An Amazing WW1 British Trench Howitzer Maker Marked and Dated 1915, An Intriguing and Fascinating Souvenir of The Great War's Trench Warfare

What an amazing display and conversation piece!

Trench mortars were the army’s most forward artillery, right up on the front line. These short range weapons were able to throw large, high explosive projectiles, short distances across No Man’s Land at the enemy trench system opposite.

Llewelyn Wyn Griffith, a captain with the 15th Royal Welch Fusiliers, described a battery of 2 inch mortars opening fire on enemy lines:

“A pop, and then a black ball went soaring up, spinning round as it went through the air slowly; more pops and more queer birds against the sky. A stutter of terrific detonations seems to shake the air and the ground, sandbags and bits of timber sailed up slowly and then fell in a calm deliberate way. In the silence that followed the explosions, an angry voice called out in English [with a distinct German accent no doubt] across No Man’s Land, ‘YOU BLOODY WELSH MURDERERS.’

Somewhat ironic, since the Kaiser invaded France and Belgium, slaughtered the allies, both civilians and combatants, in their hundreds of thousands, yet when the British -Welsh have the temerity to fight back and thus kill the German invaders, they are called murderers by the German combatants [sound familiar?]

The 2 inch mortar [named for the size of the rod not the huge explosive head] was considered accurate out to 350 yards with a maximum effective range out to just under 600 yards.

Introduced in 1915, the 2 inch mortar was originally crewed by men taken from the battalion it was stationed with, along with some specialists from the Royal Artillery. However, with the introduction of the 3 inch Stokes mortar which was operated by the infantry themselves the 2 inch mortars became the sole responsibility of the Royal Field Artillery.

The British Army entered the First World War with very few mortars, and certainly none at the battalion level. As the stalemate of trench warfare set in and the effectiveness of enemy mortars became clear it was decided that trench mortars of various sizes would be needed.

Nicknamed ‘plum pudding’ or ‘toffee apple’ mortars after their projectile’s characteristic shape, the 2 inch Medium Mortar or 2 inch Trench Howitzer, was one of Britain’s first effective light trench mortars to be introduced.

Mortar positions were often in secondary trenches just behind the infantry’s frontline. This was to help protect the infantry from potential counter-battery fire. The trench mortars were often deployed to sectors to provide counter battery fire against German minenwerfers or in the run up to an offensive or local action. A British Army report on artillery use, drawn up in February 1917, noted that “Owing to their liability to be destroyed by hostile artillery fire it may often be advisable to defer opening fire with these mortars till the last day of bombardment.” The mortars were also tasked with keeping gaps made in the wire clear and with supporting any feint attacks made by infantry during gaps in the bombardment running up to a larger offensive.

Llewelyn Wyn Griffith, a captain with the 15th Royal Welch Fusiliers and later a novelist, recalled in his war memoir:

“At night a trench mortar officer set his guns in a derelict trench about twenty yards behind the line and carried up his ammunition, heavy globes of iron with a little cylindrical projection like a broken handle. In the morning I moved the men from the bays between the trench mortars and their target, to lighten the risk of loss from retaliatory fire.”

The 2 inch medium mortar entered service in spring 1915 and remained in use into 1917 with British and Empire troops. It was used on the Western Front and in Mesopotamia. Over 800 were ordered initially with 675,000 bombs, many of the mortars were made in railway and agricultural machinery workshops, allowing larger factories to focus on more complex weapons. The 2 inch mortar was superseded by the larger bore Newton 6 inch mortar later in the war. Some of the remaining 2 inch projectiles were re-purposed as makeshift anti-tank mines, buried in no man’s land in anticipation of possible German tank attacks.

Not suitable for export, inert, safe and perfectly harmless, but of substantial heft. UK mainland delivery only. 34 inches long overall head 9 inch diameter.  read more

Code: 24389

A Fine & Beautiful Pair of Porcelain Cabinet Plates of Emperor Napoleon & Empress Josephine, From the World Renowned Porcelain Factory of Royal Copenhagen.

Finest porcelain dished plates bearing fine portraits of the emperor and empress of France, decorated with deluxe finest brushed pure gold borders. Makers mark to each dish. Slight original glaze wear within Josephine’s hair style.
Marie Josèphe Rose Tascher de La Pagerie was born in 1763 in Martinique to a wealthy white Creole family that owned a sugarcane plantation. In 1779, she married Alexandre de Beauharnais, with whom she had two children. The marriage was not a happy one, leading to a court-ordered separation. In 1794, during the Reign of Terror, Alexandre was executed but Josephine was freed thanks to the fall and execution of Robespierre.
Josephine met Napoleon, six years her junior, in 1795. Napoleon was enamored with Josephine, with whom he had a passionate affair. In January 1796, Bonaparte proposed to Josephine and they married in March. Until meeting Bonaparte, Josephine was known as Rose, but Bonaparte preferred to call her Josephine, the name she adopted from then on.
The marriage was not well received by Napoleon’s family, who were shocked that he had married an older widow with two children. Two days after the wedding, Bonaparte left to lead the French army in Italy. During their separation he sent her many love letters, but both spouses also had lovers. Despite his own affairs, their relationship was never the same after he learnt about hers.
The coronation ceremony, officiated by Pope Pius VII, took place at Notre Dame de Paris in December 1804. Following prearranged protocol, Napoleon first crowned himself, then put the crown on Josephine’s head, proclaiming her empress.
When after a few years it became clear Josephine could not have a child, Napoleon, though he still loved his wife, began to think seriously about the possibility of divorce and created lists of eligible princesses. In November 1809, he let Josephine know that in the interest of France he must find a wife who could produce an heir. Despite her anger, Josephine agreed to the divorce so the Emperor could remarry in the hope of having an heir.
Despite his divorce from Josephine, he showed his dedication to her for the rest of his life. When he heard the news of her death while on exile in Elba, he locked himself in his room and would not come out for two days. Her name would also be his final word on his deathbed in 1821.

Juliane Marie was known as a modern queen and a strong supporter of the country. It was the task of the reigning monarch to safeguard the country’s economic health with the development of domestic products and services. Her greatest legacy was founding the Royal Danish Porcelain Factor y in 1775.The production of porcelain was not entirely unknown to Juliane Marie. Her brother, Charles I of Brunswick-Wolfenbüttel had also founded a porcelain factory in Fürstenberg, Germany. In addition, their sister was married to Frederik II of Prussia, one of Europe’s absolute monarchs who in 1763 founded a porcelain factory in Berlin. Although the siblings corresponded, the secret for porcelain manufacturing was not shared between them and it was only in 1774 that porcelain was first produced in Copenhagen. Finally, Juliane Marie and the Danish royal family had their own valuable porcelain production, like other European monarchies.
THE ROYAL CROWN AND THE THREE WAVES

Juliane Marie was adamant from the start that each piece of Royal Copenhagen porcelain would be stamped with its unique factory mark: the three hand-painted waves that symbolise Denmark’s waterways, the ‘Oresund’ or Sound, the Great Belt and the Little Belt. The queen also introduced the royal crown stamp to highlight the factory’s royal association. The crown has changed over time and can be used to date each piece of Royal Copenhagen.
In the 1700's, it was good diplomatic practice amongst royalty and aristocracy to give fine porcelain as gifts. Following Danish defeat at the Battle of Copenhagen in 1801, Lord Nelson bought Royal Copenhagen porcelain for his beloved Lady Hamilton. The Danes lost the battle. But a love of Danish porcelain was victorious.
273mm wide  read more

Code: 24588

A Beautiful Edo Period Akasaka School O Sukashi Tsuba Decorated in Cut Silhouette With Clouds, Stars and Moon.

Early in the 17th century, tradition says, a dealer of Kiōto, named Kariganeya Hikobei, practised the designing of openwork iron guards in a new and refined style and had them made by a group of skilled craftsmen. From among these men he selected one Shōgunal capital, and settled with him at Kurokawa-dani in the Akasaka Japanese text district. Shōzayemon took the name of Tadamasa and continued his work on Kariganeya’s designs, dying in 1657. His son (or younger brother) Shōyemon, who succeeded him, calling himself Tadamasa II and adopting Akasaka as a surname, died in 1677 and was in turn succeeded by his son Masatora (d. 1707), by Masatora’s son Tadamune, and thence by four generations all called Tadatoki, the last living on into the middle of the 19th century. The first Tadatoki seems to have removed to Kiōto with his father’s pupil Tadashige and there to have founded a western branch of the school. Besides these a number of pupils, all called Tada-…, are recorded.

The earlier Akasaka guards closely resemble the pierced work of the Heianjō and Owari workers (Group III). Later productions display a number of striking features, such as clean-cut fret-piercing in positive silhouette of designs leaving little of the iron in reserve, the addition of a slight engraving finish, a rounded or rather tapered edge to the guard, and, in some of the more recent specimens, the semi-circular enlargement of each end of the tang-hole, as if to take a plug (not supplied) of abnormal size. Enrichments of other metals are entirely absent.  read more

Code: 25445

Historismus Chinese Bronze Helmet, Ancient C.400bc Warring States Era Style

A fabulous statement piece, ideal for a interior decor centrepiece. Probably mid 19th century. With good green aged patination, and as tradition dictates, cast in one piece. In the past 30 years or so we have had only a very few of this style of helmet, and just two have been original and the correct age that they should. This is a Historismus period example. It is a most beautiful work of art, extremely pleasing, decorative, and it would compliment any historical or classical display of arms or antiques. We don't normally acquire or sell non period items but historismus pieces have always been desireable and most collectable in their own right. Historicism or also historism and historismus comprises artistic styles that draw their inspiration from recreating historic styles or imitating the work of historic artisans. This is especially prevalent in architecture, such as revival architecture. Through a combination of different styles or implementation of new elements, historicism can create completely different aesthetics than former styles. Thus it offers a great variety of possible designs.

In the history of art, after Neoclassicism which in the Romantic era could itself be considered a historicist movement, the 19th century saw a new historicist phase marked by an interpretation not only of Greek and Roman classicism, but also of succeeding stylistic eras, which were increasingly considered equivalent. In particular in architecture and in the genre of history painting, in which historical subjects were treated of with great attention to accurate period detail, the global influence of historicism was especially strong from the 1850s onwards. The change is often related to the rise of the bourgeoisie during and after the Industrial Revolution. The history and evolution of armour in Chinese warfare is difficult to ascertain with certainty, given its often perishable nature, but text descriptions and appearances in art, such as in wall paintings and on pottery figurines, along with surviving metal parts can help reconstruct major developments. Just who wore armour and when is another point of discussion. Military treatises of the Warring States period (c. 481-221 BCE) suggest that all officers of any level wore armour. The same sources contain references to commanders keeping armour in storage bags and distributing it to troops, but at least some of the ordinary conscripted infantry probably had to provide their own. This obviously depended on their means, and being farmers it is unlikely to have been a realistic possibility for most. 31 cm high, weight 3 kilos.  read more

Code: 22225

Most Interesting & Incredibly Rare 19th Century Cornish Tin Miner’s Leather 'Tull' Helmet

A most rare artefact of early English mining. this amazingly historical piece of the earliest British mining industry would make an incredible display for a former miner or miner's family.
These days they are only ever to be seen in museums or recreated for historical dramas such as 'Poldark'. A style of helmet that was copied by the British army to create the WW1 Brodie helmet. This helmet was formed from a single piece of boiled leather, some economy versions were made of shaped felt soaked in pine resin. Under the tull, miners would wear a strip of cloth; helping the tull to fit. Candles were attached to the tull using lumps of clay. While working the tull was usually removed and the candle stuck to a nearby ledge. 4 small holes to brim. GC  read more

Code: 20945

An Original and Beautiful Elizabethan Period Helmet of the Spanish Armada Period Circa 1570

An armour 'pear stalk' cabasset helmet from the era of the unsuccessful Spanish 'Armada', the attempted invasion of England, during the Reign of Queen Elizabeth Ist. Used continually through the English Civil War and into the reign of King James. A fine one piece high peak cabasset helmet made in the mid to late 16th century. Wonderfully hand forged with hammer marks and with patches of delamination. This super helmet is nicely constructed with good edgework and lovely quality throughout, and it is a fine period piece in excellent condition for age. This form of helmet that survive today in England were often captured from the Spanish Armada armouries, and some even recovered from the sea bed alongside Spanish cannon, beneath the stricken Spanish ships, and subsequently issued to the London Trayned Bands. There is a picture in the gallery of the same form of helmet [heavily rusted] recovered from Jamestown, the early American colony fort. The History of the Cittie of London Trayned Bandes

(1572-1647)



In the absence of a regular army, the trained bands, founded in 1572 as part of Elizabeth I's efforts to modernise the militia, were the only permanent military units in England. While the county bands were often poorly organised, ineptly officered and infrequently trained, the London bands were not, although enthusiasm did wax and wane considerably over the years of their existence (1572 - 1647).



The Regiments

Before the Civil War there were four London regiments - the North, South, East and West - comprising a total of 6,000 men in 20 companies. In 1642, as relations between king & parliament worsened, the bands were re-organised into 40 companies of 8,000 men in six regiments named the Red, Blue, Green, White, Orange and Yellow after the colour of their regimental flags, or "trophies", as they were known to London militiamen. The following year, after the King's unsuccessful attempt to seize The Capital, three more trained band and five "auxiliary" regiments were raised bringing the whole force to around 20,000 men. This large army, controlled by the mayor and the city aldermen, held London for parliament throughout the first Civil War (1642 - 1646) and contributed brigades of foot to parliament's field armies. The establishment and subsequent rise of the New Model Army after 1645 greatly reduced the significance of the bands and they gradually melted away. Today, only the Honourable Artillery Company, a ceremonial unit of ex-soldiers, remains as a legacy of the glory days of London citizen?s solders. Weapons & Equipment

Weapons and equipment conformed to statute laid down by the Privy Council. The following description is from the 1638 issue of "Directions for Musters".



The Pikeman

"Must be armed with a pike seventeen feet long, head and all; the diameter of the staff to be one inch 3/4, the head to be well steeled, 8 inches long, broad, strong and sword-pointed; the cheeks 2 foot long, well riveted; the butt end bound with a ring of iron, a gorget, back, breast, tassets and head piece, a good sword of 3 foot long, cutting and stiff pointed with girdle and hangers".
The Musketeer
"Must be armed with a good musket, the barrel four foot long, the bore of 12 bullets in the pound rowling in, a rest, bandolier, head-piece, a good sword, girdle and hangers".
One other picture is a period engraving of an Elizabethan soldier with his pear stalk cabasset, another picture of The Battle of Gravelines, August 8, 1588, which is of the defeat of the Spanish Armada by Sir Francis Drake, Queen Elizabeth's Admiral. Pictures shown for information only. Some text is quoted from an article by Mr Steve Rabbitts on London trayned bands  read more

Code: 20248

A Fabulous 18th Century Brass Blunderbuss Barrelled Flintlock Royal Naval Captain's Pistol, c 1760, By Isaac Bissell a Renown Scottish Maker Of Leith & Birmingham, Who Also Traded in London

Made by isaac Bissell a maker from 1740 to 1780 who was a renown naval captain's pistol maker, supplier to the crown, and also similarly renown as a top maker of finest Scottish Highland officer's pistols, in the all metal Scottish fashion, with rams head butts. One of his surviving original, Scottish pistols is marked "RHR" on the barrel, standing for the Royal Highland Regiment (becoming the 42nd Royal Highland Regiment "Black Watch"), and many of the pistols carried by the men of the 42nd during the French and Indian War were actually made by Isaac Bissell.

This fine example was used by a British Naval Captain since the Anglo French wars in America, the American Revolution and right through the Napoleonic Wars. A good length pistol, with a typical, swamped, barrel, the octagonal breech having view and proof marks, with the barrel gently changing to round, and a very finely strawberry-leaf engraved brass rounded lock, signed by Isaac Bissell with unbridled frizzen and swan neck cock.

Superb ‘Jutland Regia’ walnut fullstock with bulbous butt; brass mounts and a tutaneg grotesque mask butt cap, rococco tutaneg escutcheon, a rococco, Romaneque pierced sideplate, and trigger guard with acorn finial; with horn tipped wooden ramrod. Very good condition brass cannon barrel .

These kind of all brass pistols were the weapon of choice for naval officers and ship's captains in the 18th century for use at sea. This is a superb example. The muzzle (and often the bore) was flared with the intent not only to increase the spread of the shot, but also to funnel powder and shot into the weapon, making it easier to reload in haste. The flared swamped muzzle is one of the defining features of this fabulous pistol. Ship's Captain's found such impressive guns so desirable as they had two prime functions to clear the decks with one shot, and the knowledge to an assailant that the pistol had the capability to achieve such a result. In the 18th and 19th century mutiny was a common fear for all commanders, and not a rare as one might imagine. The Capt. Could keep about his person or locked in his gun cabinet in his quarters a gun just as this. The barrel could be loaded with single ball or swan shot, ball twice as large as normal shot, that when discharged at close quarter could be devastating, and terrifyingly effective. Potentially taken out four or five assailants at once. The muzzle was swamped like a cannon for two reasons, the first for ease of rapid loading, the second for intimidation. There is a very persuasive psychological point to the size of this gun's muzzle, as any person or persons facing it could not fail to fear the consequences of it's discharge, and the act of surrender or retreat in the face of an well armed pistol such as this could be a happy and desirable result for all parties concerned.

Tutaneg was an exotic imported metal and popular in the 18th to the cusp of the 19th century. It was referred as such in 'Voyages and Descriptions by the great Capt. William Dampier. 1652-1715'. And in Daniel Defoe's book of 'The Adventures of Robert Drury'. It resembled silver but stronger like nickel, and was a metal used in England for small items of interest where silver was not practical. It's use died out in the 19th century. William Dampier was the first Englishman to explore parts of what is today Australia, and the first person to circumnavigate the world three times. He has also been described as Australia's first natural historian, as well as one of the most important British explorers of the period between Sir Walter Raleigh and James Cook. Traces of a small old contemporary fore-end wood repair
**Special Conservation Item

As with all our antique guns no license is required as they are all unrestricted antique collectables  read more

Code: 24671

A Wondrous Quality 18th Century Gilt Bronze Hilted Royal Naval Officers Sword of Hunting Hanger Form

Due to its superlative quality it was likely formerly the the property of a duke, prince, or an aristocrat of the highest status. It is also very similar to the the Walpole-Suckling Hunting Hanger Sword believed Carried by Capt. Horatio Nelson, sold by Sotheby's special treasures sale in 2003, see photo 10 in the gallery.

Originally intended for use in the boar or stag hunt, but most usually used in the early part of the 18th century by British senior officers in the Royal Navy. There are many portraits of Queen Anne period Naval admirals and the like carrying their hunting swords while in service aboard ship, as it was the perfect size for close combat use, aboard a well and profusely rigged man o’ war.
In the gallery is a portrait of Admiral Benbow holding his very similar hunting sword, another of Admiral George Churchill with his same sword, and once again with his same hunting sword Admiral Sir Cloudsley Shovell.

In the seminal works, 'Swords for Sea Service' by May and Annis, shown in photographed plates 80 and 81, are two other 18th century hunting swords used by noted naval officer's, one by Galfridus Walpole, said to have been used by Nelson and the other sword of Admiral Don Francisco Xavier Winthuysen, that was surrendered to Commodore Nelson at the Battle of St Vincent in 1797

Finest gilt bronze hilt engraved and cast throughout of scenes of hunts. With sharkskin grip, cast repousse decorated shell guard, knuckle bow and pommel, decorated with full relief very finely engraved blade with hunting scenes of wild boar. The wild boar is the ancestral species of the domestic pig. It is native across much of Central Europe
Unlike the Romans for whom hunting boar was considered a simple pastime, the hunting of boars in Medieval Europe was mostly done by nobles for the purpose of honing martial skill. It was traditional for the noble to dismount his horse once the boar was cornered and to finish it with a dagger. To increase the challenge, some hunters would commence their sport at the boars mating season, when the animals were more aggressive. Records show that wild boar were abundant in medieval Europe. A charging boar is considered exceptionally dangerous quarry, due to its thick hide and dense bones, making anything less than a kill shot a potentially deadly mistake. Hunting dogs have been used to hunt boar since ancient times. Boar hunting dogs are loosely divided into two categories, bay dogs, and catch dogs.
Bay dogs harass and harry the boar, keeping it cornered in one place and barking loudly. This behaviour is known as "baying" or keeping the boar "at bay". The bay dogs' barking alerts the hunters to the bay, so that the hunter may catch up and kill the boar.the clergy demanding tribute from commoners in the form of boar carcasses or body parts. In 1015 for example, the doge Ottone Orseolo demanded for himself and his successors the head and feet of every boar killed in his area of influence.

In this period, because of the lack of efficient weapons such as guns, the hunting of boars required a high amount of courage, and even the French king Philip IV died from falling off his horse when charged by a boar.

The sword is in fine condition for its age. It lacks the small quillon end  read more

Code: 21041

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