A Fabulous Solid Silver Mounted 'Naval' Captain or Admirals Sword, Near Matching Admiral Don Francisco Xavier Winthuysen's Sword, That Was Surrendered to Commodore Nelson at the Battle of Cape St Vincent in 1797

Superb French hunting hanger with carved hilt with fancy solid silver crossguard and mounts bearing French hallmark with pair of carved grip plates held with fancy flower head silver rivets and engraved silver rim edging. With superbly engraved blade bearing stunning mystical talismanic and cabbalistic engravings including the portrait bust of an Ottoman Grand Sultan. It was written centuries past that a fine blade might be engraved with; "a talisman to make one beloved, to defeat the ill wishes of all enemies". They could be a number or combination with a cabbalistic meaning known only to the owner and the magician who sold him the spell. The number might be, for example, 1441, thought to be a combination of the number 7, a specifically lucky number,

From a collection of very fine surrendered swords from senior officer's of French and Spanish warships that fought against Nelson's fleets.


An incredibly similar sword surrendered to Commodore Nelson at the battle of St Vincent 1797 that of Rear-Admiral Don Francisco Xavier Winthuysen the Spanish admiral who died aboard the San José that sword is now in Norfolk museum collection. See photo 9 in the gallery that shows the extremely similar French silver hilt mount close-up of the Spanish Admiral’s sword in the Norfolk Museum unpolished that shows it may have been made by the same French maker.
We also show the sword surrendered to Nelson at the battle of St Vincent, and standing next to Nelson painted by Sir William Beechy
Sir William Beechey (1753 - 1839)
Location:Norwich Castle.

The Battle of Cape St. Vincent (14 February 1797) was one of the opening battles of the Anglo-Spanish War (1796–1808), as part of the French Revolutionary Wars, where a British fleet under Admiral Sir John Jervis defeated a greatly superior Spanish fleet under Admiral Don José de Córdoba y Ramos near Cape St. Vincent, Portugal.

After a rendezvous with Jervis in the Atlantic off Cape St. Vincent on the previous day, Nelson on February 14, 1797, found himself sailing in mist through a Spanish fleet of 27 ships. The Spaniards were sailing in two divisions and Jervis planned to cut between the two and destroy one before the other could come to its assistance. But he had miscalculated, and it became clear that the British ships would not be able to turn quickly enough to get into action before the Spanish squadrons closed up. Without orders from Jervis, Nelson hauled out of line and attacked the head of the second Spanish division. While the rest of Jervis’ fleet slowly turned and came up in support, Nelson held the two Spanish squadrons apart, at one time fighting seven enemy ships. The efficiency of British gunnery was decisive, and he not only boarded and captured one enemy man-of-war but, from her deck, boarded and took a second.

The Battle of Cape St. Vincent won for Jervis the earldom of St. Vincent and for Nelson a knighthood, which coincided with his promotion by seniority to rear admiral. His first action in command of a major independent force, however, was disastrous. In the course of an assault on Tenerife, a grapeshot shattered his right elbow, and back in his flagship the arm was amputated.

Overall nice condition with some age pitting to blade.
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  read more

Code: 24593

A Wonderful, Original, Historical, Eastern Roman Empire, Byzantine Christian Cross In Bronze 7th to 10th Century

A super, small collection of original, historical, Imperial Roman and Crusader's artefacts has just been acquired by us and will be added over the next week or so. This Bronze Cross was hand forged during the Middle Ages in the cradle of Christianity, the Byzantine Empire. In AD 324, the first Christian Roman Emperor Constantine the Great transferred the Eastern Roman Empire capital to Byzantium, which became Constantinople, known as ''New Rome''. The Byzantine Empire became centred on the capital of Constantinople and was ruled by Emperors in direct succession to the ancient Roman Emperors. With the eventual decline of Rome, the Church of Constantinople became the richest and most influential center of the Christian world.
The reign of Justinian the Great in 527-565 marked a blossoming of Byzantine culture with a building program that yielded such masterpieces as the Cathedral Church of the Holy Wisdom of God, Hagia Sophia. Justinian, who is considered a Saint in the Eastern Orthodox Church, created the authority of this Church, which firmly established Christianity throughout the Empire. This Byzantine Empire would exist for more than a thousand years until 1453 and was one of the most powerful economic, cultural, and military forces in Europe and Asia Minor. This superb cross was most certainly worn by a Byzantine citizen as a statement of faith during this amazing age of early Christendom. Picture in the gallery of an 8th century painting 'Christ is the Crucified, and a King'. The details of the painting are, they say; 'He is robed in majesty; He is fastened to the Cross. He wears the royal purple robes with which His scorners intended to mock Him, but He, Alpha and Omega, the first and last Word, the Primogenitor of those who are being saved, confers His own divine dignity onto the very idea of kingship. He wears the glory that inspired the good thief to plead for his salvation, with the confidence of the One whose Sonship makes that salvation possible'.

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  read more

Code: 23253

A Very Interesting & Beautiful French Leather Book on the Royal Marines And French Marines 1815 to I863 Les Marines de la France et de L'Angleterre 1815-1863 by Raymond, M. Xavier

From the Royal Artillery Regimental Library, then transferred to the Royal Artillery Mess in Shoeburyness

An absolute gem of reference work volume comparing two branches of the marines of both nations. Printed by Librairie De L. Hachette Et. Cie, in Paris, in French.

Former Regimental Library and Mess books of military reference and interest are very collectable indeed.

Tri-colour leather with gilt tooled lettering to the spine and gilt stamped compartments, marble and leather sides . A few scuffs to the leather spine, cloth boards lightly rubbed. Marbled endpapers, with a regimental bookplate of the Royal Artillery to the inside cover

7inches x 5 inches  read more

Code: 24426

Ancient Iron Viking Socket Spear. Circa 9th century, Around 1200 Years Old

Like several pieces we acquired often from a Grand Tour of the 1820’s, Viking pieces and artefacts, such as rings and spear heads, acquired in Northern France near Paris, that originated from around the time of the Viking siege of Paris in the early 800’s.
Many historians commonly associate the term "Viking" to the Scandinavian term vikingr, a word for "pirate." However, the term is meant to reference oversea expeditions, and was used as a verb by the Scandinavian people for when the men traditionally took time out of their summers to go "a Viking." While many would believe these expeditions entailed the raiding of monasteries and cities along the coast, many expeditions were actually with the goal of trade and enlisting as foreign mercenaries.

The Viking Age generally refers to the period from A.D. 800, a few years after the earliest recorded raid, until the 1050s, a few years before the Norman Conquest of England in 1066, according to Angelo Forte, Richard D. Oram and Frederik Pedersen, authors of "Viking Empires" (Cambridge University Press, 2005). During this time, the reach of the Scandinavian people extended to all corners of northern Europe, and many other nations found Vikings raiding their coasts. The farthest reported records of Vikings were in Baghdad for the trading of goods like fur, tusks and seal fat.

Spears in the Sagas
"Then Thorolf became so furious that he cast his shield on his back, and, grasping his spear with both hands, bounded forward dealing cut and thrust on either side. Men sprang away from him both ways, but he slew many."

- Egil's Saga, Chapter 53

"Gunnar clutches the spear with both hands, and turns on (Thorbrand) quickly and drives it through him, and hurls him down on the ground. Then up sprung Asbrand his brother. Gunnar thrusts at him with the spear, and he threw his shield before the blow, but the spear passed clean through the shield and broke both his arms, and down he fell from the wall."

- Njal's Saga, Chapter 76

"At this brunt Helgi, the son of Hardbien, rushed in with a spear, the head of which was an ell long, and the shaft bound with iron. When Bolli saw that he cast away his sword, and took his shield in both hands, and went towards the dairy door to meet Helgi. Helgi thrust at Bolli with the spear right through the shield and through him."

- The Laxdale Saga, Chapter 55

The spearheads were made of iron, and, like sword blades, were made using pattern welding techniques (described in the article on swords) during the early part of the Viking era . They could be decorated with inlays of precious metals or with scribed geometric patterns
After forming the head, the smith created the tang in the early period, such as for a javelin type spear, or in the later Viking mostly a socket fitting for a regular spear. Sometimes with holes for rivets to grip onto the haft.

However, there is little evidence that tells us the length of the shaft. The archaeological evidence is negligible, and the sagas are, for the most part, silent. Chapter 6 of Gísla saga tells of a spear so long-shafted that a man's outstretched arm could touch the rivet. The language used suggests that such a long shaft was uncommon.

Perhaps the best guess we can make is that the combined length of shaft and head of Viking age spears was 2 to 3m (7-10ft) long, although one can make arguments for the use of spears having both longer and shorter shafts. A strong, straight-grained wood such as ash was used. Many people think of the spear as a throwing weapon. One of the Norse myths tells the story of the first battle in the world, in which Odin, the highest of the gods, threw a spear over the heads of the opposing combatants as a prelude to the fight. The sagas say that spears were also thrown in this manner when men, rather than gods, fought. At the battle at Geirvör described in chapter 44 of Eyrbyggja saga, the saga author says that Steinþórr threw a spear over the heads of Snorri goði and his men for good luck, according to the old custom. More commonly, the spear was used as a thrusting weapon. The sagas tell us thrusting was the most common attack in melees and one-on-one fighting, and this capability was used to advantage in mass battles. In a mass battle, men lined up, shoulder to shoulder, with shields overlapping. After all the preliminaries, which included rock throwing, name calling, the trading of insults, and shouting a war cry (æpa heróp), the two lines advanced towards each other. When the lines met, the battle was begun. Behind the wall of shields, each line was well protected. Once a line was broken, and one side could pass through the line of the other side, the battle broke down into armed melees between small groups of men.

Before either line broke, while the two lines were going at each other hammer and tongs, the spear offered some real advantages. A fighter in the second rank could use his spear to reach over the heads of his comrades in the first rank and attack the opposing line. Konungs skuggsjá (King’s Mirror), a 13th century Norwegian manual for men of the king, says that in the battle line, a spear is more effective than two swords. In regards to surviving iron artefacts of the past two millennia, if Western ancient edged weapons were either lost, discarded or buried in the ground, and if the ground soil were made up of the right chemical composition, then some may survive exceptionally well. As with all our items it comes complete with our certificate of authenticity. overall 10.25 inches long  read more

Code: 23709

A Most Impressive Original 16th -17th Century Nuremberg 'Black and White' Comb Morion Helmet, The Very Same Form of Helmet As Was Made Famous by the Spanish Conquistador’s in Their Conquest of Central America

A most similar morion, was in the great historical collection of arms armour from the armoury of Fortress Hohenwerfen near Salzburg, Austria, that was augmented by H.I.R.H. Archduke Eugen. A collection that was sold, and entered the collectors market and various museums, in 1927, which contained some Nuremberg and Augsberg 'black and white' morion helmets such as this. Morion is a type of open helmet used from the middle 16th to early 17th centuries, such as by the Munich Town Guard, usually having a flat brim and a crest from front to back. Its introduction was contemporaneous with the exploration of North, Central, and South America. Explorers like Hernando de Soto and Coronado may have supplied them to their foot soldiers in the 1540s. The iconic morion, though popularly identified with early Spanish explorers and conquistadors, was not in use as early as the conquest of Mexico by Hernan Cortez or Francisco Pizarro's conquest of the Incas in South America. Thirty to forty years later, it was widely used by the Spanish, but also common among foot soldiers of many European nationalities, including the English; the first English morions were issued during the reign of Edward VI. The crest or comb on the top of the helmet was designed to strengthen it. Later versions also had cheek guards and even removable faceplates to protect the soldier from sword cuts.

The morion's shape is derived from that of an older helmet, the Chapel de Fer, or "Kettle Hat." Other sources suggest it was based on Moorish armor and its name is derived from Moro, the Spanish word for Moor. The New Oxford American Dictionary, however, derives it from Spanish morrion, from morro 'round object'. The Dictionary of the Spanish Language published by the Royal Spanish Academy indicates that the Spanish term for the helmet, morrion, derives from the noun morra, which means "the upper part of the head". A somewhat similar example is in the Metropolitan Museum in New York accession number 14.25.508

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  read more

Code: 22718

A Superb Original Imperial Roman Legionary's "Whistling" Sling Bullet Circa 1st to 2nd century AD.

Identical to the few found at an archaeological dig at a Roman Fort site in southwestern Scotland a few years ago, and one of a very small collection of fine original sling bullets of antiquity we acquired.
Over 1,800 years ago, Roman troops used "whistling" sling bullets as a "terror weapon" against their barbarian foes, such as were in Scotland and the Celts in England, according to archaeologists who found the cast lead bullets at a site in Scotland.

Weighing about 1 ounce (30 grams), each of the bullets had been drilled with a 0.2-inch (5 millimeters) hole that the researchers think was designed to give the soaring bullets a sharp buzzing or whistling noise in flight.

The bullets were found recently at Burnswark Hill in southwestern Scotland, where a massive Roman attack against native defenders in a hilltop fort took place in the second century A.D. These holes converted the bullets into a "terror weapon," said archaeologist John Reid of the Trimontium Trust, a Scottish historical society directing the first major archaeological investigation in 50 years of the Burnswark Hill site.

"You don't just have these silent but deadly bullets flying over; you've got a sound effect coming off them that would keep the defenders' heads down," Reid told Live Science. "Every army likes an edge over its opponents, so this was an ingenious edge on the permutation of sling bullets."

The whistling bullets were also smaller than typical sling bullets, and the researchers think the soldiers may have used several of them in their slings — made from two long cords held in the throwing hand, attached to a pouch that holds the ammunition — so they could hurl multiple bullets at a target with one throw.

"You can easily shoot them in groups of three of four, so you get a scattergun effect," Reid said. "We think they're for close-quarter skirmishing, for getting quite close to the enemy." Onasandrius wrote the 1st C. BC, in his book "Strategy". "The Sling is the deadly weapon used by light infantry because lead is of the same colour as the air and therefore not visible, thus the impact is unexpected and not only smites hard, but the bullet penetrates deeply into the victims flesh". Used by Roman auxiliary troops like Greeks, Sicilians, North Africans, but after the Roman conquest of the Balearic Islands elite slingers were always the Balearic that fought in the legions of Julius Caesar.

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  read more

Code: 23794

A Simply Fabulous Samurai's Loyalty, Ritual-Exchange, Wine Bowl, A Sakazuki of Hiramaki-e Pure Gold Lacquer. Signed Yoyusai (1772-1845)

A Sakazuki cup, a footed Circular Wine Cup of pure gold lacquer signed Hira Yoyusai decorated with the symbols of the highest ranking samurai, an Imperial court cap, a pole arm and General's war fan. Sakazuki is a ritual of exchanging sake cups as a means of pledging loyalty. The word itself refers to ceremonial cups used on special occasions like weddings, tea ceremonies, etc. There are currently two known versions of the sakazuki ritual.
Worthy of any museum grade collection of the finest Japanese Ob'ject D'art. Edo period (19th century), signed Yoyusai (1772-1845). A footed, circular cup of pure gold lacquer in gold hiramaki-e on fundame ground. Decorated with an Imperial court cap, a war fan, a pole arm and a tied sack. Likely commissioned for a notable of the highest rank, such as a daimyo lord or member of the Japanese nobility. In the period Kwansei, 1789 to 1801 C.E., Koma Kwansai, Inouye Hakusai, and Hara Yoyusai were the most famous artists, the first of whom was foremost in the delicacy of his work, but was comparatively unknown. Nakayama Komin was a distinguished lacquerer who worked in Edo and learnt the art from Hara Yoyusai (1772-1845). Yoyusai and other 19th-century lacquer artists including Koma Kansai and Zeshin, Nakayama Komin turned to famous early masterpieces of Japanese lacquer for inspiration. A superbly executed piece of finest artwork, showing remarkable skill for the minutest detail. Hiramaki-e, in Japanese lacquerwork, gold decoration in low, or flat, relief, a basic form of maki-e. The pattern is first outlined on a sheet of paper with brush and ink. It is then traced on the reverse side of the paper with a mixture of heated wet lacquer and (usually red) pigment. The artist transfers the pattern directly to the desired surface by rubbing with the fingertips, a process called okime. In the next step (jigaki), the pattern that has been transferred is painted over with lacquer usually a reddish colour. A dusting tube is used to sprinkle gold powder on the painted design while the lacquer is still wet. When the lacquer is dry, superfluous gold powder is dusted off, and a layer of clear lacquer is applied over the gold-covered design. When dry, it is polished with powdered charcoal. A second layer of lacquer is added, allowed to dry, and given a fingertip polish with a mixture of linseed oil and finely powdered mudstone.

The hiramaki-e technique, which dates from the latter part of the Heian period (794-1185), was preceded by togidashi maki-e, a technique in which not only the design but the whole surface is covered with clear lacquer after the sprinkling of metal powder; the lacquer is then polished down to reveal the design. During the Kamakura (1192-1333) and Muromachi (1338-1573) periods, hiramaki-e tended to be overshadowed by takamaki-e (gold or silver decoration in bold relief). It came fully into its own only in comparatively modern times. During the Azuchi-Momoyama period (1574-1600), hiramaki-e artists often left the sprinkled gold powder unpolished in a technique called maki-hanashi (left as sprinkled). A very beautiful piece by the master or an homage to Yoyusai bearing his name.

5" diameter across 1.33 inches high

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  read more

Code: 22989

A Singularly Fabulous Ancient Koto Period 15th Century Katana Circa 1480, With Stunning Heianjo School Tsuba

A very fine and beautiful 600 year old Koto katana that looks absolutely spectacular, with an o-suriage blade, with full length hi groove, and with a notare hamon that undulates with extraordinary depth into the blade. The blade has no combat damage of any kind, just natural surface minuscule age pin prick marks, and it has been untouched since it came to England in the 1870's.

All original Edo mounts and saya, with Higo mounts inlaid with gold leaves and tendrils, and original Edo period turquoise blue tsuka-ito (柄糸) over gold and shakudo menuki (目貫):of flowers, on traditional giant rayskin.

The saya is finely ribbed with silk cord ribbing under black lacquer, with carved buffalo horn kurigata (栗形) and kaeshizuno (返し角) and It has a fine and large four lobed mokko gata tsuba (鍔 or 鐔) form, with punch marks, sekigane inserted in the nakago ana, a look of a great strength, and a lightly hammered ground to effect a stone like surface, on the both sides, from the natural folding of the plate. It is pierced in delicate manner on top and bottom with stylised warabite, bracken shoots, and on either side of the central opening with large irregular ryohitsu shaped apertures of two hisago. The iron plate is finely inlaid on both sides and on the rounded rim with a thin roped band made in brass, and decorated all around the edge in brass hirazogan in a design of bellflower blossoms, clementis leaves and tendrils, flushing to the surface, and known as Chinese grass or karasuka. The formal design in negative silhouette is straightforward, the lowering of the level of the surface between the rim and the seppadai contributes to a sense of stability, the metal has a deep purplish patina, and the entire guard has a rustic appearance. This very pleasing masterpiece exhibits a nice feel due to the simplicity of the design.
This ko sukashi work is the ultimate in simplification. this severe, unemotional work is a deep humanity that speaks to us today. This strict style marks the dividing line between youthful severity and older warm humanity. All of these traits make this an exceptoional work of Heianjo school, in a style influenced by workers of Yoshiro school of the Koike family in Kyoto and as a gift from one Daimyo to another. The size, quality of inlay, and condition all confirm the excellent craftsmanship characteristic of this school. This is probably a transition piece between the onin and the Heianjo school. This style of tsuba often given the designation of Heianjo school, could also be from the last period of onin brass inlay style of the Muromachi period. Yoshiro tsuba are originated from the Heianjo Zogan school, active in the second half of the 16th century. Naomasa was the most famous member of the large Koike family school, he took the technique and style to the highest level. Early Edo period tsuba. 17th Century. Overall condition of the tsuba is excellent. To place it in context as to just how old this sword is, in its British time-scale comparison, it was made, in Japan, in the era of the 'Wars of the Roses' between King Richard IIIrd and King Henry VIIth. 28 inches long blade tsuba to tip  read more

Code: 24866

A Good King George VIth Pattern Household Division Drum Major's, of The Welsh Guards Marching Mace

Household Division Drum Major's marching mace In Nice condition, A pre 1953 pattern, for a member of the Battalion Staff. this was acquired, with his bearskin, of a retired Welsh Guards Drum Major. Although once used in the Welsh Guards this is a universal pattern for use by all the guards and other drum major's etc. Traditional form white metal head surmounted with the King's Tudor Crown, now used by His Majesty King Charles IIIrd, before him, by his grandfather King George VIth. Black marching pole cross bound with plaited cord.

The Welsh Guards was raised on 26 February 1915 by order of King George V, in order to complete the national complement of regiments of Foot Guards identified with the countries of the United Kingdom.

On inception the Regiment took its place alongside the English Grenadier Guards and Coldstream Guards, the Scots Guards and the Irish Guards. Two days later, the Battalion mounted its first King's Guard at Buckingham Palace on 1 March 1915 - St David's Day.

The title "Drum Major" is an appointment, not an ordinary or regular military rank. The Drum Major is always referred to and addressed as "Drum Major" or "Sir" this is because as a Drum Major of the Household Division, a Royal Warrant is awarded as a “Drummer to the Household” and a member of Battalion Staff.
The insignia of the appointment is four inverted chevrons worn on a wrist-strap whilst in shirt-sleeve order, or four inverted large chevrons worn on the uniform sleeve, surmounted by a drum.
Military Drum Majors utilize a ceremonial mace for giving commands while marching.  read more

Code: 25432

A Fabulous, Circa 1804, Peninsular War & Waterloo British Light Dragoon Pistol From the Tower of London. GR Crown Tower Stamped Ordnance Issue, Superb Walnut Stock. Just Arrived Today & An Incredibly Inexpensive Light Dragoon Service Pistol

Traditional New Land pattern service issue brass mounts, trigger guard, side plate and skull crusher butt cap. Stunning piece with superb steel and amazing patination to the finest walnut stock. Converted and adapted in the 1830’s to the all new and improved percussion action system. A New Land pattern flintlock that was adapted and upgraded, for decades of future service, after around 20 years of prior service in the British Army front rank cavalry during the Napoleonic Wars, with a replacement self contained ram rod, and the new waterproof percussion action conversion.

There is an incredible saving of around £1000 to be made on this wonderful piece of original Tower of London issue British dragoon history.
This pistol was manufactured at the Tower armoury circa 1804, and its lock was inspected and stamped by Richard Duce, who was the official lock inspector from 1797 to 1818. His official ordnance stamp was the Crown over a broad arrow, alongside the regulation Crown GR mark and Tower. There are further ordnance stamps, such as a regulation GR stamped upon the finest walnut stock and its barrel tang. The barrel also has regulation proof stamps.

Introduced in the 1796 and in production by 1802, the New Land Cavalry Pistol provided one model of pistol for all of Britain's light cavalry and horse artillery.

The service of British Cavalry regiments, particularly the Light Dragoons, proved essential in the mastery of the Indian Subcontinent. The Duke of Wellington, then Arthur Wellesley, was primarily recognized for his military genius by his battles in India.

This fine pistol would have seen service in such as the 10th Light Dragoons aka 10th Hussars.
In 1806, the regiment was again re-designated, this time becoming a hussar regiment as the 10th (Prince of Wales's Own) Regiment of (Light) Dragoons (Hussars), and sailed for Corunna in Spain in November 1808. The regiment saw action at the Battle of Sahagún in December 1808 and the Battle of Benavente later in December 1808 during the Peninsular War. At Benavente the regiment captured General Charles Lefebvre-Desnouettes, the French cavalry commander.The regiment then took part in the Battle of Corunna in January 1809 before returning to England.

In 1813, having landed once more in Spain, the regiment fought at the Battle of Morales in June 1813.15 During the battle the regiment destroyed the 16th French Dragoons between Toro and Zamora, taking around 260 prisoners. The regiment also fought at the Battle of Vitoria later in the month while still in Spain and then, having advanced into France, fought at the Battle of Orthez in February 1814 and the Battle of Toulouse in April 1814. As part of the 6th Cavalry Brigade, the regiment charged the French cavalry and infantry at the Battle of Waterloo in June 1815

Cavalry was the 'shock' arm, with lances, pistols and sabres the principal hand weapons. The division between 'heavy' and light was very marked during Wellington's time: 'heavy' cavalry were huge men on big horses, 'light' cavalry were more agile troopers on smaller mounts who could harass as well as shock.
During the Napoleonic Wars, French cavalry was unexcelled. Later as casualties and the passage of years took their toll, Napoleon found it difficult to maintain the same high standards of cavalry performance. At the same time, the British and their allies steadily improved on their cavalry, mainly by devoting more attention to its organization and training as well as by copying many of the French tactics, organisation and methods. During the Peninsular War, Wellington paid little heed to the employment of cavalry in operations, using it mainly for covering retreats and chasing routed French forces. But by the time of Waterloo it was the English cavalry that smashed the final attack of Napoleon's Old Guard.
Small field service repair on the forward underside of the stock by the ramrod channel, with late replacement non swivel rammer, a nice strong main spring, and the action holds on one cocking action, likely due to slight age wear on the sear..

See picture 10 in the gallery; Another Reason To Visit Brighton-by-the-Sea This Summer. To Visit the Magnificent Pavilion Palace & View ‘The Encampment At Brighton’, a painting of British Light Dragoons on the hills at Brighton, by Francis Wheatley, RA, 1747-1801. Which We Were Most Proud To Assist & Enable Our Donation of the Painting to Brighton Museum 50 Years Ago

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  read more

Code: 25428