I have now reached a course which I am afraid I shall not find easy-going. My attention was first drawn to horse amulets or face brasses in an article in the Connoisseur for October, 1911, but it was not until 1913, when I came in touch with the proprietor of an antique shop who had dabbled in these things for some time, and who obligingly talked to me about them, that I decided I would add a few to my collection, as they might be interesting and would occupy small space. My first purchases resulted in my bringing home on approval quite a number which I had obtained from a dealer, who informed me that the brasses were usually collected in pairs. I referred this find to the friendly antique proprietor, who, after looking them through, asked if I had paid for them, and he said it in such a way that I evaded the question by enquiring “Why?” His answer was, “Because there are several stamped pieces, and you should only buy cast ones; besides, what do you want pairs for?”

This seemed rather a poor start, but I was taught early in life to make difficulties stepping-stones to success, so I returned the amulets not approved of, and later received desirable specimens in exchange. The next step was to learn how to detect those that were cast, and I found they usually had a couple of points or studs apparent at the back corresponding with the holes in the moulds through which the molten metal had been run. Further, all stamped pieces are punched out of a sheet of brass, the same thickness throughout, the back of which is practically as smooth as the front. I have about half a dozen not cast and not stamped, but fretted by hand.

Next I had to ascertain how to tell old from modern. That can usually be arrived at by the appearance of wear, while the old type are more highly finished and better metal was used in their manufacture. I was soon made aware of the fact that new “old” pieces were being made, as they were constantly cropping up. The ambition of the collector evidently should be to get together as many varieties as possible, leaving the duplicates for other buyers; but as soon as my curiosity was aroused I bought all the old castings I came across.

To anyone who makes a special study of signs and symbols these patterns and designs must be very fascinating, and the collecting thereof should appeal forcibly to those with enquiring minds whose fancies tend in that direction.

As it was quite impossible to get together a collection by my usual method of looking out for myself, I secured the assistance of two kindly travellers who went in all directions in connection with their ordinary business. They took great interest in my requirement, and bought up all the old brass cast specimens they could find, with the result that I became possessed of many duplicates, some of which I disposed of, whilst through the courtesy of a correspondent who readily exchanged the remainder, I was able to raise the number of my different specimens to about four hundred.

I found these amulets made very interesting groups for photography, and as fast as I procured a fresh two dozen I hung them by strong pins on a bridge table, which I placed on its side on a dining-table, and so was enabled to make an easy job. I was quite keen up to a point on doing this, but the bottom seemed to drop out of the business soon after the war started, though not before I had taken quite a number of photographs. In the hope they will interest many readers, I give two plates reduced from twelve of my best negatives, which will show enough amulets for anyone to be going on with. One collector informed me he knew of over one thousand designs, and no doubt there are many more, so there is ample scope, but my experience is that old specimens are very hard to find.

I am now going to put a puzzle before you, and hope it may be somewhat entertaining. The fact is, one of the amulets is a fake. It occupies a central position on one of the twelve photographs reproduced. I conceived the idea when the spirit of mischief was upon me, and with the assistance of a mechanic and a little solder, a very common piece was made into a very rare specimen. It was specially remarked upon by another collector to whom I sent my photographs as the only one of the kind he had seen. Which is it?

I remember showing this jokingly to my son, and his characteristic comment was, “That’s jolly good; but I say, dad, is it playing the game?”

In the spring of 1914 my son took me in his side-car for a tour which lasted one happy week, one day of which now comes forcibly to my mind. That we started back from Henley-on-Thames in pouring rain made no difference to his equable temper, and before we reached Oxford the sun was as bright as his disposition. When we turned at Whitney and passed over the Cotswolds en route for the Wye Valley, we came across the scenery in which he revelled, and here he and I found a few old amulets in a saddler’s shop while waiting for the wayside lunch. In peace and quietness his true bent lay, and only his regard for duty impelled him to join the Army when volunteers were appealed for. His commission was dated on his twenty-first birthday, and it was the irony of fate that the last two years of his clean life should have been spent in the grime and stress and turmoil of war. Thus I lost my lovable companion, who for nearly ten years had played such a charming part in assisting to make my collecting a pastime.