A Superb 19th-20th Century French M1886/93/16 Pattern Lebel Rifle Epee Sword Bayonet. WW1 French Foreign Legion Issue, Without Quillon Pattern. With Frog Hook Scabbard

Without quillon and in extra fine condition. Used by the French Foreign Legion into WW1, a very good example of these long and impressive sword bayonets.65.5cm long overall. {25.75 inches}. Cross section epee blade nickle hilt. The scabbard has a frog hook fitting that fixes to the belt with a strap instead of the past and common frog button

Our current just arrived selection of bayonets ranges from a collection just acquired of really great and rare bayonets, from a collector who wanted the very best he could find over the past 40 years. Rare French examples from the Russian contract during WW1, uncovered in Ukraine in the late 90's, French Foreign Legion bayonets, acquired from a French Foreign Legion reserve armoury depot clear-out in the 70's,

The bayonet was made famous as the bayonet used by the French Foreign Legion from 1916, used in WWI and WWII, albeit with several modifications. The bayonet was produced with a long cruciform blade on a white alloy hilt. The crossguard originally had a downswept quillon {removed in 1916} and had a press button rifle locking mechanism. This is quillon removed version.

The Lebel bayonet type with the quillon removed is the M1886/93/16 (Model 1886/93/16).
The original M1886 bayonet featured a prominent hooked quillon, intended for parrying or trapping enemy bayonets. This design was updated in 1893 with a new press button mechanism (M1886/93), and then altered again in 1916 (M1886/93/16) to eliminate the quillon.
The quillon was removed for several practical reasons during World War I:
Ease of manufacture: Removing the quillon simplified and sped up the production process to meet the demands of the war effort.
Field functionality: The hooked quillon was found to be impractical in close combat, as it could get tangled in equipment or other objects.
Material conservation: Around the same time, the original nickel-silver (cupro-nickel-zinc alloy) handles were replaced with brass or steel to conserve nickel for other war uses.
Bayonets produced with the quillon (pre-1915 models) were often officially modified later by having the quillon cut off while in service. Bayonets manufactured after 1916 were made without the quillon from the start.

French Model 1886/93/16 Epee Lebel Bayonet

The model M1886/93/16 Bayonet was standard issue to French soldiers fighting in the second half of WW1 after 1916 who were issued the Lebel rifle.

The M1886 bayonet is an usual design which has a long thin cruciform Blade with a peculiar locking device just behind the muzzle ring and an all metal grip

M1886/93/16 bayonet

Cast brass smooth handle
No hooked Qullion
Square cut press stud
Cruciform blade
Black steel tube scabbard with frog hook.
Overall length 67cms
Blade length 51.5cms
Originally the bayonets had a nickel-silver handle and a hooked quillion. By 1916, with the need to conserve nickel for the war effort, some of the handles were made of brass. About the same time they were manufactured without the quillion  read more

Code: 25981

A 16th C. Moghul - Hindu 'Shaturnal' Swivel Cannon Barrel For Use on Moghul War-Elephant Or War-Camel. Up To 500 Years Old. An Amazing Early War-Piece of Early Mobile Artillery Used In The Moghul Empire Of Akbar The Great

This incredible and historical war piece would have been mounted upon the Howdah, the huge wooden travelling carriage type apparatus for which the war crew would be seated, one to drive, steer and command the elephant, the others to operate cannon and arquebusses. Or, mounted upon the front of a war camel’s saddle.

A superb late Medieval matchlock swivel cannon barrel, called a shaturnal, specifically designed for combat service mounted upon the back of a great beast of war.

Only the second example of such an intriguing war-piece that we have seen in the past ten years. They are truly very scarce to find, and a great and most impressive piece of historical weaponry from late medieval India.

Interestingly the best way to see just how they were used would be in Sir Peter Jackson’s magnificent trilogy and interpretation of Tolkien’s masterpiece, Lord of the Rings. In one of the awesome battle scenes there are huge giant ‘fantasy’ war elephants, and each one bears a massive howdah for the crew to rain arrows and spears down upon the unfortunate enemy below, just as the Moghul war elephants once did in reality in India, centuries ago, but with arquebuss and light-cannon fire, instead of simply arrows or spears.
In the gallery is an engraving of War elephants depicted in Hannibal crossing the Rhône
A war elephant was an elephant that was trained and guided by humans for combat. The war elephant's main use was to charge the enemy, break their ranks, and instill terror and fear. Elephantry is a term for specific military units using elephant-mounted troops.

War elephants played a critical role in several key battles in antiquity, especially in ancient India.While seeing limited and periodic use in Ancient China, they became a permanent fixture in armies of historical kingdoms in Southeast Asia. During classical antiquity they were also used in ancient Persia and in the Mediterranean world within armies of Macedon, Hellenistic Greek states, the Roman Republic and later Empire, and Ancient Carthage in North Africa. In some regions they maintained a firm presence on the battlefield throughout the Medieval era. War-elephants were significantly used in the Battle of the Hydaspes,
The Battle of Zama, the Second Battle of Panipat
And the Battle of Ambur. At the Battle of Panipat, in 1556, the Hindu ruler King Hemu had a force of 500 war elephants, but although defeated, and Hemu beheaded, Hemu’s war elephants so impressed his enemy, by their awesome power and the effectiveness of their arquebuss musketeers and crossbowmen mounted in their howdahs, they took 120 surviving elephants from the battle and adopted them into the Moghul army. It is even possible this may be one of those Hindu shaturnal, used by the war-elephant musketeers, that were captured in that battle.

With a bore of around 5/8th inch and a barrel around eight times thicker than the normal width of a musket, this superb piece of early forged ironwork, known as a shaturnal, would have been fitted upon a wooden support on the back of the beast and rotated with something resembling a row boat rowlock. Extraordinarily effective, easy to manipulate, and quite devastating in battle.

By the time of Akbar (October 15, 1542 - October 27, 1605) heavy mortars and cannons were rarely used in the Mughal military, the preference being for lighter more easily mobile artillery such as this shaturnal.

Light cannons that could be used on the battlefield were the mainstay of the Mughal artillery corps, including the shaturnal, similar to swivel guns, but carried on the backs of war-camels and in the howdahs of war-elephants.

Akbar, widely considered the greatest of the Mughal emperors was thirteen years old when he ascended the throne in Delhi, following the death of his father Humayun. During his reign, he eliminated military threats from the Pashtun descendants of Sher Shah Suri, and at the Second Battle of Panipat he defeated the Hindu king Hemu. It took him nearly two more decades to consolidate his power and bring parts of northern and central India into his realm. There are original paintings copied in the gallery showing Akbar's matchlocks and artillery being used in combat. Towards the end of 1568 Akbar concentrated his forces around the fort of Ranthambhor, held by a vassal of the Maharana of Chittor, Rao Surjan Hada of Bundi. This fort had been attacked earlier in 1560, but that Mughal army had been defeated by the Rajputs.

The fort of Gagraun, to the south of Bundi, had however been captured that year. Now after the capture of Chittor Akbar could turn once again to Ranthambhor.

Weight around 5.25 kilos. 28.75 inches long. With an old Maharajah of Jaipur’s arsenal armoury’s storage mark. Around 50 years ago a colleague of ours acquired the entire contents of the Maharajah of Jaipur’s palace armoury of original antique Moghul and pre Raj period arms. We were fortunate to acquire from his great purchase a few hundred of the great arquebusses, some, up to 10 feet long, for our armoury collection, some of which we still have stored in our gun rooms here at The Lanes Armoury

As with all our antique guns no license is required as they are all unrestricted antique collectables. Photographed on a temporary stand, but this is not included.

Picture 5 shows a 19th century photograph of a much smaller shaturnal, from a museum, mounted upon a camel for an historical demonstration of early war camel warfare in India..  read more

Code: 20243

Original Ancient Imperial Roman ‘Cross-bow” Fibula Bronze Toga Pin Military Issue, Fine Piece For Higher Ranking Figures in the Legion, Such As a Centurion or Tribune

Bow Fibula with a folded or rolled sleeve hinge, c. Early Imperial - Beginning of 2nd Century. We acquired a very small collection of roman toga pins, from super, small collection of original, historical, Imperial Roman and Crusader's artefacts
Shaped in the form of a roman military crossbow fibula, in bronze.
It became the most popular form of closure for Roman fibulae, and is characteristic of the bow brooches from the early imperial times to the beginning of the 2nd century. Outside the Roman Empire and after that time, this type of hinge was seldom used. The sleeve hinge consists of a small sleeve at the top of the head which is forged from a square sheet metal plate and then rolled up. In a center-cut slot, the spiked needle is inserted and held by a shaft (usually iron) passing through the whole sleeve. At the ends of each of the Aucissa fibulae and their early successors were buttons holding the hinge axis; later, the hinge axis was clamped in the sleeve and needed no buttons. The needle always carries a thorn-like projection on its perforated oval plate, which beats against the head of the fibula and, by virtue of this resistance, causes the suspension to spring forth. The sleeve hinge is used exclusively in bow fibulae. The needle is primarily rectilinear, but bends hand in hand with the flattening of the bow to the outside to continue to leave enough space between the bracket and needle. The sleeve hinge is considered a typical Roman construction. The paludamentum was usually worn over one shoulder and fastened with a fibula (ancient version of a safety pin). Arguments abound over what shoulder was exposed, but it seems fairly clear that the garment was fastened loosely enough to move around, The paludamentum was a cloak that was specifically associated with warfare. A general donned one for the ceremonial procession leading an army out of the sacred precinct of the city of Rome and was required to remove it before returning to the city…a sign that he was no longer a general, but a common citizen. The paludamentum or sagum purpura (purple cloak) was the iconic red cloak worn by a Roman general (Legatus) and his staff officers. Originally, it’s distinctive red/purple color clearly delineated between these officers and the rest of the army, which sported the sagum gregale (cloak of the flock). Although the sagum gregale, worn by the rank and file, started out the color of the flock (i.e. undyed wool), it seems likely to have transitioned to a coarser version of the sagum purpura by the imperial period (27BCE – 476CE). Outfitting the entire army in red garments would have been a mark of the great wealth of Rome – well, that and the fact that the Romans controlled the source of purple dye by then.The pin is now frozen through two millennia in a fixed position. Fibula 58mm x 28mm not including pin , pin is now rigid in position.

For example; With regards to some expert conservation methods of bronze objects {and some other materials} The dirt from the surface of the object could be removed manually using a scalpel under magnification. Care would be taken not to dislodge the powdery, corroding surface. Where the surface was in particualrly bad condition the dirt will be left in situ and small areas might be locally consolidated using 2.5% HMG Paraloid B72 (methyl ethyl methacrlylate) in 50:50 Acetone (propan-1-one/dimethyl ketone) and Industrial methylated spirits ethanol,methanol.
The above practice is just one form of conservation method also used by the British Museum.  read more

Code: 24610

Very Small Exclusive Collection of Amazing Crossbow Relics From the 1st Battle of Scottish Independence, The Battle of Bannockburn, in 1314, Crossbow Quarrel Heads. The Decisive Victory of Robert the Bruce In Combat Against King Edward II

For sale individually for 295 each. Recovered around 225 years ago, as a group of heads, covering about 2000 square yards, within in the battle site area, around one and a quarter miles south of Sterling. From the family of a renown 18th-19th century antiquity collector, a nobleman of Scotland. The crossbow was a weapon of both the Scots army and the British. Priced individually.

Overall the crossbowmen in the English army would have been equipped in quite a similar way to the longbowmen, apart from their choice of weapon.

The early fourteenth century was a time of great innovation in crossbow technology. Their stout bows were still being made out of wood, often the yew also used for longbows. However they were also increasingly made in a composite construction – strips of ibex or goat horn glued together formed the core, over which layers of frayed animal tendon were placed, and the whole wrapped in birch bark to seal out moisture. The most advanced bows, however, were made of tempered steel. This was a very new technology in 1314; the first documentary references to steel bows appear only around 1300.
The crossbow was a powerful weapon, with a much greater draw weight than the longbow. However the short bolts shot from the crossbow were also heavier, while the bolt’s acceleration time on the bowstring was much briefer; both of these factors meant that much more bow-strength was required to cast a crossbow bolt the same distance as a longbow arrow. The range and striking power of the crossbows at Bannockburn may not actually have been very different in real terms from those of the longbows deployed alongside them. The crossbow’s key advantage lay in the ease of its use. Only a short time was required to teach the operation of a crossbow, a stark contrast to the lifetime’s practice, beginning in childhood, which was essential for good longbow shooting.

The Battle of Bannockburn was fought on 23–24 June 1314, between the army of Robert the Bruce, King of Scots, and the army of King Edward II of England, during the First War of Scottish Independence. It was a decisive victory for Robert Bruce and formed a major turning point in the war, which ended 14 years later with the de jure restoration of Scottish independence under the Treaty of Edinburgh–Northampton. For this reason, the Battle of Bannockburn is widely considered a landmark moment in Scottish history.

King Edward II invaded Scotland after Bruce demanded in 1313 that all supporters, still loyal to ousted Scottish king John Balliol, acknowledge Bruce as their king or lose their lands. Stirling Castle, a Scots royal fortress occupied by the English, was under siege by the Scottish army. King Edward assembled a formidable force of soldiers to relieve it—the largest army ever to invade Scotland. The English summoned 25,000 infantry soldiers and 2,000 horses from England, Ireland and Wales against 6,000 Scottish soldiers, that Bruce had divided into three different contingents. Edward's attempt to raise the siege failed when he found his path blocked by a smaller army commanded by Bruce

The Scottish army was divided into four divisions of schiltrons commanded by Bruce, his brother Edward Bruce, his nephew, Thomas Randolph, the Earl of Moray and one jointly commanded by Sir James Douglas and the young Walter the Steward. Bruce's friend, Angus Og Macdonald, Lord of the Isles, brought thousands of Islesmen to Bannockburn, including galloglass warriors, and King Robert assigned them the place of honour at his side in his own schiltron with the men of Carrick and Argyll.

After Robert Bruce killed Sir Henry de Bohun on the first day of the battle, the English withdrew for the day. That night, Sir Alexander Seton, a Scottish noble serving in Edward's army, defected to the Scottish side and informed King Robert of the English camp's low morale, telling him they could win. Robert Bruce decided to launch a full-scale attack on the English forces the next day and to use his schiltrons as offensive units, as he had trained them. This was a strategy his predecessor William Wallace had not employed. The English army was defeated in a pitched battle which resulted in the deaths of several prominent commanders, including the Earl of Gloucester and Sir Robert Clifford, and capture of many others, including the Earl of Hereford.

The Two Days of the Battle;
An English army attempting to relieve the siege of Stirling Castle was defeated by a Scottish army under Robert the Bruce over two days.

Robert Bruce had been elected guardian of Scotland in 1298, replacing William Wallace as the leader of the long campaign against the English attempt to conquer Scotland. After the devastating defeat of Wallace at Falkirk (Falkirk, 1298) and then Bruce’s own defeat at Methven (Perth & Kinross, 1306), much of Bruce’s campaign took the form of guerrilla warfare, avoiding as far as possible major set piece battles. In this way he completely changed the balance of power in Scotland, through the progressive reduction of English garrisons.

By 1314 just two major strategic fortresses remained in English hands: that on the border at Berwick and that controlling the crossing of the Forth at Stirling. But the Stirling garrison finally agreed to surrender if the English king did not arrive with a relieving force by 24th June 1314. In response Edward II mustered an army of about 12-13,000 at Berwick, marching north in May and reaching Falkirk on the 22nd June.

Bruce deployed his forces in woodland south west of Stirling, through which the major road approached the town. He carefully prepared his chosen ground, beside the Bannock burn and, as the English advanced against him, over two days of fighting achieved a dramatic victory.

The action was fought, immediately to the north of the area where the Roman road crosses the Bannockburn around 1.2 miles to the south of Stirling. Day 2: Historic Environment Scotland places the fighting around the Carse of Stirling and the Dryfield, though five main alternative sites have been identified separated by more than 2 miles.

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery .

Pictures in the gallery of crossbowmen from original Medeavil manuscripts, {not included} and a contemporary battle scene drawn from the battle

Please note, *priced individually. The bent tipped quarrel head {photos 3 and 4} is now sold!  read more

Code: 25735

 read more

Code: 25978

Ko Tosho School Swordsmith Made Koto Katana Tsuba Circa 1400

The strong, softly lustrous metal and very well cut, the large Hitsu-ana, and the antique chisel marks around the Hitsu-ana are all characteristic indications of early-Muromachi period works. Carved openwork clan mon. The Hitsu-ana, made when the guard was first produced, suggests that it is a work of the time of Yoshimitsu. A well worked and hammered plate. According to tradition, it says each time a Tosho made a to-ken, he made a habaki with his own hands, and at the same time he also added a single tsuba such as this.
The earliest Tosho tsuba are referred to in Japanese as Ko-Tosho old sword smith and date from the Genpei War (1180-1185) to middle Muromachi Period (1400-1500).

During the late Kamakura Period large Ko-Tosho tsuba were developed and were used mostly as field mounts for odachi by high-ranking Samurai during and after the Mongol invasion of Japan in Genko Jidai (1274-1281 ) in the Muromachi Period (1336-1573) the Ko-Tosho tsuba became even more common with the development and popularization of the onehanded sword uchigatana as the only sword of Ashigaru.
The most common design characteristic, next to the plain flat plate, for Ko-Tosho tsuba is kosukashi the simplistic use of small negative silhouetted openwork. The most common openwork designs are of mon (family crest), sun, moon, tools, plants, Buddhist, Shinto and sometimes Christian religious symbols. The plates iron is characteristically of a good temper, having good hardness and elasticity. The plate is made of local iron forged by the swordsmith or apprentice, the same as for Japanese sword blades. 74mm  read more

Code: 19741

An Iron Plate Katana Edo Tsuba Decorated With Small Figures In Rain Garb

Circa 1650. Small fishermen towing nets wearing rain hats and tied straw body coverings. With large fauna as a side decoration. With kozuka and kogaiana. The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament  read more

Code: 19525

A Most Unusual & Rare Edo Period Katana Tsuba, With Rotational Fitting. This is An Incdibly Rare Form of Tsuba in that it Has Two Methods To Mount It On Katana. Vertical or Horizontal

An iron sukashi tsuba, cut with four different shaped symbols as kozuka-ana and kogai-ana, and two, North and South, or East and West facing blade apertures, to enable the rotation of the tsuba when mounting it onto the blade. Thus altering the profile of the tsuka from wide to narrow.
The tsuba is always usually a round, ovoid or occasionally squarish guard at the end of the tsuka of bladed Japanese weapons but always usually designed to be worn one way upon the sword, either the katana and its various declinations, tachi, wakizashi, tanto, and polearms that have a tsuba, such as naginata etc.

They contribute to the balance of the weapon and to the protection of the hand. The tsuba was mostly meant to be used to prevent the hand from sliding onto the blade during thrusts as opposed to protecting from an opponent's blade. The chudan no kamae guard is determined by the tsuba and the curvature of the blade. The diameter of the average katana tsuba is 7.58 centimetres (3.0-3.1 in), wakizashi tsuba is (2.4-2.6 in), and tanto tsuba is 4.5-6 cm (1.8-2.4 in).

During the Muromachi period (1333-1573) and the Momoyama period (1573-1603) Tsuba were more for functionality than for decoration, being made of stronger metals and designs. During the Edo period (1603-1868) tsuba became more ornamental and made of less practical metals such as gold.

Tsuba are usually finely decorated, and are highly desirable collectors' items in their own right. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other.  read more

Code: 16704

A Superb Edo Period Umetada Tsuba Signed Yamashiro kuni ju Umetada Shigenari, From the Umetada Line Of Tsuba Makers of Yamashiro. Of A Carved Takebori Kitsune {Fox} Going To The Kitsune no Yomeiri {The Foxe's Wedding}

Yamashiro kuni ju Umetada shigenari, from the Umetada family residing in the province of Yamashiro, active around 1650-1700.

With a most rare feature of the punch in order to create a narrowing of the nakago-ana, bears numerous strikes of a clan mon of six plum blossom petals. At the area around the nakago-ana note there are tagane-ato (punch marks around the nakago-ana) in the form of mon

The Umetada school was one of the pivotal centres of sword-related arts between the late Momoyama period and the early Edo era. Founded in Kyōto, it stood out for its versatility and outstanding quality, covering all fields associated with the katana: restorations, horimono, suriage, kinzogan-mei, crafting of habaki, and mountings — most of these works commissioned through collaboration with the Hon’ami family, who retained exclusive rights for polishing and appraisal services.

The Umetada school was a renowned family of tsuba (sword guard) makers in Kyoto, founded in the late 16th century by Umetada Myōju. The school is known for its innovative combination of chiseling and inlay work, creating tsuba with a wide variety of styles, including intricate designs, soft metal inlays, and even European-influenced motifs. Key members of the school included Umetada Myōju, Umetada Mitsutada, Myōshin, and Jusai.
Key features of the Umetada school
Innovative techniques: The school combined traditional chiseling and inlay (zogan) techniques with unique designs.
Versatile subject matter: Tsuba often featured natural motifs like snow crystals and leaves
Use of soft metals: They were known for using soft metals like copper and brass, often with inlays of gold, silver, or shakudo.

One the principle side is the fox dressed in formal garb with a hat with his iconic big fluffy tail, and at his feet is a bound bag of precious gifts. On the opposing side is a mountain scene with the small fox figure, carrying the bag of precious gifts on a pole, wearing a jingasa hat, walking the mountain path.

The Foxes' Wedding
is less a single continuous narrative and more a widespread folk belief used to explain a specific natural phenomenon: a sunshower, where rain falls while the sun is shining. People in rural Japan once believed this meant a kitsune wedding was taking place just beyond human sight.
On a day when the sun and rain appear together, an invisible (or nearly invisible) procession of foxes can be seen or heard moving through the fields or mountains.
The foxes in the procession, having used their magical abilities to take on human form, wear traditional Japanese wedding attire. The bride wears a white kimono (a bridal kimono) and a traditional headdress, while the groom may be in formal black attire. Other fox guests wear splendid kimonos with their family crests.
The groom in traditional formal wear would wear a traditional formal hat (like an eboshi or kanmuri), fitting the description of a "fox wearing a kimono and hat" in human form for the ceremony.
The procession is often lit by kitsunebi (fox-fire), ethereal fireballs breathed out by the foxes to light their way through the night.
Human Encounters: Humans who accidentally witnessed this rare event were traditionally warned to stay indoors to avoid disruption, which could bring bad luck. Sometimes, a human might stumble upon the wedding and either be granted good fortune or become bewitched if they spoke of it.
This belief is a popular motif in traditional Japanese art (ukiyo-e prints) and theatre, such as Kabuki, where actors would wear fox masks and elaborate costumes to portray the characters.  read more

Code: 25966

A Very Good, WW1 & WW2 Original Horseguards, Life Guards and Blues And Royals, Other Ranks Pattern Helmet Plate, Order of the Garter Badge Star. For The Mounted Bodyguard of The King

Ideal for a collector that has a helmet lacking its badge. This badge could add a thousand pounds of value to a helmet missing its original badge.

Original, early King's Crown type. This fabulous quality WW1 and WW2 other ranks badge, was in use since 1901, used by a trooper or NCO of the Blues and Royals or the Life Guards, that combined, make up the Royal Horseguards, until the pattern was changed with the queen's crown in 1953. The Albert helmet is the current ceremonial headgear of the British Army's Household Cavalry, the Life guards regiment and the Blues and Royals regiment. It was introduced by Prince Albert in 1842 and adopted by the Household Cavalry the following year. In 1847 the helmet was introduced to all heavy cavalry regiments. It remains in use as the full dress headgear of the two remaining Household Cavalry regiments, the Blues and Royals and the Life Guards. The magnificent helmet remains in use with the two current Household Cavalry regiments, the Blues and Royals with red plume and the Life Guards with white plume. These regiments are amalgamations of the four earlier regiments. The Life Guards retain the white plume and the onion from the 2nd Regiment, the Blues and Royals retain the red plume of the Royal Horse Guards. Blues and Royals officers wear a yak hair plume. Farriers in both regiments wear different plumes, the Life Guards farrier wear black and Blues and Royals farrier red.

The regiments also differ in how they wear the helmet's chin strap. The Blues and Royals wear it under the chin while the Life Guards wear it under the lower lip. The helmet is now in white metal for all ranks and the same helmet plate is worn by both regiments (they were different historically).

The Albert helmet is only worn in full dress review order, guard order and front yard order by other ranks and in full dress, levee dress and ceremonial rehearsal dress by officers. Medical and veterinary officers do not wear the helmet, instead wearing a cocked hat.

The other ranks of the Mounted Band of the Household Cavalry wear the helmet in full dress (with the plumes of their parent regiments), except when parading in the presence of the royal family, when they wear state dress with jockey caps. Band officers wear Albert helmets on both occasions.
one threaded affixing bolt remaining and one fold out helmet affixing stem  read more

Code: 24072