Henry VIII (1540): at large


A coy II.8 mounted for foot combat.

Despite reports in the press, Henry VIII’s 1540 garniture – recently  identified as one of Britain’s most valuable hidden museum treasures – far from hiding away has been flaunting himself happily about the Tower for the last three and half centuries.

As part of the Horse Armoury, the Tower’s oldest display, Henry has been a mainstay of the monarchs posing for the public. Unfortunately there are only written descriptions of the exhibit for the 17th and 18th centuries when it was at its most raunchy.  The Stuarts and Georgians had no problems with displaying the armour in its entirety – codpiece and all. There are even suggestions that the Yeoman Warder guides rigged up a device to make a greater spectacle of the latter.

By the 19th century illustrations of the display and its various armours become more commonplace.


This illustration of the line of monarchs parading in the Horse Armoury from 1830, shows the display after Sir Samuel Meyrick’s reorganisation of 1826 in its purpose built gallery attached to the south front of the White Tower. At number 4, Henry’s armour is not really that distinguishable from the others.  His previous medieval companions who had been kitted out from Store and therefore sported largely 16th C and later armour, had been culled by Meyrick in the interests of authenticity.


The Penny Magazine of 1840 sports a jovial Henry, visor raised to show his 17th century sculpted wooden head clearly atop the 1540 harness.   He has acquired a horse – perhaps to spare  delicate   Victorian sensibilities the embarrassment of the codpiece?

Eight years later, Henry shows signs of succumbing to the good life.


The 1848 Illustrated London News has a markedly rotund Henry, mace in hand.  A similarly broad John Bull figure stands  in the foreground.

In photographs of the 1870s Henry rides a grey horse and has donned a sword belt. Unfortunately the belt girdles his waist with difficulty, looking suspiciously like a recycled  old school tie pressed into service.

With the demolition of the New Horse Armoury building in 1882, the displays and Henry moved into the White Tower colonising the top floor.


This post card shows the display in about the 1890s – early 1900s and Henry can be seen clearly to the right. His horse seems to have lost its glowing paleness and may even have moved towards the dun.

But perhaps it’s just the overall tone, as the Wrench postcard shows it even more clearly pre 1906 glowing white again.


HenryVIII-1540-blog-post_Postcard2After the First World War, Henry moved back to a central display line riding a new horse.


Henry acquired his final horse, with distinctive curling lip, in 1951.


In the 1980s, Henry parted company with his horse, regained his codpiece and was joined by a modern American Footballer, to compare and contrast sporting armours. The face is the same as the one illustrated in The Penny Magazine, but seems to have acquired a resigned air.


Underneath it all he remains the figure we have known and loved for so long – with underpinnings revealed –HenryVIII-1540-armour_Internal-frame
A very merry and public monarch indeed.

Bridget Clifford, Keeper at the Tower and present custodian of the king’s suit. 7.09.2015.


Bleatings from the Tower: Sheep may safely graze…

Spring is upon us. As the grass in the Tower moat begins to perk post – Poppies and in the countryside lambs are rushing towards adolescence, this year London too has its very own personalised Spring flock.

Shaun in the City features 50 bespoke statues of Aardman’s cheeky lamb scattered about the metropolis gathering funds for Wallace and Gromit’s children’s charity and two have come to rest on Tower Hill.

Shaun as Yeoman of the Baaard

Shaun as Yeoman of the Baaard

At first sight there might seem little to link sheep to the Tower but as so often delve a little deeper and out pops a historical precedent. The oldest connection lies with the Constable of the Tower and his right to claim any cattle passing the Tower by means of the Thames as his own. Unlikely as he is to exercise this privilege one of the privileges of a Freeman of the City of London today remains the right to drive sheep across London Bridge.

Moving forward to the 19th century  in 1845 the Tower moat was finally drained on the orders of the Constable – at the time the Duke of Wellington –  as it had become more a stagnant cesspit than defensive barrier and  the resulting ditch was turfed.


John Warrender’s oil painting from about 1870 views the Tower from the gardens NW of the site.  11 sheep graze or loll about the moat while a 12th stands, feet squarely planted as if on guard, under Legges Mount.  Further down the moat adjacent to the Beauchamp Tower a disproportionally large horse rests from bringing in stone to repair the outer wall.

Odd as it might seem, our ovine friends on Tower Hill are not the first.

Come July a further 70 Shauns will colonise Bristol until October when the whole flock is due to be auctioned to raise funds to support children in hospital.



The proposed attack of the ‘Easter bunnies’ was clearly intended – though very well thought out and well planned – as an April Fool. Making this a 100 year old joke!

The Letter was sent to the War Office and was opened by a Major C.P Deedes of the Kings Own Light Infantry, who was working as a General Staff Officer (Grade 3) at the time. Major Deedes wrote in his diary in response to the letter:

Rabbits - Diary Entry

Major Deedes clearly saw the funny side of this correspondence, indeed the letter was found within a collection of his belongings, meaning he had kept it ever since.

General CP Deedes_RabbitsGeneral C.P Deedes, as the Major later became, was a respected figure of his regiment. During the war he was awarded a D.S.O (Distinguished Service Order), mentioned in Dispatches on multiple occasions, and made a ‘Companion of the Most Distinguished Order of Saint Michael and Saint George.’

For more information about the papers and life of General C.P Deedes contact the Museum and Archives of the King’s Own Light Infantry. Their Website can be found here.

Unusual War Efforts: Attack of the Easter-bunnies!

General CP Deedes_Rabbits

General C.P Deedes, Major of the Kings Own Light Infantry at the time. Credits: http://www.bbc.co.uk/arts/yourpaintings/paintings/general-sir-c-p-deedes-18791969-69660

On this day in 1915, the then Major CP Deedes, member of the King’s Own Light Infantry, currently G.H.Q (General Headquarters Staff) at the War Office, received a very unusual letter suggesting a new alternative “method of warfare”.

Rabbits. Around 200-300 Rabbits as a guideline.

Rabbits at War-1

Credits: King’s Own Yorkshire Light Infantry

Rabbits at War-2

Credits: King’s Own Yorkshire Light Infantry

This is a real letter, sent to the war office in April 1915, suggesting that rabbits be used as a weapon in trench warfare.

The unique idea was to train the rabbits to enter the trenches of the Germans by “feeding them at night on a diet, similar if possible, to what the Germans have.”

These bunny warriors would then be able to carry either smelling or sneezing gas, or even bombs on their “errand of destruction”.

The aim of this – “to play havoc with the enemy” and therefore “put the men out of action for a time, and enable us to attack”.

This may sound incredibly insensitive to us now, however the unknown author justifies this by writing “the above idea is not very humane, but at these times one has to drop sentiment, and adopt all sorts of ideas”. He even goes further to say if the plan proves ineffective, the rabbits could be used for a more savoury suggestion…!

Fakes and Forgeries: in conversation with Karen Watts

Saturday 7 February, the Royal Armouries will host a highly anticipated seminar day on ‘Fakes & Forgeries’. (#RAFakes)

Karen Watts, Senior Curator of Armour and Art at the Royal Armouries, is conducting a lecture at the event, so I asked her to talk a little about what the day will contain and some background information on why we should study these objects.

Why were there so many forgeries in the nineteenth century?

“The nineteenth century gothic revival created a rediscovering of the Middle Ages with the work of Walter Scott novels, such as Ivanhoe”.

“Suddenly it was the trend and pinnacle of fashion to have medieval objects up on the walls in the home of your castle, mansion or hall, but there weren’t enough originals left to go around. The huge demand for these items led to the creation of many fakes, some which were convincing and some far from it. Greed had a big part to play here, as those with big pockets dug deep for the most ‘exclusive’ items. Most popular seem to be helms due to the desire to create a real human connection to those medieval people on the battlefield or in the tourney”.

“The demand for these items meant that opportunists such as Thomas Grimshaw, a very famous faker who I’ll be discussing in my lecture this Saturday, could take advantage of the fashion and make their fortune!”

Possible drawing of Thomas Grimshaw by Wash, (I.143) © Royal Armouries.

Possible drawing of Thomas Grimshaw by Wash, (I.143) © Royal Armouries.

How many fakes do we have at the Royal Armouries?

“We have approximately 30 fakes within our collection and I will be highlighting a selection of them at the lecture this weekend – including a few which have been hidden in stores away from the public, so it’s a great opportunity to handle some of our objects that you may never have seen before.”

“My personal favourite of our fakes is Mr Smiley, a helm with breathing holes shaped in a large pair of smiling lips! (See image below). Original medieval helms had breathing holes or slots on the lower right hand side of the face and neck to allow the left side remain smooth – to deflect an opponent’s  lance.”

Image A14.53 © Royal Armouries.

Our poster boy, ‘Mr Smiley’. Image A14.53 © Royal Armouries.

What factors indicate something is a fake?

“Weight, decoration and construction are the commonest indicators that an object is not original.”

Have you ever been fooled by a fake?

“Not that I know of!”

Why is it important to study fakes in their own right?

“The history of fakes in the nineteenth century is not only military but a social history. By understanding why fakes were made we can better understand the social climate and romantic fashions of nineteenth century Britain, whilst using knowledge gained to detect new originals. These fakes are now products of their own history with their own stories to tell, and are collectors’ items in their own right!”

To hear more about gothic revival fakes from both Karen Watts and Ian Bottomley – Curator Emeritus (formerly Senior Curator of Oriental Collections, Royal Armouries), come along to the Royal Armouries Fakes & Forgeries seminar day, Saturday 7 February. To book your place, please visit the link below.



The Curator @ War – January 1915 : Three cheers for the back-room boys!

Keeper of the Tower Armouries, Bridget Clifford, continues her posts on Charles John Ffoulkes, who was Curator of the Armouries from 1913-1938 – during which he took part in the World War I civil defence of London, completed the first and last complete modern printed catalogue of the Tower collection, and created a museum infrastructure within The Tower. After his retirement, he was awarded an OBE in 1925 and a CBE in 1934 in recognition of his work on the Imperial War Museum.

1915 appears to have dawned with business very much as usual – in fact ffoulkes only made 2 entries in the Minute Book. The arrival of W. Spooner RN as new Armouries cleaner was noted on the 11th January (presumably in place of H Evans who had died on 23rd December 1914), and the move of Charles I’s armour to the “centre of the small room” was recorded on the 12th.  The latter refers to the sub-crypt in the White Tower Basement where the Curator had moved the “valuable armours” in October 1914 as a precautionary measure against air raids – still to materialise.

This is hardly the stuff of an exciting blog- but Spooner’s appointment made me think about the unsung heroes of the Minute book and Diary – the Armouries back-room boys without whose support neither ffoulkes nor Dillon could have affected the modernisation of the collections and displays they achieved.

In 1913 Joubert’s new horse for Henry VIII’s silvered and engraved armour ascends to the top floor of the White Tower thanks to the muscle power of the Armouries’ team.  Identifying the individuals is unfortunately impossible – although the onlooker to the far right may be ffoulkes (prominent high white collars are a distinguishing part of his wardrobe in other photographs), and the supervisory, flat- capped gentleman in front of him may be Foreman Buckingham.

In 1913 Joubert’s new horse for Henry VIII’s silvered and engraved armour ascends to the top floor of the White Tower thanks to the muscle power of the Armouries’ team. Identifying the individuals is unfortunately impossible – although the onlooker to the far right may be ffoulkes (prominent high white collars are a distinguishing part of his wardrobe in other photographs), and the supervisory, flat- capped gentleman in front of him may be Foreman Buckingham.

Glimpsed occasionally in the background of unofficial photographs and recorded in the Receipts and Issues Books of the 1860s for payments due to them, the first comprehensive listing of the Armouries staff appears in the front of the Minute Book in 1913.  Employed by H M Office of Works, they were responsible for the maintenance of the displays and cleaning of the collection.  If objects were loaned out – and these were the days of gentleman’s agreements as well as formal loans when the military and diplomatic services could turn up and decorate their respective messes and embassies with material from stores – they would set up and dismantle selected displays off site. The high spot of this service was the decoration with Tower arms and armour of the annexe built onto the front of Westminster Abbey for the coronations of Edward VII and George V.  There were also annual trips to dress the Guildhall for the Lord Mayor’s festival in November.

Foreman Buckingham started life at the Tower as a Carpenter, and his involvement with the Volunteer Artillery undoubtedly proved useful. We have a number of his trophies  from repository exercise competitions showing his prowess in manoeuvring artillery over difficult terrain using minimal equipment – handy skills when relocating cannon about the site.  Both Dillon and ffoulkes praised his care and involvement with the collection, albeit a tad patronisingly.

A rare behind the scenes illustration from the Graphic of 1893 shows the team at work cleaning exhibits before opening, and is the only other illustration of this period showing the staff we have so far uncovered.

The tradition of facial hair among male members of the Armouries collections staff continues today, although the practice of wearing hats indoors has been discarded.

The tradition of facial hair among male members of the Armouries collections staff continues today, although the practice of wearing hats indoors has been discarded.

So what else do we know of these men?

Ffoulkes lists Foreman Buckingham, and cleaners T. Bishop, W. Williams, H. Evans, W. Brown, T. Riddles, G. Stewart and F. Davey; A.H Prince is noted in the Ticket Office, D. Nash in the parcels office (set up after the Suffragette outrage of February 1913 to accommodate visitors’ larger hand baggage during their visit) and W. Johnson as lavatory attendant.

Evans had served 20 years and reaching the age limit for employment received a 12 month extension on the 9th December. Following his death two weeks later he was awarded a “bonus” of £32-5-8d. Buckingham and Williams went off to war in September 1914.

Nash moved from the Parcels office and was appointed Foreman in July 1915. In April 1916 ffoulkes thanked Foreman Nash and cleaners Bishop, Davey, Riddles, Moncks and Stewart for their hard work arranging the new displays as all the White Tower floors were finally opened to the public. In October the Armouries staff was formally placed under the Curator’s control and Nash departed on active service with the London Regiment. He was replaced by T. Bishop.

From 1917 Nash was detailed to the War Trophies Section at G.H.Q in France collecting material for the War Museum. He returned from France early in 1919 and was promoted Armoury Supervisor enjoying an Armouries career of over forty years.  Bishop is recorded as leading man in 1922, resigning in April 1923.

F. Davey transferred to the National War Museum as Storekeeper in October 1917. Stewart remained at the Tower and retiring in April 1923 aged 71 years, while cleaner Moncks is first appears in the Diary in May 1915 gifting books to the Armouries.

And Mr Spooner?  He was suspended on 9th February 1915 “thro’ intemperance”.

The Force Awakens: The Weapons Behind Star Wars.

IMG_3490-FWW-YEP-PhotocalIn light of the recent teaser trailer for the eagerly anticipated ‘Star Wars: The Force Awakens’, our curator of Firearms Jonathan Ferguson, couldn’t resist inspecting the new trailer’s weapons for both changes and similarities to their alien predecessors. Below are his expert thoughts and ponderings of the weapons of Stars Wars both past and future.


When George Lucas was looking for imaginary weapons to arm his heroes & villains in ‘Star Wars’, he had a relatively small budget to work with. Although he wanted his swords & guns to project pure energy; he turned to real-world technology to make his ideas a reality. His ‘lightsabers’ were built from camera flash tubes and various found objects including jet fighter parts, whilst the ‘blasters’ were modified from conventional firearms of the 1940s and 50s. These were plentiful in 1970s Britain, where much of production took place. Master propmakers Bapty & Co were engaged to turn these mundane weapons into futuristic (yet ancient!) plasma-firing wonders.


A lightsabre and its camera components.


Han Solo’s (modified) gun.

One of the most iconic designs in the Star Wars universe is the Imperial blaster used by the Stormtroopers. This was actually the Sterling Mk.4 submachine gun, or L2A2 in British Army parlance. Still a service weapon at the time of production, this was modified with additions including a WW2 German machine gun sight, black flanged ribs (actually plastic drawer runners from B&Q!) and a photocopier part. The distinctive curved magazine of the ‘Sterling’ was also cut down to hold only a few rounds, to alter the fairly well-known silhouette of the weapon and suggest a ‘power pack’ in place of a conventional box magazine.

Left: a Stormtrooper blaster. Right: a Sterling sub-machine gun from the Royal Armouries collection

Left: a Stormtrooper blaster. Right: a Sterling sub-machine gun from the Royal Armouries collection.


The firing versions used blank rounds, which produce no real recoil, but the design of the Sterling meant that a big heavy metal bolt was cycling back and forth every time an actor pulled the trigger. This caused the gun to jump slightly, making the energy bolts that it ‘fired’ (a pre-CGI optical effect) appear more real. The heavy steel guns also made for convincing weighty props in the hands of the actors.

The prequel movies featured precursor blaster carbines in the hands of Battle Droids and later Clonetroopers, but these were bespoke designs quite far from the low budget yet iconic originals.


When the new sequel movies were announced, fans wondered how much would change. As we now know, many of the classic vehicles and even the white armour of the Stormtroopers have received major facelifts, inspired by the original movie’s concept art by Ralph McQuarrie.

But as the teaser trailer for Episode VII shows, the classic blaster carbine has survived almost intact. Some components, like the end cap and folding stock (which, of course, Stormtroopers don’t know how to use!) are now white in colour, there’s a new optical sight, and for some reason the magazine appears on the wrong side – possibly a case of flipped film – or perhaps with no brass to eject, Imperial forces have moved the power source to the right hand side.

Screenshot from the new Star Wars Trailer 'The Force Awakens'

Screenshot from the new Star Wars Trailer ‘The Force Awakens’

There is a red glowing light; possibly a means of checking ammunition/power levels. But all the main features of the host weapon remain. Even if these upgraded blasters no longer fire blanks for that authentic look and feel, one of cinema’s most recognisable weapons is alive and well.

We’re certainly looking forward to seeing what other new, or old, Star Wars weapons will be making an appearance in the highly anticipated ‘The Force Awakens’.

Something to get your teeth into…

The Royal Armouries has just acquired a very unusual piece – a vampire killing kit that was recently put up for auction in North Yorkshire.

Vampire Slaying Kit - a mahogany casket with pistol, crucifix, rosary beads, three glass bottles, mallet and four wooden stakes

The complete Vampire Slaying Kit, recently acquired by Royal Armouries, Leeds comprises a mahogany casket complete with pistol and bullet mould, crucifix, prayer book, rosary beads, glass bottles labelled holy water and holy earth, a mallet and four wooden stakes

This intriguing kit comprises a mahogany casket, packed with everything a vampire hunter might need. The box is split into two tiers. The top layer contains a percussion cap pistol with an octagonal barrel – for firing silver bullets and a bullet mould. The lid holds a crucifix and rosary beads, to ward off ‘evil spirits’.

Other compartments contain three glass bottles, two of which are labelled ‘holy water’ and another ‘holy earth’. As a last resort there’s a mallet and four wooden stakes, plus The Book of Common Prayer, dated 1857.

The Book of Common Prayer opened to the title page, and a wooden crucifix

The Book of Common Prayer from the Vampire Slaying Kit, dated 1857

A handwritten extract from the Bible, quoting Luke 19:27, reads, ‘But those mine enemies, which would not that I should reign over them, bring hither, and slay them before me.’

I’m really pleased to be able to add this fascinating object to our world-class collections, which as well as conventional arms & armour, also contains a number of unusual objects. One category within our collections is known as ‘Firearms Curiosa’ – unusual and quirky pieces sometimes made to test new technology and ideas, sometimes to deceive, and sometimes just for fun! This kit definitely falls into this category.

Although often claimed to either be made for genuine vampire slayers, or as novelties for travellers to Eastern Europe, this is probably not the case with this piece. I’ve been researching vampire-killing kits for five years, and there is no evidence of their existence prior to 1972, around the time of the famous ‘Hammer’ horror movies. For some people, this makes them ‘fakes’, but is it possible to have a fake if there is no original to copy?

I argue that they are instead ‘invented artefacts’ – movie props without a film. We will be subjecting our kit to some sensitive scientific analysis to see if we can find out more about it, but chances are that it was made relatively recently. This is not a bad thing – museums today collect far more widely than just traditional art and historical pieces, and the level of interest generated by this kit shows how culturally important it is. It’s hard evidence of the undying love people have for supernatural fiction, from Dracula to Twilight and Abraham Lincoln: Vampire Hunter. It also reflects centuries of folklore relating to vampires and the best ways to dispose of them, which for some people, even in the 21st century, remains a frightening reality.

We hope to put the kit on display by Halloween. In the meantime it will be available for researchers to examine by appointment.

Take a look at my article in issue 288 of the Fortean Times – ‘To Kill a Vampire’ for further details.

Blogger: Jonathan Ferguson, Curator of Firearms, Royal Armouries, Leeds

No sitting on the fence for these Giants!

Clash of the Giants ….

Huddersfield Giants’ quartet Jermaine McGillvary, Michael Lawrence, Luke George and Leroy Cudjoe clashed swords at the Royal Armouries in Leeds – thanks to the Royal Armouries Fencing Club.

3 men fencing with swords

L to R: Huddersfield Giants’ players Leroy Cudjoe, Jermaine McGillvary, Luke George, Michael Lawrence.

Like Rugby League, fencing requires considerable skill and speed so the Giants’ stars were ideally placed to enjoy one of Europe’s oldest combat sports.

Huddersfield Giants' Stars with Royal Armouries staff.

L to R: Michael Lawrence, Jo Clements, Leroy Cudjoe, Ann Lindsay, Jermaine McGillvary, Luke George and Royal Armouries Fencing Club coach Mark Murray-Flutter.

The RFL have encouraged all the Super League teams to try their hands at various sports and activities. To see a film clip of the rugby stars in action, visit The Giants’ website.

What a corker!

XVI.258A – Tower Hamlets Rifle Volunteers Officer’s Helmet

Conservation work has recently commenced on a Tower Hamlets Rifle Volunteers Officer’s regimental helmet, which will shortly be going on display at the Tower of London. The helmet is of the Home Service Pattern design, introduced in May 1878.

Black and silver helmet with chin strap and spike

XVI.258A – Tower Hamlets Rifle Volunteers Officer’s Helmet

The body of the helmet is made of cork, covered in black cloth, with two seams on each side. The chin chain is made of interlocking silver-plated rings, backed with leather and velvet. This was attached to the helmet on two side rose bosses and, when not being worn, the chain would have been attached to a rear hook. All the metal components on the helmet are silver-plated.

There is a metal crosspiece with a spike and base on the top of the helmet and a metal plate badge on the front. The badge’s design comprises an eight-pointed star surmounted by a crown. A Garter belt is around the outside, inscribed with the motto ‘Honi Soit Qui Mal Y Pense’ (Shame upon him who thinks evil upon it). The centre of the badge features the White Tower in the Tower of London as a symbol of the Tower Hamlets Regiment.

Silver badge with representation of White Tower and the motto Honi Soit Qui Mal Y Pense

Silver badge with the White Tower in the centre

The helmet’s interior has a leather layer and also a pink silk lining. The helmet features two retail labels for the hatters ‘W. Cater & Co. Established 1776, 56 Pall Mall, London’. The silk lining also features a name label for the helmet’s owner, ‘G.E. Colebrook’. George Colebrook was part of the 1st Tower Hamlets Rifle Volunteer Brigade and was promoted to Lieutenant in June 1901. Sadly he is recorded as having died in a motorcar accident in 1903.

Silver chin strap with detached leather backing

Silver chin chain with detached leather strap

The helmet arrived in the conservation lab with tarnished metal components and a partially detached chin strap, where the original thread had broken leaving some of the rings hanging loose from the leather backing. Stay tuned to hear about the conservation treatment and repair to the chin strap, ready for the helmet to go on display.

Blogger: Philippa Beesley, Conservation Student