Shooting the War

SWORDS—WATERLOO TO
THE PRESENT DAY
There was no, change in the pattern of swords used by the British Army during the long second period of the Napoleonic wars, which lasted from the reopening of hostilities, after the abortive Peace of Amibns, until the final departure of Napoleon to St. Helena. When the threat from imperial France had been finally removed, however, there was more time for those who meddle with these things to consider the minutiae of military uniform and equipment.
Round about i82o sundry new regulations were published relating to swords. Even the superb light cavalry sword, which had proved its value in action, was not left alone. The old argument was revived as to whether cutting or thrusting was the more important function of a cavalrysword; and because it was not yet appreciated that no sword can be designed which is really satisfactory for both, the weapon which eventually appeared was a compromise which was good at neither.
The new sword was issued to regiments of Hussars and Light Dragoons in 1826. It had the same type of stirrup hilt as the old sword, but the blade was increased in length to thirty-four inches, and was both narrower and considerably less curved. The balance of the sword was quite altered as compared with its predecessor, and this, together with the straighter blade, resulted in a weapon which was far inferior for cutting. For thrusting it was more effective, though by no means satisfactory.
Units seem to have been in no hurry to acquire this new sword, for the 13th Hussars, at any rate, managed to retain the old one until 1829. In 1829 the hilt was changed from the stirrup pattern to a three-bar steel guard, which gave more protection to the hand.
In 1822 the sword of the heavy cavalry received some much needed attention. In contrast, however, to the ill-advised replacement of the efficient light cavalry sword, the only improvement made to the ineffective weapon of the heavy cavalry was the substitution of a sharp point for the original hatchet termination of the blade.
Also in or about :1822 a new sword was introduced for infantry officers. The hilt was a half-basket type of Gothic design, incorporating the Royal cypher, and the half of the guard worn next to the body was hinged to fall downwards, to avoid rubbing the clothing. The inside of the hilt was lined with black patent,leather, and there was a fishskin grip bound with brass wire. The hilts were made of brass, except those of the Rifle regiments, which were steel. The blade was the same length of thirty-two inches as the previous pattern, but it was slightly curved instead of being straight. In addition it was unfullered and had piping down .the back to strengthen it. In spite of the strengthening, however, the blade was weak; and the piping, in fact, prevented it cutting deep.
In 1834 the Highland regiments, which hitherto had worn the same infantry sword as the rest of the Army, were issued with a sword of their own. This had the traditional ‘Highland Basket’ hilt. The blade was the heavy broadsword type similar to that popular in the heavy cavalry in about 1750, (A sword with this type of.hilt is often wrongly called a claymore. The true claymore is a two-handed sword with no other protection than a pair of straight quillons.) The Highland Basket is, not, in point of fact, a very convenient hilt, in spite of the protection it gives. The hand is too confined for the sword to be used very effectively. for thrusting. On the other hand, it was originally designed for cutting;; the body being protected by either the dirk or the targe. Used thus it was a very fine weapon. In addition it was very decorative, and during the reign of the ‘First Gentleman in Europe’ this was frequently of greater importance than efficiency for battle. The hilt was lined with white buckskin and scarlet cloth edged with blue silk, and a crimson silk tassel was suspended from the pommel. Lowland regiments were still armed with the ordinary pattern of infantry sword.
In about 1848 a new sword was at last brought out for the heavy cavalry. It was a vast improvement on the old one. The blade was thirty-six inches long, slightly curved, and tapered to a sharp point. The hilt was steel, and the guard was the first example of the bowl-shell which is fitted to the latest pattern of cavalry sword. On the inside it was lined with leather, and there was a leather covering to the grip.
The new heavy cavalry sword had a very short life, for in 1853 a sword was approved for issue to all cavalry regiments, whether heavy- or light. This signalized official recognition that there was now no difference in the function of the two branches of the cavalry. It i6 unlikely, however, that many regiments, if any, received this sword before leaving for the Crimea; and the great cavalry actions of that war were probably fought with the older pattern swords.
It had at last been realized that all the qualities required for cutting - and thrusting could not be combined in one weapon. The 1853 pattern was primarily a thrusting weapon, and it was so stated in the regulations. At the same time the design allowed for cutting as a secondary function. The blade was straight and thirty-six inches in length. The guard consisted of three bars, of cast iron, and on the opposite side of the sword was a short quillon. ‘The slit for the sword knot was on top of the guard.
The ordinary infantry officer’s sword was improved in 1845. The hilt was unchanged, but the blade was heavier, fallered and without the piping on the back. It was . still slightly curved. Some ten years later there was another change. The blade became a little straighter, and the inner part of the guard was no longer hinged. The design on the guard incorporated the Royal cypher and, in Light Infantry and Rifle regiments, a bugle as well.
A peculiar type of ornamental sword was introduced into the Band and Drums of the infantry in about 1830- It had a short and very curved blade of the type known as Mameluke. The hilts varied in shape and design in accordance with regimental taste. The pommel nearly always figured an animal’s head. The lion was the most often seen, but sometimes a badge of the regiment was chosen. The 17th Regiment, for instance, had the Royal Tiger which had been granted to them as a badge in 1825. The 56th Regiment, which. had been associated with West Kent for many years, bore the Kentish horse. There was no guard other than quillons, and these were straight, curved or counter-curved; and sometimes with brass chains connecting the quillons and the pommel.
In 1854 a new and completely different sword was introduced for the Band and Drums. It had a blade which was longer but less curved than its predecessor and a brass half-basket hilt, incorporating the Royal cypher. Three years later the sword was changed again. Curved blade and half-basket hilt were alike discarded. The new weapon was short and straight in the blade; and the hilt had no guard other than trefoil-shaped quillons. There was a black leather scabbard with brass mounts. For Rifle regiments the hilt was steel, and for other regiments brass. A similar sword, but slightly lighter, was issued to buglers. The only other difference was the absence of a knob on top of the pommel. In 1895 the hilt was simplified and the bugler’s sword was made slightly the heavier weapon. In i goS these swords were abolished.
In 18 56 the sword replaced the musket as the weapon of the infantry Pioneers. The. blade was 22z inches in length, and the back edge was cut as a double-toothed saw. The hilt had a simple knuckle-bow guard. This was probably not the first time that Pioneers had used saw-backed swords, as some seem to have been armed with them in the I 840’s; but this earlier type was not, apparently, official, and may have been made under regimental arrangements.
In 1864 the bowl-shell guard, which had been fitted to the heavy cavalry sword of 1848, replaced the guard with cast-iron bars of the universal cavalry sword of 1853. It had been found that these bars often broke in action, and in any case gave little protection to the hand. The new guard was made of sheet steel and was pierced by four triangular apertures arranged in the shape of a cross. At the same time the blade was shortened by an inch to thirty-five inches, and was curved slightly, presumably to improve it for cutting.
In 1863 an improved pattern of Highland Basket hilt was approved for Scottish infantry regiments. It made no appreciable. difference, however, to the regimental broadsword as a fighting weapon. In fact, later swords of English manufacture were far inferior weapons. Eventually, in 18 7 8, it was decided that basket hilts would have to be removed on active service. The hilt which was consequently approved for wear with Service dress certainly allows the hand full freedom of movement, but the only protection provided is a pair of straight quillons. The basket and cross hilts are made readily interchangeable. The original scabbards had been of black leather with brass or copper-gilt mounts and a chape with trailer. The 1863 scabbard was steel, but the pattern approved later for wear with Service dress and Sam Browne belt was leather. In 1881 the Lowland regiments adopted the Highland pattern broadsword.
A peculiarity in the swords of Scottish regiments is the use of a separate type of hilt for mounted field officers. This is interchangeable with either the cross or basket hilts for dismounted duties, and is lined with buckskin and crimson cloth. The pattern varies with different regiments. In’ The Royal Scots, The Royal Scots Fusiliers, The King’s Own Scottish Borderers and The Gordon, Highlanders the hilt is covered with a design of thistles, and there is a space for the display of the regimental badge. The field officers of The Black Watch, The Seaforth Highlanders, *The Argyll and Sutherland Highlanders and The Highland Light Infantry have a differently shaped guard with a scroll design. This hilt was also worn by officers of the heavy cavalry from 1857 to 1896, and by officers of the Royal Engineers from -T-8$7 to -1902- Field officers of The Cameron Highlanders have a separate sword with a three-barred and unlined hilt, which is also worn by officers of the Royal Artillery. The Cameronians have the same sword as other Rifle regiments, though for some years the regimental badge was worn in place of the bugle.
In 188o a new sword was introduced for officers of infantry regiments nts; (other than Scottish). It had a straight blade and a half-basket brass hilt. In 1895 a new hilt was introduced, though the blade remained  the same. The hilt was again the half-basket type, but of steel instead of brass. It incorporated a foliated design and the crowned Royal cypher. The following year there was a slight modification: the inside edge of the guard was turned down to safeguard the uniform from damage. The 1896 sword is the pattern worn by officers to-day, not only in the infantry, but in the Royal Engineers, the Royal Signals and other corps.
In 1882 another cavalry sword was produced which had only slight alterations as compared with its predecessor of 1864. The guard was a little smaller and the inner edge was turned down. The sword knot slit was moved from the front to the top of the guard, and the upper part of the guard was raised a little: above the pommel. There was no alteration in the shape and design of the blade, but there were two different lengths: 35-j and 33 inches.
The Egyptian war, which was in progress at this time, brought to light some unsuspected and unfortunate deficiencies in the swords and bayonets of the British Army. There were many reports of blades being broken or bent in action. The fault -was obviously in the quality of the steel; and there was legitimate criticism of the method of testing and inspection. Eventually a Committee was appointed to investigate the matter. Nothing very positive seems to have resulted from its deliberations; but the very fact of the investigation and the evidence which was called must have caused manufacturers to. improve their standards; for no further failure was apparently reported’. In the meantime Enfield was unable to meet the whole of the demand for swords and bayonets, and part of the order, therefore, was placed with German firms at the famous sword-manufacturing centre of Solingen.
The cavalry sword was again modified in 18 8 5. The curve of the blade was slightly increased and made an inch shorter than the 1882 pattern.. In addition, the top of the guard was made level with the pommel. In 18 go a heavier blade was introduced which, except for being thicker, was of the same shape and pattern.
However, in spite of these numerous minor modifications, the old argument as to the type of sword which should be used by cavalry broke out once more: stimulated probably by criticisms resulting from the recent campaigns. The argument was sufficiently intense for the matter to be brought to the notice of Parliament; and, as a result, a .number of experimental swords were made. The arguments were again reflected in the final solution. As in the case of the light cavalry sword of 182o, the cavalry sword of 1899 was suitable for neither cutting nor thrusting; though optimistically intended for both. The blade was reduced in length to 33 inches. The hilt was of the same design as previously, but a slightly enlarged and more bowl’shaped guard gave better protection to the hand. The cavalry regiments which went out to South Africa at the start of the Boer war were armed with either the 1885 or the 1890 pattern of sword; but the unfortunate units in the later reinforcements were issued with the heartily disliked 1899 model.
The obvious failure of the 1899 sword led, in 1903, to the appointment of a Committee to re-examine the problem and to make recommendations for a suitable type of sword for the cavalry. The Committee early decided that the sword must be primarily a thrusting weapon on the grounds that little injury was inflicted by a cut, and that a thrust was always far the more effective. Whereas experience with the light cavalry sword in the Peninsular campaign certainly did not support this conclusion, it was something that the Committee had made up its mind on the purpose which the sword was to serve. However, although numerous experimental swords .were made, all were rejected as unsuitable, and the proceedings of the Committee apparently came to an end.
In 1906 another Committee was appointed; and with such energy did it act that some months later a new sword was ready for trial. In the design of this new model the Committee drew on a wide field of experience. Swords to meet certain specifications were ordered from private firms, and trials were carried out with numerous existing types, both British and foreign.
The firms who were requested to make swords for experi- , ment were Messrs. Wilkinson and Messrs. Mole. It was stipulated that the blade must be 35 inches in length, and have a narrow chisel edge; that the weight should be 2 pounds 6 ounces; that the balance should be between 21 and 21 inches below the hilt; and that the grip should be shaped to ensure that the sword could only be held in the correct fashion.
The existing swords submitted for test were the pre-Boer war cavalry sword of the 18 go pattern; the unpopular model of 1899; a sword which had been adopted for the Household cavalry in x892, with a slightly curved blade 341 inches long and a guard of sheet steel; the French cavalry sword of 1854, which had a straight 381-inch blade and a four-bar brass guard; the French light cavalry sword of 1822, which was a cutting weapon with a curved blade and a three-bar brass guard; the existing sword of the Dutch cavalry; and the light thrusting sword of a Spanish bull-fighter. Apart from these, experimental blades were tried with existing hilts, and to existing blades were fitted grips of various shapes and materials.
The sword which was the outcome of these trials and experiments was the ‘Pattern i 906 Experimental’. This was issued to several units and proved very popular. It had a straight thrusting blade and the so-called ‘pistol’ grip. As a result of the success of this weapon a slightly modified version was approved by the King in igoS for general issue to the cavalry; and this was the last cavalry sword to be designed for the British Army. It was a worthy finish, for it is one of the finest swords ever to have been designed, and it was outstandingly successful in the field in the “First World War. With its straight narrow 35-inch blade it is essentially a thrusting weapon. The guard is of sheet steel, unpierced, and is shaped into a very large and rather ugly-looking bowl, which gives excellent protection to the hand. The pistol grip has been retained, and is so shaped that the hand naturally grasps it in the correct position. The sword is a delight to handle and is beautifully balanced.

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The new serjeant’s pike was nine feet in length with a spear head which screwed into a socket and a cross-piece to prevent the head from penetrating too far signatures of art deco cabinet makers paris . The wooden shaft was painted white in order to show up the polished metal parts antique chinese chicken coop .
The recognition that the sword was now the officer’s primary weapon led to some apparent anxiety as to the suitability of the various regimental patterns, for the General Order which abolished spontoons said that infantry officers were to ‘provide themselves with a strong substantial uniform sword with a straight cut-and-thrust blade, an inch broad at the shoulder and 32 inches long antique bugatti table . The hilt, if not steel, to be either gilt or silver according to the buttons on the uniforms antique collectors .’ In accordance with existing policy all details of design were left to regiments, but the stipulated width at the shoulder ensured a fairly substantial blade 16th century settee .
The period of regimentally designed swords, however, was drawing to an end 1930’s austro-hungarian furniture . The first to be dealt with were the cavalry 19th century regency antique furniture .
By the 1780’s it appears that all Light Dragoon regiments had stirrup hilts to their swords, formed by bending one quillon up to join the pommel, and most blades were curved in varying degrees 18th century cabinets to hold chamber pots . They remained fairly short, for Light Dragoons, unlike the ‘heavies’, wore their swords when dismounted instead of leaving them on the horse french empire desk cabinet maker logo .
Of the heavy cavalry the 6th Inniskilling Dragoons were noted in an Inspection Return of 1777 as having ‘new swords being made’ ant cherry antique dictionary tables . These new swords had half basket-hilts, and were perhaps of similar design to the earlier Dragoon sword already mentioned scottish flame mahogany chest of drawers .
In 1788 a Board of General Officers on the clothing and equipment of the cavalry passed resolutions regarding the swords most suitable for both light and heavy cavalry modern oriental writing bureau .
That in respect of the light cavalry said: `Regimental swords and sabres for Light Dragoons veneer inlay 1940 bedroom set antique . The hilt to be of the same form as used by the Light Dragoons and to be 5 ins antique centre table with caryatid legs . long in the grip antique center tables . The blade to be 36 ins king george drop leaf gateleg table . long and the curve in the centre to be i I ins john toulouse porcelain modeller . from the straight line antique austria 1855 - 1953 statues . The breadth to be i-j- ins george i folding card table antique . long in the shoulder antique drop leaf table federal period . The blade to be I ins antique silver gravy boat . thick and to finish about II ins circular glass pedestal dining table . from the point rectangular drop leaf sofa table . Officers’ swords for all the regiments of cavalry to be uniform with those of the men 1918 1940 usa design trends creators raymond loewy .’
For the heavy cavalry the resolution was:
`That the hilts of the swords of the regiments of Dragoon Guards and Dragoons be half basket, the same as those of the 6th (Inniskilling) Regiment of Dragoons cabriole in architecture . The grip from the guard to the point of the button to be 7-r8x in antique tea kettle . The blade to be 3 ft double gate drop leaf table antique . 9 in english ironstone potteries ltd . long from the guard to the point meissen kandler . The breadth of the blade at the shoulder to be 1 5/12 in oak chamber pot chair ., and the back to be
in recognizing antiques pembroke table . thick and to finish about 14 in lovers on a swing’ meissen porcelain . from the point “antique sheffield silver dresser” .’
This was the first time that such detailed specifications had been drawn up for the swords of the Army serving epergne . There was little, if any, room for regimental variation, and even the officers’ swords had to conform to the official pattern silver forks made in italy . The most striking feature was the very great length of the-heavy cavalry sword antique music cabinete with mirror at the top .
On the 14th November 1796 a Royal Warrant was issued which contained regulations governing the design and pattern of the swords of the cavalry; and in the same year a General Order gave instructions regarding the swords to be worn by officers of the infantry irish, intricately carved lion paw, oak dining table, 1800’s, 6 leafs . Thus for the first time there were official patterns for practically all personal weapons in the Army fiddleback walnut .
The new infantry officer’s sword was described in the General Order as follows:
`The sword to have a brass guard, pommel and shell gilt with gold and the grip or handle of silver twisted wire antique english ironstone . The blade to be straight and made to cut and thrust; to be at least i in 1920s and 1930s hand painted enamel posters . broad at the shoulder and 32 in example of 18th century wooden handle silverware . in length conformable to former orders given in 178′6 types of timepieces in ancient times with pictures of it .’
Thus the dimensions of the blade ordered in, 1786 were retained, but the design of the hilt was also now governed by a regulation cylindrical crock eared handles cobalt blue . The General Order was probably accompanied by a drawing, for precisely the same pattern of hilt was common to all the regiments of Foot antique furniture marks . It had a flat ’shell’, or plate, at the top of the blade, with a heart-shaped indentation at front and rear are mahogany drum tables in demand . On the underneath side of the plate ornamental decoration connected the two indentations and surrounded the blade antique dresser teardrop mirror . From the rear indentation protruded the stump of
• quillon terminating in an acorn muller freres chandelier . From the front indentation
• single-bar popular antique american earthenware brown . knuckle guard rose in a curve to the base of the pommel old fashioned dutch dining tables . The pommel was urn-shaped antique sofas 1920 . Round the knuckle guard was twisted a crimson and gold sword-knot, ending in a tassel knife urns .
Old habits, however, died hard antique golden oak drop leaf table . Whilst in general the orders were adhered to, a practice arose in some regiments of wearing sabres, or swords with curved blades american empire sofa . In most regiments it became the custom for officers in Light companies to wear sabres fitted with a form of the Light Dragoon stirrup hilt antique table turned feet . So general did this practice become that by r 81 5 it seems to have been recognized, perhaps unofficially, by the Authorities verlys holophane .
The Warrant of 1796 directed that for the heavy cavalry:
`A new sword 35 in, long in the blade is to be substituted in lieu of that now in use, having been found unmanageable owing to the length of the blade and the weight of the hilt “u shaped” coffee table mahogany . The rivet which fixes the*back of the hilt to the middle of the handle to go through the shank of the blade and the back to be well rivetted near the guard directoire napoleon furniture . The shank of the blade to be large and the top of the scabbard to be made to take off for the easier replacing of the same value of iron table lamp made in 1940’s .
The instruction does not contain many details of the sword, but again it was probably supported by a drawing harlequin pattern period furniture . This was almost certainly the heavy cavalry sword which was used throughout the Napoleonic wars, since there is no evidence of any other pattern being introduced before 1822 antique alcove sofa . The hilt of this weapon was of steel and consisted of a flat disc which was pierced with holes, with a short projection at the rear, and the front tapering to a knuckle guard which was curved to the pommel cantagalli marks . It was an ugly design black desk curved legs . The blade was peculiar in that it finished in a hatchet point and could thus only be used for cutting viennese chairs . On the whole this was probably the worst sword which was ever issued to the British Army 18th century horoldt augsburg vases . Even the allegedly unmanageable weapon which it replaced at least gave far better protection to the hand and could be used for thrusting william hogarth + nicholas sprimont .
If the heavy cavalry sword was the worst the Army ever had, the light cavalry sword was almost certainly the best rectangular drop leaf 5 leg dining table with 4 leaves . The Royal Warrant retained the pattern recommended by the Board of General Officers in 1788, but shortened the blade by some three inches florals in british furniture . It was described as: ‘A sabre to be of the pattern last approved by Us and the length of the blade to be 321 ins art deco regency mahogony . or 33 ins scandinavian aesthetic . measured in a straight line from the hilt to the point but not to exceed the latter measurement’ scottish chest drawers . With the shorter length, of course, the same deviation from, the straight line would result in the blade having a more pronounced curve than the 1788 pattern yabu fruit .
This light cavalry sabre was intended for both cutting and thrusting; but it was as a cutting weapon that it was preeminent, and easily the best in any army throughout -the Napoleonic wars antiques, louis xiv china . The relative merits of cutting and thrusting have been fiercely argued throughout most of the history of the British Army, and sometimes the desire to produce a weapon which will be equally good at both has led to a compromise design which has been satisfactory for neither gilded console table . At •the end of the eighteenth century military opinion was overwhelmingly in favour of cutting, and hence the light cavalry sabre was a cutting sword with thrusting as a secondary task copeland parian busts and figures . The Rules and Regulations for the Sword Exercise, issued from the Adjutant-General’s Office on the 1st December 1796, the same year as the introduction of the new sabre, was based on it and feature it in all the illustrations art deco burr walnut - antiques . The merits and uses of cutting and thrusting are explained clearly in its pages, as the following extracts show antiques antique oak sideboards dutch style .
`CUTS two tier table .
TiiERE are only six ways of directing the edge of the blade; therefore the different parts of the body, which may be exposed by the unskilfulness of a swordsman, are not to be (erroneously) conceived as admitting of so many distinct Cuts french furniture dorset . The action of the wrist and shoulder alone, directs the blade; and they admit but of six movements,- from which every cut is derived, wherever may be its particular application to the body victorian gate leg pine table . Of the six cuts, four are made in diagonal directions, and two horizontally: the whole are equally applicable against cavalry, and may be directed on either side of the horse, but their application must depend on the openings given by the adversary, and be regulated by judgement, and experience in the use of the weapon old english table leg shapes pictures .
`To make a Cut with effect, and at the same time without exposing the person, there are two points which principally demand attention yabu furniture . The first is, to acquire a facility in giving motion to the arm by means of the wrist and shoulder without bending the elbow; for in bending the elbow, the sword arm is exposed; a circumstance of which the opponent will ever be ready to take his advantage, as a cut in that quarter may be made with great security; and if it be well directed, with the most fatal effect, as it at once decides the issue of the contest interior design drawing room . thomas sheraton kidney shaped desk . set of 12 disciples silver spoon collection . jean luce arzberg china .
`From -want of habit in the exercise of the wrist in the common occupations of life, the weight of tjie sword will at first be found extremely irksome mayhew and ince tripod table . The action of the arm bears no comparison with that quickness of which the wrist is susceptible; for the motions of the arm are so wide and circuitous, that they are easily counteracted “empire designer, best known for pedestal tables with curved legs . antique occasional table pie crust top . drawing furniture by michael thonet . 0
`The PoiNT antique cedar drop leaf table .
`Ti-rE thrust has only one mode of execution, whether applied to cavalry, or infantry: but a greater degree of caution is required in its application against cavalry than against infantry; for if the point is parried, the adversary’s blade gets within your guard, which is not to be recovered again in time, as with a small sword; the weapon being too heavy to be managed with the requisite degree of quickness; for which reason the point should seldom or never be given in the attack, but be principally confined to the pursuit, when it can be applied with effect and without risk english ladys writing desk spiral legs .
, The case is different in acting against infantry, as the persons against whom you then direct your point, are so much below your own level, that the weight of your sword is not felt; consequently it is managed with greater facility than with an extended arm carried above the level of the shoulder 16th century antique chests . Therefore in many instances against infantry, the point may be used with as much effect as the edge, and with the same degree of security 1820 antique empire mahogany dining table .
`The CUT pictures of porcelain furniture . space saving rectangular drop leaf tables . frenchswiss antique pocket watches . against INFANTRY finmar desk .
`A person on horseback is elevated so much above those acting on foot, that it is necessary for him to bend his elbow, in order to take a sweep to give his cut with effect: and this may be securely done, as,the sword arm is not exposed in the contest gustav klimt porcelain .’
[Some of the comments in the Rules and Regulations on cutting with the sword point to some of the factors which have to be considered in design monastery credence tables .>
`Let the blade be sharpened six inches to the point, in order that you may be able to apply it with effect, and without this precaution, it may be difficult to judge how far the edge is carried correctly for sale louis 16th walnut sideboard cabinet .
`It should be remembered that little force is requisite to produce effect from the application of the edge, if conducted with skill, and that whether with a straight sword or scymitar blade, no cut can be made with effect or security, where the -weapon does not at once free itself from the object to which it is applied; otherwise it must turn in the hand, and give a contusion rather than a cut; for which reason those wounds are most severe, which are made nearest to the point collectors wooden racks for spoons austria . A swordsman cannot therefore be too accurate in judging the distance within the reach of his weapon, which alone can be done by habit and strict attention walnut entryway console table with mirror .
`With a scymitar not more than four or five inches of the point should meet your adversary, and still less with a straight blade, whose construction is by no means so well calculated for extricating itself furniture chests on long legs .
FIREARMS IN THE NAPOLEONIC WARS
The British infantry entered the long struggle with Revolutionary France armed with the old Brown Bess musket empire gateleg table . It was used exclusively in the first campaigns, and was probably regarded as highly as both of its nominal successors during the whole war deco chair dressing walnut .
In 1794 a replacement appeared in the form of the India Pattern musket with a universal barrel length of thirty-nine inches barley twist english antique writing desk . This was the standard firearm of the East India Company, and was by no means a new weapon construction of antique teaspoons . It was issued to the Company’s European and Native infantry, and possibly, since it differed from Brown Bess in only minor details, to some of the King’s troops in India rousseau shagreen . In fact, it is very likely that it was not a replacement in the ordinary sense of the word at all but was issued because there were few Brown Bess muskets left in the Tower armouries, whilst comparatively large stocks of the India Pattern muskets were available was there a change in arts in italy between 1920 and 1940 . This supposition is to a certain extent supported by a letter written to William Wilberforce by Lord Chatham, then Master-General of the Ordnance, in September 1803, when war had broken out anew with France vintage pembroke dining table . According to Lord Chatham, after the restoration of peace by the Treaty of Amiens in 1802, he had tried to restock the armouries with an improved pattern of ‘the old Tower musquet which our troops used to have’; but that because of ‘the naked state of our arsenals’ he had been forced to accept the manufacture of an inferior weapon brass iron half tester bed side curtains . The inferior weapon was presumably the india 18th century german bookcase . Pattern Musket which could be manufactured comparatively quickly cooking utensils from britain . The new and improved weapon of i8o2 will be mentioned later meuble d’appui value . The ‘old Tower musquet’ was of course Brown Bess ivory handle sheffield flatware antique .
Lord Chatham’s letter goes on to show how he had nearly surmounted the difficulties connected with the supply of the new musket, when war started afresh and he was faced with `this sudden and unprecedented demand for arms’ silver soup terrine makers . He continues:
`Had it not been with a view to improvement, and intending gradually to dispose of those of inferior quality through the medium of the India Company, we should not have been, previous to the war breaking out [again>, carrying on any manufacture of aims, our arsenals being overflowing, calculating on the extended scale the Department has ever been called upon to furnish 1685 bookcase . I have, however, in consequence of the extraordinary calls of the present crisis, determined to use every effort to meet it, and directions have been given to the Board of Ordnance to revert to the same arm as was made the last war U value of gateleg tables .e antique dressers yorkshire . before the short peace of 1802>, and to manufacture to the utmost possible extent the musquets of the India pattern 19th century antique furniture . You will easily believe I must have felt some reluctance in being obliged to take this step after all the pains I have bestowed, but I hope I have judged for the best 19th century american furniture . I have great satisfaction in thinking that the stock of arms we possess will enable us in the first instance to arm to a considerable extent perhaps all that is really useful, and- as arms come in, which with the exertions of the manufacturers they will do quickly, and with the aid of what we expect from abroad, the remainder will be provided before long antique cutlery whalebone . We have already one hundred thousand pikes, and can increase them rapidly, but in general there is an indisposition to take them occasional tables painted india . I should like much how much is a claw foot table worth .to talk over with you not only the subject of arms, but the whole question of volunteering, which I contemplate as a most serious one scottish chest .’
What this rather long-winded letter amounted to was that Lord Chatham had thought the peace was a genuine one and had been caught badly unprepared british vernacular . It looks as if he had gone rapidly ahead with his plans for disposing of worn-out and inferior arms to the East India Company, so fast in fact that he had been unable to await the improved musket he wanted joubert furniture maker 19th century . War had then broken out afresh, and in desperation he had ordered concentration on the manufacture of the India Pattern musket, for which -a 11 the gunmakers to the Government already had the specifications and tooling 19th century lacquered cabinet with paintings . Meanwhile he consoled himself with his large stock of pikes, and was apparently surprised at encounterincr the same lack of enthusiasm
encountering
for this weapon as a substitute for firearms, as a similar offer met some 137 years later marquetry patterns flower . It is little wonder that volunteering appeared a serious question gothic revival furnature with lions .
The result of Chatham’s action was that all the troops proceeding overseas were equipped either with Brown Bess or the India Pattern musket, the latter having a 39-inch barrel goldscheider polished stoneware germany . In addition, new India muskets were issued to all the Militia regiments german antiques furniture .
The new infantry arm of i 8o2, the plans for which had been disrupted by the reopening of hostilities, was very similar in appearance to Nock’s experimental musket of r785, and was obviously derived from it paper mache tray india . -It was produced with three different lengths of barrel porcelan rococo teapot victorian photo . The longest was forty-two inches, the standard Brown Bess length, and was intended for all the Foot except the Light Infantry: the Light Infantry, traditionally now, had a 39-inch barrel; and there was a much shorter barrel of thirty-three inches for-the Artillery musket antique armchair ardwood anglo . The bayonet had the usual socket fitting and the standard 17-inch blade antique oval tea table .

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SWINEFEATHERS apostle spoons .
Top: A Swinefeather and its Case antique gateleg extention table .
Bottom: Combined Musket-rests and Swinefeathers antique spanish sideboard .
Dragoon—A flintlock (not a silver tripod table . matchlock) musket (which I hold much better for dragoon service, being upon occasion they may be able to make use of their snaphaunces on horseback, and upon any service in the night they may go undiscovered’); a belt to hang the musket on; a long tuck; a swinefeather identify furniture legs 1930 .
THE BIRTH OF THE REGULAR ARMY
With the restoration of the Monarchy the large and well-trained army of the Commonwealth was disbanded rococo medallion sofas . But from it, and from the exiled followers of the new King, was formed the British Regular Army art deco china cabinet . It was only a small army: a mere handful of regiments of horse and foot porcelain jug representing the four continents and a queen as europa . Its requirements in equipment were therefore comparatively small, and easily satisfied from the vast stocks of military stores which were available after the disbandment of Cromwell’s troops regency sofa . The King was far too poverty-stricken to provide his Army with more modern arms; and thus through the whole of his reign the troops were armed with substantially the same weapons with which the Civil War had been fought dining room table with white pillar legs .
The first scale of arms for the Army is contained in two contemporary documents gothic iron garden seat . In a M leaves for old oak table? .S latter carving on pembroke table . book which contains the establishment of the Army as it was formed in 1661, it is laid down that:
`Each horseman to have neoclassical regency furniture period . palissy dishware . marquetry semi-circle drop leaf . a sword, a case of Pistolls, the Barrells whereof to be not under fourteens inches length, and each Trooper of the Horse Guards is also to have a carbine 19th century regency furniture . The Musquet of every Musquettere is to be three feete in length in the Barrell, And the Bore to bee for Bullets of twelve in the pound, and each Pikeman to have a Pike made of Ash not under sixteens feete in length Head and Foote included antique furniture 1800 .’
Two years later the ‘Orders and Instructions’ of the Sth May 1663 directed that: antique gateleg table small . upholstered desk chair with cabriole legs . bob-box century . each Horseman to have what is a harlequin pattern . black leather armchair for desk . antique writing utensils . A sword, a Case of pistolles, the barrells whereof are not to be under fourtecen Inches in length, and each Trooper of Our Guards to have a Carbine, besides the aforesaid Armes, And the foot to have each Souldier a Sword, and each Pikeman a Pike of 16 foote long and not under, and each Musqueteer a Musquet, wth a Collar of Bandaliers, the barrell of which Musket to be about foure foot long, and to conteine a bullet fourteen well shall weigh a pound Weight antique black irish dresser .’
Whilst these documents are in substantial agreement, there is a surprising difference iii two lengths given for the musket barrel antique cherry drop leaf tables . Four feet was the normal measurement, but it may be that when the Army was first formed some relaxation was allowed in order that some of the non-standard arms available could be issued antique bookshelf design . As regards the apparent differences in the musket bore, one of these probably related to the nominal bore and the other to the actual weight of the bullets swansea duck egg .
There are two further points of interest: a trooper of the Horse Guards carried a carbine as well as two pistols; and the pike had been reduced in length to sixteen feet song dynasty bluish green glazed earthenware .
The eventual doom of the pike was heralded in two extracts which appear in Book W 5 leg antique table .O antique stemware+cobalt blue . 47/5 in the Public Record Office:
4 14 March, 166,2 antique english dressing table . Ordered that the french pikes and ye short swords or Byonettes that lately were recd finmar aalto artek . from Dunkirk be surveyed & an accompt presented to the office of their defects to ye end a Contract may bee made for their speedy repaire antique bedroom furniture with fan brass handles .’
4 17 March, 166-2 console tables tubular uk . Ordered yt ye Byonettes lately recd from Dunkirk to be issued to the psons foil antique wood inlayed wine cellaret photos . to be by them made cleave and repaired & returned with io daies space at rod ape antique chinese carved wood nest of tables .
It would thus appear that Soo bayonets were obtained from France, and that they had already seen hard service and required overhauling japanese antique boxes . Bayonets were already issued to at least part of the French Army, for in his oval loudon floral 1783-1843 .4rt de la guerre Puys6ger notes their use in 1647 valuable antique basketry marks . They were plug bayonets with handles and blades which were both twelve inches long classic furniture.dwg . It is probable that Charles II or his officers had seen and admired them in France, and it may be that this worn lot were obtained either very cheaply or as a gift from the French King cabriole design .
The plug bayonet apparently originated in the short, broad-bladed knife which was carried by hunters, and which had a round handle which could be fitted into the barrel of the gun in an emergency what is a double gate leg table .
The trial of the bayonet in the British Army was evidently a success; for a Royal Warrant of the 2nd April z 67 contained the following:
CHARLES R antique draw leaf dining table .
`Our Will and Pleasure is, that a Regiment of Dragoons, which we have established and ordered to be raised, in Twelve Troopes of fourscore in each beside officers, who are to be under the command of Oure most deare and most entirely beloved Cousin Prince Rupert, shall be armed out of Our stores remaining within Our office of the Ordinance antique paintings of trinidad west indies . gillows decorating firm . king george sofa table with iron lion legs . the soldiers of the several Troopes aforesaid, are to have and carry each of them one match-locke musquet, with a collar of bandaleers, and also to have and carry one bayonet or greate knife angouleme dihl .’
After this initial issue to one regiment, the adoption of the bayonet throughout the Army seems to have been somewhat slow george scheidt enamel . This was only natural, as the combination of musket and pike was a well-tried one in the infantry, and, war being a dangerous pastime, there is always an understandable reluctance to replace proved weapons by new and to act as escort to the artillery, and the light fuzil was better suited to their particular duties than the cumbersome matchlock mahogany coffee tables that incorporate a glass display case in centre . It will be noted, however, that the fuzil, although of carbine bore, was built as an infantry weapon, for the barrel was of matchlock length swan plate kandler .
Rests still formed part of the equipment of the musketeer, but they were seldom taken on active service, and were generally only used for ceremonial parades and duties carved african tripod table with chess board .
The introduction of Grenadiers into the new British Army marked the recognition of a weapon which had proved its value in the Civil War imperial gateleg table with japanese decorations . Explosive hand missiles had been used in warfare for very many years, but they were crude in manufacture and fairly ineffective in use first antique table de chevet . Those first used in the Civil War were also of doubtful value antique regency furniture . The filling aperture was generally closed by means of a wooden plug, in the side of which was a slot so that one end of a piece of slow match could be pushed into the interior nineteenth century gillow chair . The other end of the match was lit before the grenade was thrown wedgewood stoneware . The disadvantage of this method was that it was difficult to judge the correct length of match antiquite dressers . If it was too long the enemy often had time to throw it back again before it exploded sheriton roll top antique bureau . If it was too short it exploded in the air or even in the thrower’s hand maurice dufrene, design . The difficulty was surmounted by a most ingenious device antique extend side table . The wooden plug, instead of having the single slit, was bored with several holes chicken coups made into dressers . Into one of these a piece of match was inserted, and a bullet was fastened to the end inside the case sofa french 4 legs . Twigs were pushed into the other holes to act as a rudder like the feathers of an arrow and ensure that the match was kept to the rear during flight antique carved trestle table . When the grenade hit the ground or target the momentum carried the bullet forward and the lighted end of the match was pulled inside the case so causing the explosion walnut escritoire .
The grenades adopted for the Army in 1677 were better made and designed, but the percussion-ignition system was retained antique sideboards and buffets 1920 dutch . The military grenade weighed about 21 pounds and was 2-1 inches in diameter italian wood armchairs .
The subsequent life of grenades spanish vargueno . in the Army was comparatively short were exports scenes common in the chenghua period . During the eighteenth century they gradually dropped out of use; probably owing to the introduction throughout the Army of efficient flintlock weapons flatware forks types . The trench warfare of the Crimea brought them back into favour: and then they reappeared for some reason in the Sudan in 1884, But it was not till the First World War that the prestige of the grenade was restored to the level which it had acquired in the late seventeenth century antique drop leaf painted table 1800 .
Officers and sergeants of the infantry were still armed primarily with shafted weapons edge simplicity tub chair . These, however, were as much a symbol of rank as for serious use english stoneware marks . In 166o captains carried pikes, but by 1680 they had eight-foot spontoons antique hepplewhite sofa . Lieutenants started by carrying partizans, but in 168? they received pikes instead antique,dinning room table,gateleg,drop leaf . The sergeants were armed with halberds, which they retained until very nearly the end of the eighteenth century vintage gateleg dropleaf table .
In spite of the introduction of bayonets, musketeers were still equipped with swords american oak drop leaf table antique . Whilst there was no regulation
ti
pattern, something more serviceable than the rapier had gradually been evolved, with a straight cut-and-thrust blade and a simple guard with counter curved quillons, one of which was usually extended towards the pommel to form a knuckle bow paris style art deco desk .
It does not appear, however, that swords were popular with musketeers nancy galle furniture . According to the French writer Louis de Gaya, in his Traitl des armes of 1678, the English infantry seldom drew their swords but preferred to use the butts of their muskets at close quarters renaissance italian furniture style a bambocci and cupboards . This is understandable, since, without dropping the musket, the effective use of a sword must have been a difficult matter louis xviii style furniture . De Gaya was a captain in the Regiment of Champagne, and probably fought alongside the troops of King Charles II on the Continent antique double claw pedestal dining room table .Somewhere about x685 a sword with a short curved blade was introduced in supersession, or partial supersession, of the long straight-bladed sword antique english queen anne china cabinet with cabriole legs . This new weapon was known as a ‘hanger’ christening bowl used for . The blade was single-edged, curved towards the point, and about twenty-four inches in length art dec countries . The hilt’ was brass, and consisted of a rather flat double-shell and knuckle bow 19th century furniture archives . The grip was generally of wood and bound with wire boulle card table .
The first troops to be equipped with the hanger were the Grenadier companies of the infantry regiments; and it appears to have been, in fact, the first sword with which they were issued kem weber furniture designer prices .
The rapier was worn by officers long after it was discarded as an other ranks’ weapon, and it was probably carried by infantry officers during most of the reign of Charles II antique oval table with middle drop leaf . The sword which gradually replaced the rapier was of a somewhat similar type to that carried by the musketeers mahogany dining table cabriole legs . The blade was generally straight and intended for both cutting and thrusting antique little silver . The hilt was brass, and the guard comprised quillons and knuckle bow aaron burr desk .
From about 1685 officers of the Grenadier companies were armed with fuzil and plug bayonet, and thus carried neither sword nor shafted weapon 1800’s library tables .
At the end of Charles II’s reign privates of Horse and Dragoons had a sword with a straight blade and a steel full basket hilt inexpensive antique wardrobes . The blade was generally about thirty-eight inches long and sometimes double-edged universal statuary co mirror .
An improved method of carrying powder on the infantry soldier began to make its appearance during the 168o’s antique mahogany fretwork hanging cabinets . The bandolier, with its suspended and clattering wooden chargers, made silent movement by a body of troops virtually impossible sheffield plate 19th century . In its stead there was introduced a cartridge pouch, in which was placed a supply of made-up paper cartridges; each containing the requisite amount of powder (but not the ball) for one round of ammunition chamber pot cabinet commode 1800 . Such cartridges had already been in use for some time for the carbines and pistols of the cavalry antique book ends .
MARLBOROUGH’S ARMY
Charles II was succeeded by his brother, James II, a first-class administrator, who proceeded to expand the Army and to forge it into an efficient fighting machine repaint ceramic lamp .
One of the first results of the new regime was the production of a new scale of firearms to replace the many worn-out antiques which were still in service french makers of consoles gibier style 18th century . The effect of this was to give the Army a fairly standard armament, and, for the first time, regulation designs rococo writing table .
The new musket could be fitted either with a matchlock or a flintlock austro-hungarian +antique +furniture . It was a very substantial and heavy weapon lion head sphinx paws revival art chair . The* barrel was 451 inches long and made of very thick metal important american girandole mirror . The stock was painted black, and the barrel probably `russeted’ maples of london cabinetmakers . The matchlock was fashioned something after the style of a flintlock; the pan and cover being attached to the lock plate instead of, as previously, to the barrel petite french mantel antique clocks . The flintlock too was an improvement on its predecessor; the befter-designed lock which had been fitted to private arms for many years past being substituted for the old crude military lock classical revolving bookcase . Many of these muskets, as well as the other new firearms, bore the Royal cypher, J2R with crown over, on the lock plate antiquevenercoffeettableclawfeet . It has been suggested that this was a privilege restricted to the Household Troops and the Royal Regiments, and that it was not extended to all arms until the reign of George II antique mahogany rent table .
Matchlock muskets appear to have been issued only to the battalion companies of the infantry italian spider leg table . Fusilier regiments, Grenadier companies and Dragoon regiments had flintlocks paris exposition candlesticks . Muskets issued doric china longton england .to the Grenadiers were usually shorter and stouter in the barrel than the standard type 19th century bavarian side chairs . Some of them were fitted with steel grenade cups for firing grenades antique austria 1855 - 1953 statues . (A practice which was to be revived in the war of 1914-18 czechoslovakian lustreware .)
It was probably intended that as soon as economically practicable matchlock muskets should be converted to the more expensive flintlock william kent eagle console . It is likely that the battle of Sedge-moor was the last action in which matchlocks constituted the bulk of the infantry armament antique japanese tea table mother of pearl . By 1700 there can have been few, if any, matchlocks left antique brass mirror convex eagle .
All carbines and pistols were flintlocks staffordshire william kent . The former were lighter and smaller versions of the muskets with a barrel length of thirty-six inches boulle furniture . They had a steel suspension ring which moved on a ‘traveller’, or iron bar about world war 1 antique shovels . ten inches long, and was connected to a swivel and runner on the carbine belt antique octagon oak table . Pistols had a fourteen-inch barrel 4 section antique cutlery box .
The new muskets were issued with the plug bayonet regency pedestal desk buhl marquetry . This, of course, had the dual disadvantage that when it was fitted in the barrel the musket could not be fired, and when it was not so fitted the musket was not a close-quarters weapon antique 19th mahogany hepplewhite card table . These limitations led to the disaster of Killiecrankie in x689, when the English infantry were caught by the charging Highlanders in the process of fixing their bayonets into the musket barrels value of empire style china closet 1910 .
As a result of Killiecrankie, experiments seem to have been made with the ‘ring’ bayonet half tester bed . This was fitted to the musket by means of two rings which passed over the end of the muzzle and the grip of-the bayonet covered bowl/antique chinese doucai . General Hugh Mackay claimed that he invented this after the battle of Killiecrankie; but Puys6gur says that a regiment of the French Army had these bayonets in 1678 antique chests of drawers south wales .
The ring bayonet does not seem to have been a success; but the next invention, the socket bayonet, was 18th empire furniture . In this type the blade was attached to a short tube or socket which slid over the muzzle end of the musket barrel baroque rationalism . Socket bayonets suffered from the same initial trouble as the ring bayonets, that the external diameter of musket barrels varied too much to provide a standard bayonet which would fit even the majority of them american art deco bar furniture . Plug bayonets had a tapering handle and could thus be thrust into any barrel antiques table clock 1700 . In an effort to remedy the trouble bayonets with a socket split lengthwise were made, the idea being that the diameter of the socket could be adjusted to the size of the barrel which it was required to fit barley sugar twist pillars timber . Some antique display . of these were issued to Killigrew’s Dragoons in 17o6; for their equipment schedule lists: ‘Split socket bayonets to serve over a full bored musket’ antique china carving furniture .
Pikemen finally disappeared from the Army in 1702, and thereafter all private soldiers of the infantry were armed with musket and bayonet william iv furniture . The situation as regards the latter was, however, somewhat chaotic care of antique oak chest woodworm rot . An Ordnance Board report of 1706- says: ‘All the regiments raised since the disuse of pikes (1702) have provided bayonets india brass table tray . dutch delph pottery marks . biedermeier antique de . at their own charge 19th century 5 legged table . Few of the officers agree in the sort of bayonets fit to be used or in the manner of fixing them as may appear by the various sorts there are of them in the Army modern oriental writing bureau .’ It is probable that throughout the wars of William III and Anne most units were still equipped with the plug bayonet holland and sons ivory marquetry . But the socket bayonet must have been in fairly extensive use; for the Ordnance records of 1704 show that socket bayonets had been sent to Portugal, although 3000 plug bayonets were available in the Tower stores 17th century oak tables .
The blade of the socket bayonet appeared in a number of different shapes before a 1800’s library table . standard type was finally adopted england biedermeier chest of drawers . This was triangular in section, tapering to a point, and with two of its sides deeply grooved, or ‘fullered’ glasgow art nouveau antiques . With various modifications this triangular socket bayonet remained as the standard Army weapon until 18 8 8 19th century drum table examples .

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The main trends and styles of antiques (3)

Neo-classicism (1760-1830)
The term neo-classicism is given to a trend in art that arose in the late eighteenth century. It was a reaction against the rich embellishment of Baroque and playfulness of Rococo. The name points to the inspiration derived from classical art that resulted from archaeological excavations in Rome, Pompeii, Herculaneum, and Paestum. It meant a return to classical forms of straight lines and level planes.
Symmetry became important once more and classical ornaments and geometric shapes such as ram’s heads, bull’s and lion’s faces, plaited braid, tendrils, rosettes, and urns replaced the overblown style of the preceding period. Neoclassicism became less important after 1800 with the arrival of the Romantic. Despite this the trend continued to be of considerable influence because it was taught at academies throughout the nineteenth century.
Louis XVI occasional table.
The playfulness of Rococo became less fashionable during the reign of Louis XVI and the scallop motif disappeared. Symmetrical ornamentation was added to classical motifs such as corbels, olive wreaths, egg and tongue moulding, and sphinxes. Furniture parts such as arms and legs once more acquired their own identity. ook comfortabel. Furniture was rectangular and flat-fronted. Seats were both fine looking and comfortable. Chair legs that resembled fluted columns were very popular. Light colours were popular during the time of Louis XVI. White lacquer and gilt were commonly used. There was considerable emphasis on elegance, smallness, and gracefulness. Sevres porcelain, East Asian lacquer work, and miniatures were signs of a cultivated taste.
Directoire
Directoire is the name given to the style during the era of Napoleon’s coup d’6tat (1795-1799). The style was in reaction to Rococo/Louis XVI and saw a return to more straightforward classical forms. At the heart of the Directoire style lay the classical style of ancient Greece. Symbols of the French Revolution such as the Cock and Virgin were associated with this, together with the Tricolour. The Directoire style mainly manifested itself in clothing and ornaments.
Empire
The Empire style relates to the fashion for furniture and interiors during Napoleon’s rule (1799-1815). The style originated in France and was also popular in Europe and the USA. The classical inspiration was mainly derived from the time of the ancient Roman empire. Certain ancient Egyptian elements are also sometimes used, resulting from Napoleon’s expedition to the Nile (1798). The Empire style was characterised in furniture by rigid symmetry, rectangularity, and solidity. Characteristic motifs that were used for decoration include the eagle, lion, sphinx, Neptune’s chariot, urns, and quivers filled with arrows. The heavy and solid furniture can be recognised by its plain lines and flat planes.
Regency
The English Regency style arose during the rule by the Prince Regent (later George IV) during the illness of his father George III (1811-1820). In common with French Empire style, English Regency is inspired by classical culture and for this reason some call it English Empire.
Eclecticism and the neostyles (1830-1880)
Eclecticism is a term used in visual arts when techniques, motifs, and elements from earlier styles are combined to form a new one. Eclecticism existed in the time of the ancient Greeks. Late in the Hellenic era Greek artists and craftsmen were already borrowing from the styles of older works. Elements for compositions were chosen from very different eras. Eclecticism became a strong movement in the nineteenth century with the re-emergence of older styles. Expression of these styles such as neo-Baroque, neo-Gothic, neo-classicism, and neoByzantinism were to be found into the twentieth century.
Victorian
During Queen Victoria’s long reign (1837-1901) the predominant influences in Britain on arts and crafts was the rise of the industrial middle class. House interiors were fussy and richly decorated with floral motifs and other adornments. The main intention was to display how well off the occupants were. Victorian furniture designs are typically comfortable. The excessive carving of the early Victorian era was later replaced by painted panels.
French Restoration
The style of the French Restoration originates from immediately after the fall of Emperor Napoleon I when the Bourbon monarchy was restored to the throne (1815-1830) in the form of King Louis XVII and Charles X. The style is characterised by rounded and curved forms. This was the era of Biedermeier in Austria and Germany.
Louis-Philippe
During the reign of King Louis-Philippe of Orleans (1830-1830) there was a revisiting of the style characteristics of Gothic and the Renaissance. A consequence of this is that furniture from this period is more massive and robust in style than during the Empire period. In common with German Biedermeier this period did not see a new style develop, rather adaptation of elements of the Empire style for the interiors and furniture of an increasingly bourgeois society.
Second Empire
The Second Empire was a poor reflection of the first. The classic beauty and grandeur of the clean lines of the period of Napoleon I were barely ever attained anywhere during the reign of Emperor Napoleon III (1852-1871).
Biedermeier
Biedermeier is a decorative style originating in Germany in the period 1815-1848. The name comes from Gottlieb Biedermeier, a nineteenth century fictional character of the poetry of Ludwig Eichrodt. Biedermeier was the typical sober but hypocritical bourgeois citizen.Biedermeier style was a reaction entirely different in style.
to the Romantic style of the Napoleonic era.
The bourgeois conservatism of Biedermeier was expressed in interior design, the visual arts, fashion, and literature. Interior style that was dominated by gentle curves and French polished wood was a bourgeois interpretation of the Empire style. Many decorative elements were borrowed from earlier styles.
Romanticism
Romanticism was a spiritual trend in the later eighteenth and early nineteenth centuries. It was a reaction against Rationalism and its logical expression in the form of neo-Classicism.
With Romanticism, arts and crafts became the expression of creativity and emotions of the artist and craftsman. Romanticism found little headway in France because of the strong influence here of neo-Classicism. Romanticism Late Swiss Jugendstil electric lamp. Note the had its greatest influence on music, paint- colour and design of the glass. ing, and literature.
Jugendstil and Art Nouveau
Around the turn of the century from the nineteenth into the twentieth a movement arose against the historical and bombastic attitudes of the ‘neo-styles’. This trend was expressed through contemporary designs with flowing lines, new materials (iron and steel, glazed pottery, tiles, and concrete), and motifs taken from nature (flowers, animals, and other plants). Architectural and interior design was united into one cohesive style. These innovative movements appeared more or less simultaneously throughout Europe and quickly spread to USA and the colonial territories. The individual styles vary from country.Arts and Crafts
The first manifestations of the movement appeared in England around 1860. The Arts and Crafts movement was a reaction against industrial mass production and sought to restore craftsmanship to the making of objects.
The Arts and Crafts movement made a logical link between the form and construction of a piece and introduced a new type of floral design.
Art Nouveau
IThe innovative and renewing movement in France and Belgium was known as Art Nouveau after the opening of the gallery of Siegfried Bing in Paris in 1895. Art Nouveau also placed an emphasis on hand-crafting of objects. The movement was characterised by extravagant and fashionable design with ornamentation to the fore. Wide use was made of organic elements such as flowers and other plants and animals.
Jugendstil
The name Jugendstil is derived from the German periodical Die Jugend that was started by a group of leading creative people in Munich in 1896. Flowing lines and organic forms are characteristic of the style. Jugendstil also placed great emphasis on materials used and craftsmanship.
Sezession (Viennese Secession)
The new movement manifested itself within the Austro-Hungarian empire as the Wiener Sezession (Viennese Secession) which held its own exhibitions for more progressive artists. The Sezession is mainly characterised by decorative use of geometrical motifs.
Nieuwe kunst
The ‘new art’ of the movement sweeping Europe became known in the Low Countries as the ‘Nieuwe kunst’ — having precisely that meaning. It was also known as the ’salad dressing style’ after a salad dressing manufacturer based in Delft used Jugendstil motives for his advertising and product labels. In Flemish speaking parts of Belgium the style was known as ‘Palingstijl’ (eel style).
Art Deco
Art Deco was the principal style of applied art between about 1910 and 1940. The same term was used for this style in use in architecture, sculpture, and painting. There were two main movements within Art Deco. The first was centred on Paris and was richly decorative; objects were generally hand made from luxurious materials. The other movement saw links between Austrian and Scottish Art Nouveau, and German Bauhaus. This type of Art Nouveau sought to create undecorated objects of simple and functional form and was mainly aimed at mass production. New materials were put to use in Art Deco such as metal and glass for furniture. Plastic was used for smaller objects, including jewellery.

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ANTIQUES - The main trends and styles (Part1)
In each of the main trends and styles from the different eras a collection of influences were bought to bear on the arts and crafts of that age that lead to iden-tifiable styles that are associated with the period. The trends gave birth to styles and these were usually associated with a particular place or were determined by the preference of a particular ruler. Trends and styles influence one another of course but these influences do not always result in the adoption of every element from an earlier period. Trends and styles also occurred because people expressly decided to break with the current trend or with styles from an earlier era.
There are many objects that are true to the style of their period and purity of style is not an abstract concept. There are many objects though that are a mixture of styles in which the maker has been influenced by several different styles.
This might be the result of the preference or knowledge of the maker or the taste of the person who commissioned the object. It might also be a transitional piece during the change from one style to another. Some trends intentionally absorb styles from earlier ages to form a new unity (see Eclecticism). Folk art items are quite different from mainstream antiques and they often utilise a fusion of different major trends and styles.
Romanesque
The style of European art from the Middle Ages is generally known as Romanesque. This style developed more or less simultaneously in various places in Europe around 950 AD and lasted until about 1200 AD in most places or
until about 1150 in northern France. Romanesque arts derived from the classical cultures of ancient Rome and the early Christians. The implementation of this classical style varies from place to place. The monasteries and priories of the cloistered orders were the buildings which preserved the classical style and these religious order such as the Benedictines, played an important role in the spread of the Romanesque style. Most artists were monks or friars and hence the principal manifestations of the classical Romanesque style is in religious buildings such as churches and monasteries.
The construction style of the classical Roman art was somewhat robust, fairly sober, and enclosed. This style of building developed into a more refined and slender form with rich decoration and greater openness. Sculpture was subordinate to architecture and restricted to the decoration of buildings. The art of the Romanesque image chiefly comprised frescoes on the walls of Romanesque churches but there were also illuminated miniatures painted in the prayer books and bibles. The gold-smith and silversmith’s art reached great heights during this Romanesque period.
Gothic
One of the styles of European Medieval art is known as Gothic. This lasted from about 1150 to approximately 1420 in Italy but continued into the middle of the sixteenth century in northern Europe. The term ‘Gothic’ is derived from the Italian gotico. The term was used by the Italians from the sixteenth century for all art north of the Alps. The term was pejorative in tone – after all the Goths had put an end to Roman culture. The peoples to the north of the Alps were all simply dismissed as being descended from the Goths.
Gothic architecture
The form of Gothic architecture originated in the area of the Ile-de-France within the Paris basin. The difference in styles between Romanesque and Gothic is readily apparent.
Gothic architecture sought to achieve vertical lines or verticality in contrast with Romanesque. As much space as possible was reserved for high windows which were glazed with stained glass in patterns retained by lead.
Increasing use was made of sculpture to embellish the exteriors of the buildings. Although all Gothic originated from the French style, individual national styles of Gothic developed in each country.
Gothic art
Gothic sculpture developed beyond the ornamentation of the exteriors of buildings with statues of saints and the Madonna. The Gothic style is especially characterised by stylised folds in the figure’s clothing, with flowing lines and these figures display emotions through their facial expressions and gestures. With less wall to decorate there was little need of fresco painters. Gothic is also reflected in paintings, miniatures, carpets, furniture, and jewellery with similar forms found in architecture with Gothic frontals, finials, pinnacles, ornamentation, rose windows and lancets particularly used in miniature paintings, furniture, and jewellery and as much use as possible of triangular and square forms in all manner of materials.
Gothic furniture
Furniture only became normal consumer objects in the late Middle Ages. Medieval noblemen travelled widely and so some of their furniture needed to be portable. Most tables stood on trestles while others were firmly attached to wainscoting. Ordinary people sat on benches and stools. Chairs were for people of the higher echelons. Dressers were used to display valuables such as silverware. Decorated cupboards and chests were used for storing things. Strengthened chests without legs but with rounded lids and hand grips were used for travelling. Ordinary rectangular chests with straight legs were left at home.
English and transitional styles
The English Tudor style dates from around 1500, taking its name from the monarchs of the house of Tudor. The style epitomises the transition from late Gothic to early Renaissance.
The furniture makers art demonstrated a preference for oak. Elizabethan is the name given to furniture (mainly of oak) from the reign of Queen Elizabeth I (1558-1603) that has clear Renaissance influences.
Jacobean or early Stuart refers to the period of King James I (James VI of Scotland) and is derived from his Latin name of Jacobus. This period is characterised by sturdy dark oak furniture with turned legs, tables with hinged leaves on both sides, and carved backs to chairs, panels, chests-of-drawers, and cupboards.
Renaissance (to 1650)
Renaissance is French for ‘reborn’ and is the name given to a trend that transcended all European culture. The term is derived from the Italian rinascita which has the same meaning. The term was used initially in the fifteenth century to describe a re-emergence of classicism in pictorial art, literature, and science. The first traces of the Renaissance were found in Italy in the thirteenth century. The zenith of the Renaissance occurred in the fifteenth and sixteenth centuries with some remaining influences into the seventeenth century. This cultural trend was at its strongest in Italy where it was fuelled by the city states in which merchants spent money on both art and science. The Renaissance did not find its way into the rest of Europe until after 1500. A characteristic of the Renaissance was the reduced role of the Church. In contrast with Romanesque and Gothic styles, the style of the Renaissance was felt throughout the elite of society. No longer was the Church the principal source of commissions for artists and craftsmen.
Instead the nobility became the patrons. External appearance and its effect were central to the Renaissance and the great advances in science were sources of inspiration for many artists. They studied both history and nature in great depth and acquainted themselves with anatomy nd perspective. They also happily made -ise of classical elements such mytho_ogical figures cherubs, urns, and laurel wreaths. The artist ceased to be an anonymous craftsman during the Renaissance, becoming respected members of society. The Renaissance took another form to the north of the Alps. Many Gothic elements were retained in the Low Countries and the style manifested itself in colour and excessive ornamentation. This became popular in Britain, Scandinavia, northern Germany, and Mannerism
The term ‘Mannerism’ is derived from the Italian word maniera, meaning ‘manner’. Mannerism was a style that bridged the transition from the Renaissance to Baroque. It is most widely expressed in the visual art of paintings and sculpture. The artists expressly turn away from the idealism of the Renaissance. The emphasis was placed on form and led to elaborate and somewhat artificial results with people in unnatural stances and with ultra-slender faces. Mannerism was mainly a product of southern Europe.
Carolean and The Commonwealth
Carolean refers to the reigns of Kings Charles I and II of Great Britain but as a style period refers to the reign of Charles I (1625-1649) and was followed by The Commonwealth, describing the period of the republican government under Oliver Cromwell (The Protector of the Commonwealth), which was characteristically puritanical and hence austere.
Restoration
The Restoration is the period of English arts and crafts that started in 1660 with the restoration of the monarchy with the crowning of Charles II and continued
to around 1714. The joie de vivre and
ostentation of this era was a reaction to the austerity of The Commonwealth under Oliver Cromwell.
Baroque
Baroque initially referred to the architectural style that also influenced the visual arts of the seventeenth and early eighteenth centuries. The terms is often extended these days to describe literature and music of the period. The style is also confusingly sometimes termed as Late Renaissance. The word is French, meaning ‘bizarre’. The word may also be derived from the Portuguese barocco meaning an ‘imperfect pearl’. In any event the initial use of the term baroque was pejorative, referring to its pompous, exuberant, and grotesque character. The ornamentation was often so excessive that functionality was frequently threatened. Baroque was the last style to influence every aspect of European culture and in many respects it is a late and colourful remnant of the Renaissance. In common with the Renaissance, Baroque was born in Italy and spread itself throughout Roman Catholic countries where it became the established style of church and state. The Catholic Church manifested its power and glory once again which had been threatened by the Reformation.
For the Catholic states the ostentation of Baroque represented national pride and the absolute power of their rulers. Baroque was a reaction to the contorted forms of Mannerism. The artists of the Baroque style were inspired by their predecessors of the Renaissance who in their turn had found inspiration in classicism. Each element receives equal emphasis in Renaissance art but in Baroque every element is subordinate to the whole. Baroque’s influence was much less outside Catholic counties. France accepted Baroque grudgingly and adapted it with introduction of classical influences.

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