Tag Archives: Curatorial

Line of Kings: The Haunting of Richard III, part 2

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Kathleen McIlvenna, Curatorial Assistant – Tower Collections, continues her investigations into why Richard III wasn’t included in the Line of Kings…

As discussed in my previous blog, Richard III was not present in the historic displays of the Line of Kings in the Tower, as at the time he was not an acceptable symbol of monarchy. However, his presence was felt through the association with other figures represented in the displays. These included the two ‘lost princes’, the nephews Richard is said to have murdered in the Tower.

In this Ink drawing of the Line of Kings, you can just about see the crown floating above Edward V’s head. © Royal Armouries

In this Ink drawing of the Line of Kings, you can just about see the crown floating above Edward V’s head. © Royal Armouries

We have descriptions of Edward V from Tower of London guidebooks from the 1750s, when he was displayed in a child’s armour sitting on a horse with a crown floating above his head – this is explained in the guidebook to signify the fact that Edward was declared king but never crowned. He is also displayed with a lance, which I believe is used to emphasise his small size compared to the large figures of Edward IV and Henry VII on either side.

Though not in the line; his brother, the other ‘lost prince’, Richard, Duke of York, was also represented in 18th century displays at the Tower. As legend has it, Richard would have been approximately 10 years old when his uncle ordered his death within the walls of the Tower. In these displays, Richard is portrayed wearing a tiny suit of armour, too small for a 10-year-old, and holding a miniature lance.

The Dwarf Armour II.126, stands at 37.5in tall. © Royal Armouries

The Dwarf Armour II.126, stands at 37.5in tall. © Royal Armouries

The miniature size of the armour and lance would have worked well to convey the vulnerability of a child. I also think the use of armour would contribute to that look of vulnerability. Armour, unlike clothing, is able to give a true impression of body size and stature as it was tailored to fit the individual. So the appearance of this ‘second skin’ as something that is made to protect but so small and delicate would have emphasised the fragility of the person it was supposed to represent. The miniature lance, in contrast to his brother’s giant lance, works to emphasise this child-like quality, looking more like a toy than a serious tool of sport.

It is also worth remembering that in 1674 the discovery of the bones of two boys, thought to be 10 and 13-years-old, during the demolition of the forebuilding set against the south face of the White Tower, appeared to confirm the legend of Richard III’s murderous deeds.

This is obviously not conclusive, but ties the Richard III and the two boys closely to Tower history only strengthened through these historic displays. Though Richard doesn’t appear in our new exhibition, it seems guaranteed that whatever one thinks of him, he will continue to lurk in the shadows of Tower history!

The Line of Kings opens on 10 July 2013. Read more blogs in the Line of Kings Series.

Skyfall – Making sense of Bond’s PPK…

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After the release of the latest James Bond movie, Jonathan Ferguson, Curator of Firearms at Royal Armouries talks guns and gadgets and poses the question – does Bond’s PPK still make sense?

Gadgets, cars and firearms have always been part of the Bond package, from novelties like the famous ‘Golden Gun’ to Bond’s own personal issue pistol. Most famously, 007 traditionally carries the Walther PPK (Polizei Pistole Kriminal), though from ‘Tomorrow Never Dies’ until Daniel Craig’s first outing in ‘Casino Royale’, he adopts the bigger, plastic-framed Walther P99. In keeping with Skyfall’s ‘back to basics’ approach, the PPK appears again, this time with a biometric set of grips to prevent Bond’s enemies from turning his own weapon against him.

Walther Model PPK pistol, German (PR.12124)
© Royal Armouries Museum

Some early PPKs, like the above example, were made for the Nazis during the Second World War. It is perhaps ironic that one of post-war Britain’s greatest fictional heroes be armed with the same weapon.

Once a personal choice, it seems that Bond’s preferred sidearm has made a comeback as the standard issue sidearm of MI6. Though unlikely to be the case in real life today, the slightly larger PP is indeed an official British military issue pistol, and one has seen use by Special Forces. It will only be replaced as a personal defence weapon for aircrew this year by the new L113A1 Glock pistol that is set to replace the standard-issue Brownings and SIGs in current use.

Bond’s own fictional relationship with the PPK came about in an interesting example of a fan being able to influence a production design choice. In the 1950s, firearms expert Geoffrey Boothroyd wrote to Bond author Ian Fleming, with tongue only slightly in cheek, criticising his initial choice of a .25 calibre Beretta and suggesting instead the now-iconic PPK. (Read the letter here)

Boothroyd became Bond’s unofficial armourer, and as the spin-off movie franchise took off, became immortalised as the now famous character of ‘Q’ (for ‘Quartermaster’). Q returns in ‘Skyfall’ as a nerdy cyber-warrior who places more faith in computers than in firearms. Well, as this change would suggest, times have indeed moved on since 1955, and I like to think that Mr Boothroyd would now find the PPK to be rather out of date. It’s low-powered, low-capacity, and excessively heavy when compared with more modern choices for a concealable covert-operations weapon. Likewise, the .357 Magnum revolver preferred by Boothroyd at that time makes little sense today, being heavy, hard-recoiling, difficult to conceal, limited to six rounds, and no more capable against the typical hench-person than most modern semi-automatic pistols. More of a ‘Dirty Harry’ than a James Bond gun!

So, what should Bond carry next time around? It’s not publicly known what operatives of the real-life Secret Intelligence Service now carry, but as the similar P228 and the larger P226 are British military issue, the SIG-Sauer P229 makes a lot of sense and, if I were following in Boothroyd’s footsteps, would be my own recommendation. It’s more accurate and powerful than the venerable PPK, as well as packing twice as many rounds into its magazine. The downside is that it’s larger and heavier than the tiny PPK. Smaller options include the Ruger LCP9, the Kahr CM9, or another SIG, the P239. All of these are similarly light and powerful, firing the 9mm Parabellum cartridge rather than the 9mm Short or the even weaker 7.65mm Browning cartridges available for the PPK. The same goes for perhaps the best compromise choice, the slimline PPS – Walther’s spiritual successor to the classic PPK and the weapon chosen for last year’s 007 novel ‘Carte Blanche’.

Personally, considering the modern concealable holsters and specialist tailors available that would still enable Bond to wear his best tuxedo, I would have to advise him to opt for the P229, pictured below:

SIG-Sauer P229 blowback, double, single of DOA action, manufactured by SIG Arms/J.P. Sauer & Sohn GmbH, Switzerland. (PR.8188)
© Royal Armouries Museum

But perhaps, like the Aston Martin DB5, the classic elegant lines of the PPK are what keep filmmakers coming back for more. Due to the high-pressure rounds they fire, as well as modern fashion, all of the modern alternatives above are chunky-looking by comparison, even if they hide just as well under clothing. They really don’t make ‘em like they used to!

You can see a PPK along with some of the other iconic movie firearms and covert equipment in our Self-Defence Gallery here at Royal Armouries Museum, Leeds.

Blogger: Jonathan Ferguson, Curator of Firearms

 

Behind the Scenes…

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Have you ever wondered what happens behind the scenes at a national museum? Now is your chance to find out as our curatorial department plans a special day for you to meet the curators and get their hands on the amazing study collection.

Curatorial Manager Lynda Jackson tells us why the behind-the-scenes experience is a must for museum lovers.

While the galleries are home to a huge selection of objects, these displays represent only a small selection from the 70,000 plus arms, armour and archives that make up the Royal Armouries’ collection. These objects include a huge range of European and Oriental-edged weapons, firearms, armour and artillery, alongside original manuscripts, artworks and prints.

Senior Curator of Armour and Art Karen Watts and Thom Richardson, Keeper of Armour and Oriental Collections, will guide guests through the collection and provide an opportunity to handle original pieces and view the study collections. Feeling the smooth finish of Greenwich armour, or the weight of an early matchlock, really helps visitors to understand how objects work and how they were originally made and used.

The session starts with a unique seminar in which Karen and Thom will discuss a range of special objects, including edged weapons, firearms and armour. Guests will then be given the opportunity to touch and handle these important objects. Most museums have large study collections in storage but few people get the opportunity to explore them with a world expert in their field.

Finally, it’s time to relax with pre-dinner drinks in the gallery and the evening is rounded off with a three-course meal in the Hunting Gallery’s Gun Room, hosted by Karen and Thom. This is a fabulous opportunity to view behind the scenes and a real treat for any lover of arms and armour.

This unique ‘Behind the Scenes’ experience will take place on 19 January 2013. For more information and to book, visit our website.

The Axe and the Head

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Kathleen McIlvenna, Curatorial Assistant – Tower Collections, tries not to lose her head in the mystery of the heading axe…

Recently I received an enquiry regarding an axe; could we identify it as a heading axe? Well if anyone could, you’d think the Tower of London could. However, identifying a heading axe is a lot more difficult than you would think.

Indeed, the shape of an axe head can tell you a lot about what an axe was used for. From Coachmaker Axes (clue’s in the name) to Blocking Axes (often used in shipbuilding), axes were often designed as tools of trade rather than weapons. To discover their uses we often turned to trade directories or the handy Salaman’s Dictionary of Woodwork Tools.

Nevertheless, cutting heads off isn’t normally named as a particular use and ‘Executioner’ isn’t generally the sort of trade these works are discussing. Depictions of public executions aren’t always reliable either. Artistic impressions are sometimes made long after the execution with no way of knowing if the artist attended any public executions. The image below of Lady Jane Grey’s execution was actually created in the 19th century. Furthermore written descriptions don’t tend to focus on the design of the axe when describing a public figure’s last few moments.

Engraving by George Cruikshank showing the execution of Lady Jane Grey on Tower Green in 1554. From The Tower of London / by W.H. Ainsworth (1845)
Copyright: Board of Trustees of the Armouries

Consequently, provenance is our best indication. Beheading was an execution preserved for the rich and (previously) powerful. The average execution involved hanging and if you were particularly treacherous you were hung, drawn and quartered. Moreover, it was primarily the English who favoured an axe beheading, whereas the executioners on the continent preferred the sword. Not trusting the axe, and perhaps an English executioner, Anne Boleyn requested a swordsman and sword to be shipped over from France especially for her execution.

Heading axe. Probably English, 16th century
Copyright: Board of Trustees of the Armouries

The Tower of London’s heading axe is traditionally believed to be one of four that we know were stored here in the 17th century, but we don’t have details about its use. We actually know more about the block it is displayed with, which was used for the execution of Lord Lovat in 1747, but that is a different story. So in conclusion, to know if you have a heading axe you need to know where your axe head comes from.

Blogger: Kathleen McIlvenna, Curatorial Assistant – Tower Collections