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

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 Curator @ War: “Bah Humbug – stripping the Armouries decorations for Christmas” December 1914

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.

In 1914, as the rest of the country prepared for the festive period and the realisation began to dawn that the war would not be over by Christmas, ffoulkes continued on his mission to modernise the White Tower displays, following on from the work started by Dillon. Having judiciously pruned some of the more exotic elements of the collection in November, despatching Oriental, Classical and Prehistoric material to the British Museum, and with the prospect of the small arms stores being removed from the Entrance floor of the White Tower, he began to clear the decks – literally.

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The photographs below give an impression of the ebullient displays from the later 1880s after the demolition of the New Horse Armoury. They come from The Photographic View Album of the Tower of London published by Valentine and Sons of Dundee but sadly undated.  This specific copy was annotated by ffoulkes and presented to HMS Tower 27th April 1917. Built by Swan Hunter and launched 5th April 1917, HMS Tower was an R class destroyer and is probably most famous for having the first modern ship’s badge, co-designed by Mr George Richardson, director of the shipyard, and Major Charles ffoulkes. The badge consisted of the White Tower and motto “God Save King George and his Tower” within a rope border, topped with a naval crown and with the ship’s name beneath.

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This is the Council Chamber (today more prosaically titled second floor west gallery) before the removal of the sword railings (1913) and the filling in of the light wells in the floor. Perhaps the lights installed in 1884 were somewhat unsubtle – in his autobiography ffoulkes described them as “great arc lights like a modern railway station” (p.64) – and obviously space was at a premium as the exhibits crowded together in their new home.

At the Northern end Queen Elizabeth I and her page found temporary refuge before moving back to the crypt and thence to pastures new. Both look resigned to their lot – perhaps recognising worse was yet to come after their move to the Museum of London. Today the only survivor of this tableau is Queen Elizabeth’s head.  The rest were consigned to a museum store room in the 1930s where they remain immured (if not shattered) by enemy action during the Second World War.

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However it was the Banqueting Hall (today’s first floor) that ffoulkes was targeting in December 1914. Finally he could be rid of the “elaborate trophies ….. and geometrical patterns of composed of tortured swords, bayonets and gun-locks bent and twisted in the Ordnance forges to conform with the lines of required designs. These were produced by Mr Stacy, Armoury Keeper, as a feeble imitation of the wonders produced by one Harris in the Storehouse which was burnt in 1841”. A little harsh on Mr Stacy, but ffoulkes had very determined views on the subject regarding “these typical products of nineteenth-century military art”  as “symptomatic of a period which could not produce simple railings without designing them as cast-iron spears with iron tassels”.

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So the scrolling motifs of re-formed gun-locks around the light wells, pendant bayonets and other trophies of arms attached to the ceilings were removed, and the great flower heads (a little something for the lady visitor?) seen here flanking the opening in the North face of the White Tower were swept away.  A few decorations lingered on in more inaccessible places, but ffoulkes had placed his finger on the continuing dilemma of how best to display the interior of the White Tower? As he put it “Firstly it is a magnificent specimen of eleventh-century architecture, and secondly it houses a collection of arms and armour, many pieces having been exhibited here since the sixteenth century, if not earlier.”   Finding a satisfactory balance continues to exercise the minds of curators and architectural historians to this day, as these two aspects can at times be mutually exclusive.

(A footnote for the pedants among us – this view is of the first floor east leading to the Chapel of St John, while traditionally the Banqueting Hall refers to the west side of the floor. Even ffoulkes had to think twice – but it is clear from the new Guide Book produced in 1916 when the whole of the White Tower was given over to Armouries displays that the Sword floor was on the east side , with the Weapons room on the west. Happy Christmas!)

The Royal Armouries Leather In Warfare Conference

Recently the Royal Armouries played host to a wealth of knowledge and passion as we, in partnership with the Archaeological Leather Group, held the Leather in Warfare conference here in Leeds. We were fortunate to hear from a wide variety of fantastic speakers, each providing delegates with a fascinating new perspective on leather and its uses on the battlefield and in arms and armour.

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Yvette Fletcher, Head of Conservation, Leather Conservation Centre.

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Dr David Nicolle, Honorary Research Fellow, Institute for Medieval Research, Nottingham University.

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Nicholas P. Baptiste, Archivist-Curator Morges Castle (Swi), Doct-Researcher, University of Savoy (Fr).

Attendees were treated to a range of presentations on subjects as diverse as Roman army tents and mamaluk armour. Royal Armouries Emeritus Curator, Ian Bottomley, enthused the audience with his paper on Japanese leatherwork, and Helen Adams’ porcupine fish helmet from the Pitt Rivers museum also caused much excitement. Other Royal Armouries speakers included Senior Curator of Armour Karen Watts, Conservation Manager Suzanne Kitto, Assistant Curator of Edged Weapons Henry Yallop, and Assistant Curator of Armour Keith Dowen. Dr Thom Richardson, Deputy Master of the Royal Armouries, chaired the conference as well as providing his own paper.

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Japanese leather items presented by Royal Armouries Emeritus Curator, Ian Bottomley.

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Helen Adams, Pitt Rivers Museum, University of Oxford, presenting on Ethnographic examples of animal skin armour – with a porcupine fish helmet pictured.

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Deputy Master of the Royal Armouries Thom Richardson.

Debate arose on the final day of the conference when Barbara Wills, senior curator at the British Museum (department of Conservation and Scientific research) presented her project on crocodile skin ‘armour’ from Egypt.

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Barbara Wills, Senior Conservator, British Museum Department of Conservation and Scientific Research – presenting her crocodile skin armour project.

Fellow speaker Carol van Driel-Murray questioned whether this discovery was indeed armour at all, and if it were purely intended for ceremonial use should we not avoid describing it as such altogether? However it was also argued whether this armour was representing specific Egyptian religious beliefs through symbolising Sobek – the crocodile warrior god who signifies strength and power. Was this therefore an example of ‘costume armour’ and therefore should be called such? Was this a complex ceremonial layering of a human, dressing as crocodile, dressing as a solider? No doubt this isn’t the last we will hear of this fascinating project!

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Carol van Driel-Murray, University of Leiden, presenting on Roman Military leatherwork.

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Barbara Wills, British Museum.

The event was organised by Curatorial Manager Alison Watson, who commented, “it was fantastic to work with the Archaeological Leather Group to produce such a successful conference and we look forward to working with them on the proceedings, due out 2015.”

A study day commemorating the Battle of Waterloo is currently proposed at the Royal Armouries for spring 2015, and Armouries staff will be speaking at a number of conferences throughout the upcoming months, for more information please contact enquiries@armouries.org.uk. For more images from the Leather in Warfare conference, please visit our Facebook and Twitter pages.

They That Are Left: the Royal Armouries hosts a stunning Remembrance photographic exhibition

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…They shall grow not old, as we that are left grow old.

Age shall not weary them, nor the years condemn.

At the going down of the sun and in the morning

We will remember them…”

from Laurence Binyon’s ‘The Fallen’ (first published in The Times, 21 September 1914)

Last week the Royal Armouries hosted the opening of photographer Brian David Stevens’ ‘They That Are Left’ exhibition, an inspiring ten-year project comprising of portrait photographs of war veterans, taken each Remembrance Sunday at the Cenotaph from 2002 to 2012. The project consists of 100 portraits, a selection of which is currently on display at the Royal Armouries Museum in Leeds until 1 February, as part of our First World War Centenary commemorations.

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As with each passing year our war veterans do grow older, and age both wearies them and condemns their valuable memories, they are thus at risk of becoming unknown. With this in mind, Brian took inspiration from Binyon’s famous poem, saying “the viewer is given no information, just a portrait. These faces then are as of unknown soldiers; no cap badges, no ribbons of spooling medals, no insignia for military rank. They are faces only. Each deep-etched with who they are and what they did, that we might look, and think – and thank them.”

“As the years pass, the number of veterans from World War I has dwindled to nothing and the number from World War II is steadily reduced, but their places are taken by other veterans from newer conflicts, who are also included.”

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Below is a short interview with Brian at the Royal Armouries about his collection, currently showing until 1 February.

The exhibition – which forms part of Royal Armouries’ ‘Inspired by…’ programme – transfers in March to Fort Nelson, Portsmouth, home to the national collection of artillery. For more information about Brian David Stevens’ work, please see his website here; http://briandavidstevens.com/ .

 

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

Southampton and Shakespeare reunited!

The armour of the 3rd Earl of Southampton took a trip last week, from its home at the Royal Armouries Museum, Leeds to appear in a new exhibition, Shakespeare: Staging the World, at the British Museum in London.

The Earl of Southampton is the only acknowledged patron of William Shakespeare, and this three-quarter armour was recorded being worn by the Earl in a portrait. From this evidence historians were able to accurately establish the provenance of the piece. This beautiful armour has intricate gilded decoration in the Mannerist style fashionable in 16th-century Europe etched onto its original blackened steel surface.

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Packing the Earl of Southampton’s armour

The meticulous packing process took around 31/2 hours as each piece had to be cushioned in custom-made foam protection to ensure they were not damaged whilst in transit.

Three members of British Museum staff check the armour after transit

British Museum staff check the Southampton armour after transit

On arrival at the British Museum the condition of the armour was thoroughly checked. Royal Armouries Keeper of Armour, Thom Richardson, who had accompanied the armour on its journey, and Chris Smith, Deputy Head of Conservation based at the Tower of London , then reassembled it ready for display.

The Southampton armour will be on display in London from 19 July to 25 November.

The final assembled suit of Southampton armour ready for display at the ‘Shakespeare: Staging the World’ exhibition at the British Museum

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