Of the ecclesiastical plate the most prominent piece is the gold baptismal font made for Charles II, and intended to be used for the baptism of all Royal children born thereafter. If the original intention had been carried out a very long successions of Princes and Princesses, including those now living, would have had this historic connection with an ancient piece of church plate. Unhappily, however, owing possibly to the inadvertence of Court officials or the clergy, the font has only been spasmodically used. The first recorded occasion is at the christening of the Princess Augusta, afterwards Duchess of Brunswick, the third daughter of Frederick Louis, Prince of Wales in the year 1737. We also know that it was used at the baptism of George IV, and for the same ceremony in the case of twelve of the children of George III.

Then it seems to have been lost sight of, or perhaps was mistaken for a punch bowl, for we find that in 1840-41, Queen Victoria ordered a baptismal font to be made of silver-gilt, which is now at Windsor Castle, and in which all Princes and Princesses from that date have been baptised. It may confidently be hoped that at some future date the older font will again come into use, and will not again be lost to sight.

Charles II’s font gives the general impression of a large, covered bowl standing on a slender, rounded column, and has a somewhat top-heavy effect. In height it is about 3 ft. 6 in., whilst the bowl is about 18 in. in diameter. On top of the cover is a group of gold figures representing St. Philip baptising the eunuch, whilst below is the cypher of Charles II surmounted by a Royal crown. The same device is repeated on the base of the font. As part of the set is a very handsome and massive golden alms dish with the Royal arms of the Stuarts engraved large in the centre.

The flagons which have become associated with this font are, as their plate-marks show, of later origin, and the association, therefore, was only temporary, and might without doubt be dissevered. They are, in fact, tankards made and intended to be used at the festal board, and not for sacramental wine. The designs in high relief on these tankards is sufficient evidence of this, for they depict bacchanalian scenes of the most realistic nature. It is possible that it was these flagons, which were thought to be indissoluble from the font, which caused the whole set to be put aside by Queen Victoria. The flagons are of German origin, made in Hamburg, and though their date is uncertain, may rightly be ascribed to the Hanoverian dynasty.

Amongst the ecclesiastical plate is a very handsome golden alms dish and flagon made for William and Mary, the plate-marks on which show they were made in 1691-92. The alms dish is more than two feet in diameter, and has in the centre in high relief a fine representation of the Last Supper. Below this is a panel on which is displayed the cypher of William and Mary, surmounted by a royal crown. Round the wide rim, also in high relief, are four winged cherubs, and between these golden foliage, garlands, and fruit. The flagon stands about a foot and a half high, and has a handle and cover. The body is covered with boldly embossed cherubs’ faces, foliage, and festoons of roses and fruit. The cypher of William and Mary, surmounted by a royal crown, is on the front of the flagon.

These two pieces of ecclesiastical plate have the privilege of replacing much older plate three times a year on the altar of the Chapel of St. Peter ad Vincula within the Tower. These three occasions are Easter Sunday, Whit Sunday, and Christmas Day. On these three days the Keeper of the Jewel House hands them over to the Tower authorities for the period of morning service, and then, reclaiming them, replaces them with the Regalia.

The altar plate, which the alms dish and flagon of William and Mary replace on these three occasions, dates to the reigns of Charles I and Charles II. This older set of plate, though quite plain, is in the eyes of connoisseurs more impressive than the more ornate and finely designed insignia of the later reign. The origin of this curious routine is lost in antiquity. It may, however, have been ordered so as to emphasize the arrival of a new dynasty and the death of the old; thus with large and resplendent plate to outshine the smaller and plainer vessels of the Stuarts. But the origin, be what it may, the custom has become established, and will without doubt continue year by year as long as the Tower stands, and England is England.

CHAPTER VI
THE REGAL EMBLEMS

The emblems of Royalty—Spiritual and Temporal—The regalia used at the Coronation of George V—The emblems borne in procession at Westminster—The Ampulla or golden eagle—The Anointing Spoon—The Sword and Spurs—The ceremony of the Jewelled Sword—The King offers it to the Church—Redeems it for 100 shillings—The Armilla, or Pall of Cloth of Gold—The Orb placed in the King’s hand—A portent of Christian domination—The Coronation ring—The ensign of Kingly Dignity—The Sceptre with the Cross—The Sceptre with the Dove—A glove presented by the Lord of the Manor of Worksop—The King is crowned with St. Edward’s Crown—The Peers put on their coronets—the people shout and “the great guns of the Tower are shot off”—The enthronement of the King—The Queen’s Coronation—The Anointing—The Ring—The Queen is crowned—The Peeresses put on their coronets—The Queen’s Sceptre—The Ivory Rod with the Dove—The Regal emblems on view in the Tower.