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Portrait of King Charles I

On the bitterly cold morning of 30 January 1649, following a long and brutal civil war between Crown and Parliament, King Charles I was beheaded in London and the monarchy was abolished.

Three years earlier, in 1646, Parliament had rid the Church of England of its bishops, and when the House of Lords was also abolished in March 1649, virtually the entire, centuries-old, basis of government in Britain had disappeared, seemingly for good. Little wonder people living at the time called it ‘a world turned upside down.’

In the end this uncertain Commonwealth period was to last only eleven years as the monarchy was restored in 1660, but the highly distinctive coins minted during this short stretch of time are sometimes unearthed by metal detectorists in Wales and reported via the

Coins for the Commonwealth

It is not surprising that the radically new form of government ushered in so bloodily with the end of the monarchy in 1649 should have caused an upheaval in another enduring aspect of national identity – the coinage. Prior to this all coins had been issued in the monarch’s name and contained his or her image. Even during the Civil Wars (1642-48), Parliament – which was in control of London and therefore also of the Tower Mint - had continued to strike coins in the traditional style as long as the outcome of the war was uncertain. But now that Britain was a republic the centuries-old design of coins with the monarch’s head and Latin legend was clearly inappropriate. A new design, emphasising the legitimacy of the new republican regime, was needed.

Why do they look different?

You don’t need to be a coin expert to notice the obvious difference between the new coins and those we are all more familiar with - there is no king’s head! Of course, when the real king’s head was removed from his shoulders, its likeness also had to be removed from the coinage. With the king gone, the House of Commons claimed that it now exercised sovereign power on behalf of the people, and that God had given his approval to this new state of affairs by allowing Parliament to defeat the king in battle. This bold claim was bolstered by the imagery and lettering used on the new coinage.

On the obverse (heads) side, replacing the traditional monarch’s crowned head, there now appeared a shield containing the cross of St George, representing England. This was surrounded by a wreath of laurel and palm, symbolising Parliament’s victory and the peace it claimed it had brought. On the reverse (tails) side were the conjoined shields of England and Ireland, the latter represented by an Irish harp, along with the date of issue and denomination. Scotland, then a separate nation with its own coinage, was not represented, nor was Wales, which was thought of as part of the kingdom of England and so covered by the cross of St George – as is still the case in the modern Union Jack.

There were also changes to the legends, or lettering, appearing around the edge of the coin’s faces. Traditionally these would have been in Latin, giving the name of the monarch and an abbreviated list of their titles (including a claim to France!) as well as a Latin motto, but this was now replaced with ‘THE COMMONWEALTH OF ENGLAND’ on the obverse and ‘GOD WITH US’ on the reverse. These simple statements not only did away with all references to royal power, they also replaced Catholic-sounding Latin with good Protestant English, and in true Puritan style laid claim to God’s favour and support.

Royalist reaction and the ‘Rump Parliament’

A seventeenth-century woodcut showing two men in a tavern, wearing the breeches said to resemble the conjoined shields of the Commonwealth coins. (Source: http://www.godecookery.com/mirth/mirth008.html)

Although Charles had been defeated and the monarchy abolished, there were still many people who had been against his execution and were fierce critics of the new republican regime, led by the so-called ‘Rump Parliament’ until 1653. Even the coins came in for ridicule, the royalists finding ways to attack the government by poking fun at the new designs. The wording of the legends on either side of the coins, for example, led royalists to observe that ‘God’ and ‘the Commonwealth’ were on opposite sides. The appearance of the conjoined shields of England and Ireland also caused amusement as they bore an uncanny resemblance to a pair of breeches, and were referred to in royalist circles as ‘breeches for the rump’, ‘rump’, being not only the name of the parliament but also a common term for someone’s backside.

Interestingly, in 1658 the government made an attempt to return to a more familiar design harking back to the royalist period. This featured the profile of the new head of state, Protector Oliver Cromwell, crowned with a laurel wreath on the obverse, and a coat of arms surmounted by – of all things – a crown on the reverse. Cromwell had earlier been offered the crown, but had refused it, so was it included in the new design in an attempt by the shaky government of the day to present an image of stability using the more familiar symbolism of times gone by? Cromwell died soon after this and the coins were never circulated so are not likely to be found by detectorists.

The Restoration and beyond

The republican experiment ultimately failed and the monarchy was restored under Charles II in 1660. Those who had signed his father’s death warrant, known as the regicides, were rounded up and executed; even the corpse of Oliver Cromwell was exhumed and hung in chains. A similar lack of mercy was shown to the Commonwealth coinage. It was suppressed and called in for recoining between 1661 and 1663, with an estimated two-thirds out of the total minted since 1649 being recovered. But what happened to the rest?

Most will have been taken abroad and some was hoarded, although the coins recovered by detectorists in Wales, which are all of the smaller denominations of penny and half-groat, suggest that some were accidentally lost. The wear and tear suffered by most of these finds may be a result of use or of subsequent damage while in the ground, although one found by Gwyn Rees near Wenvoe, South Glamorgan, in 2012, which has been bent and pierced with a hole at the top, seems to have been reused as a love token, possibly to have been suspended from a chain or ribbon. Was this discarded coin an accidental loss, or is it evidence of a failed relationship? Another Commonwealth half groat, also found near Wenvoe by Mr Rees in 2015, has been pierced in the centre, probably to demonetise it and take it out of circulation in the early 1660s. It is possible that the Restoration government did not bother to recall all the smaller denomination coins, which may therefore have continued in circulation beyond the early 1660s.

Historical significance

Although collectors see them as relatively uninteresting because of the plainness of the design and its uniformity across the denominations, Commonwealth coins are fascinating from a historical and archaeological point of view. In circulation for such a short period of time they are survivors of a troubled period in British history, when a bloody and divisive war was followed first by the shock of the king’s execution and then by years of political and religious upheaval as the country tried to find an acceptable alternative to monarchical rule. Just as all the political alternatives failed in turn, the new coins’ design was also shortlived – Charles II reverting to the familiar, centuries-old monarch’s head format, which continues in use today. The radical changes in design show how the new republican government tried to heal the ruptures of the Civil Wars and bolster its legitimacy in the absence of the king. Are they best seen as signs of life continuing much as it always had, or relics of a world turned upside down?

Oliver Cromwell, pattern half crown, 1658

Morpheus

Sir William Goscombe John (1860 - 1952)

Icarus

Sir Alfred Gilbert (1854 - 1934)

In 1881, William Goscombe John assisted in creating the sculptures for Cardiff Castle's Animal Wall

Edwardian Wales, newly wealthy from coal, iron and steel, provided rich opportunities for a sculptor. William Goscombe John's public monuments can be found all over Wales, but nowhere more than in his native Cardiff. He also modelled the prize medals still awarded by the National Eisteddfod today.

Making his way

He was born William John in Cardiff in March 1860. He assumed the name Goscombe from a Gloucestershire village near his mother's old home. His father Thomas John was a woodcarver in the workshops set up by Lord Bute for the restoration of Cardiff Castle. William joined his father at the age of 14, while also studying drawing at Cardiff School of Art.

In 1881 he went to London as a pupil assistant to Thomas Nicholls, the sculptor responsible for the Castle's Animal Wall. He continued his studies at the Kennington School of Art and, from 1884, at the Royal Academy Schools, where he was taught naturalistic modelling in clay in the French manner introduced in London in the 1870s by Jules Dalou.

He was an outstanding student, and travelled widely. He spent a year in Paris, including a period in Rodin's studio. In 1890 he returned to London and settled in St John's Wood.

His sculpture Morpheus, shown in the Paris Salon of 1892, clearly shows Rodin's influence.

The 'New Sculpture'

British sculptors of John's generation were trying to make sculpture more dynamic through the vigorously naturalistic representation of the human body. They represent the final flowering of a sculptural tradition that had its roots in the Renaissance, and was revitalised by Rodin and his contemporaries in mid nineteenth-century France. John followed the success of Morpheus with a statue of John the Baptist for Lord Bute, and by a group of life-size nudes including Boy at Play and The Elf. These show complete mastery of anatomical form.

By the end of the 1890s Goscombe John had firmly established himself, exhibiting his work both nationally and internationally. He was beginning to win big public commissions and in the years leading up to the First World War he was extremely busy.

Wales and the Empire

Although based in London, John was careful to position himself as Wales's national sculptor. In 1916 he contributed the central marble figure St David Blessing the People to a group of ten figures made for Cardiff City Hall. He also received commissions for portraits from the leading Welshmen of the day. John may have built his career on local patronage, but he attracted work from across the Empire, such as his tomb in Westminster Abbey to Conservative Prime Minister Lord Salisbury, and his equestrian statue of King Edward VII in Capetown.

His first major public sculpture was the King's Regiment memorial (1905) in the centre of Liverpool, incorporating soldiers from the regiment's history, including the vast Drummer Boy, which is his best-known work.

The Welsh and the Imperial came together in the commission for the regalia for the investiture of the future Edward VIII as Prince of Wales at Caernarfon Castle in 1911. John designed a crown, a ring, a sceptre and a sword that contained a 'Welsh' iconography of dragons, daffodils and Celtic interlace.

John had little sympathy with what he termed the 'Easter Island' style of modern sculpture, with its emphasis on direct carving in stone. Critical opinion was already beginning to leave him behind by 1914, but the First World War tragically brought new commissions for memorials, including many in Wales.

Goscombe John and the National Museum

Goscombe John was one of the founding fathers of Amgueddfa Cymru. He served on the governing Council for over forty years, and played a major role in establishing the future direction of the art collection. As well as a complete representation of his own work, his gifts to the Museum included work by many of his fellows in the New Sculpture movement, among them the primary cast of Alfred Gilbert's Icarus, and by many other artists he admired.

Royal Research Ship Discovery II in loose pack ice, Bouvet Island, Southern Ocean, 1926.

One of the most poignant Welsh stories from Scott's 1910-13 British Antarctic Expedition is that of Petty Officer Edgar Evans from Rhossili in Gower, one of the team of five who made it to the South Pole with Scott himself. Evans was the first to die on the return march from the South Pole.

Here we explore other Welsh links with Antarctica — a geologist from St Fagans, and the Antarctic work of a zoologist from St Brides Major who later became Director of the National Museum.

Dilwyn John's Polar Medal.

A Welsh Geologist at the South Magnetic Pole

The geologist T.W. Edgeworth David was born in 1858 in St Fagans where his father was rector. He studied glacial deposits in south Wales before moving to Australia in 1882 to join the Geological Survey of New South Wales. In 1891 he was appointed Professor of Geology at the University of Sydney. He became one of Australia's most famous scientists.

David joined Ernest Shackleton's Nimrod expedition in 1907. In March 1908, aged 50, he led the first ascent of Mount Erebus, an active volcano on Ross Island. With Douglas Mawson and Alistair Mackay, in January 1909, he was the first to reach the region of the South Magnetic Pole. His journey of 2,028 kilometres took 122 days and is one of the longest unsupported man-hauled sledging journeys ever undertaken.

He persuaded the Australian government to contribute towards Scott's 1910 expedition and helped him appoint geologists from among his students. He was awarded the Polar Medal in 1910 and an honorary degree by the University of Wales in 1921.

Dilwyn John and the Discovery Investigations

Scott's first Antarctic ship, Discovery, returned to the continent in 1925 in the first of a series of scientific research cruises in the Southern Ocean to study the biology of the Southern Ocean and the effects of commercial whaling on the whale populations. This research, known as the Discovery Investigations, continued until 1951.

David Dilwyn John (1901-95), from St Bride's Major in Glamorgan, was a zoologist who participated in three of these cruises between 1925 and 1935. The first, on Discovery, between 1925 and 1927, worked in the seas around South Georgia and the Antarctic Peninsula. He then spent two years on RRS William Scoresby on a whale marking expedition around South Georgia. In 1931-33, he was Chief Scientist on Discovery II on the first winter circumnavigation of Antarctica.

In 1935 John joined the staff of the British Museum (Natural History) as Assistant Keeper of Zoology. He left in 1948 to become Director of the National Museum of Wales, a post he held until 1968. He was awarded the Polar Medal in 1941.