for the investiture of his son Edward as Prince of Wales, a huge number given the population at the time. The British Museum also has a flat lead swan badge with low relief, the mob attacked him, pulling him off his horse and the badge off him, and he had to be rescued by the mayor from suffering serious harm. Over twenty years later, after Gaunts son Henry IV had deposed Richard, many of the large number of badges of various liveries recovered from the Thames in London were perhaps discarded hurriedly by retainers who found themselves impoliticly dressed at various times. Richard offered to give up his own badges, to the delight of the House of Commons of England, but the House of Lords refused to give up theirs, and the matter was put off. In 1390 it was ordered that no one below the rank of banneret should issue badges, and no one below the rank of esquire wear them. In the end it took a determined campaign by Henry VII to largely stamp out the use of badges by others than the king. The widespread use of the swan as a badge derives from the legend of the Swan Knight. A group of Old French chansons de geste called the Crusade cycle had associated the legend with the ancestors of Godfrey of Bouillon, the hero of the First Crusade. Although Godfrey had no issue, his family had many descendants among the aristocracy of Europe. The swan with the crown and chain is associated with Lancastrian use, it echoes the crown and chain of Richard IIs white hart. He declared to Parliament that he had exchanged liveries with his uncles as a sign of amity at various moments of reconciliation and it was also used by his grandson Edward of Westminster, Prince of Wales before his death in the Battle of Tewkesbury in 1471
Dunstable Swan Jewel
–
The Dunstable Swan Jewel, a
livery badge, about 1400. British Museum
Dunstable Swan Jewel
–
The
Wilton Diptych (c. 1395–99), showing
Richard II and the angels wearing Richard's
livery badge of the
White Hart.
Dunstable Swan Jewel
Dunstable Swan Jewel
–
The white boar badge of
Richard III as pendant to a
Yorkist livery collar on the
tomb monument of Sir
Ralph Fitzherbert (died 1483).
6.
Livery collar
–
A livery collar or chain of office is a collar or heavy chain, usually of gold, worn as insignia of office or a mark of fealty or other association in Europe from the Middle Ages onwards. One of the oldest and best-known livery collars is the Collar of Esses, various forms of livery were used in the Middle Ages to denote attachment to a great person by friends, servants, and political supporters. From the collar hung a badge or device indicating the person the livery related to, equally gold collars that had no livery connotations were worn. Livery collars seem to be first recorded in the 14th century, the collar of Esses is first recorded earlier than this, as being given by John of Gaunt, and remained in use by the House of Lancaster throughout the Wars of the Roses. The same collar was worn by Henry IV on the way to his crowning, the inventory shows that Queen Annes collar, was made up of sprigs of rosemary garnished with pearls. The York collar had falcons and fetterlocks, and the Lancaster collar was doubtless that Collar of Esses used by the son, Henry of Bolingbroke, as an earl, duke. The oldest effigy bearing it is that in Spratton church of Sir John Swynford, who died in 1371. Swynford was a follower of John of Gaunt, and the date of his death easily disposes of the theory that the Esses were devised by Henry IV to stand for his motto or word of Soverayne. Many explanations are given of the origin of these letters, in one of Henry VIs own collars the S was joined to the broomcod of the French device, symbolizing the kings claim to the two kingdoms. The kings of the house of York and their chief followers wore the Yorkist collar of suns and roses, with the lion of March. It was presented to ministers and courtiers, and came to represent more a symbol of office by the time of Elizabeth I, the term Collar of SS was preferred by Victorian antiquaries. Since World War II, as SS is usually associated with the Schutzstaffel, besides these royal collars, the 14th and 15th centuries show many private devices. A monumental brass at Mildenhall shows a knight whose badge of a dog or wolf circled by a crown hangs from a collar with edges suggesting a pruned bough or the ragged staff. The Elizabethan artist Nicholas Hilliard was both a goldsmith and miniaturist, and so produced the whole of pieces like the Armada Jewel, given by Queen Elizabeth I of England to a courtier. When the Earl of Rutland returned from an embassy to Denmark, sixteen members of his party were given chains of gold with the James I of Englands picture, during the sixteenth century collars became marks of a specific office or Order, and subsequently remained so. Most British and Irish mayors wear a collar/chain of office, the mayors spouse may have a much smaller version. These are worn over normal clothes when on official duties, following British practice, most Canadian, Australian and New Zealand mayors also wear chains of office. Collars of various devices are worn by the knights of some of the European orders of knighthood
Livery collar
–
Sir Thomas More wearing the Collar of Esses, with the
Tudor rose badge of
Henry VIII, by
Hans Holbein the Younger (1527).
Livery collar
–
Drawing of detail of mermaid collar of
Thomas de Berkeley, 5th Baron Berkeley (d.1417), from his
monumental brass at
Wotton-under-Edge, Glos.
Livery collar
–
Susan Fennell, mayor of
Brampton, Ontario, Canada, wears a modern mayoral collar
Livery collar
–
Collar of the Order of the Golden Fleece, shown in the
Schatzkammer in
Vienna,
Austria.
7.
Embroidery
–
Embroidery is the handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate materials such as, pearls, beads, quills. Today, embroidery is most often seen on caps, hats, coats, blankets, dress shirts, denim, stockings, Embroidery is available with a wide variety of thread or yarn color. The process used to tailor, patch, mend and reinforce cloth fostered the development of sewing techniques, indeed, the remarkable stability of basic embroidery stitches has been noted, It is a striking fact that in the development of embroidery. There are no changes of materials or techniques which can be felt or interpreted as advances from a primitive to a later, on the other hand, we often find in early works a technical accomplishment and high standard of craftsmanship rarely attained in later times. The art of embroidery has been found world-wide and several examples have been found. Works in China have been dated to the Warring States period, depending on time, location and materials available, embroidery could be the domain of a few experts or a wide-spread, popular technique. This flexibility led to a variety of works, from the royal to the mundane, in 18th century England and its colonies, samplers employing fine silks were produced by the daughters of wealthy families. Embroidery was a marking a girls path into womanhood as well as conveying rank. Conversely, embroidery is also an art, using materials that were accessible to nonprofessionals. Examples include Hardanger from Norway, Merezhka from Ukraine, Mountmellick embroidery from Ireland, Nakshi kantha from Bangladesh and West Bengal, many techniques had a practical use such as Sashiko from Japan, which was used as a way to reinforce clothing. Embroidery was an important art in the Medieval Islamic world, the 17th century Turkish traveler Evliya Çelebi called it the craft of the two hands. Because embroidery was a sign of social status in Muslim societies. Craftsmen embroidered items with gold and silver thread, Embroidery cottage industries, some employing over 800 people, grew to supply these items. Taste for fine material has become general, and the drapery of embroidered fabrics used at feasts surpasses every description. The development of embroidery and its mass production came about in stages in the Industrial Revolution. The earliest machine embroidery used a combination of machine looms and teams of women embroidering the textiles by hand and this was done in France by the mid-1800s. The manufacture of machine-made embroideries in St. Gallen in eastern Switzerland flourished in the half of the 19th century
Embroidery
–
Exquisite gold embroidery on the gognots (apron) of a 19th-century
Armenian bridal dress from
Akhaltsikhe.
Embroidery
–
Traditional embroidery in chain stitch on a
Kazakh rug, contemporary.
Embroidery
–
Caucasus embroidery
Embroidery
–
Morocco fez horse cover metal silver thread 18th - 19th
8.
Heraldic flag
–
In heraldry and vexillology, a heraldic flag is any of several types of flags, containing coats of arms, heraldic badges, or other devices used for personal identification. When it is for the use of a monarch, it is a royal standard. Heraldic flags include banners, standards, pennons and their variants, gonfalons, guidons, specifications governing heraldic flags vary from country to country, and have varied over time. The pennon is a small elongated flag, either pointed or swallow-tailed and it was charged with the heraldic badge or some other armorial ensign of the owner, and displayed on his own lance, as a personal ensign. The pennoncelle was a modification of the pennon, in contemporary Scots usage, the pennon is four feet long. It tapers either to a point or to an end as the owner chooses. It is assigned by the Lord Lyon King of Arms to any armiger who wishes to apply for it. The banner of arms is square or oblong and larger than the pennon, bearing the coat of arms of the owner, composed precisely as upon a shield. In the olden time, when a Knight had distinguished himself by conspicuous gallantry, in such a case, the point or points of the good Knight’s Pennon were rent off, and thus the. Small Flag was reduced to the form of the Banner. Banners of Knights of the Order of the Thistle are hung in the 1911 chapel of the Order in St Giles High Kirk in Edinburgh, banners of Knights of the Order of the Garter are displayed in St Georges Chapel at Windsor Castle. From Victorian times Garter banners have been approximately 5 feet by 5 feet, banners became available to all English armigers as a result of a report by Garter to the Earl Marshal dated 29 January 1906. The report stated that the size of banner for Esquires and Gentlemen should be considered in the future, until that date they were available to all noblemen and knights banneret. In 2011, Garter Woodcock said that the banner for an Esquire or Gentleman should be the size as a Marquess’s and those of a lower rank down to Knight. In Scotland, the size of personal banners, excluding any fringes, are specified by the Lord Lyon, the heraldic standard appeared about the middle of the fourteenth century, and was in general use by personages of high rank in the two following centuries. The standard appears to have adopted for the special purpose of displaying badges. A standard is not rectangular, it tapers, usually from 4 feet down to 2 feet, in England any armiger who has been granted a badge is entitled to fly a standard. The medieval English standard was larger than the flags
Heraldic flag
–
Banners of
Knights of the Thistle displayed in
St. Giles' Cathedral
Heraldic flag
–
Heraldic banners at the funeral of
Elizabeth I. The queen's casket is escorted by mourners bearing the banners of her ancestors' arms marshalled with the arms of their wives.
Heraldic flag
–
The
Zechariah Seal flag.
9.
Livery
–
Often, elements of the heraldry relating to the individual or corporate body feature in the livery. Alternatively, some kind of an emblem or badge, or a distinctive colour, is featured. The word itself derives from the French livrée, meaning dispensed, handed over. Most often it would indicate that the wearer of the livery was a servant, dependant, follower or friend of the owner of the livery, or, in the case of objects, that the object belonged to them. In the late medieval phenomenon of bastard feudalism, livery badges worn by the retainers of great lords, sometimes in effect private armies, in the 14th century, livery referred to an allowance of any kind, but especially clothes provided to servants and members of the household. Such things might be kept in a livery cupboard, during the 14th century, specific colours denoting a great person began to be used for both his soldiers and his civilian followers, and the modern sense of the term began to form. Usually two different colours were used together, but the ways in which they were combined varied with rank, often the colours used were different each year. As well as embroidered badges, metal ones were sewn on to clothing, municipalities and corporations copied the behaviour of the great households. The grandest of these is the livery collar, william, Lord Hastings the favourite of King Edward IV of England had a Coller of gold of K. Edwards lyverys valued at the enormous sum of £40 in an inventory of 1489. This would have similar to the collars worn by Hastings sister and her husband Sir John Donne in the Donne Triptych by Hans Memling. Lords gave their servants lead or pewter badges to sew onto their clothes, in the 15th century European royalty sometimes distributed uniform suits of clothes to courtiers, as the House of Fugger, the leading bankers, did to all employees. This practice later contracted to the provision of standardized clothing to male servants, the term most notably referred to the embroidered coats, waistcoats, knee breeches and stockings in 18th-century style, worn by footmen on formal occasions in grand houses. Plainer clothing in dark colours and without braiding was worn by footmen, chauffeurs, for reasons of economy the employment of such servants, and their expensive dress, died out after World War I except in royal households. Most European royal courts still use their state liveries on formal occasions and these are generally in traditional national colours, and are based on 18th century clothing with fine gold embroidery. Only male royal servants normally wear livery, knee breeches are worn, normally with white silk stockings, one exception being the Spanish court which prescribes red. At the British royal court red state livery are still worn by pages, footmen, coachmen, the state livery worn by footmen includes foils. The scarlet coats are handmade, and embroidered in gold braid with the cypher of the monarch. Gold buttons and other trimmings are of designs and patterns which date from the 18th century, unlike the tailor-made uniform clothing issued to full-time royal staff, the seldom-worn full-state dress reserved for court pages is not bespoke
Livery
–
Yeoman of the Guard wearing tunics in the Royal Livery colours of scarlet and black processing to
St George's Chapel,
Windsor for the annual service of the
Order of the Garter in 2006.
Livery
–
Footman c.1780 in braided livery.
Livery
–
State livery at the Dutch court
Livery
–
The Belgian court.
10.
Pub names
–
Pub names are used to identify and differentiate pubs in the United Kingdom. Many pubs are old, from a time when their customers were often illiterate. Pub names have a variety of origins, from objects used as identification marks to the coats of arms of kings or local aristocrats. Other names come from historic events, livery companies, and occupations or craftsmens guilds, although the word The appears on much pub signage, it is not considered to be an important part of the name, and is therefore ignored in the following examples. The word Ye is likewise ignored as it is only a spelling of The. The Y represents a now obsolete character for the th sound and it was never pronounced with a y sound. Similarly, other spellings such as olde worlde are not distinguished below. Names like Fox and Hounds, Dog and Duck, Dog and Gun, animal names coupled with colours, such as White Hart and Red Lion, are often heraldic. A white hart featured as the badge of King Richard II, while a red lion was the badge of John of Gaunt, Dog and Duck, St Georges Fields Fox & Hounds, West Witton Guide Dog, Southampton. Hen and Chickens Pigs, Edgefield, Norfolk, formerly Three Pigs, originally Bacon Arms named after the Bacon family that gave their name to Baconsthorpe. Individual animals once famous in a particular locality sometimes give their names to pubs, Blue Cap, Cheshire, smoker, Cheshire, named after a grey horse which was the mount of a local landowner. Examples are found in Sussex, Kent, Dorset and Yorkshire and these include, Dr Syntax, Alice Hawthorn, Golden Miller, Slow and Easy, Windmill, Happy Man, Spinner and Bergamot, and The Flying Childers. Some pub chains in the UK adopt the same or similar names for pubs as a means of brand expression. Before painted inn signs became commonplace, medieval publicans often identify their establishment by hanging or standing a distinctive object outside the pub. This tradition dates back to Roman times, when the owners of used to hang some vine leaves outside their property to show where wine was sold. Boot Copper Kettle Crooked Billet Sometimes the object was coloured, such as Blue Post or Blue Door, the ubiquity of the naming element arms shows how important heraldry has been in the naming of pubs. The simpler symbols of the badges of royalty or local nobility give rise to many of the most common pub names. Bear and Ragged Staff, a badge of the earls of Warwick, Black Griffin, a pub in Lisvane, Cardiff, named after the coat of arms carried by the lords of the manor
Pub names
–
The sign of the Saracen's Head in Broad Street,
Bath, England
Pub names
–
Ye Olde Cheshire Cheese, in
Fleet Street,
London.
Pub names
–
The White Hart signboard
Pub names
–
A 'Royal Oak' in
Fishguard,
Wales
11.
Henry Stafford, 2nd Duke of Buckingham
–
He is also one of the primary suspects in the disappearance of the Princes in the Tower. He became the Duke of Buckingham in 1460 following the death of his grandfather, Humphrey Stafford, in February 1466 he was married to Catherine Woodville, sister of Edward IVs queen, Elizabeth Woodville, and daughter to Richard Woodville, 1st Earl Rivers. Becoming disaffected with Richard, Buckingham then joined with Henry Tudor and Tudors mother, Margaret Beaufort, Buckingham was executed for treason by Richard on 2 November 1483, he was beheaded in Salisbury market-place. He is believed to have buried in St Peters Church in Britford in Wiltshire. Buckinghams precise motivation has been called obscure, he had been treated well by Richard, the traditional naming of the rebellion after him has been labelled a misnomer, with John Morton and Reginald Bray more plausible leaders. Buckingham is also one of the suspects in the disappearance of the Princes in the Tower, Edward IVs young sons Edward V of England and Richard of Shrewsbury. Buckingham is depicted as a character in Philippa Gregorys 2009 historical novel The White Queen. He is depicted as the murderer of the Princes in the Tower in Sharon Penmans 1982 debut novel The Sunne in Splendour, listed among other members of the Stafford family, with their genealogies clarified
Henry Stafford, 2nd Duke of Buckingham
–
An 18th century illustration of Henry Stafford
12.
Stafford knot
–
It is a particular representation of the simple overhand knot, the most basic knot of all. The knot was the badge of the de Stafford family, one legend of its origin, generally considered mythical, is that three convicted criminals who had committed a crime together were due to be executed in Stafford gaol. There was argument over who should be hanged first but the hangman solved the problem by devising this knot, however, the knot can be seen on a 4-foot-high carved Anglo-Saxon cross in a churchyard in Stoke-upon-Trent, and also on a 7th-century Anglo-Saxon object from the Staffordshire hoard. The design closely matches the design of the pretzel, which was made to represent arms crossed in prayer. The knot appears prominently on the flag of the county of Staffordshire. The motto of the county council is the knot unites, a reference to the Stafford knot and it also appears on the coat of arms of the Borough of Stafford. The knot formed part of the insignia of the North Staffordshire Regiment, South Staffordshire Regiment, Staffordshire Regiment and it is also used as the badge of the Staffordshire Police force. The knot appears on the logos of both Staffordshire University and Keele University, as well as on many school badges, stoke-on-Trent based football team Port Vale F. C. use the knot on their club badge as do fellow Staffordshire club Tamworth F. C. West Bromwich Albion and Stoke City have also used the knot on their respective badges, the knot symbol appeared in the railway companys badge. The Smiler, a coaster at Alton Towers, has a combined section of track known as the Stafford/Staffordshire Knot. It is given this nickname due to the resemblance to the knot shape
Stafford knot
13.
Bohun swan
–
The Bohun swan was a heraldic badge used originally in England by the mediaeval noble family of de Bohun, Earls of Hereford, and Earls of Essex. The widespread use of the swan as a badge derives from the legend of the Swan Knight, today most familiar from Richard Wagners opera Lohengrin. The Crusade cycle, a group of Old French chansons de geste, had associated the legend with the ancestors of Godfrey of Bouillon, King of Jerusalem and the hero of the First Crusade. Godfrey had no legitimate progeny, but his family had many descendants among the aristocracy of Europe. In England such a family was that of de Bohun, Earls of Hereford and he declared to Parliament that he had exchanged liveries with his uncles as a sign of amity at various moments of reconciliation. The Dunstable Swan Jewel made in about 1400 is presumed to have intended as a livery badge possibly given to his supporters by the future Henry V of England. It is in the form of a white enamelled swan gorged with a collar in the form of a crown with six fleur-de-lys tines. The Bohun swan was used by Henry Vs grandson Edward of Westminster, Prince of Wales. In 1459 Edwards mother Margaret of Anjou insisted that he should give swan livery badges to all the gentlemen of Cheshire, the type and number are unknown. Henry Stafford, 2nd Duke of Buckingham, a descendant of the Beauchamps, of Eleanor de Bohun and of Thomas of Woodstock, and of John of Gaunt, used the swan with crown and chain as his own badge. He was certainly active in trying to obtain possession of the Bohun lands, the Courtenays frequently used the Bohum swan as one of their supporters, with or in place of the usual Courtenay boar, on their heraldic achievements. Surviving examples are, Seal of Sir Philip Courtenay of Powderham, the Luttrell family, feudal barons of Dunster, of Dunster Castle in Somerset, also used the Bohun swan as supporters. This was due to their descent from the Courtenays, Dunster Castle continued to be held by her descendants until 1976. Bohun swan supporters survive on the Easter Sepulchre monument of Hugh Luttrell of Dunster, in St Marys Church, East Quantoxhead, Somerset. A modern example is on the huge stone sculpted heraldic achievement of George Fownes Luttrell above the new entrance door to the castle. The Bohun swan also features in the centre of the Luttrell Table Carpet, now in the Burrell Collection in Glasgow
Bohun swan
–
Counter seal of
Humphrey de Bohun, 4th Earl of Hereford (1276–1322), attached to the
Barons' Letter, 1301, showing the Bohun swan above the
escutcheon and supporting the
guige strap
Bohun swan
–
The Bohun swan: A swan
proper gorged (with or without a crown) and chained or
Bohun swan
–
Bohun swans collared and chained with necks entwined at feet of effigy of
Margaret de Bohun (1311–1391), daughter of
Humphrey de Bohun, 4th Earl of Hereford (1276–1322) and wife of
Hugh de Courtenay, 2nd Earl of Devon (1303–1377). On her
chest tomb in south transept,
Exeter Cathedral, heavily restored 19th century
Bohun swan
–
The
Dunstable Swan Jewel, circa 1400, British Museum. Possibly given to his supporters by the future King
Henry V, who was
Prince of Wales from 1399
14.
Charge (heraldry)
–
In heraldry, a charge is any emblem or device occupying the field of an escutcheon. This may be a design or a symbolic representation of a person, animal, plant. In French blazon, the ordinaries are called pièces while other charges are called meubles, while thousands of objects found in nature, mythology or technology have appeared in armory, there are several charges which have contributed to the distinctive flavour of heraldic design. Only these and a few other notable charges are discussed in this article, some heraldic writers distinguish, albeit arbitrarily, between honourable ordinaries and sub-ordinaries. While some authors hold that only nine charges are honourable ordinaries, the remainder are often termed sub-ordinaries, and narrower or smaller versions of the ordinaries are called diminutives. Apparently ceding the point for the moment, Fox-Davies lists the generally agreed-upon honourable ordinaries as the bend, fess, pale, pile, chevron, cross, saltire and chief. Boutell lists the chief, pale, bend, bend sinister, fess, bar, cross, saltire and cheveron as the honourable ordinaries. Thus, the chief, bend, pale, fess, chevron, cross and saltire appear to be the undisputed ordinaries, while authors disagree over the status of the pile, bar, inescutcheon, bordure and others. Several different figures are recognised as honourable ordinaries, each normally occupying about one-fifth to one-third of the field, the chief is the upper portion of the field. The bend runs from the left to the lower right, as \. The bend sinister runs from the right to the lower left. The pale, a stripe in the centre of the field. The fess is a horizontal stripe across the centre of the field. The chevron is a construction shaped like an inverted letter V, the cross is a geometric construction of two perpendicular lines or bands. It has hundreds of variants, most of which are common charges rather than ordinaries, the saltire is a diagonal cross, often called Saint Andrews cross. Most of the ordinaries have corresponding diminutives, narrower versions, most often mentioned when two or more appear in parallel, bendlets, pallets, bars, chevronels, in addition to those mentioned in the above section, other ordinaries exist. Some of these are variously called honourable ordinaries by different authors, the pall or pairle is shaped like the letter Y. The pile is a wedge issuing from the top of the field and its length and width vary widely
Charge (heraldry)
15.
Rebus
–
A rebus is an allusional device that uses pictures to represent words or parts of words. It was a form of heraldic expression used in the Middle Ages to denote surnames. For example, in its form, three salmon are used to denote the surname Salmon. A more sophisticated example was the rebus of Bishop Walter Lyhart of Norwich, Rebuses are used extensively as a form of heraldic expression as a hint to the name of the bearer, they are not synonymous with canting arms. A man might have a rebus as an identification device entirely separate from his armorials. An example of canting arms proper are those of the Borough of Congleton in Cheshire consisting of an eel, a lion. This word sequence conger-leo-tun enunciates the towns name, similarly, the coat of arms of St. Ignatius Loyola contains wolves and a kettle, said by some to be a rebus for Loyola. The arms of Elizabeth Bowes-Lyon feature bows and lions, a modern example of the rebus used as a form of word play is, H + = Hear, or Here. By extension, it uses the positioning of words or parts of words in relation to each other to convey a hidden meaning, for example, p walk ark. A rebus made up solely of letters is known as a gramogram, grammagram, the term rebus also refers to the use of a pictogram to represent a syllabic sound. A precursor to the development of the alphabet, this process one of the most important developments of writing. Fully developed hieroglyphs read in rebus fashion were in use at Abydos in Egypt as early as 3400 BCE, the writing of correspondence in rebus form became popular in the 18th century and continued into the 19th century. Lewis Carroll wrote the children he befriended picture-puzzle rebus letters, nonsense letters, and looking-glass letters, Rebus letters served either as a sort of code or simply as a pastime. In linguistics, the principle is the use of existing symbols, such as pictograms, purely for their sounds regardless of their meaning. Many ancient writing systems used the principle to represent abstract words. An example that illustrates the Rebus principle is the representation of the sentence I can see you by using the pictographs of eye—can—sea—ewe, some linguists believe that the Chinese developed their writing system according to the rebus principle, and Egyptian hieroglyphs sometimes used a similar system. A famous rebus statue of Ramses II uses three hieroglyphs to compose his name, Horus, for Ra, the child, mes, and the plant, su. Canada 1980s childrens game show Kidstreet featured a rebus during the bonus round, united Kingdom Catchphrase was a long-running game show which required contestants to decipher a rebus
Rebus
–
A German rebus, circa 1620.
Rebus
–
Three rebus-style "escort cards" from the 1860s or 1870s.
Rebus
–
Ramesses II as child: Hieroglyphs: Ra-mes-su.
Rebus
–
A rebus for the names of Japanese provinces, from around 1800.
16.
Pun
–
The pun, also called paronomasia, is a form of word play that exploits multiple meanings of a term, or of similar-sounding words, for an intended humorous or rhetorical effect. These ambiguities can arise from the use of homophonic, homographic, metonymic. A pun differs from a malapropism in that a malapropism is a variation on a correct expression. Puns may be regarded as in-jokes or idiomatic constructions, as their usage and meaning are specific to a particular language, Puns have a long history in human writing. Sumerian cuneiform and Egyptian hieroglyphs were originally based on punning systems, punning has been credited as the fundamental concept behind alphabets, writing, and even human civilization. Puns can be classified in various ways, including, The homophonic pun, walter Redfern exemplified this type with his statement, To pun is to treat homonyms as synonyms. For example, in George Carlins phrase Atheism is a non-prophet institution, similarly, the joke Question, Why do we still have troops in Germany. A homographic pun exploits words which are spelled the same but possess different meanings, because of their nature, they rely on sight more than hearing, contrary to homophonic puns. They are also known as heteronymic puns, an example that combines homophonic and homographic punning is Douglas Adamss line You can tune a guitar, but you cant tuna fish. Unless of course, you play bass, the phrase uses the homophonic qualities of tune a and tuna, as well as the homographic pun on bass, in which ambiguity is reached through the identical spellings of /ˈbeɪs/, and /ˈbæs/. Homonymic puns, another type, arise from the exploitation of words which are both homographs and homophones. An adaptation of a joke repeated by Isaac Asimov gives us Did you hear about the little moron who strained himself while running into the screen door, playing on strained as to give much effort and to filter. A homonymic pun may also be polysemic, in which the words must be homonymic and also possess related meanings, however, lexicographers define polysemes as listed under a single dictionary lemma while homonyms are treated in separate lemmata. A compound pun is a statement that two or more puns. For example, a statement by Richard Whately includes four puns. Because he can eat the sand which is there, but what brought the sandwiches there. Why, Noah sent Ham, and his descendants mustered and bred and this pun uses sand which is there/sandwiches there, Ham/ham, mustered/mustard, and bred/bread. Similarly, the piano is not my forte links two meanings of the words forte and piano, one for the dynamic markings in music
Pun
–
KLEPTOROUMANIA
Punch cartoon of the
Second Balkan War. King
Carol I of Romania points his pistol at King
Petar of Serbia and King
Constantine of Greece while he steals
Southern Dobrudja from the disarmed Tsar
Ferdinand of Bulgaria. The title "KLEPTOROUMANIA" is a pun on
kleptomania, the mental disorder of impulsive stealing for the sake of stealing.
17.
Henry V of England
–
Henry V was King of England from 1413 until his death at the age of 36 in 1422. He was the second English monarch who came from the House of Lancaster, after his fathers death in 1413, Henry assumed control of the country and embarked on war with France in the ongoing Hundred Years War between the two nations. His military successes culminated in his famous victory at the Battle of Agincourt and he was the son of 20-year-old Henry of Bolingbroke, and 16-year-old Mary de Bohun. He was also the grandson of the influential John of Gaunt, at the time of his birth, Richard II of England, his cousin once removed, was king. As he was not close to the line of succession to the throne and his grandfather, John of Gaunt, was the guardian of the king at that time. Upon the exile of Henrys father in 1398, Richard II took the boy into his own charge, the young Henry accompanied King Richard to Ireland, and while in the royal service, he visited Trim Castle in County Meath, the ancient meeting place of the Irish Parliament. He was created Prince of Wales at his fathers coronation, and Duke of Lancaster on 10 November 1399 and his other titles were Duke of Cornwall, Earl of Chester, and Duke of Aquitaine. A contemporary record notes that during that year Henry spent time at The Queens College, Oxford, under the care of his uncle Henry Beaufort, from 1400 to 1404, he carried out the duties of High Sheriff of Cornwall. It was there that the prince was almost killed by an arrow that became stuck in his face. An ordinary soldier might have died from such a wound, the operation was successful, but it left Henry with permanent scars, evidence of his experience in battle. The Welsh revolt of Owain Glyndŵr absorbed Henrys energies until 1408, then, as a result of the kings ill health, Henry began to take a wider share in politics. From January 1410, helped by his uncles Henry Beaufort and Thomas Beaufort – legitimised sons of John of Gaunt – he had control of the government. Both in foreign and domestic policy he differed from the king, the quarrel of father and son was political only, though it is probable that the Beauforts had discussed the abdication of Henry IV, and their opponents certainly endeavoured to defame the prince. It may be that the tradition of Henrys riotous youth, immortalised by Shakespeare, is due to political enmity. Henrys record of involvement in war and politics, even in his youth, the most famous incident, his quarrel with the chief justice, has no contemporary authority and was first related by Sir Thomas Elyot in 1531. The story of Falstaff originated in Henrys early friendship with Sir John Oldcastle, shakespeares Falstaff was originally named Oldcastle, following his main source, The Famous Victories of Henry V. However, his descendants objected, and the name was changed. That friendship, and the political opposition to Thomas Arundel, Archbishop of Canterbury. If so, their disappointment may account for the statements of ecclesiastical writers like Thomas Walsingham that Henry, after Henry IV died on 20 March 1413, Henry V succeeded him and was crowned on 9 April 1413 at Westminster Abbey, London, Kingdom of England
Henry V of England
–
Henry V
Henry V of England
–
Halfpenny of Henry V
Henry V of England
–
Henry, while Prince of Wales, presenting
Thomas Hoccleve 's, Regement of Princes to
the Duke of Norfolk,
British Library, 1411–13
Henry V of England
–
A gold
noble coin of Henry V
18.
British Museum
–
The British Museum is dedicated to human history, art and culture, and is located in the Bloomsbury area of London. The British Museum was established in 1753, largely based on the collections of the physician, the museum first opened to the public on 15 January 1759, in Montagu House, on the site of the current building. Although today principally a museum of art objects and antiquities. Its foundations lie in the will of the Irish-born British physician, on 7 June 1753, King George II gave his formal assent to the Act of Parliament which established the British Museum. They were joined in 1757 by the Old Royal Library, now the Royal manuscripts, together these four foundation collections included many of the most treasured books now in the British Library including the Lindisfarne Gospels and the sole surviving copy of Beowulf. The British Museum was the first of a new kind of museum – national, belonging to neither church nor king, freely open to the public, sloanes collection, while including a vast miscellany of objects, tended to reflect his scientific interests. The addition of the Cotton and Harley manuscripts introduced a literary, the body of trustees decided on a converted 17th-century mansion, Montagu House, as a location for the museum, which it bought from the Montagu family for £20,000. The Trustees rejected Buckingham House, on the now occupied by Buckingham Palace, on the grounds of cost. With the acquisition of Montagu House the first exhibition galleries and reading room for scholars opened on 15 January 1759. During the few years after its foundation the British Museum received several gifts, including the Thomason Collection of Civil War Tracts. A list of donations to the Museum, dated 31 January 1784, in the early 19th century the foundations for the extensive collection of sculpture began to be laid and Greek, Roman and Egyptian artefacts dominated the antiquities displays. Gifts and purchases from Henry Salt, British consul general in Egypt, beginning with the Colossal bust of Ramesses II in 1818, many Greek sculptures followed, notably the first purpose-built exhibition space, the Charles Towneley collection, much of it Roman Sculpture, in 1805. In 1816 these masterpieces of art, were acquired by The British Museum by Act of Parliament. The collections were supplemented by the Bassae frieze from Phigaleia, Greece in 1815, the Ancient Near Eastern collection also had its beginnings in 1825 with the purchase of Assyrian and Babylonian antiquities from the widow of Claudius James Rich. The neoclassical architect, Sir Robert Smirke, was asked to draw up plans for an extension to the Museum. For the reception of the Royal Library, and a Picture Gallery over it, and put forward plans for todays quadrangular building, much of which can be seen today. The dilapidated Old Montagu House was demolished and work on the Kings Library Gallery began in 1823, the extension, the East Wing, was completed by 1831. The Museum became a site as Sir Robert Smirkes grand neo-classical building gradually arose
British Museum
–
British Museum
British Museum
–
The centre of the museum was redeveloped in 2001 to become the
Great Court, surrounding the original
Reading Room.
British Museum
–
Sir
Hans Sloane
British Museum
–
Montagu House, c. 1715
19.
Wars of the Roses
–
The conflict lasted through many sporadic episodes between 1455 and 1487, however, there was fighting before and after this period between the houses. With the Duke of Yorks passing, the transferred to his heir, Edward. His son reigned for 86 days as Edward V, but Parliament then decided that Edward and his brother Richard were illegitimate and offered the crown to Edward IVs younger brother, the two young princes disappeared within the confines of the Tower of London. The final victory went to a claimant of the Lancastrian party, Henry Tudor, Earl of Richmond, after assuming the throne as Henry VII, he married Elizabeth of York, the eldest daughter and heir of Edward IV, thereby uniting the two claims. The House of Tudor ruled the Kingdom of England until 1603, with the death of Elizabeth I, granddaughter of Henry VII and Elizabeth of York. The name Wars of the Roses refers to the badges associated with the two royal houses, the White Rose of York and the Red Rose of Lancaster. Wars of the Roses came into use in the nineteenth century. Badges were not always distinct, at the Battle of Barnet, Edwards sun was very similar to the Earl of Oxfords Vere star, which caused fateful confusion. Another example, Henry Tudors forces at Bosworth fought under the banner of a red dragon, although the names of the rival houses derive from the cities of York and Lancaster, the corresponding duchies had little to do with these cities. Although minor armed clashes had occurred previously between supporters of York and Lancaster, the first open fighting broke out in 1455 at the First Battle of St Albans, several prominent Lancastrians died at the hands of the Yorkists. Although peace was restored, the Lancastrians were inspired by Margaret of Anjou to contest Yorks influence. Fighting resumed more violently in 1459, York and his supporters were forced to flee the country, but one of his most prominent supporters, the Earl of Warwick, invaded England from Calais and captured Henry VI at the Battle of Northampton. York returned to the country and became Protector of England, but was dissuaded from claiming the throne, Margaret and the remaining Lancastrian nobles gathered their army in the north of England. When York moved north to engage them, he and his second son Edmund were killed at the Battle of Wakefield in December 1460. The Lancastrian army advanced south and released Henry at the Second Battle of St Albans, but failed to occupy London, Yorks eldest son, Edward, Earl of March, was proclaimed King Edward IV. He gathered the Yorkist armies and won a victory at the Battle of Towton in March 1461. After Lancastrian revolts in the north were suppressed in 1464 and Henry was captured once again, Edward fell out with his chief supporter and adviser, the Earl of Warwick after Edwards unpopular and secretly conducted marriage with the widow of a Lancastrian supporter, Elizabeth Woodville. Within a few years, it clear that Edward was favoring his wifes family
Wars of the Roses
–
Painting by
Henry Payne in 1908 of the scene in the Temple Garden from
Shakespeare 's play
Henry VI, Part 1, where supporters of the rival factions pick either red or white roses
Wars of the Roses
–
Summary of events - Wars of the Roses
Wars of the Roses
–
A near-contemporary Flemish picture of the
Battle of Barnet in 1471.
Wars of the Roses
–
Henry IV
20.
Sir John Donne
–
Sir John Donne was a Welsh courtier, diplomat and soldier, a notable figure of the Yorkist party. In the 1470s he commissioned the Donne Triptych, an altarpiece by Hans Memling now in the National Gallery. It contains portraits of him, his wife Elizabeth and a daughter and he may well have been related to the Jacobean poet John Donne, although not as a direct ancestor, as he had no Donne grandchildren. The Donnes of Kidwelly, Carmarthenshire were a distinguished family and his father Griffith reputedly fought at the Battle of Agincourt in 1415 and certainly in many other French campaigns, he was Lieutenant of Cherbourg in 1424. His mother was Joan Scudamore, a grandchild of Owain Glyndŵr, the last independent Prince of Wales, John Donne was born in France, in parts of Picardy, probably in the 1420s. Donne was their son who entered, probably in his late teens. He may have done so through the patronage of the leading Yorkist in South Wales, William ap Thomas, also an Agincourt veteran and father of Donnes contemporary William Herbert, Donne is recorded as having fought in France for the Duke, which must have been before 1447. It is from this and his apparent age in the Memling that his birth in the 1420s is estimated and he also fought for the Duke in England, and in the late 1440s in Ireland. Donne married before 1465 Elizabeth Hastings, sister of William, Lord Hastings, the favourite of Edward IV, Hastings had also been in the service of the Duke of York for all his adult life, so he and Donne must have known each other very well. The Donnes surviving children were first two daughters, Anne and Margaret, then two sons Edward and Griffith, on Edwards accession in 1461 he was made an Usher of the Chamber and started to become wealthy. From 1465–9 he was an Esquire of the Body and he was knighted on the field after the huge Yorkist victory of the Battle of Tewkesbury in 1471 and his wife was a damicellae or Lady-in-waiting, of the Queen. These chains would presumably have been presents from Edward to his close followers and he was probably the Jehan Don present at the extravagantly celebrated wedding in Bruges in 1468 of Charles the Bold and Margaret of York, sister of Edward IV. He may well have accompanied Edward in his Burgundian exile in 1470–1, much later, he was present when the widowed Margaret met her brother at what is now Syon House in 1480. He owned a house there, and was a member of the Calais council in 1471, involved in negotiations in 1472, by 1483 he was Deputy of the Tower of Risban, an outlying fort, and before 1497 Lieutenant of the Castle. It may well have been his main base for much of his career, the Donne Triptych by Hans Memling would presumably have been made in Bruges, and is believed to date from the 1470s. The National Gallery now favours a date in the late 1470s, perhaps 1478, the date on a copy, which is plausible. The Donne coat of arms appears on small escutcheons in the capital of the column behind Sir John, rather roughly represented, the Donne arms also appear in a glass roundel in the window in the right side panel. The portrait of Lady Donne was first painted with a younger, more generalized face, then overpainted, also by Memling and this may suggest Memling only saw her when the painting was well underway, and changed his picture to her actual features
Sir John Donne
–
The Donne Triptych by
Hans Memling, 1470s,
National Gallery, London. Sir John kneels at left, Lady Donne and a daughter at right
Sir John Donne
–
The Donne Triptych by
Hans Memling, 1470s,
National Gallery, London. Lady Donne and a daughter
Sir John Donne
–
Donne depicted with his coat of arms in the "Louthe Hours" (alias "Donne Hours"), painted by
Simon Marmion c.1480, Collection of University of Louvain-la-Neuve, MS A2, f.100v
21.
Richard II of England
–
Richard II, also known as Richard of Bordeaux, was King of England from 1377 until he was deposed on 30 September 1399. Richard, a son of Edward, the Black Prince, was born in Bordeaux during the reign of his grandfather, Edward III. Richard was the brother of Edward of Angoulême, upon whose death, Richard. Upon the death of Richards father prior to the death of Edward III, Richard, by primogeniture, with Edward IIIs death the following year, Richard succeeded to the throne at the age of ten. During Richards first years as king, government was in the hands of a series of councils, most of the aristocracy preferred this to a regency led by the kings uncle, John of Gaunt, yet Gaunt remained highly influential. The first major challenge of the reign was the Peasants Revolt in 1381, the young king played a major part in the successful suppression of this crisis. By 1389 Richard had regained control, and for the eight years governed in relative harmony with his former opponents. In 1397, Richard took his revenge on the appellants, many of whom were executed or exiled, the next two years have been described by historians as Richards tyranny. In 1399, after John of Gaunt died, the king disinherited Gaunts son, Henry of Bolingbroke, Henry invaded England in June 1399 with a small force that quickly grew in numbers. Claiming initially that his goal was only to reclaim his patrimony, meeting little resistance, Bolingbroke deposed Richard and had himself crowned as King Henry IV. Richard died in captivity in February 1400, he is thought to have starved to death. Richard was said to have tall, good-looking and intelligent. Less warlike than either his father or grandfather, he sought to bring an end to the Hundred Years War that Edward III had started, modern historians do not accept this interpretation, while not exonerating Richard from responsibility for his own deposition. While probably not insane, as historians of the 19th and 20th centuries believed, Richard of Bordeaux was the younger son of Edward, the Black Prince, and Joan of Kent. Edward, heir to the throne of England, had distinguished himself as a commander in the early phases of the Hundred Years War. After further military adventures, however, he contracted dysentery in Spain in 1370 and he never fully recovered and had to return to England the next year. Joan of Kent had been at the centre of a dispute between Thomas Holland, Earl of Kent, and William Montacute, Earl of Salisbury, from which Holland emerged victorious. Less than a year after Hollands death in 1360, Joan married Prince Edward, since she was a granddaughter of King Edward I and a first cousin of King Edward III, the marriage required papal approval
Richard II of England
–
Portrait at
Westminster Abbey, mid-1390s
Richard II of England
–
Fourteenth-century manuscript
historiated initial showing
Edward, the Black Prince kneeling before his father,
Edward III.
Richard II of England
–
Richard II watches
Wat Tyler 's death and addresses the peasants in the background: taken from the
Gruuthuse manuscript of
Froissart 's Chroniques (c. 1475).
Richard II of England
–
Robert de Vere fleeing
Radcot Bridge (Froissart).
22.
Philip the Good
–
Philip the Good was Duke of Burgundy as Philip III from 1419 until his death. He was a member of a line of the Valois dynasty. During his reign, Burgundy reached the apex of its prosperity and prestige, Philip is known in history for his administrative reforms, his patronage of Flemish artists such as Jan van Eyck and Franco-Flemish composers such as Gilles Binchois, and the capture of Joan of Arc. In political affairs, he alternated between alliances with the English and the French in an attempt to improve his dynastys position. As ruler of Flanders, Brabant, Limburg, Artois, Hainaut, Holland, Zeeland, Friesland and Namur, born in 1396 in Dijon, Philip was the son of John the Fearless and Margaret of Bavaria-Straubing. His father succeeded Philips grandfather Philip the Bold as Duke of Burgundy in 1404 and they were married in June 1409. Bonne of Artois lived only a year after Philip married her, Philip was married for a third time to Isabella of Portugal, a daughter of John I of Portugal and Philippa of Lancaster, in Bruges on 7 January 1430. Corneille and Anthony were his favorite bastard sons and successively bore the title Grand bâtard de Bourgogne, Philip became duke of Burgundy and count of Flanders, Artois and Franche-Comté upon the assassination of his father in 1419. Philip accused Charles, the Dauphin of France and Philips brother-in-law, of planning the murder of his father, because of this, he continued to prosecute the civil war between the Burgundians and Armagnacs. In 1420, Philip allied himself with Henry V of England under the Treaty of Troyes, in 1423, the marriage of Philips sister Anne to John, Duke of Bedford, regent for Henry VI of England, strengthened the English alliance. In 1430, Philips troops captured Joan of Arc at Compiègne and later handed her over to the English, Philip signed the treaty for a variety of reasons, one of which may have been a desire to be recognised as the preeminent duke in France. He then attacked Calais, a possession of the English, Philip supported the revolt of the French nobles the following year and offered shelter to the Dauphin Louis, who had rebelled against his father Charles VII. In 1456, Philip also managed to ensure his illegitimate son David was elected Bishop of Utrecht and it is not surprising that in 1435 Philip began to style himself the Grand Duke of the West. In 1463, Philip gave up some of his territory to King Louis XI of France and that year he also created an Estates-General for the Netherlands based on the French model. The first meeting of the Estates-General was to obtain a loan for a war against France, in 1465 and 1467, Philip crushed two rebellions in Liège. Philip died in Bruges in 1467, Philips court can only be described as extravagant. He declined membership in the English Order of the Garter in 1422, instead, he created his own Order of the Golden Fleece, based on the Knights of the Round Table and the myth of Jason, in 1430. Philip had no fixed capital and moved the court between various palaces, the urban ones being Brussels, Bruges, and Lille
Philip the Good
–
Philip the Good, wearing the
collar of
firesteels of the
Order of the Golden Fleece he instituted, copy of a
Rogier van der Weyden of c.1450
Philip the Good
–
Engraving of Philip the Good
Philip the Good
–
Statue of Philip the Good, in the Ducal Palace at
Dijon
Philip the Good
–
Rogier van der Weyden miniature 1447-8. Philip dresses his best, in an extravagant
chaperon, to be presented with a History of Hainault by the author, flanked by his son
Charles and his chancellor
Nicolas Rolin.
23.
Duchy of Burgundy
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Upon the extinction of the line with the death of Duke Philip I in 1361, the duchy fell back to King John II of France and the royal House of Valois. The Burgundian duchy rose to a complex of a European scale after in 1363 King John II of France ceded the duchy to his younger son Philip of Valois. By his marriage with Countess Margaret of Flanders, he laid the foundation for a Burgundian realm further north in the Low Countries collectively known as the Burgundian Netherlands. The Burgundian sphere, in its own right, was one of the largest ducal territories that existed at the time of the emergence of Early Modern Europe. Including the thriving regions of Flanders and Brabant, it was a centre of trade. After about one hundred years of Valois-Burgundy rule, however, the last duke Charles the Bold rushed to the Burgundian Wars and was killed in the 1477 Battle of Nancy. With the abdication of the Habsburg emperor Charles V in 1556, the Burgundians settled in the area around Dijon, Chalon-sur-Saône, Mâcon, Autun and Châtillon-sur-Seine, and gave the name to the region. The Kingdom of the Burgundians was annexed by the Merovingian Kings of the Franks Childebert I in 534 following their defeat by the Franks and it was recreated, however, on several occasions when Frankish territories were redivided between the sons on the death of a Frankish king. As part of the Kingdom of the Franks, Burgundy maintained a semi-autonomous existence, with the Burgundians maintaining their own law code, however, southern Burgundy was pillaged by the Saracen invasion of the 8th century. When Charles Martel drove the invaders out, he divided Burgundy into four commands, Arles-Burgundy, Vienne-Burgundy, Alamanic Burgundy and he appointed his brother Childebrand governor of Frankish Burgundy. Under the Carolingians, Burgundian separatism lessened and Burgundy became a geographical term. As a vital military defender of the West Frankish border, Guerin was sometimes known by the Latin term for leader – Dux or Duke, by the time of Richard the Justiciar, the Duchy of Burgundy was beginning to emerge. Richard was officially recognised by the king as a duke, he stood as individual count of each county he held. As Duke of Burgundy, he was able to wield an increasing amount of power over his territory, to the collective body of his territory there came to be applied the term ducatus. Included in the ducatus of Richard were the regions of Autunais, Beaunois, Avalois, Lassois, Dijonais, Memontois, Attuyer, Oscheret, under Richard, these territories were given law and order, protected from the Normans, and served as a haven for persecuted monks. It was from his territories in Burgundy that he drew the resources needed to fight those who challenged his right to rule, under Hugh the Black came the beginning of what would be a long and troubled saga for Burgundy. His neighbours were the Robertian family, who held the title of Duke of Francia and this family, wanting to improve their standing in France and against the Carolingian kings, attempted to subject the duchy to the suzerainty of their own duchy. They failed, eventually, when they appeared close to success, they were forced to scrap the scheme, two brothers of Hugh Capet, the first Capetian King of France, took up the rule of Burgundy as duke
Duchy of Burgundy
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Flag
24.
Spinel
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Spinel is the magnesium aluminium member of the larger spinel group of minerals. It has the formula MgAl2O4 in the crystal system. Its name comes from Latin spina, balas ruby is an old name for a rose-tinted variety of spinel. Spinel crystallizes in the system, common crystal forms are octahedra. It has an imperfect cleavage and a conchoidal fracture. Its hardness is 8, its gravity is 3. 5–4.1. It may be colorless, but is usually shades of red, blue, green, yellow, brown, black. There is a natural white spinel, now lost, that surfaced briefly in what is now Sri Lanka. The Samarian Spinel is the largest known spinel in the world, the transparent red spinels were called spinel-rubies or balas rubies. In the past, before the arrival of modern science, spinels, after the 18th century the word ruby was only used for the red gem variety of the mineral corundum and the word spinel came to be used. Balas is derived from Balascia, the ancient name for Badakhshan, mines in the Gorno Badakhshan region of Tajikistan was for centuries the main source for red and pink spinels. Spinel has long been found in the gravel of Sri Lanka and in limestones of the Badakshan Province in modern-day Afghanistan and Tajikistan. Recently gem quality spinels also found in the marbles of Luc Yen, Mahenge and Matombo, Tsavo and in the gravels of Tunduru and this is why spinel and ruby are often found together. Spinel, 2O4, is common in peridotite in the uppermost Earths mantle, Spinel, Al2O4, is a common mineral in the Ca-Al-rich inclusions in some chondritic meteorites. Synthetic spinel, accidentally produced in the middle of the 18th century, has described more recently in scientific publications in 2000 and 2004. By 2015, transparent spinel was being made in sheets and other shapes through sintering, synthetic spinel which looks like glass but has notably higher strength against pressure, can also have applications in military and commercial use. Spinel group Ceylonite The Samarian Spinel, the largest known spinel in the world, part of the Iranian Crown Jewels Black Princes Ruby Deer, Howie, an Introduction to the Rock-Forming Minerals, Longman, pp. 424–433, ISBN 0-582-44210-9. Gemstones of the World 3rd edition, Sterling, pp. 116–117, Spinel structure at the University of Wisconsin - Green Bay Spinel structure at the Institut for materials science of the University of Kiel Value of Spinel
Spinel
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Spinel: 1.83 and 4.13
ct
Spinel
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Cut spinel
25.
Sapphire
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Sapphire is a gemstone, a variety of the mineral corundum, an aluminium oxide. It is typically blue in color, but natural fancy sapphires also occur in yellow, purple, orange, the only color which sapphire cannot be is red - as red colored corundum is called ruby, another corundum variety. This variety in color is due to amounts of elements such as iron, titanium, chromium, copper. Commonly, natural sapphires are cut and polished into gemstones and worn in jewelry and they also may be created synthetically in laboratories for industrial or decorative purposes in large crystal boules. Sapphire is the birthstone for September and the gem of the 45th anniversary, a sapphire jubilee occurs after 65 years. Sapphire is one of the two gem-varieties of corundum, the other being ruby, although blue is the best-known sapphire color, they occur in other colors, including gray and black, and they can be colorless. A a pinkish orange variety of sapphire is called padparadscha, significant sapphire deposits are found in Eastern Australia, Thailand, Sri Lanka, China, Madagascar, East Africa, and in North America in a few locations, mostly in Montana. Sapphire and rubies are often found in the geological setting. Every sapphire mine produces a range of quality - and origin is not a guarantee of quality. For sapphire, Kashmir receives the highest premium although Burma, Sri Lanka, the cost of natural sapphires varies depending on their color, clarity, size, cut, and overall quality. For gems of exceptional quality, an independent determination from a respected laboratory such as the GIA, gemstone color can be described in terms of hue, saturation, and tone. Hue is commonly understood as the color of the gemstone, saturation refers to the vividness or brightness of the hue, and tone is the lightness to darkness of the hue. Blue sapphire exists in various mixtures of its primary and secondary hues, various tonal levels, blue sapphires are evaluated based upon the purity of their primary hue. Purple, violet, and green are the most common secondary hues found in blue sapphires, violet and purple can contribute to the overall beauty of the color, while green is considered to be distinctly negative. Blue sapphires with up to 15% violet or purple are generally said to be of fine quality, gray is the normal saturation modifier or mask found in blue sapphires. Gray reduces the saturation or brightness of the hue, and therefore has a negative effect. The 423-carat Logan sapphire in the National Museum of Natural History, in Washington, sapphires in colors other than blue are called fancy or parti colored sapphires. Fancy sapphires are found in yellow, orange, green sapphires, brown, purple
Sapphire
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The 423-carat (85 g) blue
Logan Sapphire
Sapphire
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An uncut, rough yellow sapphire found at the Spokane Sapphire Mine near Helena, Montana
Sapphire
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Pear-shaped blue sapphire
Sapphire
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Dark blue sapphire, probably of Australian origin, showing the brilliant surface luster typical of faceted corundum gemstones.
26.
Richard III of England
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Richard III was King of England from 1483 until his death in 1485, at the age of 32, in the Battle of Bosworth Field. He was the last king of the House of York and the last of the Plantagenet dynasty and his defeat at Bosworth Field, the last decisive battle of the Wars of the Roses, marked the end of the Middle Ages in England. He is the subject of the historical play Richard III by William Shakespeare, when his brother King Edward IV died in April 1483, Richard was named Lord Protector of the realm for Edwards son and successor, the 12-year-old Edward V. As the young king travelled to London from Ludlow, Richard met and escorted him to lodgings in the Tower of London, on 25 June, an assembly of Lords and commoners endorsed the claims. The following day, Richard III began his reign, and he was crowned on 6 July 1483. The young princes were not seen in public after August, and accusations circulated that the boys had been murdered on Richards orders, there were two major rebellions against Richard. The first, in October 1483, was led by allies of Edward IV and Richards former ally, Henry Stafford, 2nd Duke of Buckingham. In August 1485, Henry Tudor and his uncle, Jasper Tudor, Henry Tudor landed in southern Wales with a small contingent of French troops and marched through his birthplace, Pembrokeshire, recruiting soldiers. Henrys force engaged Richards army and defeated it at the Battle of Bosworth Field in Leicestershire, Richard was struck down in the conflict, making him the last English king to die in battle on home soil and the first since Harold Godwinson. Henry then ascended the throne as Henry VII, after the battle Richards corpse was taken to Leicester and buried without pomp. His original tomb monument is believed to have been removed during the Reformation, in 2012, an archaeological excavation was commissioned by the Richard III Society on a city council car park on the site once occupied by Greyfriars Priory Church. Richards remains were reburied in Leicester Cathedral on 26 March 2015 and they returned to England following the defeat of the Lancastrians at the Battle of Towton and participated in the coronation of Richards eldest brother as King Edward IV in June 1461. At this time Richard was named Duke of Gloucester and made a Knight of the Garter and Knight of the Bath, by the age of seventeen, he had an independent command. With some interruptions, Richard stayed at Middleham either from late 1461 until early 1465, while at Warwicks estate, he probably met Francis Lovell, a strong supporter later in his life, and Warwicks younger daughter, his future wife Anne Neville. As the relationship between the king and Warwick became strained, Edward IV opposed the match, during Warwicks lifetime, George was the only royal brother to marry one of his daughters, the eldest, Isabel, on 12 July 1469, without the kings permission. George joined his father-in-laws revolt against the king, while Richard remained loyal to Edward, in 1468, Richards sister Margaret had married Charles the Bold, the Duke of Burgundy, and the brothers could expect a welcome there. Although only eighteen years old, Richard played crucial roles in the battles of Barnet, during his adolescence, Richard developed idiopathic scoliosis. Following a decisive Yorkist victory over the Lancastrians at the Battle of Tewkesbury, Richard married Anne Neville, by the end of 1470 Anne had previously been wedded to Edward of Westminster, only son of Henry VI, to seal her fathers allegiance with the Lancastrian party
Richard III of England
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The earliest surviving portrait of Richard (c. 1520, after a lost original), formerly belonging to the
Paston family (
Society of Antiquaries, London)
Richard III of England
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Contemporary illumination (Rous Roll) of Richard III, his queen
Anne Neville whom he married in 1472, and their son Edward the Prince of Wales
Richard III of England
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Stained glass depiction of Richard and Anne Neville in
Cardiff Castle
Richard III of England
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Penny of Richard III - the few positively identifiable coins are highly prized, almost irrespective of condition
27.
Fustian
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Fustian is a variety of heavy cloth woven from cotton, chiefly prepared for menswear. It is also used figuratively to refer to pompous, inflated or pretentious writing or speech and this literary use is because the cloth type was often used as padding, hence, the purposeless words are fustian. It embraces plain twilled cloth known as jean, and cut similar to velvet, known as velveteen, moleskin. The original medieval fustian was a stout but respectable cloth with a cotton weft and a linen warp. The term seems to have become less precise, and was applied to a coarse cloth made of wool and linen, and in the reign of Edward III of England. By the early 20th century, fustians were usually of cotton dyed various colors, in a petition to Parliament during the reign of Mary I, fustian of Naples is mentioned. In the 13th and 14th centuries priests robes and womens dresses were made of fustian, but though dresses are made from some kinds. From 1800 to 1850 it was commonly called Baragan Fustian, crucial to process of manufacture was fustian cutting. This was a process using a fustian cutting knife. This tool was around 50 cm long, and looked like a spike, about 10 cm from the tip. It was inserted along the fabric alongside two warp threads, and under the raised weft, and as it was guided forward the blade severed the weft. In corduroy, there were seven ridges to the inch, so along a 31in bolt, over a 60hr week the cutter would be expected to produce 500 yards of 7-8 ridge corduroy. Velveteen was cut the way but had 32 ridges per inch so production would be proportionately less. Cutting was one part of the process, the yarn was sized and the cloth was woven—there would be a high number of weft threads to warp. The ridges were manually cut, and the cloth sent to be finished and it was scoured to remove the size, and brushed to raise the nap. This was then singed over a gas flame, then bleached and it was now stentered to pull it out to the standard width. The cloth was woven at 31 or 32 inches and during processing has shrunk to 27 inches, stentering would stabilise the width to 28 inches. The back of the cloth would now be filled to give it stiffness and this could be with a glue based mixture that could be formed from boiled bones
Fustian
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Textile samples: Fustian, Linen, and Moleskin.
Fustian
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Corduroy: This modern diagram shows the warp (3) and the long (red-4) and short (green-5) weft threads; traditionally the knife (1) and the guide (2) are attached and the cutting motion is upwards.
Fustian
28.
White boar
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The White Boar was the personal device or badge of the English King Richard III of England, and is an early instance of the use of boars in heraldry. Edward appears to have shared use of the badge, either from Richards accession to the throne, or his own appointment as Prince of Wales, both in 1483, to his death the next year. Richards choice of the badge was no personal, but according to a slightly later document the boar had been a badge of the royal possession the Honour of Windsor. Another suggestion is that the boar was a pun on Ebor, a contraction of Eboracum, Richard was villainized after his death by the Tudor dynasty that followed his brief reign, and most of his badges would no doubt have been hurriedly discarded after his death. Only two examples survived on tomb monuments, one of which was destroyed in the 20th century, the sole remaining example is a pendant white boar on a Yorkist livery collar carved in the alabaster effigy of Sir Ralph Fitzherbert, who died in Richards reign in 1483. The archaeologist responsible for the site, Dr Glenn Foard, said, several of the objects are amazing. The most important by far is the boar, which was Richard III’s own badge. But this one is special, because it is silver-gilt and it was almost certainly worn by a knight in King Richard’s own retinue who rode with the King to his death in his last desperate cavalry charge. It was found next to the site of a small medieval marsh -. This badge was similar, but not identical, to the Chiddingly Boar found in Chiddingly, East Sussex in 1999 and this is, or was, also in silver-gilt, though much of the gilding has worn off. Badges in precious metals would have given to the more important, or perhaps intimate. No doubt there were once badges in gold, enamel and gems for more important supporters. The Richard III Society, dedicated to defending his reputation, makes use of white boars in its various forms of heraldry. It was originally called the Fellowship of the White Boar, cherry, John, in Marks, Richard and Williamson, Paul, eds. Gothic, Art for England 1400-1547,2003, V&A Publications, London, ISBN 1-85177-401-7 Planché, on the Badges of the House of York, Journal of the British Archaeological Association, Volume 20,1864. The Archaeology of the Medieval English Monarchy, ISBN 0-415-19788-0 Google books List of examples of Richards boar, based on an exhibition at the Royal National Theatre
White boar
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Richard and his son standing on boars in a contemporary heraldic roll
White boar
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The white boar badge of
Richard III as pendant to a
Yorkist livery collar on the
tomb monument of Sir
Ralph Fitzherbert (died 1483).
29.
Edward of Middleham, Prince of Wales
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Edward of Middleham, Prince of Wales, Earl of Chester, Duke of Cornwall, 1st Earl of Salisbury, was the only child of King Richard III of England and his queen consort, Anne Neville. He was Richards only legitimate child and died aged ten, Edward was allegedly born in December 1473 at Middleham Castle, a stronghold close to York that became Richard and Annes principal base in northern England. The date of 1473 is, however, not universally accepted, in fact, he was probably not born until 1476. The act of Parliament that settled the dispute between George of Clarence and Richard over Anne Beauchamps inheritance just as if the Countess of Warwick was naturally dead was dated May 1474. There were no provisions, however, for their heirs in case of this said divorce, but such provision was the provence of the ruling king for those of royal blood so would have been moot. Edward was mostly kept at Middleham, and was known to be a sickly child, after the citizens of London, nobles, and commons convened, a petition was drawn up that asked Richard to assume the throne. He accepted and was crowned at Westminster Abbey on 6 July 1483 and his title to the throne was later confirmed by Parliament in January 1484 by the document Titulus Regius. Edward did not attend his parents coronation, likely due to illness and he was created Prince of Wales and Earl of Chester in a splendid ceremony in York Minster on 8 September 1483, following his parents Royal Progress across England. The reasons of his death are unknown. The Croyland Chronicle reads, Edwards sudden death left Richard without a legitimate child, contemporary historian John Rous recorded that Richard declared his nephew Edward, Earl of Warwick, his heir in his place, but there is no other evidence of this. Similarly, John de la Pole, 1st Earl of Lincoln also seemed to have designated as Richards new heir. The location of Edwards burial is unknown, however evidence for this suggestion is lacking. Edward of Middleham appeared in Sharon Penmans The Sunne in Splendour, in the latter series, it is implied that Edward was poisoned at the behest of Margaret Beaufort as part of her efforts to secure the throne for her son, the eventual Henry VII. Edward of Middleham is a character in Joan Szechtmans Loyalty Binds Me, panton, Kenneth J. Historical Dictionary of the British Monarchy. Edward of Middleham at Find a Grave
Edward of Middleham, Prince of Wales
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Edward, Prince of Wales, son of King Richard III and his Queen consort, Anne Neville. From the contemporary Rous Roll in the Heralds' College.
Edward of Middleham, Prince of Wales
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Cenotaph at
Sheriff Hutton Church long believed to represent Edward of Middleham, but now thought to be an earlier work.
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Media related to Heraldic badges at Wikimedia Commons
