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Edward gets the Thistle

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The Prince Edward seems to have made a habit of collecting new titles on his birthdays. For the occasion of his wedding in 1999 he was ennobled as Earl of Wessex and Viscount Severn. These both refer to places in England, in contrast with the normal convention for royal peerages. On his fifty-fifth birthday he gained a surprise Scottish title – Earl of Forfar – and then for his fifty-ninth he gained another, long-awaited and far more prestigious one – Duke of Edinburgh. Now that his primary title refers to a Scottish place – and the capital at that – it would seem a little strange for him not to join Scotland’s highest order of chivalry.

It was not exactly surprising, then, to learn that on his sixtieth birthday he had been appointed an Extra Knight of the Order of the Thistle. In this category he joins his nephew the Duke of Rothesay and his sisters the Queen and the Princess Royal. We can expect that soon his banner of arms will be hung alongside theirs at the High Kirk in his namesake city.

The King also announced three new appointments among the ordinary membership of the order – the Baroness Black of Strome, the Baroness Kennedy of The Shaws and Sir Godfrey “Geoff” Palmer – all of whom, curiously, have academic careers. This brings the order up to its full complement of sixteen members (excluding royals). It is unusual for all the appointments to be made today as traditionally they are announced on 18th June.

Finally, a concurrent press release confirmed that the duke had been appointed to a second term as Lord High Commissioner to the General Assembly of the Church of Scotland, a post which he last held in 2014-15. In the Scottish order of precedence he will rank immediately below the sovereign himself, rather than his natural precedence as a brother thereof.

Awdry Arms Again

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Back in November I discovered the coat of arms of Sir John Wither Awdry, paternal grandfather of children’s author Wilbert Vere Awdry. The illustration was based on a blazon found in Burke’s Landed Gentry, 1862.

Page 39 of that book gives the shield Argent three cinquefoils Or on a bend Azure cotised of the same and crest out of a ducal coronet a lion’s head Azure for AWDRY OF SEEND.

The next entry is AWDRY OF NOTTON, and it is this one which includes Sir John. For the arms and crest of this branch, Burke merely says “same as AWDRY, of Seend”.

Today I have found the family referenced in the Burke’s Landed Gentry 1921. Page 53 of this book gives a slightly different blazon – shield Argent on a bend Azure cottised Sable between two crescents of the second a crescent between two cinquefoils Or and crest on a wreath of the colours in front of a lion’s head erased Azure gorged with a collar gemel Argent a cinquefoil between two crescents fesseways Or. Curiously the entry for Awdry of Seend in this edition gives no armorial details at all. Wilbert was ten years old when this version came out, and his date of birth is given in his father’s paragraph but no other detail about him personally is included.

The Awdrys are also mentioned at least twice by Arthur Charles Fox-Davies in his Armorial Families series. Page 51 of the 1895 book gives entries for multiple Awdry men, each time with the same information about Sir John’s arms – shield Argent on a bend cottised Azure three cinquefoils Or a crescent of the second for difference and crest out of a ducal coronet Or a lion’s head Azure. He also takes care to note that these are armorial bearings as used, and as quoted in Burke’s “Landed Gentry”, but for which no authority has been established. These comply with the blazon as I first encountered it, except that the crescent for difference was not originally there. The crescent, of course, is the traditional English mark of cadency for an armiger’s second son. I find it a little odd that Fox-Davies types the exact same information out for each of Sir John’s many sons whom he records, but does not say if any of them added extra cadency marks for their own position in the family tree. Pages 55 and 56 of the 1910 book gives the exact same blazon as Burke’s 1921.

For now I will accept the later version as the correct one and I have modified my illustration accordingly. Pending further research, I would speculate that the Awdrys of Seend are the senior branch of the family with the relatively simple arms while the Awdrys of Notton are the long-established offshoot with permanent (although inconsistently recorded) augmentations.

FURTHER VIEWING

A Cluster of Camerons

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Donald Andrew John Cameron was elected to the devolved Scottish Parliament in 2016 on the regional list for Highlands & Islands. He served in many roles in the shadow cabinet at Holyrood, but last month resigned his seat upon appointment as Parliamentary Under-Secretary of State for Scotland in the national government at Westminster. To facilitate these duties he was ennobled yesterday as Baron Cameron of Lochiel, of Achnacarry in the County of Inverness. Although this is a life peerage, he also holds the hereditary chieftancy of Clan Cameron, of which two other members currently sit in the upper house – and both of them acted as supporters to his introduction ceremony.

Ewan James Hanning Cameron, Baron Cameron of Dillington, has sat as a crossbencher since 2004, having previously worked in semi-political rural advocacy roles during the premiership of Tony Blair. He is a grandson of Sir Donald Walter Cameron, the 25th Clan Chief, thus making him an agnatic first cousin once removed of Lord Cameron of Lochiel.

David William Donald Cameron, Baron Cameron of Chipping Norton, should already be familiar to most readers as the former prime minister and current foreign secretary. His consanguinity to the new peer is very distant, his great-great-grandfather Sir Ewen Cameron having claimed descent from the Camerons of Erracht, themselves being descended from a younger son of the 13th Lochiel and branching from the main clan in the sixteenth century.

The arms of Clan Cameron are Gules three bars Or. Lochiel naturally bears these undifferenced, while Dillington differences with in the honour point an escallop of the second. Chipping Norton differences with four bezants in chief.

The House of Commons also saw an introduction ceremony yesterday when George Galloway returned after a nine year absence having been elected MP for Rochdale. MPs who win by-elections are also traditionally escorted to the clerks’ table by two incumbent members. There were reports that Galloway had asked Jeremy Corbyn (Islington North) and Sir David Davis (Haltemprice & Howden) to act as his sponsors but both had turned him down. He was instead accompanied by Sir Peter Bottomley (Worthing West) and Neale Hanvey (Kirkcaldey & Cowdenbeath).

EXTERNAL LINKS

Notes on the Memorial of Constantine II at Windsor

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People of prominence often find that one period of mourning is not enough. For many of high status there will be the funeral itself within weeks of their death and then a separate, less formal, memorial service as much as a year later. Prince Philip had one of these in 2022, as did Lady Boothroyd last month.

Constantine II, King of the Hellenes 1964-73, died on 10 January 2023 and his funeral was held in Athens six days later. Yesterday a thanksgiving service took place at St George’s Chapel, Windsor, hosted and attended by the British royals.

Although it was a British-hosted event, only the Greek family’s website seems to list the order of service or any photographs. The order of service is has the late monarch’s arms illustrated on the first cover and those of the Order of the Garter on the last. This time the illustration is not that by Sodacan for Wikimedia Commons. I cannot identify the artist for this one, nor which typeface was used for the prose.

Most intriguing about the online material is that it highlights the contribution of the Lord Soames of Fletching. There is even a link to his website, which is still up even though it clearly hasn’t been updated since the most recent general election.

The Audley Beast with David Phillips

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Thomas’s daughter Margaret, painted in 1562, with the beast in the background.

After a long-ish break – the January lecture failing due to technical glitches – I returned to the Oxford University Heraldry Society for a lecture about the Tudor era nobleman Thomas Audley, 1st Baron Audley of Walden, and the mysterious animal that features as his heraldic supporter.

At the end of the lecture I asked a question that had been intriguing me for a while – why, in the early Tudor period, was there such an explosion of historically-prominent senior officials with the first name Thomas?

Phillips gave the answer that, prior to the reformation, Thomas Becket was one of England’s most venerated saints and so of course a high proportion named their sons after him. That just left me with the new question of why there weren’t so many Thomases in high office between Henry II and Henry VII’s reigns, but I didn’t get time to ask that one.

On an unrelated note, today marks the tenth anniversary of my registration as a Wikipedia editor. In terms of edit count rankings, I have climbed to number 5452. There was no grand celebration – not even an automated reminder – but I did discover a Ten Year Society to join, albeit one with little activity thus far.

Liberating a musical relic

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In discussions of artistic and intellectual property it is often remarked that “There is nothing new under the sun.” in reference to the frequency with which works under copyright turn out themselves to have been copied or derived from older material which may or may not have been public domain already – such as popular film scores taking cues from classical compositions.

One example is Howard Shore’s In Dreams, part of his soundtrack to The Fellowship of the Ring. The melody, especially the first seven notes, came from the 1901 hymn This Is My Father’s World.

The lyrics were written by Presbyterian minister Maltie Babcock and set to music by composer Franklin Sheppard. Despite the musical similarity, thematically they are entirely different: Babcock’s lyrics are mainly about the beauty of natural creation, with a few explicit references to scripture, and obviously multiple references to the Christian deity. Shore’s song, in common with everything else in Jackson’s films, avoids any direct mention of Eru Ilúvatar. Principally the song seems to be about perseverance through adversity and the emotional pain of separation from close friends. Given how the story ends, it could be interpreted as anticipating reunification after death. That the song should allude to spiritual principles without actually naming a real religion is in keeping with Tolkien’s conception of the book (albeit he was Catholic not Presbyterian).

This was the favourite childhood church song of prominent atheist Penn Jillette, who even parodied it for the opening them of his podcast. Personally I only discovered the hymn when searching backwards from the FOTR score, and on further investigation it does not seem to have made much of a cultural penetration outside North America. Searching for it on YouTube mainly brings up American religious schools.

Given the song’s publication and Babcock’s death both occurred in 1901, with Sheppard dying in 1930, the music and lyrics have both been in the public domain for some time, so I was a little surprised to see that Wikimedia Commons did not have an audio file. I set about creating one, based on a photograph they did have of a printout of the sheet music. It had been a long time since last I used MuseScore, but in about an hour I had relearned enough to copy out the page, render it as a sound file and upload it. Obviously mine is instrumental only as MuseScore does not have a singing function and I did not wish to record my own voice for this.

EXTERNAL LINKS

  • This Is My Father’s World, performed by pupils of Fountainview Academy, British Columbia. They really seem to be leaning into the LOTR comparisons with the rowboats and the fallen leaves.
  • Extract from LOTR making-of documentary, showing the recording of In Dreams.
  • Rendition by Sean Holshouser. Twelve years and forty videos later (many of them being actual Christian songs), this remains by far his most popular.

The King’s Accession: Fast and Slow

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The royal journalist Robert Hardman recently released his latest publication Charles III. New King. New Court. The Inside Story, which covers the end of the previous reign and the beginning of this one. Confusingly the same book seems to have been published under at least three titles: I’m also seeing it called Charles III: The Making of a Modern Monarch and The Making of a King: Charles III and the Modern Monarchy.

Reading the whole thing will obviously take some time, but I have managed to get through the first few pages, including those covering the decease of Elizabeth II. I was particularly fascinated by this passage:

…for visibility, Prince Charles was raised on his mother’s mantra that ‘I have to be seen to be believed’. Immediately after her death, it became clear that he would abide by this. Duties and conventions which might have been spread over many months at the start of the previous reign kicked in almost immediately. His first broadcast as monarch was recorded within twenty-four hours (Elizabeth II’s first broadcast, which was by radio, came ten and a half months into her reign). There would be visits to all the home nations within days. Court mourning, which continued for two and a half months after the state funeral of George VI, would end precisely one week after that of Elizabeth II. In less than three weeks, the King’s cypher, ‘CIIIR’ (Charles III Rex), was ready and released for immediate use on post boxes, military uniforms and official documents. It had taken more than five months before the design for ‘EIIR’ was approved in 1952. Investitures were up and running again within the month.

Of course, this is still slower than I would have liked, especially in heraldic, numismatic and vexillological matters: Sixteen months into the present reign, there is still uncertainty about the arms of The Queen and the Prince & Princess of Wales (especially in Scotland), as well as His Majesty’s personal banners in most other Commonwealth Realms. Though in almost all cases it is trivial to predict what they ought to look like, there are few in which I am certain that such designs have actually been granted. In addition, I am still yet to personally encounter any coinage or banknote bearing the current monarch’s face.

The slowness in updating online profiles is particularly baffling, given that it requires no physical material to be changed. This month there has been a hint of movement by His Majesty’s Revenue & Customs, whose Twitter icon now shows the Tudor crown, although the logo on the website itself still uses the St Edward version. The cover images for recent policy posts show both versions in use, suggesting that the filtering through of the new design is still ongoing.

UPDATE (19th February)

The crown logo is now updated across government websites.

A Patten Emerges

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On St George’s Day last year His Majesty appointed two new companions of the Order of the Garter – Lady Ashton of Upholland and Lord Patten of Barnes. Obviously that would mean their banners of arms would at some point be erected at St George’s Chapel in Windsor Castle. At the time it was not public knowledge what their lordships’ arms actually were, if indeed they had any, and given how long it was taking to find out about Blair and Amos I was not optimistic of learning any time soon.

Today they were revealed by Major Alastair Bruce of Crionaich via what used to be called a Tweet. He shows photographs of two banners of arms along with an excerpt from an online article, which I will quote below:

Baroness Ashton served in the Ministry of Justice and later as the EU’s first High Representative for Foreign Affairs and Security policy. She contributed towards negotiating a peace settlement between Serbia and Kosovo. Red roses reflect the fact that Upholland, which forms part of Baroness Ashton’s title, is in Lancashire.

On Lord Patten’s banner the pearls allude to the crest of Hong Kong where he was Governor from 1992 to 1997. The blue field and crowns replicate the arms of Oxford University where Lord Patten has been Chancellor since 2003.

It is not clear precisely where Bruce found this information, as the message includes the web address of St George’s Chapel but does not specify an exact page. I have looked through the site to find a recent update about Patten and Ashton but found nothing. I hope this will be resolved soon.

As for the heraldic designs themselves: Patten’s arms are perfectly dignified if a little unoriginal. Having the shield resemble that of his university could make for a confusing sight should he try to impale them. Ashton’s banner is an overloaded mess redolent of the worst excesses of the early nineteenth century.

That the reveal of these arms took only nine months instead of eighteen is a positive sign. I hope that future grants of arms will become public even faster.

UPDATE (15th January)

Baz Manning informs me that the images and quoted text are from The Dragon, the community newsletter of St George’s Chapel.

Found in the Booth

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For the past few years I have kept a keen eye on the blog Heraldry Online by Stephen Plowman. Most of the heraldry community learn of grants of arms by updates on relevant authorities websites, or by the accounts given in volumes of Debrett’s. Plowman, however, posts a regular stream of photographs of the actual letters patent by which the arms were granted, spotting the historic documents as they come up for auction (typically after the actual line of armorial inheritance has gone extinct). Today he has posted one particularly important to me – the late Baroness Boothroyd.

I have written many times before about my history with her arms, but it is nice to see the definitive article at last. The text of the blazon is the same as in Debrett’s, but we now know the date of granting (8th October 1993) and the herald responsible (Conrad Swan).

Public Domain Day 2024

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Public Domain Day this year is a little different: Relatively few artists of interest (to me, at least) have been released from copyright in Britain (probably the most culturally significant is the poet Dylan Thomas), but there have been major happenings overseas.

J. R. R. Tolkien died on 2 September 1973, so The Hobbit and The Lord of the Rings are set free today in countries with copyright terms of fifty years – most notably New Zealand, where Sir Peter Jackson adapted them for film. This might also have been the case in Canada, but the law was changed with effect from the end of 2022 to extend Canada’s posthumous copyright duration from fifty to seventy years. Tolkien’s works were thus among the first cohort to be delayed in their release. Of course, this only applies to works published in J. R. R.’s own lifetime – the great many posthumous works which were “edited” by his son Christopher (such as The Silmarillion and The Children of Húrin) will likely remain copyrighted until 2091 and those after Christopher’s death edited by Brian Sibley (e.g. The Fall of Númenor) could stay well into the twenty-second century (that’s before we even consider any other significant involved persons who may wish to claim co-authorship credit). The absurdity of this situation is compounded when one remembers that John Tolkien originally wrote some of these story ideas as early as the First World War.

The other big IP-related news story this year is the very long-awaited expiration of the copyright on Steamboat Willie, the 1928 cartoon film in which Mickey and Minnie Mouse made their first proper appearances. This film is now arguably less famous as an artistic work than as a symbol of copyright disputes, with the copyright term having been extended multiple times by acts of the United States Congress. From 2007 onwards Disney has been using an excerpt of the film as part of its production logo, which many perceived as a shift in strategy to have the image protected as a trademark once their luck with copyright extensions ran out. The Wikipedia page for the film has undergone a vast series of edits in the past twenty-four hours as multiple screenshots and stills are newly available on Wikimedia Commons.