Description
of simple circular outline, the ormolu body with inswept sides and simple repeating linear panels, the hinged cover set with domed porcelain plaque with fine representation of white rose buds with butterfly, two moths above and a caterpillar in foliage below, opening to reveal a second inner cover with reverse painted on glass portrait of Prince Charles Edward Stuart, the base of the box set with finely formed radiating panel of pressed tortoiseshell
Dimensions
7.5cm diameter
Footnote
Notes; The culture of hidden symbolism is synonymous within Jacobite applied art. The power of the portrait and images associated with any cause go back to the roots of self-promotion; from the ancient Egyptians representation of themselves in paintings and sculpture to the political manifesto fliers received today.
But perhaps the Jacobite movement and Prince Charles Edward Stuart took this to a new level in the 18th century arts. From effigies in portraits and miniatures showing the Bonnie Prince and his father as they wished to be considered - strong military men with a divine right to the throne - to the propaganda placed by both sides throughout the uprising in medallions, symbolism and hidden meanings were abound.
After the defeat at the battle of Culloden in 1746, showing one's Jacobite support was not only dangerous but a treasonous offence. The Act of Proscription in 1747 had banned tartan, bagpipes and controlled the Jacobite and Scottish identity, therefore, the ownership of any Jacobite items was a high risk affair.
The outer cover of this box shows a wealth of such hidden messages, the large white rose a clear display of political affiliation. A commonly used symbol within the movement but seen in this combination of a large open displayed rose head flanked by two buds (one open, the other closed) was a greater and powerful symbol. Representing King James VIII / III (of England) (the open rose), Prince Charles (the open bud representing his claim and right to the throne) and Henry Benedict Stuart, Cardinal Duke of York (the closed bud showing the fact he had renounced his rights and his claim to the throne was now 'closed'), to the second layer showing the three heroines of the uprising again as butterfly, and two moths.
The caterpillar beneath perhaps a slightly more covert symbol has always been to signify the passing of time and change generating new life and evolving into one's rightful position.
These hidden emblems would have been known and obvious to supporters of the cause but remained hidden from Hanoverian forces and perhaps saved the lives of the owners. These hidden sympathies could be outwardly shown in close and trusted company with the revealing of the hidden portrait under the cover which left no doubt to those seeing or handling the box of the owner's true sympathies.
It is interesting to note that the majority of these boxes are made in France or Europe (while English enamel examples do exist) and it was perhaps a small but important trade on the Continent supplying the interest of the Jacobites at home as well as the exiled Jacobites on the continent.