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Tavern Signs: Crown

A very general expression of loyalty, again, was conveyed in the sign of The Crown, which, by the way, was shrewdly complimentary to the reigning house without offering offence to the partisans of a rival claimant to the throne. The Rose and Crown had reference originally to the union of the red and white roses in the House of Tudor by the marriage of Henry VII. with Elizabeth, the daughter of Edward IV., in the year 1486; The Crown and Sceptre must have originated in the mind of one who had been witness to the elaborate ceremonial peculiar to a coronation; while the The Crown and Anchor signified the reliance which was placed in the exalted person that wore the crown.

If, on the other hand, our mediæval innkeeper chose to flatter the ground landlord without actually adopting his cognizance, he invariably named his establishment after his lordship's family title, e.g., The Earl of March, in compliment to the Duke of Richmond, or else set up some such sign as The Hare and Hounds, The Tally Ho! The Fox in the Hole, &c., in allusion to the sporting tastes of his patron. At times he even went so far as to enter into the religious enthusiasm of the latter by Tavern Signs. exhibiting a preference for The Angel or The Salutation, both referring to the Annunciation of the Virgin; The Three Kings, meaning the Magi who presented themselves to the Infant at Bethlehem; or The Cross Keys, the symbol of St. Peter, and the badge of the Archbishop of York.

The sign of The Mitre was generally adopted by an innkeeper whose establishment stood in the vicinity of a cathedral; consequently, this particular sign abounds in cities, but is rarely to be met with in the rural districts.

During the period of the Holy Wars, if the innkeeper did not content himself with the sign of The Turk's Head or The Saracen's Head, that of The Golden Cross, which was the ensign carried by the Crusaders, was usually chosen. The modern sign of The Half-Moon originated in the crescent, the ensign of the Infidel. The signs of The Swan, The Pheasant, and The Peacock arose in the days of knight-errantry, when every knight selected one of these birds as an emblem of chivalry, and exerted a pride in the association. For example, one of the principal characters in the "Niebelungen Lied" is called "The Knight of the Swan." Then, again, many innkeepers assumed a sign in honour of the patron saint of England, or in commemoration of his combat with the dragon, viz., The St. George, The St. George and Dragon, The George and Dragon, The Green Dragon, &c. The George, a common sign enough in our own day-it would be difficult to name a town that has not its "George ” t in the High Street-was originally connected with the dragon too; but at the commencement of the Hanoverian succession the heraldic device was painted out altogether, and the words THE GEORGE were put up in its place. The like observation applies to all such signs as The King's Arms, The Queen's Arms, The Freemasons' Arms, The Coachmakers' Arms, The Saddlers' Arms, The Carpenters' Arms, &c., nowadays identified by name only, instead of their distinctive badge or crest. We must not omit to mention also that, since the especial function of tavern and other signs was to call attention to the character of an establishment in days when the people were unable to read, and when, therefore, the display of the owner's name or of the name of the house would have been useless, the misapprehension of the painted device was of common occurrence.

Hence the corruption of many signs from their original meaning.