SEA NOTES

A Mutiny and a Sword

Sea-Fever
BY JOHN MASEFIELD

I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by;
And the wheel’s kick and the wind’s song and the white sail’s shaking,
And a grey mist on the sea’s face, and a grey dawn breaking.
 
I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.
 
I must go down to the seas again, to the vagrant gypsy life,
To the gull’s way and the whale’s way where the wind’s like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick’s over.

Fleet Sailing from Spithead, Edward Duncan, 1854

On May 6, 1797, in the bowels of the HMS Sandwich, the British naval flagship of Admiral Buckner, disgruntled sailors gathered in secret to discuss their future. They had formed a committee to address their problems with the Royal Navy: inadequate rations, pay in arrears, and poor treatment from the officers. This committee called on other ships to organize themselves, elect delegates and prepare to present their grievances to the Admiralty.
Six days later, in a port in southern England known as the Nore, the conspirators raised a red flag on the HMS Sandwich, signaling to all the other ships in the fleet that Mutiny was declared.

The great mutiny at the Nore had begun.

Mutiny, by Geoff Hunt

Being a marine artist can encompass many areas of the art world, from paintings, drawings, prints, and sculpture, down to many of the objects de Arte.  Each work of art has a story to tell, they have traveled through life and passed through many hands, creating a life unique to each object. When observing these works one can be inspired in many ways, these objects can reach out and tell you a narrative that can be an adventure, leading one to develop their own story and translate it into a work of art. One such object came to my attention on display at the Metropolitan Museum of Art in the Arms and Armor galleries, a presentation sword that had two anchors supporting the guard and images of ships at sea. My curiosity was aroused by these anchors: who owned this sword? Why was it presented and what did the owner do to be honored with such a gift? The quest for the story was afoot.

Presentation Sword,  hallmarked for 1797–98

The gallery label tells only part of the tale. It was given to Lieutenant John Burn for "gallant and meritorious services in suppressing and quelling a dangerous mutiny amongst the seaman” of the HMS Beaulieu at the Nore. This tantalizing information piqued my curiosity. There is a much deeper story behind this sword. For example, the sword was presented to Lt. Burns not by the Admiralty but by the Committee of Merchants in London, England.

Presentation Sword,  hallmarked for 1797–98

The Nore is an estuary where the Thames and the river Medway meet the North Sea and are the main conduit for merchant travel in and out of London. It was also the main anchorage for the North Sea Fleet of the Royal Navy, known as the Nore Command. The area covered was extensive and ran from Shoeburyness in the north to Sheerness in the south. Technically, the 'Nore' is not a place but a submerged sandbank. Not visible on the surface, it was a hazard to ships trying to navigate entry into the estuary and thus became a well-known feature. One can only imagine the daily activity that occurred in a year like 1797. Between the merchant ships carrying their cargo to and from London, the Naval ships conducting business, and other smaller vessels plying the water, it must have been a beehive of commotion.

Passing the Nore Light, The Illustrated London News, London, England.1842

The Nore mutiny was not the only disturbance that was occurring at the time. A few weeks previously, at the anchorage called Spithead just off Portsmouth, a similar revolt had arisen. The grievances were understandable and straightforward; the sailors wanted better pay, better food, and better treatment. Discontent had been mounting within the ranks of the sailors in the Royal Navy for several years. The general rates of wages had not increased since 1652, and payment was frequently delayed. Impressment was also becoming a problem. Many of the men that were forced into service were unskilled landsmen that had no experience in sailing. This lack of skilled seamen placed a significant burden on the men that had been on the ships for years. The Spithead uprising ended peacefully when the Admiralty satisfied the sailors’ demands.

The Nore mutiny, by comparison, quickly became more dangerous and volatile. The sailors' issues went beyond the grievances at the Spithead uprising and bordered on rebellion. The Admiralty and the Government flatly rejected the sailor committee's requests. In retaliation, the mutineers imposed a blockade on all merchant ships entering and leaving the Nore. The impact on trade was immense and immediately created great consternation in London and throughout England. The blockade turned the government and public opinion against the sailors, and the Mutiny started disintegrating. Ships began to break away, starting with the HMS Clyde on May 30. By June 13, all remaining mutinous ships had surrendered, and the leaders were jailed.

Model of HMS Beaulieu, Buckler Hard Maritime Museum, Hampshire, England

That July, the Merchant Committee in London convened and elected to reward some of the officers involved in quelling the Nore Mutiny. Lieutenant John Burn was among the officers presented with swords to show appreciation and say thank you for the gallant service. Recorded in the minutes of the meeting it is noted that "in the case of the suppression of Mutiny on board His Majesty's Ship the Beaulieu in the Downs, and it appears that Lieut. Burn, and the Officers and the Marines of the ship have been very instrumental in quelling the Mutiny on board such ship". The minutes also recorded that 14 mutineers were wounded, five mortally.

   It must have made for an exhilarating moment when Lieutenant John Burn and the other loyalist retook the HMS Beaulieu, a 40-gun frigate. Imagining how the scene may have looked, I was reminded of pirates and the paintings by N.C. Wyeth from Scribner's classic “Kidnapped,” by Robert Louis Stevenson. When the mutineers on the HMS Beaulieu confronted the ship's officers, armed and demanding to take over the HMS Beaulieu, they set the captain ashore and used the remaining officers as hostages. Lt Burns and his men decided to retake the ship. Surprise and confusion must have been their chief tools to overtake the mutineers; gunshots, yelling, and drawn cutlasses, all ending in spilled blood. Such a story can be retold numerous times, different with each retelling and in each person's recollection.

Siege of the Roundhouse, N C Wyeth

So, A Mutiny and a Sword. My search for the story began with anchors on a sword and revealed itself to be an exciting, even terrifying, moment in the history of the Royal Navy. Each time another object is discovered, who knows where it could lead, imagination takes over, and stories reveal themselves through research, looking, and wondering. The Lt. John Burn sword is a beautiful object and a page from history, the story of a mutiny, a country, and its people. What stories will be revealed from other objects that are observed? What surprises can lead us to create a work of art that can further tell a story? It is not only painting or sculpture that can inspire, but even a sword on view at a museum can spark creativity.