Mightier Yet! A Superb and Original, Large, British WW2 Propaganda Poster For the Royal Navy. A Fabulous Historical Piece of Interior Decorative Art

A rare and amazing artefact of WW2. Printed for H.M Stationary Office by Fosh & Cross Ltd. A propaganda information and recruitment poster. Britain re-created the World War I Ministry of Information for the duration of World War II to generate propaganda to influence the population towards support for the war effort. A wide range of media was employed aimed at local and overseas audiences. Traditional forms such as newspapers and posters were joined by new media including cinema (film), newsreels and radio. A wide range of themes were addressed, fostering hostility to the enemy, support for allies, and specific pro war projects such as conserving metal and growing vegetables. In 1940 in particular, Winston Churchill made many calls for the British to fight on, and for British units to fight until they died rather than submit. His calls for fight to victory inspired a hardening of public opinion. Determination raised the numbers of the Home Guard and inspired a willingness to fight to the last ditch, in a manner rather similar to Japanese determination, and the slogan "You can always take one with you" was used in the grimmest times of the war. British victories were announced to the public for morale purposes, and broadcast to Germany for purposes of undermining morale.

Even during Dunkirk, an optimistic spin was put on how the soldiers were eager to return.

When the U-boat commander Gunther Prien vanished with his submarine U-47, Churchill personally informed the House of Commons, and radio broadcasts to Germany asked, "Where is Prien?" until Germany was forced to acknowledge his loss.

The turn of the war made BBC's war commentaries much more stirring.

We never normally comment on the investment potential of any collectable, but the potential for all underpriced WW1 and WW2 posters must be incredible, for example the more famed poster, 'Keep Calm and Carry On' can now sell for over £20,000.
Good condition with central folding creases. 20 inches x 30 inches.  read more

Code: 20768

A Most Rare Piece of Japanese, WW2 Aeronautica. A Torpedo Bomber Cockpit Warning Plate. From A Crashed Wreck Of A Mitsubishi G4M Bomber

WW2 Imperial Japanese Airforce Japanese aeronautical archeological finds are simply as rare as hens teeth, due to the location of such planes being so few and far between, and in 1945 those that were found were quickly removed and scrapped, with very few souvenirs taken, and although small this is a fabulous piece of WW2 history.

Taken from a crashed Japanese bomber & torpedo bomber in 1945, in Japanese it reads "Danger Do Not Turn, Engine May Fire Up"

The Mitsubishi G4M was a two engine bomber used by the Imperial Japanese Navy in World War II. Codenamed "Betty" by allies, there were 2,435 GM4's produced by Japan between the years of 1941 and 1945. The Mitsubishi G4M was used as a bomber and a torpedo bomber.

The Mitsubishi G4M was used in the sinking of The Prince of Wales and Repulse in 1941. It was also the aircraft that Admiral Yamamoto was in, when his Mitsubishi G4M was shot down by American P-38's.

The Mitsubishi G4M was the aircraft that the Japanese attached (to the bottom) the Yokosuka MXY-7 Ohka or "baka" rocket powered, kamikaze attack bomb/plane. The G4M would carry the bomb/plane with 2,000 lbs of explosives, underneath, until they were in range of a ship or target and then release it. The pilot would then glide the bomb/plane towards a target, then fire the solid fuel rockets, at the last, until it hit the vessel or target.

The Mitsubishi G4M was powered by two, Kasei, fourteen cylinder, radial engines and had a top speed of 265 mph. The G4M had a service ceiling of almost 28,000 feet. The Mitsubishi G4M had extreme long range of over 3,000 miles.

The Mitsubishi G4M was armed with one 20 mm auto cannon and four 7.7 mm machine guns. The Mitsubishi G4M could carry almost 2,000 lbs bombs or torpedoes. We do not know other than in the Pacific theatre of war whereabouts this plaque was recovered from the crashed plane.  read more

Code: 20979

A Late 1600’s Very Fine Black Coral Handled Sinhalese King’s or Noble’s Knife. A Royal Piha-Kaetta (Pihiya)

A Fine Sinhalese Knife Piha-Kaetta (Pihiya) from Sri Lanka, Late 17th early 18th Century
This Pihiya is a very well known form of early Ceylonese royal knife, with a straight-backed blade and a curved cutting edge.
The Pihiya Handle and part of the blade are beautifully and finely engraved and decorated with delicate tendrils, the powerful hilt is made out of different combinations of materials such as Gold, Silver, Brass, Copper, Rock Crystal, Ivory, Horn, Black Coral Steel and Wood. Sometimes the Gold or Silver mounts extend down halfway the blade.
Handles were made in a certain and very distinctive form, occasionally they were made in the form of serpentines or a mythical creature’s head, most similar to this stunning piece.
The Kaetta means a beak or billhook, it is a similar but larger knife to the Pihiya, it has a blade with a carved back and a straight cutting edge that curves only towards the tip.
The finest examples were made at the four workshop (Pattal-Hatara), where a selected group of craftsmen worked exclusively for the King and his court, and were bestowed to nobles and officials together with the kasthan? and a cane as a sign of rank and / or office. Others were presented as diplomatic gifts. Many of the best knives were doubtless made in the Four Workshops, such as is this example, the blades being supplied to the silversmith by the blacksmiths.
"The best of the higher craftsmen (gold and silversmiths, painters, and ivory carvers, etc.) working immediately for the king formed a close, largely hereditary, corporation of craftsmen called the Pattal-hatara (Four Workshops). They were named as follows; The Ran Kadu Golden Arms, the Abarana Regalia, the Sinhasana Lion Throne, and the Otunu Crown these men worked only for the King, unless by his express permission (though, of course, their sons or pupils might do otherwise); they were liable to be continually engaged in Kandy, while the Kottal-badda men were divided into relays, serving by turns in Kandy for periods of two months. The Kottal-badda men in each district were under a foreman (mul-acariya) belonging to the Pattal-hatara. Four other foremen, one from each pattala, were in constant attendance at the palace. Prince Vijaya was a legendary king of Sri Lanka, mentioned in the Pali chronicles, including Mahavamsa. He is the first recorded King of Sri Lanka. His reign is traditionally dated to 543?505 bce. According to the legends, he and several hundred of his followers came to Lanka after being expelled from an Indian kingdom. In Lanka, they displaced the island's original inhabitants (Yakkhas), established a kingdom and became ancestors of the modern Sinhalese people. 13 inches long overall  read more

Code: 22534

A Most Incredible and Intriguing European Art Deco Bronze Table Lamp, Decorated With the Subject of a Prisoner in an Ancient Chinese 'Cangue' Torture Device Beneath a Lamp

A seated figure with the torture block of a Chinese 'cangue' . Likely designed from small portable carved wooden figures purchased and brought back to Europe by travellers to the Treaty Port of Ningbo in China, sometime in the early 20th century. The European fascination with all things oriental, from the exotic east, has influenced western art considerably for centuries, and it is frequently known as Chinoiserie Art, although the depiction of Chinese torture implements was somewhat niche, but they were especially popular, and depicted in decorative art, paintings, prints and sculpture. But this is the first time we have seen an old rendition of one in the form of a beautiful bronze table lamp. This very nice quality and fascinating piece of object d'art in bronze and enamel painted glass, is one of those incredible creations. This kind of tortuous affair using the cangue was usually unique to the far east from the ancient period up to relatively modern times. In fact the legendary Genghis Khan himself was imprisoned in such a terrible device when he was captured by another mongol leader as a youth before he grew into becoming the world greatest conqueror.
the bronze is signed at the reverse base, the front lamp base bears Chinese script, as does the cangue panel around the prisoners neck, which often details the prisoner's crimes, and the French bronze founder's label is on the underneath.
Although there are many different forms, a typical cangue would consist of a large, heavy flat board with a hole in the centre large enough for a person's neck. The board consisted of two pieces. These pieces were closed around a prisoner's neck, and then fastened shut along the edges by locks or hinges. The opening in the centre was large enough for the prisoner to breathe and eat, but not large enough for a head to slip through. The prisoner was confined in the cangue for a period of time as a punishment. The size and especially weight were varied as a measure of severity of the punishment. The Great Ming Legal Code (大明律) published in 1397 specified that a cangue should be made from seasoned wood and weigh 25, 20 or 15 jīn (roughly 20–33 lb or 9–15 kg) depending on the nature of the crime involved. Often the cangue was large enough that the prisoner required assistance to eat or drink, as his hands could not reach his own mouth, or even lie down. The word "cangue" is French, from the Portuguese "canga," which means yoke, the carrying tool has also been used to the same effect, with the hands tied to each arm of the yoke. Frequently translated as pillory, it was similar to that European punishment except that the movement of the prisoner's hands was not as rigorously restricted and that the board of the cangue was not fixed to a base and had to be carried around by the prisoner. the condition overall is very good, the lamp has four hand painted enamel glass panels but the interior somewhat concealed one has been long past repaired in the mid section 13.5 inches high x 7 inches deep, x 3.2 inches wide. If one wishes to use it for illumination once more It will need safely rewiring to approved standards, what remains of any past wiring should not be used under any circumstances.  read more

Code: 23902

An Absolutely Beautiful Original 2nd Century Imperial Roman Officer or Noble's Carved Intaglio, Carnelian Gem Stone, Status Seal Ring, Depicting a Dolphin. Originally Worn in the Roman Empire's of Trajan to Commodus

In Rosemary Sutcliff’s 'Eagle of the Ninth' series of books, a similar Dolphin ring was first owned by a Roman soldier and passed down the family over the centuries.

Made and worn during the reigns of;
Emperor Trajan
Emperor Hadrian
Emperor Marcus Aurelius
Emperor Lucius Aurelius Verus
Emperor Commodus Antoninus

The carvings on rings and seals are known as Intaglio, and a seal ring was part of Roman society for nobles, military officers and citizens. They were personal signets, and the more valuable were made from a small gemstone, with a design cut into the surface by skilled craftsmen, and usually set within a ring. They were used to seal important documents, and objects by making an impression on soft clay or wax. Wearing a carved carnelian signet ring immediately showed that you were of rank, and thus had status, wealth and influence. Some surviving rings have been found across Roman Britain, in towns and military sites alike, including two at the Waddon Hill former Roman military fort site..

Dolphins, like those seen on the Venus Mosaic found at Kingscote in Gloucestershire, are a fairly popular image in Roman art. They have a rich background in Greek and Roman mythology, literature, and folklore. They were often included in sculptures to improve the stability of the main figures!

Dolphins are featured in many Greek and Roman myths. Here, they are symbols of romance, illustrating the theme established by the depiction of Venus, the Roman Goddess of Love, in the central roundel of the mosaic. The presence of these dolphins alongside Venus also serves as a reminder of the myth that Venus was born from the sea, famously depicted in Botticelli’s late fifteenth century painting ‘The Birth of Venus’.

Their association with Venus is by no means their only significance in Greek and Roman mythology. In the sixth/seventh century B.C. ‘Homeric Hymns’, Dionysus, the Greek God of Wine and Theatre (who later became Bacchus in Roman mythology), was kidnapped by pirates. He turned into a lion to punish the kidnappers and, terrified, they jumped overboard. When they hit the water, Dionysus turned them into dolphins. The ‘Homeric Hymns’ also describe Apollo, a Greek and Roman God, turning into a dolphin to guide a ship into harbour. Another myth tells that Apollo’s son, Eikadios, was shipwrecked and carried to shore by a dolphin. This is one of many myths about dolphins rescuing drowming men, or bringing bodies back to shore for burial.

Dolphins are also often associated with minor sea deities. The Roman author Statius wrote in his first century A.D. epic poem ‘Achilleid’ that the sea-nymph Thetis rode a chariot through the sea that was pulled by two dolphins. Similarly, Philostratus’ ‘Imagines’describes a scene in which the one-eyed cyclops Polyphemus falls in love with the sea-nymph Galatea while she is riding four dolphins.


3/4 of an inch across.  read more

Code: 24626

A Superb Roman 1900-2000 Year Old 'Status' Seal Ring, Intaglio, Stylized Engraved, with a Mythological Scene of The Pheonix In Flight. From The Time Of the Divine Augustus, The First Emperor of Rome

A superb Henig type Xb ring. Wide oval bezel affixed to flattened shoulders engraved copper bronze alloy with gilt highlights. Almost identical shape and form to one found in the UK near Hadrian's Wall. and another similar ring, with the very same style of workmanship and engraving from the era, was discovered 50 years ago, and believed to be once the ring of the infamous Pontius Pilate, the Governor of Judea for Rome

The Greek myth of the Pheonix in a nest of flames was set down in Ancient Rome by the great poet Ovid,

In Ovid's, Metamorphoses 15. 385 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :
"These creatures other races of birds all derive their first beginnings from others of their kind. But one alone, a bird, renews and re-begets itself--the Phoenix of Assyria, which feeds not upon seeds or verdure but the oils of balsam and the tears of frankincense. This bird, when five long centuries of life have passed, with claws and beak unsullied, builds a nest high on a lofty swaying palm; and lines the nest with cassia and spikenard and golden myrrh and shreds of cinnamon, and settled there at ease and, so embowered in spicy perfumes, ends his life's long span. Then from his father's body is reborn a little Phoenix, so they say, to live the same long years. When time has built his strength with power to raise the weight, he lifts the nest--the nest his cradle and his father's tomb--as love and duty prompt, from that tall palm and carries it across the sky to reach the Sun's great city i.e. Heliopolis in Egypt, and before the doors of the Sun's holy temple lays it down."

Publius Ovidius Naso, 21 March 43 BC – AD 17/18), known in English as Ovid was a Roman poet who lived during the reign of Augustus. He was a younger contemporary of Virgil and Horace, with whom he is often ranked as one of the three canonical poets of Latin literature. The Imperial scholar Quintilian considered him the last of the Latin love elegists. Although Ovid enjoyed enormous popularity during his lifetime, the emperor Augustus exiled him to Tomis, the capital of the newly-organised province of Moesia, on the Black Sea, where he remained for the last nine or ten years of his life. Ovid himself attributed his banishment to a "poem and a mistake", but his reluctance to disclose specifics has resulted in much speculation among scholars.

Today, Ovid is most famous for the Metamorphoses, a continuous mythological narrative in fifteen books written in dactylic hexameters.

A ring discovered 50 years ago is now believed to possibly be the ring of Pontius Pilate himself, and it was the same copper-bronze form ring as is this one. See its image in the gallery, with a detailed drawing of the traditional stylized engraving, in order to show the intaglio more clearly.

Being around 2000 years old, it has a heavily encrusted, natural, well aged patina

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  read more

Code: 25077

Roman Ist Century AD Hippocampus Intaglio Engraved Bronze 'Status' Ring. Around 2000 Years Old. From The Time Of the Divine Augustus, The First Emperor of Rome

Henig type Xb bronze Roman ring around 1900 -2000 years old. In copper bronze with great, natural age patination

In the Iliad, Homer describes Poseidon, god of horses, earthquakes, and the sea, driving a chariot drawn by brazen-hoofed horses over the sea's surface, and Apollonius of Rhodes, describes the horse of Poseidon emerging from the sea and galloping across the Libyan sands.8 This compares to the specifically "two-hoofed" hippocampi of Gaius Valerius Flaccus in his Argonautica: "Orion when grasping his father’s reins heaves the sea with the snorting of his two-hooved horses." In Hellenistic and Roman imagery, however, Poseidon (or Roman Neptune) often drives a sea-chariot drawn by hippocampi. Thus, hippocampi sport with this god in both ancient depictions and much more modern ones, such as in the waters of the 18th-century Trevi Fountain in Rome surveyed by Neptune from his niche above.

The engraved intaglio seal ring was important for displaying the Roman's status. For example Tiberius, who was after all left-handed according to Suetonius, thus displays a ring in his bronze portrait as the Pontifex Maximus: The complete Roman Empire had around a 60 million population and a census more perfect than many parts of the world (to collect taxes, of course) but identification was still quite difficult and aggravated even more because there were a maximum of 17 men names and the women received the name of the family in feminine and a number (Prima for First, Secunda for Second…). A lot of people had the same exact name.
So the Roman proved the citizenship by inscribing themselves (or the slaves when they freed them) in the census, usually accompanied with two witnesses. Roman inscribed in the census were citizens and used an iron or bronze ring to prove it. With Augustus, those that could prove a wealth of more than 400,000 sesterces were part of a privileged class called Equites (knights) that came from the original nobles that could afford a horse. The Equites were middle-high class and wore a bronze or gold ring to prove it, with the famous Angusticlavia (a tunic with an expensive red-purple twin line). Senators (those with a wealth of more than 1,000,000 sesterces) also used the gold ring and the Laticlave, a broad band of purple in the tunic.

So the rings were very important to tell from a glimpse of eye if a traveller was a citizen, an equites or a senator, or legionary. People sealed and signed letters with the rings and its falsification could bring death.
The fugitive slaves didn’t have rings but iron collars with texts like “If found, return me to X” which also helped to recognise them. The domesticus slaves (the ones that lived in houses) didn’t wore the collar but sometimes were marked. A ring discovered 50 years ago is now believed to possibly be the ring of Pontius Pilate himself, and it was the same copper-bronze form ring as is this one.

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  read more

Code: 25078

An Excellent German WW2 Wehrmacht Leather K98 Bayonet Frog With RBNr.

Reichsbetriebsnummer german frog stamped 0/0365/0012 RB.Nr Pößneck (Thüringen)  read more

Code: 25642

A Fine, Original, Historical, Eastern Roman Empire, Byzantine Christian Cross In Bronze 7th to 10th Century. Used By A Middle Ages Christian Pilgrim, Later In The Crusades By Such as a Warrior Monk

A super, small collection of original, historical, Imperial Roman and Crusader's artifacts has just been acquired by us and will be added to our website.

Overall in superb condition, just the usual age patination as found on all ancient period bronze
.
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'.

48mm x 34mm

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: 25772

A Fabulous, Most Rare & Exceptionally Large, Imperial Roman Byzantine Empire, Original, Incised & Pierced Pectoral Stigmata Cross 4th to 10th Century AD from Jerusalem. Used from the Time of Emperor Constantine to the Earliest Crusades.

In superb condition, it is exceptionally rare due to its large size, extraordinary large {yet wearable} size with beautiful patination, almost 3" long. The stigmata cross represents the five wounds of Christ. The incisions could be set cabochon gemstones such as ancient garnets.

The form of earliest Christian Cross Crucifix worn around the neck over the Roman toga to clearly show one’s position as, say, a Christian noble or tribune of status in the Eastern Roman Empire of Emperor Constantine, and it may have been worn by subsequent generations as a symbol of continuity and stability and devotion of the new faith of the Empire. Later, in the evolution of Christianity in the East, acquired by or presented to a Crusader Knight and worn upon his tabard as a symbol of his devotion to liberating Jerusalem.

One of our clients bought a fabulous good sized Crusades period bronze cross from us recently, and had a jeweller make a wearable gold mount and hanging ring so it could be worn once more almost 1000 years since it was originally worn to the Holy Land. Another client acquired an encolpion cross and had a bespoke good sized frame made for its display, both looked absolutely stunning.

Just over 1700 years ago, it was written, a cross of light bearing the inscription “in hoc signo vinces” (in this sign you will conquer) miraculously appeared to Roman Emperor Constantine before the battle of Milvian Bridge. The Battle of the Milvian Bridge took place between the Roman Emperors Constantine I and Maxentius on 28 October 312. His victory over his brother-in-law and co- emperor Maxentius and subsequent conversion to Christianity had a profound impact on the course of Western civilization.
Byzantine is the term commonly used since the 19th century to refer to the Greek-speaking Roman Empire of the Middle Ages centred in the capital city of Constantinople. During much of its history, it was known to many of its Western contemporaries as the Empire of the Greeks, due to the dominance of the Greek language and culture. However, it is important to remember that the Byzantines referred to themselves as simply as the Roman Empire. As the Byzantine era is a period largely fabricated by historians, there is no clear consensus on exactly when the Byzantine age begins; although many consider the reign of Emperor Constantine the Great, who moved the imperial capital to the glorious city of Byzantium, renamed Constantinople and nicknamed the “New Rome,” to be the beginning. Others consider the reign of Theodosius I (379- 395), when Christianity officially supplanted the pagan beliefs, to be the true beginning. And yet other scholars date the start of the Byzantine age to the era when division between the east and western halves of the empire became permanent.

While Christianity replaced the gods of antiquity, traditional Classical culture continued to flourish. Greek and Latin were the languages of the learned classes. Before Persian and Arab invasions devastated much of their eastern holdings, Byzantine territory extended as far as south as Egypt. After a period of iconoclastic uprising came to resolution in the 9th Century, a second flowering of Byzantine culture arose and lasted until Constantinople was temporarily seized by Crusaders from the west in the 13th Century. Christianity spread throughout the Slavic lands to the north. In 1453, Constantinople finally fell to the Ottoman Turks effectively ending the Byzantine Empire after more than 1,100 years. Regardless of when it began, the Byzantine Empire continued to carry the mantle of Greek and Roman Classical cultures throughout the Medieval era and into the early Renaissance, creating a golden age of Christian culture that today continues to endure in the rights and rituals of the Eastern Orthodox Church. Byzantine art and culture was the epitome of luxury, incorporating the finest elements from the artistic traditions of both the East and the West..
Many items of antiquity we acquire are from the era of the Grand Tour.

Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land.

Hanging loop lacking.  read more

Code: 23736