NormalizeHEADmain

339 files changed, 17 insertions, 20278 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..08c95e0
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #69298 (https://www.gutenberg.org/ebooks/69298)
diff --git a/old/69298-0.txt b/old/69298-0.txt
deleted file mode 100644
index fbae8ab..0000000
--- a/old/69298-0.txt
+++ /dev/null
@@ -1,9056 +0,0 @@
-The Project Gutenberg eBook of Heraldry as art, by G. W. Eve
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Heraldry as art
-       An account of its development and practice chiefly in England
-
-Author: G. W. Eve
-
-Release Date: November 5, 2022 [eBook #69298]
-
-Language: English
-
-Produced by: deaurider, Amber Black and the Online Distributed
-             Proofreading Team at https://www.pgdp.net (This file was
-             produced from images generously made available by The
-             Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK HERALDRY AS ART ***
-
-
-
-HERALDRY AS ART
-
-
-
-
-  HERALDRY
-  AS ART
-
-  AN ACCOVNT OF ITS
-  DEVELOPMENT AND PRACTICE
-  CHIEFLY IN ENGLAND
-
-  BY
-
-  G. W. EVE
-
-  [Illustration]
-
-  B. T. BATSFORD, 94 HIGH HOLBORN
-  LONDON 1907
-
-
-
-
-  BUTLER & TANNER,
-  THE SELWOOD PRINTING WORKS,
-  FROME, AND LONDON.
-
-
-
-
-Preface
-
-
-The intention of this book is to assist the workers in the many arts
-that are concerned with heraldry, in varying degrees, by putting before
-them as simply as possible the essential principles of heraldic art.
-
-In this way it is hoped to contribute to the improvement in the
-treatment of heraldry that is already evident, as a result of the
-renewed recognition of its ornamental and historic importance, but
-which still leaves so much to be desired.
-
-It is hoped that not only artists but also those who are, or may
-become, interested in this attractive subject in other ways, will find
-herein some helpful information and direction. So that the work of the
-artist and the judgment and appreciation of the public may alike be
-furthered by a knowledge of the factors that go to make up heraldic
-design and of the technique of various methods of carrying it into
-execution.
-
-To this end the illustrations have been selected from a wide range of
-subjects and concise descriptions of the various processes have been
-included. And although the scope of the book cannot include all the
-methods of applying heraldry, in Bookbinding, Pottery and Tiles for
-example, the principles that are set forth will serve all designers
-who properly consider the capabilities and limitations of their
-materials.
-
-For many facilities in the preparation of the work I here beg to tender
-my very sincere thanks. To the Countess of Derby for the gracious
-loan of her bookplate; to the Earl of Mar and Kellie for permission
-to reproduce the shields at Alloa House; to Mr. W. H. Weldon, Norroy
-King of Arms, for the enamel plaque of his crest; to Mr. W. Brindley
-for a cast of the Warren shield; to Mr. N. H. J. Westlake for the Arms
-of Queen Jane Seymour, from his _History of Stained Glass_; to Messrs.
-Hardman of Birmingham for the loan of the Pugin drawings; to Messrs. E.
-C. and T. C. Jack for a reproduction of an embroidered shield.
-
-My best thanks are also due to Monsieur Emil Levy for leave to use
-illustrations from the Catalogue of the Spitzer Collection; to the
-Society of Antiquaries for the Black Prince’s shield; to the Society
-of Arts for the loan of sundry blocks; and to the officials of the
-Victoria and Albert Museum and the National Art Library for their usual
-and invariable helpfulness. Finally I am especially indebted to my
-publishers, Messrs. Batsford, who have spared neither time nor trouble
-on my behalf.
-
-  G. W. E.
-
-  23, SHEEN GATE MANSIONS,
-  EAST SHEEN, S.W.
-
-  _October, 1907._
-
-
-
-
-Contents
-
-
-                                                 PAGE
-
-  CHAPTER I. =INTRODUCTORY=                         1
-
- The Origin of Heraldry--Its Uses--Symbolism--Artistic Development--The
- Character of Mediaeval Treatment--The Personal Quality--Fourteenth
- century Examples--The Influence of the Tournaments--Renaissance
- Heraldry--Decadence--Gothic Revival--The Use of Examples--The Aims of
- Heraldic Design.
-
-
-  CHAPTER II. =THE EVOLUTION OF SHIELD FORMS=      16
-
- The Achievement--Its Composition and Proportions--Modifications
- of Proportion--The Design of the Heraldic Group--Essential
- Qualities--Variability of Grouping--The Shield--Its Structure
- and Shape as a Fighting Defence--The Norman Shield and its
- Successors--Shields “for Peace”--Pageant Shields--How they were
- Made--The Tournament Shield--Evolution of Decorative Forms--Foliated
- Shields--Fifteenth and Sixteenth Century Examples--Freedom in Shield
- Design--Heraldic Accuracy--What is Essential.
-
-
-  CHAPTER III. =HERALDIC RULES=                    39
-
- A Simple Manual of Heraldic Facts--The Shield Surface--The
- Tinctures--Divisions of the Field--Ordinaries--Sketches “in
- Trick”--Charges and their Arrangement.
-
-
-  CHAPTER IV. =ANIMALS AND MONSTERS=               66
-
- The Heraldic Lion as a Type--Examples of Various Periods--Heraldic
- Character--Obligatory Poses and Decorative Distribution--Methods of
- Spacing--Characterization--Imaginary Creatures--Unicorns, Dragons and
- Griffins.
-
-
-  CHAPTER V. =HERALDIC BIRDS AND OTHER FIGURES,
-  ANIMATE AND INANIMATE=                           89
-
- Eagles--Early Types--Plan of Distribution--Other Birds--Bird
- Monsters--Human Figures--Inanimate Charges--Crosses of many
- Forms--Fleurs-de-lis--Examples of Various Periods--The Rose--The Irish
- Harp--Surface Treatment--Diaper, its use in Sculpture, Painting and
- Engraving--Diapers of Badges.
-
-
-  CHAPTER VI. =HELM, CREST AND MANTLING=          117
-
- The Helm--Its Structure--Ceremonial Use--Development as
- Armour--Helmets and their Mechanism--Tourney Helms--The Crest--How
- Made and Fixed--Examples of Actual Crests--Influence of Practical
- Conditions on their Pose--Difficulties in Design and How to Deal
- with Them--The Pose of Helmets--The Torse--Mantling--Its Evolution
- from Simple Drapery--Its Treatment in Relation to Shield and Crested
- Helm--Colour--Certain Restrictions.
-
-
-  CHAPTER VII. =ARMORIAL ACCESSORIES=             139
-
- Supporters--Derivation from Badges--Special Conditions of their
- Pose--Non-Heraldic Supporters--Amorini--Angels--Symbolic Figures--The
- Eagle of the Holy Roman Empire--And of Prussia--The Imperial
- Crown--Authorized Type for Present Use--The Coronet of the Prince
- of Wales--Coronets of Peers--The Question of the Cap--Baronets’
- Badges--Insignia of Knighthood--The Garter--The Collar and
- George--Other Orders--Relation of Orders to the Shield--Their
- Importance as Indications of Relative Rank--Typical Examples.
-
-
-  CHAPTER VIII. =METHODS AND MATERIALS=           164
-
- Illumination--Practical Directions--Methods of the Early
- Illuminators--Colour Treatment--Heraldry in Enamel--Champlevé Enamel,
- Personal and Monumental--The Cloak Clasp of Queen Eleanor--The
- Shield of William de Valence--Stall-plates of the Garter--“Limoges”
- Enamel--Heraldic Enamel by Nardon Penicaud--Bassetaille--Plique-a-jour
- --Heraldry in Metal--Application of Old Examples to Present
- Use--Bronze--Monumental Brasses--Cast Iron Firebacks--Pierced and
- Chiselled Iron Lock-plates--Keys--Repoussé--Engraved Metal--Ceremonial
- Weapons and Implements--Lead-work--Deposited Metal.
-
-
-  CHAPTER IX. =ARCHITECTURAL DECORATION=          204
-
- Badges at Blois--And at Hampton Court--Sculpture--Sgraffito--Gesso as
- a Material for Heraldic Relief--Methods of Preparation--A Series of
- Shields in Painted Gesso--Poker Work--Schemes of Decoration--Stained
- Glass--Technical Conditions--Colour Scheme--Working Drawings--Pugin’s
- Designs for the Houses of Parliament--Powell’s Drawings--Armorial
- Windows at Ockwells Manor--Painted Windows in Florence--The Swiss
- Painted Glass--Holbein.
-
-
-  CHAPTER X. =EMBROIDERED HERALDRY=               246
-
- Surcoats--Bardings--Embroidered Linen--Banners--Appliqué
- Work--Embroidered Badges--The Toison d’or of Charles the
- Bold--Standards--The Proportions of Banners from Early Times--The
- Direction of their Charges and the Reasons therefor--The Composition
- of the Union Jack--Practical Explanation of its Construction--Painted
- Banners--How Prepared--Trumpet Banners--Heraldic Lace.
-
-
-  CHAPTER XI. =SOME MISCELLANEOUS CHARGES=        267
-
- Heraldic Crowns--Chaplets--Roundels--Knots.
-
-
-  CHAPTER XII. =MARKS OF CADENCY=                 286
-
- The Origin of the Label--Its Shape and Varieties--Ordinary Marks
- of Cadency--Their Significance--How Displayed--Royal Cadency--The
- Distinguishing Marks of Cadency of Present Personages of the Blood
- Royal.
-
-
-  INDEX                                           293
-
-
-  ANALYTICAL INDEX TO ILLUSTRATIONS               303
-
-
-
-
-HERALDRY AS ART
-
-
-
-
-CHAPTER I
-
-Introductory
-
-
-In dealing with heraldry from the artist’s point of view, as a
-decorative subject which offers interesting scope for technical effort,
-it will not be necessary to go overmuch into the question of its
-origin, nor to elaborate its history beyond what is needed to give such
-knowledge of its methods as may help the doing of present work or the
-intelligent appreciation of the old. Nevertheless, the archaeological
-aspect of the subject, the conditions and rules of its existence,
-must also be carefully studied in order to ensure the correctness of
-the statement that heraldry makes and of which heraldic art is the
-expression.
-
-As for its origin, we may safely say that heraldry, in its essence,
-began when man first used natural forms to symbolize, and ascribe to
-himself, those qualities--strength, courage, cunning--which he had full
-cause to recognize in the beasts with whom he struggled for existence;
-when he reproduced, as well as he could, their ferocious aspect, to
-strike terror into his human enemies while satisfying his own warlike
-vanity, and so adopted them as badges or even as totems.
-
-In Europe heraldry began to be systematized (as we know it) somewhere
-about the eleventh century, and it flourished exceedingly until about
-the middle of the sixteenth century, the period thus indicated being
-that of its greatest strength and beauty.
-
-The development of defensive armour dictated the placing on it of
-the badges that had for long been used in other ways, so that, being
-depicted on the shield, they became the arms, and became the crest when
-displayed on the head-piece. The device worked on the garment which
-covered the body armour made it a veritable _coat of arms_, and this
-term, as well as that of coat armour, came in time to be also applied
-to the similar armorials of the shield.
-
-The Crusades, in their aggregation of troops of various nationalities,
-helped to extend, in showing the necessity for, a regular system of
-heraldry as a means of distinguishing one party from another, and the
-feudal system itself with its numerous groups, each under its knightly
-or noble head in ever-extending subordination, conduced to the same end.
-
-The Tournaments which played so brilliant a part in the splendours of
-the Middle Ages also afforded fresh and greatest scope for heraldic
-magnificence. Being restricted for the most part to competitors of
-noble birth, many of whom were attracted from distant places, they
-afforded opportunity for observation and comparison of the various
-bearings. They naturally suggested the inclusion of foreign as well
-as native armorials in the heraldic MS. of the times, as we find
-them depicted in the Rolls of Arms. The necessity for well-ordered
-arrangement soon made itself felt, and thence was evolved systematic
-heraldry as it now exists. The rules thus originated, being based on
-the ever-present difficulties which arose in the actual use of coat
-armour, were admirable for their purpose, for they were devised with
-a common-sense regard for the conditions under which they were to be
-applied, were at first simple and therefore easily understood.
-
-The manner in which the arms were displayed was the most conspicuous
-that was possible, every suitable space that offered itself being
-employed to bear them in one form or another. Thus in time they
-appeared on the shield, helmet and surcoat, and also on the ailettes,
-those flat pieces of steel which were used to still further deflect a
-blow which had slid from the helmet and might otherwise have injured
-the shoulder.
-
-The use of heraldry in battle or tournament by no means exhausted its
-possibilities, however, for even in the warlike Middle Ages armorials
-were used by priests and women, and by statesmen whose services were
-those of the council chamber rather than of the field. In every case
-their strong personal and allusive quality was felt to the full,
-and intensified the human interest in ordinary things. So that the
-enamelled brooch of Queen Eleanor, with its arms of her warrior
-husband Edward I linked with her own, becomes something more than a
-mere fastening; and the armorial robes of the noble wife who wears her
-husband’s armorials on her mantle, covering and protecting her own arms
-embroidered on her gown, are made beautiful expressions of a chivalrous
-idea.
-
-Heraldry was made especially interesting by the symbolic meanings which
-it embodied, thus expressing in its own way a very universal desire for
-significance in decorative forms. In the Middle Ages, especially full
-as they were of militant fervour and chivalric mysticism, symbolism
-entered into everything. Not the heraldry alone but every part of a
-knight’s armour had a mystic meaning, the knowledge of which was an
-important part of a knightly education. Many of these meanings are
-quaintly set forth in one of the books that Caxton printed, _The Order
-of Chivalry_. Therein the shield is considered as the especial emblem
-of its bearer and of his knightly duty, for “like as the stroke falleth
-down upon the shield and saveth the knight right so the knight ought
-to apparel him and present his body tofore his lord when he is in
-peril hurt or taken.” Even the manner of doing things was underlaid by
-beautiful ideas. So he who bore the sword of Justice in a ceremony was
-enjoined to bear it truly upright, for Justice should lean neither to
-one side nor the other, but be impartial between the two.
-
-Besides the creatures (lions and so forth) which were taken to signify
-strength, courage, fidelity and other virtues, there were also those
-which symbolized the great mystery of the perpetuation of life, which
-has appealed to the imagination of man throughout historic times. The
-Peacock, in the periodical renewing of his splendour of plumage; the
-Swan, emerging in spotless beauty from the dusky obscurity of its
-cygnet state, both expressed this universal idea. To Christian chivalry
-the Peacock typified the Resurrection and therefore Immortality,
-and the Swan became the emblem of that cult of womanhood which was
-so beautiful and characteristic of knightly regard. The symbolism of
-the Cross and the emblems of saints and martyrs form a large part of
-heraldry, as is natural. Plants and flowers were naturally taken to
-express beautiful qualities--constancy, purity, love--as with similar
-intention they may still be acceptably employed in the wreaths and
-garlands which are, on occasion, associated with armorials.
-
-Symbolism of this kind has been lost to heraldry, not, however, leaving
-it without significance; for arms have also allusive meanings that are
-no less interesting as records of incidents that are thought worthy of
-remembrance.
-
-Many mediaeval bearings originated in this way, the belt and buckles
-of Pelham, which commemorate the capture of the French king at
-Poitiers, for instance. The more modern kind of heraldic symbolism
-occurs in the arms of the great Admiral Sir Cloudesley Shovel, who
-commemorated his victory over the fleets of Turkey and France at the
-end of the seventeenth century by adding two crescents in chief, and a
-fleur-de-lis in base to his existing coat, gules a chevron ermine. In
-our own time successful generals embody in their armorials the badges
-of regiments with which they have been connected, or bear allusions to
-places where their successes have been won. In a more peaceful field
-the skill and assiduity of a distinguished physician may be rewarded by
-the addition to his arms of some part of the Royal insignia, to mark
-for all time the services he has rendered to the State. Such arms are
-conferred by special grant, and are called Arms of Augmentation or
-Augmentations of Honour. In this way the inherent qualities of heraldry
-are seen to be very stable and to remain constant through the ages in
-spite of changes of manners and of general environment.
-
-Our heraldry, which quickly reached a high degree of decorative
-excellence, developed as a system, in a natural way, on the line of its
-own necessities; as did its artistic expression in a great measure,
-though the latter owed much to transmitted designs and (mainly through
-the influence of the textiles and other importations) helped to
-perpetuate in Western art the beasts and birds and strange composite
-conceptions of the East. These ancient prototypes of familiar heraldic
-forms are singularly interesting, as sometimes possessing in a very
-marked degree qualities, such as vigorous expression and characteristic
-generalization of form, which teach valuable lessons in their
-application to modern use.
-
-Although at first the mediaeval draughtsman followed the drawing of
-his imported or traditional motives very closely (as in the lions of
-some of the thirteenth century MSS. and seals), he soon began to treat
-them in his own way, the way that came to be considered peculiarly
-heraldic. In thus handling his motives he was entirely himself, and the
-outcome was the natural result of the splendid sense of design which
-characterized him. The style is rightly considered purely heraldic
-because it arose from its own heraldic conditions, and was the result
-of the very sane intention that the thing done should be suited to
-the use to which it was to be put, viz. to serve as a distinctive
-badge which could be seen, and easily read at a distance or when
-in motion. Such conditions dictated simple directness of treatment
-and resulted in that bold clear definition which combined with good
-distribution and the fine balance of colour that results from it, to
-produce a very decorative whole. Thus, as so frequently happens in
-other ways, the treatment at first suggested by reasons of practical
-convenience resulted in an effect of great decorative value. The
-method of depicting the pattern-like figures varied, as was natural,
-with the materials employed and with other varying circumstances, and,
-where opportunity served, a high degree of elaboration was reached;
-but whether the treatment was simple or elaborate, breadth of effect
-and decorative quality are nearly always conspicuous. The various
-methods of working, each satisfactory in its own way, are extremely
-interesting, as giving historic sanction to the choice of treatment in
-heraldic expression, and in opposition to the narrow view that as a
-certain kind of work admirably suits its purpose in its own place that
-same treatment should be obligatory in all other cases. The old work
-confirms the broader view, so that when a flat treatment, for example,
-in harmony or in contrast with surrounding decoration, seems desirable,
-the armorials may be done flatly; and when, on the other hand, a more
-elaborate treatment seems fit, modelling in relief or any other means
-of decorative expression may be properly employed. Nevertheless, the
-broad-minded advice to “do as you like” has been sometimes taken too
-literally. Order as well as freedom is necessary to the doing of good
-work, and that can only be secured by study of the subject from the
-systematic or archaeological, as well as from the artistic side.
-
-Heraldic art reached its greatest strength in the fourteenth century,
-as appears in what was perhaps the most beautiful example of the work
-of the period, the shield of arms in Canterbury Cathedral, said to be
-that of Edward the Black Prince (Fig. 1). It is probably one of the
-shields that were used for his funeral. Here the lions of the English
-coat are admirably distributed and are full of power and spirit. The
-fleurs-de-lis of France are beautifully free and graceful, and are
-equally well-designed to occupy their spaces and as well proportioned
-to them. The whole work, which is so valuable a lesson in the best
-qualities of heraldic design, has suffered from the wear of the
-centuries; but sufficient remains to show that when uninjured it must
-have been superb.
-
-Heraldic art continued finely decorative and expressive for a very
-considerable time until the forms which had shown so much spontaneity
-became more pattern-like, reverting in a measure to the character
-of such of the earlier figures as more nearly reproduced those of
-the textiles; for the fourteenth century examples, such as that to
-which we have just referred, show a conscious effort to express the
-attributes of strength and vitality which were associated with and were
-symbolized by the animals that were depicted. In the late mediaeval
-work this vivifying force became weakened under the numbing influence
-that is inseparable from the reiterated use of forms that have become
-stereotyped. In respect to the appeal which visible expression makes
-to the ordinary mind as opposed to mere diagrammatic indication, the
-best work of the fourteenth century in its effort to depict recognized
-attributes links itself in intention with the work of the Renaissance,
-although the methods that were employed differed so greatly.
-
-[Illustration: FIG. 1.--Shield of the Black Prince in Canterbury
-Cathedral. Fourteenth Century.]
-
-At the end of the fifteenth century the personal bearing of heraldry
-in war had almost ceased, but it remained an important feature of the
-tournaments during the whole period of their existence.
-
-Besides satisfying the martial sense which ever delights in brilliance
-and colour, it also gratified the desire for the expression of meaning
-in decoration, a mental attitude which heraldry exactly fitted. And
-heraldry thenceforward became mainly decorative, while retaining the
-allusive and symbolic qualities that are hardly separable from it.
-
-In Tudor times the number of armorials increased in a very marked
-degree, no doubt sharing in the impetus given to the arts in England
-by the much-needed peace which followed the dynastic wars of York and
-Lancaster. As though to link it with that welcome event, beautiful and
-simple flowers added their charm to heraldry in notable quantity, and
-gillyflowers, columbine, marygold, and many more, appear on shields of
-arms and in crests, as well as in the garlands which were so admirably
-used as decorative accessories to the armorials.
-
-The Gothic heraldry, in common with the other decorative arts, having
-become formalized into a style from which the human interest had to a
-great extent gone, a change took place in harmony with the new feeling;
-but in the revolt from the formalism of late Gothic art heraldry
-frequently went to the opposite extreme, and employed naturalistic
-forms in an unsuitable way.
-
-Much of the Renaissance work, however, retained some of the best
-qualities of the Gothic, in the pose of the figures and in the
-general composition, while in addition it attempted a more detailed
-characterization than before.
-
-In many respects it was very admirable and seems, in its suggestion
-of individual thought working on the traditions of an older style, to
-suggest the lines on which modern heraldic design might develop. German
-heraldry has followed these lines to a large extent, and though it has
-perhaps become over-florid, is still full of proofs of the advantage
-which results from continued touch with the Gothic.
-
-In this country there had been a constant succession of foreign
-masons and sculptors, from the time when, in the twelfth century, the
-Frenchman William of Sens came to restore Canterbury Cathedral, and
-the Renaissance style probably received its most effective impetus in
-England from Torregiano and his fellow Florentine artists when they
-superseded the native workers in the designing and carrying out of
-the tombs of Henry VII and others in the beginning of the sixteenth
-century. The king’s tomb was begun in 1503, and is a useful landmark in
-the history of the evolution of heraldic style. From this and similar
-works the English sculptors and designers learnt the methods of that
-revival of art on classic lines which had become developed in Italy for
-nearly a century before it made so definite an impression here.
-
-The work that was produced under these influences was marked by great
-vitality, variety and grace, until it, in its turn, became weak and
-uninteresting, so that by the seventeenth century it had degenerated
-into sheer stiff ugliness that it is almost impossible to connect with
-the graceful strength of its prototypes.
-
-Holbein, who worked here (except for a short interval) from 1526
-until his death, executed, besides his paintings, many designs
-for goldsmith’s work and so forth, and has left some few heraldic
-drawings, probably designs for the decoration of books, such as
-dedicatory plates, or for stained glass; but the Italian influence
-was overpowering, and he left little permanent impression on heraldic
-style. An example of his heraldry may be referred to in Fig. 221, p.
-243.
-
-As time went on, and the practical use of heraldry in the field became
-more remote, the sense of proportion became weakened, the decorative
-distribution of the early work was no longer sought after, and the
-general loss of grip is everywhere perceptible in the design; while in
-the execution, especially in later times, minute finish of detail took
-the place of the earlier breadth of treatment. The marked inferiority
-of the heraldry to the other decorative work of its time (a fault
-that is frequently visible in the work of the present day) points to
-a general loss of interest in the expression of heraldry, although
-its use was tenaciously adhered to, and it is abundantly evident
-that in the period which extended from the early seventeenth century
-until recent times regard for heraldry (when such regard existed at
-all except as a mere desire of display) was mainly directed to its
-systematic side and to the ever-increasing detail of its rules and
-precedents.
-
-However, the Gothic revival in the early part of last century again
-directed attention to heraldry, and the work of Williment, Pugin,
-Powell, Burges and others, showed once more how decoratively and
-expressively it could be handled when it was seriously studied and
-applied.
-
-With reference to the old examples, a study of which is absolutely
-necessary in order to understand the principles which underlie all
-heraldic design, it will be well to sound a note of warning against
-making a fetish of the work of any period, however good; against
-mere copying of old examples however excellent, except, of course,
-for purposes of study. To merely copy and piece together bits of
-precedent is not the way to make an artistic thing at all. A copy can
-have no vitality of its own, and cannot even reproduce that of its
-original. Even Pugin and Powell cannot be said, in spite of all their
-sympathy and power of draughtsmanship, to have altogether succeeded
-in suggesting the intense vigour which characterized the work of the
-originals that were followed. A broad view must be taken if new work is
-to harmonize with new conditions or be anything more than a mere shadow
-of a preceding style.
-
-Heraldry in order to be expressive and interesting ought to be
-original, or perhaps one should rather say individual, in treatment; an
-effort to express itself by means of the artistic qualities that the
-old work possesses and teaches us to admire, rather than a copy of its
-forms. By original is meant something that the artist thinks out for
-himself, his individual expression of what he wishes to convey, with
-all the help that he can obtain from his knowledge of previous work,
-but without feeling himself bound to imitate it. Points of resemblance
-are inevitable. It is hardly possible to avoid showing the influence
-of the examples from which the artist has learnt his craft, nor does
-it matter; but when the copy is intentional and the intention stops
-at that, the work ceases to interest as individual design. All styles
-should be studied for the sake of the lessons they may teach in the
-application of the ordinary principles of design to correct heraldic
-motives, for, after all, that and fitness are what constitute good
-heraldry. Composition, the balance of mass and arrangement of line,
-with all their various possibilities, may be learned from all forms
-and styles of art, pictorial as well as ornamental, that is itself
-based on sound principles. The appreciation of such points and their
-satisfactory application constitute what we know as the sense and
-power of design, and they must be understood before one can pretend to
-practise or discuss it.
-
-Heraldry in its setting forth may be regarded in two ways. As the
-depicting of an actual shield, crest, helm and so forth, as they
-would be shown in a picture of a tournament, for instance; or, as a
-presentation of the heraldic facts in the way that is thought most
-expressive without having too much regard to preceding renderings. The
-former way seems more suitable to the execution of ancient and historic
-arms or of such as are to accompany Gothic surroundings, and the latter
-to be more likely to harmonize with modern decorative conditions, as
-well as to possess more vitality and variety in itself. This harmony
-with surrounding decoration, whether on a wall or in a book or in
-any other way, is one of the essentials of good design and must be
-continually kept in mind. Another, equally important, is that work
-should be designed with direct regard to the materials and methods by
-which it is to be done. These very obvious points cannot be too often
-insisted upon, however wearisome the reiteration, for neglect of them
-is at the bottom of most bad work.
-
-Careless treatment of the heraldry, with which it is, nevertheless,
-obliged to deal more or less, sooner or later, seems to pervade applied
-art and to spoil what is otherwise meritorious work. Doubtless much of
-the mischief arises from fear lest improving the drawing or composition
-may violate heraldic rules; and this brings us to the necessity of
-acquiring so much knowledge of the systematic side of heraldry as will
-suffice to show what points are really essential (and therefore to be
-carefully preserved and if need be accented), and what, on the other
-hand, may be modified or ignored. This may best be done by study of
-the system of heraldic description known as blazon, which is described
-further on. But before proceeding to do so it will be necessary to deal
-first with an heraldic composition as a whole.
-
-
-
-
-CHAPTER II
-
-Evolution of Shield Forms
-
-
-The armorial group, called an “Achievement” of Arms, principally
-consists of the shield and the crest, the latter supported on its
-helm, and accompanied by the mantling or lambrequins, and in addition,
-mottoes, coronets, supporters and other accessories proper to the
-occasion may form part of its composition. The term “achievement”
-(sometimes corrupted into hatchment) may be applied to any heraldic
-group whether it be a complete presentation of full armorials or
-only a selected part of them. In the simple arrangement of shield,
-helmet and crest, the proportion of the parts to each other remained
-fairly constant from the end of the thirteenth century down to the
-Renaissance, that is to say throughout the whole mediaeval period, and
-may be taken roughly to be rather more than two-fifths of the whole
-height for the shield and rather less than three-fifths for the helmet
-and crest.
-
-This, it need hardly be said, must not be taken for actual measurement,
-but only as suggesting the relative weight in the design of its
-component parts. The result of these proportions is to bring the helm
-a little above the actual middle of the composition, and its place
-is then found to be a very satisfactory one, in which it serves as
-a central point on which the other objects group themselves. There
-is also seen to be due scope for the clear definition of the details
-of both arms and crest, while there is an appropriate suggestion of
-dignity in the whole effect. The principal artists of the Renaissance,
-Dürer above all, appear to have fully appreciated this, similar
-proportions appearing in the best type of Renaissance work as in that
-of the Gothic period.
-
-Such proportions were no doubt suggested by those of the actual things
-themselves, but not wholly so; for in other cases the object of the
-artist was rather to display the armorials to the best effect than to
-copy their appearance when they were being used in another way.
-
-Fig. 2, the reverse of the Great Seal of Henry IV, a splendid example
-of the seal engraver’s art, is an interesting illustration of how
-armorials were borne by man and horse, as well as of their approximate
-proportion. An example of the influence of local considerations in
-modifying proportion is the group which occupies the middle of the
-canopy of the tomb, in Westminster Abbey, of Louis Robsart, Lord
-Bourchier, who was standard-bearer to Henry V. The shield is minimised
-as much as possible because its bearings appear large and bold on
-the carved banners at the sides; the crest, however, not occurring
-elsewhere on the monument, is comparatively enormous. In this case the
-shield that is associated with the crest is destitute of charges,
-which may, however, have been modelled in gesso on the stone and have
-disappeared.
-
-[Illustration: FIG. 2.--Seal of Henry IV. Reverse.]
-
-In a similar way the arms in the group over the point of the arch of
-the chantry of Henry V near by are extremely small, a part of the
-mantling is even allowed to fall over them, because they are fully
-displayed on the shields supported by angels in the spandrils below.
-
-The shape of the space that is available for displaying the achievement
-and the character of the bearings also influenced proportion, so that
-a crest may be exaggerated, or a shield may be comparatively enlarged,
-in the latter case in order to accommodate quarterings perhaps, and
-the sense of proportion may still be satisfied because of the evident
-reason for the treatment.
-
-The object of an achievement being to display the armorials in the
-most distinctive way, it follows that the subordinate parts of it,
-especially the helmet and mantling, should all be designed to that
-end, that their lines should compose in such a way as to concentrate
-the attention on the more important subjects, and that their details,
-however intricate, should not detract from a broad effect. In short,
-they should be so arranged as to support the central motive and not to
-compete with it. Whatever the style of the design it should first of
-all express the subject in the most explicit way, and carefully avoid
-letting scrolls outshine the crest or mantling distract attention from
-the shield which is encompassed by it.
-
-Choice of method should naturally be based on the desire to represent
-things in the most direct way and by the simplest means that are
-suitable to the purpose in hand, using exactly the right amount of
-elaboration, from the perfect simplicity demanded by a figure in
-perforated iron, through the varying detail of different forms of
-applied art, stained glass, enamel, modelling, carving, painting and
-engraving. There is always great charm about simple treatment that
-is at the same time expressive, but the right simplicity can only be
-reached through knowledge, and is a very different thing from the
-emptiness which ignorance hopes to have mistaken for it. Clearness of
-statement expressed by vigour of drawing, beauty of line, balance of
-mass and harmonious coherence of composition, are obviously essential
-qualities; and when to these are added suitability to environment
-and material, the result will be that expression of rightness which
-constitutes style, whatever the style may be.
-
-Heraldic accuracy is assumed as a matter of course, for heraldry that
-is not accurate stultifies itself.
-
-The usual grouping of an achievement was suggested, no doubt, by the
-method of displaying armorials in processions and other ceremonials,
-when the crested and mantled helmet was placed on a lance staff or some
-similar support, and the shield was hung below by its guige. That the
-grouping was also a natural one is visible in the seal of Henry IV (p.
-18), especially if we imagine the figure to be seen from the opposite
-side.
-
-There is nothing heraldically essential in arranging the armorials in
-this order, for the crest may be placed in any other relation to the
-shield that circumstances may render preferable. When, for instance,
-it is undesirable to pile up the design in height the crest is placed
-at the side of the shield. The earliest instance of which I am aware
-is that of Lord Basset of Drayton, whose arms thus appeared on his
-stall-plate as a Knight of the Garter. In such cases it is usually most
-convenient to pose the crest on the true right of the shield because
-the swing back of the mantling serves admirably to tie up the whole
-design, but there is no reason why the positions should not be reversed
-if the lines can be made to compose satisfactorily; that is to say, it
-is only a matter of ornamental design and not in any way of heraldic
-right or wrong.
-
-THE SHIELD.--In the application of badges to the distinctive decoration
-of armour, whence arose the term armory for the science of heraldry,
-the shield naturally singled itself out to be made of especial
-importance as the most suitable space on which to display the device;
-for not only was it most conspicuous from its position with regard
-to the rest of the armour, but its detachability, and the facility
-with which it could be hung by its guige from some suitable support,
-rendered it a ready means of representing its master in ceremonials
-and pageants. As such a representative it became the principal vehicle
-of honourable distinctions, and conversely was also made a means of
-punishing misconduct.
-
-The decorative value of shields had been recognized from the earliest
-times; on the Greek pottery, for example, they appear bearing the
-symbolic representations of birds, lions and other animals, which are
-there drawn with all the vigorous beauty and sense of design that we
-should naturally expect from such a source.
-
-In the Roman sculptures also shields frequently occur, of whose shapes
-some were to reappear at the Renaissance.
-
-[Illustration: FIG. 3.
-
-Back of Fig. 4.]
-
-[Illustration: FIG. 4.
-
-Norman Shield.]
-
-[Illustration: FIG. 5.
-
-Eleventh Century.]
-
-[Illustration: FIG. 6.
-
-Back of Fig. 5.]
-
-The Norman shields, as they are represented in the Bayeux tapestry,
-in early carvings and in seals, were long and narrow, and the leather
-guige by which they could be suspended from the neck was already in
-use, as well as the other thongs which served as arm and hand holds
-(Figs. 3 and 6), and were so arranged as to permit the grasp to be
-applied in a variety of ways as the positions of the shield might
-demand. The two sets of grips, called enarmes, that are here shown will
-serve to make clear the general arrangement, but their placing varied
-considerably, and was naturally adapted to individual requirements
-and peculiarities. The shields were strongly curved in a horizontal
-direction, partially encircling the body and, in many instances, had in
-the centre a projecting boss or umbo. They were rounded at the top, as
-in Fig. 5, or the top was straight with rounded comers, as in Fig. 4.
-Being pointed at the base they were capable of being thrust into the
-ground, so as to be easily held in position by men fighting on foot, to
-whom they formed a very efficient defence, being about 4 feet high, in
-combination with the hedge of lances that accompanied them. Their width
-was about 2 feet or perhaps a little more.
-
-They usually consisted of a foundation of wood covered with strong
-thicknesses of leather, additionally strengthened with bands and
-bosses of metal, and were often richly painted, and even, it is said,
-sometimes adorned with gems.
-
-The round-topped pointed shield appears on the seals for a considerable
-length of time, and in Italy has never gone out of decorative use.
-
-Throughout the eleventh and twelfth centuries the Norman shield
-remained with very little modification, and was therefore the first
-shape to which regular heraldry was applied.
-
-The subjects, besides the armorials which were gradually increasing
-in number and in regularity of arrangement, were at first little more
-than fanciful decoration, the signs of the zodiac and similar devices,
-as well as the badges, which long continued to be used from time to
-time in a more ephemeral way than the regular armorials, though nearly
-approaching them in character.
-
-Very early in the thirteenth century the height of the shield began to
-decrease, and continued to do so until by the middle of the century
-an almost equilateral form was arrived at (Figs. 7, 8, 9). This was
-probably the effect of the progress in the making of defensive armour,
-whose improvement ultimately resulted in the disuse of the shield
-altogether. By the end of the thirteenth century heraldry had become
-general, and the triangular shields bore coats of arms which showed in
-their composition the influence of the shape that contained them. The
-fact that a single lion was depicted as rampant rather than in another
-pose, was probably due at first to the greater ease with which it could
-thus be adapted to the space and so satisfy the decorative sense of
-distribution. And the attitude was already in existence in the designs
-of the textiles and in other works of Eastern origin.
-
-[Illustration: FIG. 7.]
-
-[Illustration: FIG. 8.]
-
-[Illustration: FIG. 9.]
-
-Until the beginning of the fourteenth century the curves which describe
-the sides of the shield commenced quite at the top, but soon afterwards
-(the shape becoming rather narrower in proportion to the height) the
-side lines began straightly at right angles with the top and, at
-about one-fourth of the height, began to develop into the curve which
-formed the point (Fig. 11). This is known as the heater shape from its
-resemblance to the heater of a smoothing iron. Soon afterwards the
-straight part of the sides extended downwards and the shield, thus
-becoming wider at the base, more nearly approached the square form, as
-in Fig. 12.
-
-The shapes here given are designed to explain the varying forms from
-time to time, and not the relative size of actual shields.
-
-[Illustration: FIG. 10.]
-
-[Illustration: FIG. 11.]
-
-[Illustration: FIG. 12.]
-
-The pointed shield was one of the most satisfactory shapes for the
-display of a single coat of arms, but it became inconvenient, in most
-cases, when two coats were impaled together or when quarterings were
-involved, the restricted base rendering it extremely difficult to
-deal with objects in that part of the shield. The seals and monuments
-naturally represent shields as very flat, but they were not actually
-so, but were almost always curved in section to a greater or less
-extent, and in one or more directions; for armour was designed to
-deflect a blow rather than to directly resist it, this being one of
-the ordinary principles on which most kinds of defence are based. As
-we have seen in the Norman shields, the curve was at first simply from
-side to side, afterwards, in order to prevent a blow from glancing
-downwards, the lower part of the shield was made to project, and
-finally the top was brought forward so that the shield had a double
-curvature, convex from side to side and concave perpendicularly (Fig.
-13).
-
-A large shield called a pavoise was used for fighting on foot, a
-partial reversion, for definite practical reasons, to the long shield
-of the Normans. Like the Norman shields, it in some cases had a pointed
-or rounded base, while in others it was roughly rectangular, its most
-marked characteristic being the large and projecting rib whose hollow
-served on occasion to accommodate a supporting stake (Figs. 14 and
-15). It was provided with handgrips and, in most cases, with a guige
-by which it could be slung on the shoulders or carried on the back
-when not in use. Besides those which were painted with subjects which
-extended over the whole surface in the usual way, others were decorated
-with small painted shields drawn on the larger one.
-
-[Illustration: FIG. 13.]
-
-[Illustration: FIG. 14.
-
-Pavoise. Afli.
-
-Violet-le-duc.]
-
-[Illustration: FIG. 15.
-
-Back of Fig. 14.]
-
-The term pavoise is sometimes given to the large decorative shields
-(of various shapes) which were made in considerable numbers in the
-sixteenth and seventeenth centuries, especially in Italy; but there
-is no doubt that the term, in strictness, should be confined to this
-special defence of the foot-soldier.
-
-A shield with a sharp arris or ridge and a round base is said to
-have been the last form to be used in actual war (Fig. 16), and is
-interesting as the prototype of the ridged Renaissance shield, which
-became of such decorative value, especially when modelled in relief,
-because of the play of light and shade which it afforded (Fig. 16A. See
-also Figs. 20 and 21).
-
-[Illustration: FIG. 16.--Fifteenth Century.]
-
-It will, of course, be understood that the various shapes of shields,
-as they were gradually evolved one from the other, did not in
-representation supersede their predecessors altogether, however more
-or less completely they may have done so as actual defence, and a
-considerable amount of overlapping took place in this as in other
-heraldic fashions.
-
-The armorials themselves having been influenced in their composition
-by the shield shape that was in vogue when they were devised, the
-choice of a form that is equally convenient for all the arms of a
-series presents considerable difficulty, and therefore should not be
-decided upon until the nature of their whole contents has been properly
-considered.
-
-Shields were used in the tournament in a variety of ceremonial ways.
-Froissart describes, in his account of the meeting that was held near
-Calais in 1390, how they were hung outside the pavilions of the
-defenders, so that by touching them the challengers could signify their
-intention as to the kind of encounter that was to ensue. For this
-purpose two shields were displayed, one “for peace” and another “for
-war,” and according as one or the other was touched the encounter took
-place with blunt or pointed weapons. Similar shields are referred to by
-Edward the Black Prince in his will, dated 1376: “l’un pur la guerre,
-de nos armes entiers quartelles” (those represented in Fig. 1 at p. 9),
-“et l’autre pur la paix, de nos bages des plumes d’ostruce” (Fig. 17),
-both of which decorate his tomb.
-
-[Illustration: FIG. 16A.--Ridged Shield. Fifteenth Century. Martin
-Schongauer.]
-
-Together with the banners and pennons of the chief personages, shields
-were hung from the windows of the knights’ lodgings in the neighbouring
-town to where the lists were set. They also adorned the walls of the
-banquet hall, and in every way the actual shields contributed to the
-pageantry of the time, and naturally suggested their representation in
-tapestries and in other permanently decorative ways.
-
-The treatment of the bearings on the actual shield was, no doubt, by
-means of painting in flat colours, the charges being drawn in the
-simplest and most direct way; for although there are examples in the
-illuminated manuscripts of knights armed with shields whose charges
-are in relief, such treatment was probably exceptional owing to its
-cost and to the difficulty of repairing damage, or may even have been
-due to the elaboration of the illuminator. So that although relief was
-employed in cases of unusual magnificence the ordinary treatment was
-probably flat.
-
-[Illustration: FIG. 17.--Shield “for Peace” of The Black Prince. After
-Stothard.]
-
-Shields for great ceremonial purposes being more purely decorative were
-naturally more elaborate, and of these the shield at Canterbury must be
-again instanced. Such a shield after serving in the funeral procession
-was suspended over the tomb, together with the sword and crested
-helmet, as was done for Edward III and Henry V in Westminster Abbey and
-for Humphrey, Duke of Gloucester, “the Good Duke Humphrey,” in old St.
-Paul’s; but of these only the insignia of Henry V remain, and they are
-by no means in such interesting preservation as those at Canterbury. A
-similar trophy adorned the tomb of Edward IV at Windsor, and is said to
-have been embroidered with pearls and gold.
-
-The shields that were intended for ceremonial or decorative purposes
-were very carefully made of layers of various materials, such as canvas
-and leather, which were stretched over and glued down to the wooden
-understructure in order to afford a key to the material that formed
-a surface for the subsequent work, in much the same way that panels
-were prepared for other kinds of painting at that time. The charges
-were then modelled in gesso, afterwards gilt and painted, or else were
-fashioned in modelled leather and pinned down to the surface. The
-spaces were often diversified with diapered patterns in raised lines of
-gesso or by means of punches, and when the gold and colour were added
-the whole effect was extremely rich and beautiful. Of such pageant
-shields excellent specimens were in the great Bardini collection, now
-dispersed.
-
-[Illustration: FIG. 18.--Italian Decoration Shield. Fourteenth Century.]
-
-Fig. 18, a kite-shaped shield of the fourteenth century, bears bendwise
-the word Libertas, the motto of the republic of the town of Luroques,
-in beautiful letters, whose treatment is perfectly appropriate to the
-gesso in which they are executed. The shape of the shield follows
-closely one of the early Norman forms, and is somewhat of the same
-proportion, being 44 inches high by 21 inches broad. The square
-pavoise (Fig. 19) of wood covered with vellum is painted with the arms
-of the Buonamici, and over them as crest is the portrait of the head of
-that family, Bienheureux Buonamici.
-
-[Illustration: FIG. 19.--Florentine Decoration Shield. Fourteenth
-Century.]
-
-At the time that the use of shields in actual combat was becoming less
-and less frequent, the invention of engraving on metal plates, the
-improvement in wood-engraving, and finally the production of printed
-books, opened a fresh field for heraldic art in the making of the
-plates of arms which marked the patronage of a literary work, or in the
-more familiar bookplate which signified the ownership of the book. Then
-began that long series of beautiful little works by Martin Schongauer,
-Israel van Meckenen, and by Dürer and their successors. In the large
-number of designs thus produced the shields, in many instances, became
-much less simple, ceasing to be a representation of the real defence,
-though some of them were developments from it. The cusped forms such
-as Figs. 20 and 21, which came into use in the latter half of the
-fifteenth century, and became still more frequent in the Tudor period,
-perhaps have some affinity with the elaborate fluted armour of the
-time, but others were frank adaptations of the contemporary decorative
-scrolls and were really cartouches more or less in place of a shield.
-
-[Illustration: FIG. 20.--Fifteenth Century.]
-
-[Illustration: FIG. 21.--Sixteenth Century.]
-
-The special tournament shield, the shield à bouche, had a marked
-influence on subsequent forms. In order that the shield might, during
-the joust, fit closely to the shaft of the lance a semi-circular
-opening was made, sometimes at the top but more usually at the side,
-as in the example (Fig. 22), and from this simple expedient a very
-great variety of shape resulted, of which the manner of evolution is
-interesting.
-
-In the ornamental forms that were based on the actual ones this
-embouchure was sometimes plainly indicated, as in the shield from the
-group of Dürer’s coat of arms (Fig. 23) and in the French wood-carving
-(Fig. 24); in others the lower point of the opening was merged into
-one swinging line, as in the shield of the well-known Death’s Head
-coat of arms. The next step was to duplicate the curve suggested by
-the bouche, and from the resulting form proceeded an endless variety
-of similar shapes, the addition of foliated or scroll ornament
-completing the transition from the practical shield to the ornamental
-one. An interesting instance of this duplication of form occurs in
-the shield from a fifteenth century monument in St. Gatien Cathedral
-(Fig. 25). With the recognition of the purely ornamental character
-of the shield-form the placing of the spear opening on the naturally
-correct side, the dexter, ceased to be thought important, and it was
-placed indifferently on one side or the other, and when such shields
-occur in pairs, as in those on the Pirckheimer bookplate by Dürer, the
-bouche-derived curves are placed symmetrically on opposite sides.
-
-[Illustration: FIG. 22.--Tournament Shield. Fifteenth Century.]
-
-[Illustration: FIG. 23.--Dürer’s Arms. Early Sixteenth Century.]
-
-[Illustration: FIG. 24.--French Wood-carving. Fifteenth Century.]
-
-[Illustration: FIG. 25.--Fifteenth Century.]
-
-[Illustration: FIG. 26.--1530.]
-
-Foliated decoration applied to the duplicated tournament form is well
-exemplified in the shield from the plate of the arms of Herr Kress, who
-was the friend of Dürer, though the plate is not Dürer’s work (Fig. 26).
-
-[Illustration:
-
-  FIG. 27.
-  FIG. 28.
-  FIG. 29.
-  FIG. 30.
-
-Shields by Aldegrever. 1552.]
-
-Among the work of Dürer’s school the beautiful plates of his pupil Hans
-Sebald Beham will well repay study for their excellent composition and
-for their extreme beauty of draughtsmanship and engraving. Beham’s
-shields were often scrolled at the edge, but not extravagantly so, and
-he frequently employed plain shields, which, like most others at the
-time, however plain in outline, were shown more or less concave in some
-or all directions: a well-known device to obtain relief for the light
-side of the charges by means of the adjacent shadow that is formed by
-the concavity of the shield.
-
-The shields that accompany the figures of the Virtues and Vices,
-engraved by Aldegrever in 1552, are most unusual in their curiously
-shaped edges, and show very emphatically the complete departure from
-the character of the defence shield (Figs. 27-30).
-
-The Italian form derived from the tournament shield took a longer
-shape, still retaining the bouche, and often had the base divided into
-three parts, and many examples of this shape occur on the walls of the
-Palazzo del Podesta, Florence. The surface was generally kept whole and
-not fluted, as in the analogous English form. The most characteristic
-Italian shield, however, was that derived from the angular Roman ones,
-such as those on Trajan’s column, with the outlines curved into cusps.
-This is sometimes called the champfrien shape from its resemblance to
-the face-plate of horse-armour, but the appearance of the form at the
-time of the revived interest in classic art leaves little doubt of the
-source from which it was taken. Among others were oval shields, also
-of classic origin; and the round-topped Norman shape also occurs very
-frequently. Triangular shields with concave outlines were also used.
-
-In the use of more or less elaborate decoration the German artists
-participated. Virgil Solis and Jost Amman among others frequently used
-the scrolled shield, as Beham also had done. That English heraldry felt
-all these influences is evident in the examples from St. Alban’s Abbey
-(Figs. 31 and 32), sculptures whose forms are directly derived from the
-tournament shield and were carved in the early sixteenth century.
-
-The application of foliated ornament occurs in the Garter Plates early
-in the fifteenth century, in that of Henry, Prince of Wales, afterwards
-Henry V (Fig. 33), and more completely in the sixteenth century shield,
-which bears the arms of the Abbey of St. Alban’s (here omitted), Fig.
-32.
-
-In the Elizabethan and Jacobean decoration there is a reversion to
-the plain square shield, which usually occurs as a centre for scrolls
-and strapwork, the corners becoming slightly pointed, a feature which
-developed into the hideous eared shields of later times, when also the
-decorated form had become the clumsy “ornamental” shield that was so
-long endured.
-
-[Illustration: FIG. 31.--Sixteenth Century.]
-
-[Illustration: FIG. 32.--Sixteenth Century.]
-
-[Illustration: FIG. 33.]
-
-These various forms point to the useful fact that the shape of a shield
-is only limited by the invention and judgment of the designer. The
-only, and unfortunate, exception is the lozenge, on which the arms
-of ladies are placed in certain cases: an unfortunate shape because
-in most instances it is extremely difficult, if not impossible, to
-accommodate its bearings to it in a satisfactory way. Usage says that
-an unmarried lady must bear her father’s arms, and a widow must bear
-her father’s and husband’s arms together on a lozenge. This is a point
-that cannot be ignored, for an isolated lozenge containing but one
-coat is an heraldic statement that the owner is unmarried: except the
-statement be modified by the association of other arms, as in the case
-of peeresses in their own right. Again the necessity of being clear
-about the heraldic facts before attempting to depict them is evident.
-In one instance, at least, the arms of Her late Majesty Queen Victoria
-were drawn on a lozenge, in spite of the undoubted fact that “the Royal
-state is masculine.” It is also for this reason that a Crest is borne
-by the Sovereign even when a lady occupies that exalted position.
-
-The immense scope that is afforded by the variety of shield shapes is
-extremely valuable in adapting heraldry to general design, in fitting
-a shield to its space, in adapting it to its bearings, and in bringing
-its lines into proper relation to those of accompanying figures or
-ornament. It may also help in the expression of a general idea, as
-in the burnt wood panel on p. 218, where there is a suggestion of
-rose-leaves in the edges of the shield.
-
-It is obvious that as the statement which heraldry makes is a very
-definite one, its accuracy should be the first care, and that this
-vital consideration is frequently lost sight of is but too evident from
-the fact that even the King’s Arms are as frequently maltreated as the
-King’s English.
-
-It will be needless to specify instances--they are not few--of works
-of great public as well as artistic interest wherein the arms have
-no real connexion with the matter they are supposed to illuminate,
-though doubtless the intention was right, and if it had been accurately
-carried out would have been appropriate enough. Sometimes the arms that
-are ascribed to the family of Fitzjames appear on the shield on which
-the artist thought he was depicting the Royal Arms of England.
-
-From the Royal Arms of Scotland the distinctive tressure flory
-counterflory which encloses the lion is left out, and this occurs
-on the walls of a public library which happens to be the gift of a
-Scottish philanthropist.
-
-Errors are also due to faulty intention, for if we have to deal with a
-subject which applies to the whole country it is manifestly wrong to
-use the lions of England only, to the exclusion of the armorials of the
-rest of the United Kingdom, and yet this is constantly done.
-
-Careful observance of customary rules by no means precludes variety
-of treatment, however, but, on the contrary, affords ample scope
-for excellence of design in stating the heraldic facts with perfect
-accuracy. As already said, it is this symbolic statement that gives
-heraldry its peculiar value in decoration, for a similar effect of
-mass and line could doubtless be got in another way, but not the same
-quality of personal allusion.
-
-It will therefore be necessary to ascertain how to distinguish in some
-way between the unessential, and therefore available, variation which
-is so valuable to design, and such departure from accurate rendering of
-the subject as constitutes heraldic mis-statement that may stultify the
-whole work. In this important respect guidance may be found, as already
-intimated, in the system of description called Blazon, in which should
-be expressed all that is essential, and from which everything that is
-not essential should be omitted.
-
-
-
-
-CHAPTER III
-
-Heraldic Rules
-
-
-With the regular establishment of heraldry the need for a technical
-method of describing the various bearings at once made itself felt,
-and the system of Blazon was the result. Like the heraldry which it
-described it was admirably adapted to its purpose, being simple,
-perfectly explicit of the character, pose, and position of its subject,
-without excessive minuteness in detail. In time, however, it not
-only became more complicated, as was natural, but it at last became
-a vehicle for the pedantry which, succeeding the artistic feeling of
-the Middle Ages, expended itself in the making of unnecessary rules.
-By the time the seventeenth century was reached it seemed to be
-thought to show the height of heraldic knowledge to insist on every
-insignificant detail, and so prevent the artist from deviating into
-anything more excellent than was customary at the moment. Indeed
-this pedantic affection for exactness in trifles sometimes makes one
-wonder that in blazoning a maiden’s face it was not thought necessary
-to mention that it included _a nose between two eyes in chief and a
-mouth in base_ ppr. As a guide to the degree beyond which freedom of
-treatment may not go without destroying the heraldic validity of the
-subject, blazoning should be assiduously practised, however irksome and
-pedantic it may appear, until a technical note of any armorials can
-be written with precision and such a description be translated into a
-sketch with equal certainty. After studying the system as explained
-herein, I would recommend as practice the endeavouring to properly
-describe the armorials in an illustrated work, a Peerage for instance,
-with subsequent reference to the authentic blazon for confirmation
-or correction. Conversely a sketch should be made from a blazon,
-and then compared in a similar way with the illustration. For this
-purpose Foster’s _Peerage and Baronetage_, 1881-3, with its beautiful
-woodcuts after drawings by Dom Anselm and Forbes Nixon, will be of
-admirable service, and at the same time will familiarize the student
-with excellent heraldic design. The achievements in that work are
-represented with great strength and directness, and have much affinity
-with the spirit of the mediaeval work, and are therefore worthy of
-careful study. At the same time any tendency to make a style (which
-may easily become an eccentricity) into an aim rather than an incident
-should be carefully avoided.
-
-Blazon is not intended to enable two persons to depict a coat exactly
-alike in petty detail, but rather that each in rendering the subject
-in his own fashion may be correct in essentials, so that there can be
-no question of what coat is intended. Similarly, when a Patent of Arms
-refers to those “in the margin” thereof “more plainly depicted” (i.e.
-more legibly than in the technically worded blazon), it is not meant
-that the treatment (it may be bad) or the exact quality of tincture
-(it may be discoloured) is to be copied, and this is by no means an
-unnecessary warning, as experience has shown.
-
-In naming the parts _of the field_ or general surface, it must be
-remembered that the shield of arms is regarded as being held in
-position in front of its bearer: the side towards the right shoulder
-being called _the dexter_, and that towards the left _the sinister_. Of
-these the former is “more worthy” than the latter; that is to say, a
-charge that is not centrally placed would be to the dexter rather than
-to the sinister side of the shield; this, it may be remembered, being
-the reverse of the manner of wearing medals and orders on the breast.
-The upper part of the shield is _the chief_ and the lower part _the
-base_, the former naturally taking precedence over the latter. This is
-important in relation to the blazon of parti-coloured fields.
-
-[Illustration: FIG. 34.]
-
-In order to facilitate the accurate placing of objects in their
-intended positions on the field its various parts were thus named (Fig.
-34):--
-
-  A. Dexter   }
-  B. Middle   } Chief.
-  C. Sinister }
-
- D. The honour point, probably so named from its relative position to
- that of the heart in the human body.
-
- E. The fess point, named after the ordinary which passes through it
- horizontally, as hereafter described.
-
- F. The nombril or navel point, another fanciful allusion to the human
- body.
-
-  G. Dexter   }
-  H. Middle   } Base.
-  I. Sinister }
-
-Most of these terms have now become obsolete, but it is still necessary
-to know them with regard to their application in old blazon.
-
-In modern blazon when it is necessary to specify the part of the field
-that is occupied, the terms _in chief_, or _in base_, _in dexter
-chief_, _in sinister chief_, _in dexter base_, or _in sinister base_,
-or, if in the sides of the shield, the dexter or sinister side simply,
-as the case may be. It will be rarely necessary, however, to use any
-other than the first two of these phrases, for the position of charges
-is in most instances understood from other circumstances.
-
-Every blazon begins by describing the field, its divisions (if any)
-and colour. The partition lines by which it may be divided are named
-like the ordinaries, and may therefore be most usefully considered in
-connexion with them (_see_ p. 47).
-
-Heraldic tinctures, as they are all called, consist of metals, colours
-and furs. The metals and their technical names are: Or = gold, and
-Argent = silver. In painting, yellow is equivalent to gold and may be
-substituted for it; as white may be, and generally is, substituted for
-silver. It may be noted, however, that when an animal is naturally
-yellow, and is blazoned _proper_ (ppr.) it must be painted yellow and
-not gold.
-
-The colours are: Gules, signifying red; Azure for blue; Vert for
-green; Purpure, purple; and Sable, black. Though the terms are more
-immediately derived from Norman-French, the early language of chivalry,
-some of them at least are believed to have been derived from Eastern,
-probably Persian, sources. In practice they are considered to be
-completely anglicized and are pronounced accordingly. This also
-applies to most heraldic terms, but not to all, the practice in this
-respect being somewhat arbitrary.
-
-Tinctures are sometimes indicated by means of lines and other marks,
-a system which arose in the beginning of the seventeenth century, and
-was derived from the line tints which had long been used in engraving
-to distinguish contiguous spaces from each other, and used in this way
-they were valuable and unobjectionable because they were under control.
-When, however, a colour meaning was given to the lines the designer
-was no longer able to restrict their employment to where they were
-artistically useful, but must use them throughout or not at all. And
-the latter is, on the whole, the more satisfactory way. On flat spaces,
-if the lines are sufficiently pronounced to be legible, they may lead
-the eye in a direction that is not helpful to the composition, and on
-modelled charges or crests they have a flattening and confusing effect
-that is very disagreeable. In some instances the tincture lines have
-been used only in small patches, such as in shadows, and this is least
-objectionable, but is only possible in very simple cases. The signs of
-the tinctures are as follows:--
-
- Argent is shown by a plain surface.
-
- Or is signified by spots and sometimes by slight pecks which produce
- the appearance of a grain.
-
- Gules by perpendicular lines.
-
- Azure by horizontal lines.
-
- Vert by oblique lines drawn downwards from dexter to sinister.
-
- Purpure by oblique lines from sinister to dexter, and
-
- Sable by horizontal and perpendicular lines hatched across each other
- (Fig. 35).
-
-[Illustration:
-
-  Or.    Argent.    Gules.    Azure.    Vert.    Purpure.    Sable.
-
-FIG. 35.--The Tinctures.]
-
-The tinctures are usually contracted into arg., gu., az., vt., purp.,
-and sa. for convenience.
-
-It will probably be found that errors of memory are most likely to
-occur from confusing the direction of the lines which signify blue and
-red respectively; this may be avoided to some extent by connecting the
-letters H.B., which distinguish what is perhaps the most used grade of
-lead-pencil, with the fact to be remembered: Horizontal = Blue. Also
-the fact that objects on the horizon are blue may assist the memory.
-
-[Illustration: FIG. 36.]
-
-The furs are as follows: Ermine, it is hardly necessary to say, is
-white with black spots (Fig. 36). Ermines is black with white spots,
-and is probably a purely heraldic inversion of ermine. Erminois is
-ermine with a gold ground instead of white, and Pean, which is inverted
-erminois, has a black ground spotted with gold. The actual ermine
-being composed of many small skins sewn together, the black-tipped
-tails formed a regular powdering of spots. These, however, have from
-the earliest heraldic times been represented by conventional forms of
-immense variety, which usually consist of a divided central portion
-with the addition of three spots above, the latter being sometimes
-embellished with diverging lines. The conventional version of ermine
-was even used in costume, being painted on the material which was used
-by those to whom the wearing of real ermine was forbidden by sumptuary
-law. It will be observed that the body of the spot has become turned
-upside down in its transition from the form of the natural tail.
-
-[Illustration: FIG. 37.]
-
-[Illustration: FIG. 38.]
-
-[Illustration: FIG. 39.]
-
-By a similar combination of small skins, in this case grey and white,
-_Vair_ was formed (Fig. 37), and this fur also acquired a generally
-conventionalized shape, which became, in its late variety, somewhat
-like a series of the hideous eared shields of the eighteenth century.
-Vair is understood to be argent and azure in alternate spaces, the
-blue representing the grey part of the natural fur, and it is only
-when other tinctures are employed that they need to be mentioned in
-the blazon. In the latter case the term changes to vairy, or vairé, of
-such and such tinctures. One of the older forms of vair was made with
-undulating lines alternating with straight ones (Fig. 38), and is
-obviously better than the modern form. Another early variety carried
-the curved lines up to the straight ones, and was drawn somewhat as
-though the angles of the modern vair were rounded into curves, the
-result being a pleasant form that is shown in Fig. 39. Vair may be of
-three tinctures or even more, and instances are mentioned, by Gerard
-Leigh for example, but such cases are very rare.
-
-Potent is a fur similarly built up whose skins are in the shape of
-crutch-heads, and it is subject to the same colour conditions as vair
-(Fig. 40).
-
-[Illustration: FIG. 40.]
-
-[Illustration: FIG. 41.]
-
-[Illustration: FIG. 42.]
-
-Counter-vair and Counter-potent have pieces of the same colour opposed
-to each other, as in the example of counter-vair (Fig. 41), and it will
-be noticed that these variations of the simpler furs are inferior to
-them in that they lose the completeness of the counter-change. In both
-vair and potent the colour pieces are more frequently than not placed
-point upwards in relation to the metal ones, but there is no definite
-rule about this. An ancient form of vair which somewhat resembles
-potent is Fig. 42.
-
-[Illustration: FIG. 43.]
-
-[Illustration: FIG. 44.]
-
-[Illustration: FIG. 45.]
-
-[Illustration: FIG. 46.]
-
-[Illustration: FIG. 47.]
-
-[Illustration: FIG. 48.]
-
-[Illustration: FIG. 49.]
-
-[Illustration: FIG. 50.]
-
-Having described the tinctures it will now be convenient to return to
-divisions of the field, the simplest possible variation from a plain
-shield. A surface is _party per pale_ (Fig. 43) when it is divided by
-a perpendicular line into two halves, _party per fess_ (Fig. 44) when
-the line which equally divides the shield is a horizontal one, _party
-per bend_ (Fig. 45) when it goes diagonally downwards from dexter to
-sinister, and _party per bend-sinister_ when the diagonal is reversed.
-The word _party_, however, has now fallen into disuse, and the terms
-_per fess_, _per pale_ and so forth are considered sufficient. _Per
-chevron_, _per saltire_ and _quarterly_ are as represented (Figs. 46,
-47, 48). _Gyronny_ (Fig. 49) is a combination of the two last named,
-and the number of its pieces being normally eight, any variation from
-that number must be expressly mentioned. _Barry_ (Fig. 50) is composed
-of repeated horizontal lines, which are odd in number, so that the
-spaces begin and end with different tinctures. _Paly_ (Fig. 51) and
-_Bendy_ (Fig. 52) are similarly composed of perpendicular and oblique
-lines respectively. _Chequey_ (Fig. 53) is, of course, made into
-squares by perpendicular and horizontal lines, and _Lozengy_ (Fig. 54)
-similarly results from crossing oblique ones. Varieties of the latter
-form arise from a combination of perpendicular with oblique lines,
-called _paly bendy_, and of horizontal with oblique, which is called
-_barry bendy_. Both are of rare occurrence and perhaps resulted from
-bad drawing of lozengy.
-
-[Illustration: FIG. 51.]
-
-[Illustration: FIG. 52.]
-
-[Illustration: FIG. 53.]
-
-[Illustration: FIG. 54.]
-
-The field being the first part of a coat of arms to be described, the
-character of its division, if any, precedes the mention of its colour.
-For example: per pale Or and Gules. Here it may be noted that a field
-may be party of two metals or of two colours, for the general rule
-against colour being placed upon colour or metal on metal does not
-apply in these cases, the spaces being but divisions of one plane and
-not parts that are superposed one on the other. Nor does it apply to
-objects that are charged on a _party_ field, for in that case it is
-inevitable that the tincture of the charge must interfere with one or
-other of the tinctures of the field. Nevertheless, when confusion
-would be very pronounced counter-change is resorted to, as for example
-(Fig. 55): per pale arg. and az. three roses counter-changed.
-
-[Illustration: FIG. 55.]
-
-In blazoning party fields the tinctures count from the dexter side
-when the divisions are perpendicular, and from the chief when they are
-horizontal. In cases of diagonal division it must be remembered that
-the chief has precedence over the dexter side, and therefore in a field
-“per bend or and gules,” for instance, the space above the diagonal
-counts first and is therefore or. If this point is kept in mind, the
-difficulties that are frequently experienced in such blazon disappear.
-Thus in _per saltire_ the divisions count from the uppermost space, and
-in _gyronny_, this space being again divided by the perpendicular line,
-the alternation begins with that part of the chief which is nearest the
-dexter, or in other words, the first quarter of the shield is per bend.
-In bendy the space next above the middle diagonal may be taken for the
-first tincture as the key to the alternation.
-
-Barry, Paly and Bendy are each understood to be composed of six pieces
-unless it is otherwise mentioned.
-
-When chequey is applied to ordinaries, at least three rows or _tracks_
-are considered essential; so that when there is but one row it is
-called Gobony or Compony, and is Counter-compony when there are two.
-The two latter varieties occur most frequently in bordures.
-
-The objects that are borne on the shield are divided into two main
-groups that are respectively called Ordinaries and Charges.
-
-Ordinaries comprise those simple flat figures which are in most
-cases formed by divisions of the shield and generally extend to its
-edges. They are the Fess, the Bend, the Chief, the Pale, the Chevron,
-the Cross and the Saltire. Some of these have diminutives, similar
-figures drawn distinctly smaller and having separate names, and these
-will be found under their principals. Other forms, sometimes called
-sub-ordinaries are the Pile, Quarter, Canton, Gyron, Bordure, Orle,
-Tressure and Flanches.
-
-Other objects, animals, flowers, trees, anything depictable, animate or
-inanimate, may be borne as Charges on the field, on ordinaries, or on
-each other.
-
-The Fess (Fig. 56) is drawn horizontally across the shield and occupies
-the middle of it from side to side, and the blazon might be, for
-example, Or, a fess gules, i.e. a red fess on a golden shield. Where
-more than one occurs in the same coat they are necessarily smaller and
-are called Bars, e.g. Argent three bars sable.
-
-When bars are distinctly arranged in pairs each pair is called a
-Bar-gemelle, thus Az. three bars-gemelles Or, means three pairs of bars.
-
-The proportion of the ordinaries to their fields varies very
-considerably, and this for many reasons. When the ordinary is alone,
-when it is between charges or where it is itself charged, the
-proportion will change with the conditions. The character of such
-charges and therefore their weight in the composition must also be
-taken into account, for the adequate display of all the constituents of
-the coat is the object in view.
-
-As an approximate proportion the width of an ordinary may be taken as
-somewhat less than one-third of the field when neither, or both, are
-charged; as a full third when itself charged and on a plain field; and
-as rather more than one-fifth when the field only is charged.
-
-By similar niceties of design the sense of lightness or weight may be
-conveyed, so that for decorative purposes the shield may be brought
-into due relation with the character of surrounding ornament. Colour
-also will affect the apparent proportion, a dark object on a light
-ground appearing smaller than it really is, and vice versa, and this
-requires careful attention in the counter-change which occur in
-heraldry as in other forms of design.
-
-[Illustration: FIG. 56.]
-
-[Illustration: FIG. 57.]
-
-[Illustration: FIG. 58.]
-
-[Illustration: FIG. 59.]
-
-The Bend is drawn from the dexter chief to the sinister base (Fig.
-57), and is sometimes accompanied by a smaller bend on either side,
-when it is said to be _cotised_ and must so be distinctly described,
-as arg. a bend cotised sa.; if, however, the cotises were of another
-tincture to the bend the blazon would be, for instance, arg. a bend sa.
-cotised gu., that is, a black bend between two smaller red ones on a
-white shield. The word cotise is also used for other diminutives that
-accompany their ordinaries on either side, and there are instances of
-shields being said to be cotised by their supporters. Where two or
-more bends of equal width occur they are called bendlets, and when they
-are raised above their normal position as in the Arms of Byron and of
-Birmingham they are said to be _enhanced_.
-
-The Bend-sinister is a bend reversed; that is to say, descending from
-the sinister chief to the opposite base; indeed, it sometimes occurs in
-wood-carving merely by reason of the carver having inadvertently turned
-his tracing over. The bend-sinister is sometimes used as a mark of
-illegitimacy. One of its diminutives, the Baton (a small bend-sinister,
-whose ends stop considerably short of the edges of the shield), is
-especially used with this intention. A bend-sinister is not necessarily
-a mark of illegitimacy. The old heralds indeed do not seem to have
-marked a coat in this way in order to hold up its bearer to obloquy,
-but simply employed the ordinary as a difference.
-
-A diminutive of the bend called a Ribbon occurs in the Arms of
-Abernethy--Or a lion rampant gules, debruised, i.e. passed over by a
-ribbon sable.
-
-The Chief occupies the top of the shield from side to side and has no
-diminutive (Fig. 58).
-
-The Pale is drawn perpendicularly down the centre of the coat (Fig.
-59), and when one of a number is called a Pallet, which again is
-sometimes called an Endorse when it accompanies the pale as the cotise
-does the bend.
-
-The Chevron (Fig. 60), usually drawn as a right angle, may be varied
-to a very large extent as conditions of space require; it becomes
-unpleasant, however, when more obtuse than a right angle. In later
-French and Italian heraldry it is frequently drawn remarkably acute,
-its point often extending to the top of the shield, and this form is
-usually found associated with very small and weakly drawn charges. When
-more chevrons than one are used together they are called Chevronels.
-
-[Illustration: FIG. 60.]
-
-[Illustration: FIG. 61.]
-
-[Illustration: FIG. 62.]
-
-The Cross (Fig. 61) and its diagonal variety the Saltire (Fig. 62) are
-sometimes _voided_, as in Fig. 63, so that the field shows through,
-and may also be interlaced, as arg. a cross voided and interlaced sa
-(Fig. 64). _Parted and fretty_ is an equivalent term. Its proportion,
-even in shields of which it was the only bearing, was much narrower in
-mediaeval times than later.
-
-[Illustration: FIG. 63.]
-
-[Illustration: FIG. 64.]
-
-The great variety of its form as a charge is referred to under that
-head, and some of its less usual forms as an ordinary are: Fig. 65, a
-cross quarter pierced; Fig. 66, a cross quadrate; Fig. 67, a cross
-nowy; and Fig. 68, a cross couped.
-
-[Illustration: FIG. 65.]
-
-[Illustration: FIG. 66.]
-
-[Illustration: FIG. 67.]
-
-[Illustration: FIG. 68.]
-
-The Pile is represented in Fig. 69. When more than one occur they point
-towards the base, unless their position is otherwise specified, and
-their points may either be in a line perpendicular to their widest part
-or they may converge towards the centre; in the latter position they
-are blazoned “piles in point.” Sometimes three piles are alternated so
-that there are “two in chief and one in base,” the latter, of course,
-being point upwards between the other two.
-
-[Illustration: FIG. 69.]
-
-With the important exception of the chief all the foregoing ordinaries,
-as bearings occupying the principal parts of the shield, are mentioned
-in blazon immediately after the field and before the charges, if any,
-as: Argent a bend between two fleurs-de-lis Gules, for example. The
-chief, on the other hand, is not blazoned until after the rest of the
-shield has been fully described.
-
-Ordinaries may themselves be charged, and in that case the sequence in
-the blazon is: (1) the field; (2) the objects immediately on it; and
-lastly, the charges with which the latter are charged. For example: Az.
-_on a_ chevron between three roses Or, as many fleurs-de-lis of the
-field. It will be noticed that the fact that the ordinary is charged is
-mentioned early in the blazon, though the description of the charges
-is left till later in accordance with the sequence already stated.
-Also that the chevron and roses being of the same tinctures the word
-_Or_ only follows the last of the objects to which it refers. Another
-point that is here exemplified is the avoidance of tautology by the use
-of the words “as many” instead of the repetition of the number three,
-and again in describing the fleurs-de-lis by tincturing them “of the
-field” instead of repeating az. This extreme objection to tautology is
-very characteristic of heraldic language, and where it is impossible to
-otherwise avoid repeating a tincture the ordinary word will be used in
-place of the technical one, as Gold in place of Or.
-
-[Illustration: FIG. 70.]
-
-Having proceeded so far with the subject of blazon, two very convenient
-methods of noting heraldic facts may now be described. That which is
-called a “trick” is a slight sketch, in which simplification is carried
-to the ultimate extent by indicating with numbers the charges which
-are repeated. As an instance, the coat blazoned above would appear in
-trick thus (Fig. 70). In the other method, which is a sort of heraldic
-shorthand, the blazon would be written: Az. on a [Shape 1] bet 3 [Shape
-2] Or 3 [Shape 3] Az., the niceties of ordinary blazon in avoiding
-repetition being ignored.
-
-VARIOUS LINES.--The lines with which simple objects are drawn and
-fields divided are, normally, plain ones; but various others are also
-employed, and constitute important differences between one coat and
-another. Those in ordinary use are as follows (Fig. 71):--
-
-[Illustration: Engrailed
-
-Invected
-
-Wavy
-
-Nebulée
-
-Indented
-
-Dancettée
-
-Embattled
-
-Raguly
-
-Dovetailed
-
-Potenty
-
-Rompu
-
-Fig. 71.]
-
-Engrailed may be drawn with cusps of any suitable size or quality of
-curvature. Its points must turn outwards from an ordinary, and when
-used as a party line they point to the dexter in per pale and upwards
-in per fess and per chevron.
-
-All lines other than plain ones must be mentioned in the blazon in
-immediate connexion with the objects to which they refer and before
-the tincture, as, Gules a bordure engrailed Or. As the only party line
-that appears to face in one direction, engrailed follows the general
-heraldic feeling in turning its point to the dexter or to the chief
-unless there is special reason to the contrary.
-
-Invected is engrailed reversed, so that the points turn inward. Its use
-is comparatively rare and the effect is not very pleasing.
-
-In wavy any form of regular undulation may be employed so long as there
-is no possibility of confusion with nebulée.
-
-Nebulée is usually drawn in some modification of the two forms given
-above, but there is an old and interesting treatment in which a nearer,
-though still conventional, suggestion of clouds covers the ordinary,
-as in Fig. 72. This is a bordure nebuly equally with that drawn in the
-ordinary way.
-
-[Illustration: FIG. 72.]
-
-Indented is composed of small serrations, while Dancettée usually
-consists of not more than three chevrons which, in the case of a fess,
-for instance, may be complete, or the series may begin and end with a
-half chevron as in the example. In early instances the angles are very
-acute, and in the case of party lines extend well across the field. In
-such a case the line should begin on one side of the shield and finish
-on the other in order to equalize the direction of the points.
-
-Embattled, when applied to fesses and chevrons, is confined to
-the upper line unless the ordinary is blazoned “embattled counter
-embattled,” in which case both lines are similarly treated. When
-applied to a chevron the sides of the crenellations are usually kept
-vertical, as though in the wall of a sloping way, rather than at right
-angles to the ordinary, though the latter form also occurs.
-
-Raguly, especially when applied to a fess or a pale, is suggestive of
-stumps of branches that have been lopped from the parent stem, and this
-probably indicates its origin. Thus the projections on both sides of
-the ordinary slope the same way, and, in many examples, they alternate.
-In the case of a cross they point along the limbs outwards from the
-centre.
-
-Many of the heraldic lines are of very ancient usage, and the popular
-idea that they are signs of modernity is quite an erroneous one, some
-of them occurring as early as the reign of Edward I.
-
-A line is Rompu when it is interrupted as in Fig. 62, and an instance
-of this occurs in the Arms of Allen, which is per bend rompu.
-
-SUB-ORDINARIES.--The Canton, Gyron, Inescutcheon, Orle, Tressure,
-Bordure and Flanches are classed as Sub-ordinaries. The fusil or
-lozenge (_q.v._) and some others are also sometimes included in this
-division, but classification of this kind is of little practical
-importance.
-
-The Canton (Fig. 73) is frequently a means of displaying an
-augmentation, a special distinction added to a previously existing
-coat, as in the arms of the family of Lane and others. It is drawn
-of any convenient size short of being possibly confused with the
-Quarter, the latter occupying the proportion of the shield that its
-name implies. The fact that even in modern coats the canton partially
-covers, if necessary, a charge near the same part of the shield
-suggests that it was in its origin an added mark of honour; and also
-because like the chief, it is mentioned in the blazon only after the
-main part of the shield has been described.
-
-The Orle (Fig. 69) becomes a Tressure (Fig. 70) by the addition
-of fleurs-de-lis, and when doubled and decorated with alternating
-fleurs-de-lis on both sides the beautiful “double tressure flory
-counterflory” of the Royal arms of Scotland is formed.
-
-[Illustration: FIG. 73.]
-
-[Illustration: FIG. 74.]
-
-[Illustration: FIG. 75.]
-
-[Illustration: FIG. 76.]
-
-Other ordinaries may also be made flory in a similar way, and a
-partition line may be flory counterflory, so that each division of the
-field interpenetrates the other in a very beautiful counter-change.
-
-The Bordure (Fig. 71) was extensively used in the Middle Ages as an
-addition to the arms of a family by which to distinguish its individual
-members from each other, as it still is in Scotland, and in its
-application to historic personages is a subject of great interest; for
-example, the shield of John of Eltham bore the arms of his father,
-Edward II, the lions of England, differenced with a bordure charged
-with fleurs-de-lis, in allusion to his mother, Isabella of France. The
-shield (Fig. 77) appears on the tomb of his nephew, Prince Edmund, at
-Kings Langley, but a much finer example is that from Prince John’s own
-monument in Westminster Abbey, at p. 77. This part of the subject will
-well repay pursuit, though space forbids its further consideration here.
-
-[Illustration: FIG. 77.
-
-Arms of Prince John of Eltham. From the Monument to Prince Edmund of
-Langley at Kings Langley.]
-
-It should be noted that when a chief or a canton occurs in the same
-arms with a bordure it surmounts the latter, or rather the bordure
-stops when it touches the other, for both are usually represented as
-in the same plane. Also, when a coat with a bordure is impaled with
-another, as in the arms of husband and wife, the bordure stops at the
-junction with the other coat. Nevertheless, the charges on the bordure,
-if any, and of specified number, remain, with the rest of the arms,
-unaffected by its diminution.
-
-The fact that the chief surmounts a bordure lends probability to the
-assertion that chiefs like cantons were at first honorific additions to
-pre-existing arms.
-
-Flanches are represented in Fig. 78, and their diminutives, Flasques
-and Voiders, are sometimes met with in old works.
-
-[Illustration: FIG. 78.]
-
-A shield of arms is said to be _charged_ with the figures upon it, but
-the term charge is usually understood to mean some object other than
-the ordinaries just described.
-
-Before proceeding further, however, it will be well to consider the
-various ways in which charges may be arranged with regard to the
-shield, to the ordinary and to each other.
-
-A single charge whose position is not otherwise fixed by the blazon
-naturally occupies the whole shield, but when charges are repeated the
-arrangement is, of course, more complex.
-
-The most usual number of repeated charges in a coat of arms is three,
-two in chief and one in base, an arrangement obviously suggested by
-the space available on a pointed shield, and in blazoning they are
-said to be _two and one_. As a rule, however, this distribution is
-assumed to exist unless another is specified. When the charges are more
-than three their disposition must always be mentioned, as: Gules six
-horse-shoes, three two a one, Arg. and so on for ten or more, counting
-always from the chief or top of the shield.
-
-An indefinite number of charges equally distributed over a surface,
-whether of field, ordinary or charge, is said to be Semée, as in the
-Arms of France that were assumed by Edward III and his successors, az.
-semée-de-lis or. As in this instance, a field semée of anything was
-depicted as though cut from a large surface similarly decorated, so
-that here and there at the edges a part only of the figures remained.
-This early method has been relinquished in favour of what was anciently
-called Geratting, by so arranging the powdering of charges that they do
-not touch the sides of the shield or any other object with which they
-are associated. Considerable management is required to so arrange them
-that they shall be equally distributed, and care must be taken that
-they do not appear to be _in orle_, as is explained below.
-
-[Illustration: FIG. 79.]
-
-Somewhat similar to semée is what is known as guttée or gouttee (Fig.
-79), a means of covering a field or other object by means of a kind
-of semée of drops, which have different names according to their
-tinctures. Thus when they are gold they are gouttés d’or; when argent,
-gouttés d’eau; when gules, gouttés de sang; azure, gouttés de larmes;
-sable they are gouttés de poix; and gouttés d’olive are vert.
-
-It is quite permissible to blazon them by their tincture; thus “arg.
-gouttée de sang,” would be equally correctly written, arg. guttée gules.
-
-The direction of the ordinaries affords another excellent means of
-placing charges; thus, objects in a horizontal line across the middle
-of the shield are _in fess_, when at the top they are _in chief_, and
-so forth.
-
-Similarly, charges one above the other are blazoned _in pale_. Here
-it should be noted that in pale and in fess do not mean occupying the
-_space_ of a pale or of a fess, but merely that they are disposed in
-the indicated direction. Thus the lions of England are _in pale_, but
-should, of course, be drawn right across their field, and in a similar
-manner charges in fess extend from chief to base when their character
-admits of the extension.
-
-In some instances a number of charges are placed on the field between
-others, as: three roses in bend between two roundles; but the result
-can rarely be made satisfactory as design, such a coat seeming to need
-the steadying effect of the lines of an ordinary.
-
-Charges that are ranged round the field, as in the enamelled shield of
-William de Valence at Westminster, p. 176, are _in orle_; if the number
-of martlets were specified, the blazon would be so many martlets in
-orle; but if the number were indefinite, the term would be an orle of
-martlets.
-
-[Illustration: FIG. 80.--Arms of the Grocers Company of London. Cartoon
-for mural decoration. Geo. W. Eve.]
-
-When a fess or a chevron is between three charges the latter naturally
-fall into the position of two in chief and one in base, and that is
-the most usual number and arrangement. Instances of greater numbers
-so disposed are rare among ancient examples, for in designing them the
-pointed shield seems to have been kept always in view with the notable
-exception of Berkeley, Gu. a chevron ermine between ten crosses pattée
-Ar; but these adapt themselves perfectly to the shield and chevron,
-being balanced by the large number above, as also do the cloves of the
-Grocers Company that are similarly arranged. Fig. 80 shows a rendering
-of the last-mentioned arms as designed to accompany work of the
-eighteenth century.
-
-
-
-
-CHAPTER IV
-
-Animals and Monsters
-
-
-Among the forms that are characteristically heraldic the Lion, the
-symbol of courage, power and magnanimity, is most prominent and typical.
-
-[Illustration: FIG. 81.
-
-Thirteenth Century.]
-
-[Illustration:
-
-  FIG. 82.      FIG. 83.
-
-Device Seals. Thirteenth Century.]
-
-It has already been mentioned that the earliest heraldic lion, followed
-the Eastern examples with considerable fidelity, as may be seen by
-comparing the lions of the early MSS., such as Fig. 81, with those of
-the textiles which were the product of Oriental looms, and of such as
-were set up in Sicily with Oriental workmen in the twelfth century.
-These early examples were drawn broadly and simply as was fitting
-to the material in which they were expressed, and their shape and
-proportion approached that of nature. The lion of the early seals, such
-as Figs. 82 and 83, present the same characteristics. The former seal
-is that of Alexander First in the twelfth century, and the latter that
-of Henry, son of Swanus de Denehy, in the thirteenth. The attenuation
-which became so characteristic a feature of the animals in later work
-arose from the necessity of clear definition of the object which was
-to serve as a distinctive badge that would be visible at a distance
-and when in motion, as has been already pointed out. The device was
-intended to be easily read under the various conditions of use, and
-in complying with those conditions the early draughtsman well proved
-that splendid sense of design which distinguished him. To this end the
-object was drawn as large as the containing space would fairly permit,
-and its form was attenuated so as to allow the ground to show through
-in due proportion to complete the necessary clearness of definition. A
-figure thus treated became a symbol, rather than a representation of
-the intended creature, but was, nevertheless, in the best instances,
-full of character, vigour and vitality; that is to say, the qualities
-that were attributed to the animal, not its mere form, were the object
-of expression. The placing of the beasts in the shield and their
-proportion to it is always satisfactory at this time, and suggests that
-too much care cannot be taken in trying to attain a similar excellence
-in present work, but by expressing qualities rather than by copying
-forms. Of the examples of lions of various periods, Fig. 84 is taken
-from the seal of Henry de Percy, 1300. Figs. 85 and 86, a lion rampant
-and passant guardant respectively, are from the enamelled arms on the
-tomb of Edward III in Westminster Abbey. Fig. 87 is from a fifteenth
-century shield of stained glass that is now in the Victoria and Albert
-Museum.
-
-[Illustration: FIG. 84.--End of Twelfth Century.]
-
-[Illustration: FIG. 85.--Late Fourteenth Century.]
-
-[Illustration: FIG. 86.--Later Fourteenth Century.]
-
-[Illustration: FIG. 87.--Fifteenth Century.]
-
-The exact proportion which charges should bear to the field cannot,
-of course, be stated with accuracy, there being no ready means of
-measurement, even if such were desirable, and it must necessarily
-remain a matter for artistic perception to find the just mean between
-crowding a space and failing to fill it. It is evident also that the
-proportion would be modified by circumstances, such as the character of
-the charge (whether condensed or dispersed), and also to some extent
-by colour, with regard to the respective effects of light on dark or
-dark on light as affecting apparent size. It may, however, be suggested
-that the charges should be insisted upon to the fullest extent that is
-compatible with the general style of the design, the field remaining of
-such weight that the Scottish quarter of the Royal Banner, for example,
-if seen as a mass at a distance, will tell as gold rather than red. And
-after all is said, the actual balance must be left to the decision of
-the trained eye.
-
-When strong outline filled in with colour is the method of working, due
-allowance must be made for the tendency of the line to become merged in
-the darker of the two tinctures; and the object will therefore need to
-be drawn slightly larger or smaller accordingly.
-
-There are also illusions of an optical nature that are produced by
-certain combinations of lines. If, for instance, three pallets are
-charged upon a chevron, it will be found that the middle one must be
-appreciably wider than those beside it if the three are to appear
-equal. Fig. 88 shows this, though the fact is more clearly appreciable
-in a drawing on a larger scale.
-
-[Illustration: FIG. 88.]
-
-The Pose of the Animals must be carefully observed as being of the
-utmost heraldic importance, and must in the main be adhered to with
-complete fidelity. To neglect in this respect is due much of the bad
-heraldry which too often vitiates otherwise good work.
-
-In the early days of the science, when the bearings were few, the
-nature of the creature was, no doubt, sufficient for the intended
-purpose, for there would be no other near with which to confuse it, and
-the pose was probably dictated by the form of the space that the animal
-was required to fill, but when it became necessary to distinguish
-between different bearers of the same animal, pose assumed a special
-significance and therefore became one of the principal means of
-heraldic distinction.
-
-Of the two principal poses, rampant and passant, the former is more
-suitable to upright spaces and the latter to horizontal ones. When
-however a passant lion has to fill an upright space, such as a canton
-or a quarter of a shield, or a rampant lion to fill a horizontally
-flattened one such as the second quarter of the Royal Standard when it
-is constructed in accordance with Admiralty measurements difficulties
-occur. One such problem occurs in the arms of Cambridge University,
-Gules a cross Ermine between four lions of England, a Bible fesswise of
-the field clasped and garnished Or (Fig. 89).
-
-[Illustration: FIG. 89.--Arms of the University of Cambridge. Panel in
-copper silvered and oxidized. G. W. Eve.]
-
-It was the rampant position that was considered the typical leonine
-one, however, and therefore it was that the lions of England were
-called leopards in early times: not that they differed in their
-relation to the natural form, but simply that they were not in the
-understood leonine posture. It will be seen from the example (Fig.
-90) that rampant signifies an upright pose with all the legs separated
-in a suggestion of vigorous rage. This arrangement of the limbs is
-heraldically essential, for when the hind legs are placed together the
-position is called _salient_ or leaping (Fig. 91). With regard to the
-heads of animals, it must be understood that in heraldry the normal
-position is in profile, and then it requires no special mention in
-the blazon. If, however, the blazon is, for example, a lion rampant
-guardant, the head is turned until it looks straight out of the shield
-at the spectator (Fig. 92). _Regardant_ is when the head is turned
-still farther so that it looks backward over the shoulder (Fig. 93).
-In some early works the term regardant is used in the same sense as
-guardant, full faced, but the position first described is what is now
-understood by the term.
-
-[Illustration: FIG. 90.--Rampant.]
-
-[Illustration: FIG. 91.--Salient.]
-
-[Illustration: FIG. 92.--Rampant Guardant.]
-
-[Illustration: FIG. 93.--Rampant Regardant.]
-
-The tail of the rampant lion, which in early examples was elaborated
-into a highly ornamental appendage, is usually held in an erect
-position, but there is no heraldic reason why it should not occupy any
-other position which the shape of the field might render desirable.
-
-It seems to have been always believed that the rage of a lion was
-indicated by the agitation of the tail, and Leigh, writing in the
-sixteenth century, says: “When the lion is angry, first he beateth the
-earth and then his own backe with his taile.” On the other hand, it is
-now asserted by wild beast tamers that a lion is most dangerous when
-his tail assumes the rigidity of an iron bar and possibly the first
-draughtsman to depict the Howard or the Percy lion, in his well-known
-and now stereotyped attitude with the tail extended horizontally, was
-aware of this.
-
-It is sometimes said that the tail passing between the legs constitutes
-a definite heraldic variation, but this is extremely unlikely. The
-term ascribed to it of “coward” is much too dangerous to have been
-intentionally borne on a shield which symbolically stood for its owner,
-except with some other symbol in a position of superiority, such as
-the eagle over the dragon in the Guelph arms. Most probably it was one
-of the trivial inventions by which the later heraldic writers sought
-to fix and give meaning to an accidental and unessential detail.
-There are numerous instances of this free treatment of the tail when
-there could be no possible heraldic intention, and in every case it
-is apparent that some difficulty in arrangement was overcome, as in
-both the Great Seals for Scotland of Charles I the lion supporter has
-the tail between the legs, and it is not possible to consider this a
-Scottish joke, though the animal looks singularly mild and cheerful.
-However this may be, the tail may certainly go anywhere outside the
-legs. A lion’s tail may be double or forked, and in that case the
-blazon says _double queued or queue forchée_. Both terms mean the same
-thing, for the double tail issues from but one root. In rare instances
-it is twisted into a knot, and is then said to be nowed.
-
-Although the lion has been conventionalized, more or less, into
-a pattern, and his positions are always the subject of careful
-regulation, he is still susceptible of considerable variation of pose,
-within heraldic limits, based on the facts of anatomical structure; so
-that while the possibilities of animal movement are observed, it may
-be designed to cover its field pattern-wise whatever the shape of the
-shield may be, and at the same time retain great vitality and power.
-The effort to express vigorous action without suggesting progression
-out of the space is not easy perhaps, but the contrary effect is very
-ludicrous, as is often apparent in modern mural decorations that are
-based on heraldic motives, rampant lions seeming to be walking placidly
-up a wall in a procession of their fellows.
-
-The _lion passant_ is depicted with all the limbs separated and the
-right forepaw raised (Fig. 94), and when its head is full faced,
-affrontée, it is passant guardant, the position of the lions in the
-Royal arms of England, viz. Gules three lions passant guardant in pale
-Or. The most frequent error in rendering this coat is the turning the
-heads in profile, and it cannot therefore be too often insisted upon
-that lions so treated are not “lions of England” at all.
-
-[Illustration: FIG. 94.--Passant.]
-
-[Illustration: FIG. 95.--Statant.]
-
-The shield at Canterbury that is ascribed to Edward the Black Prince
-has been already described as a most satisfactory example, which is in
-brilliant contrast to the modern instances wherein the lions occupy a
-central column in a broad field with a wide blank space at either side
-of them. This perhaps arose from a mis-reading of the words “in pale”
-of the blazon, which were perhaps taken to mean “in place of a pale,”
-whereas they mean “in the direction of a pale,” i.e. one over the other
-but without lateral limits other than those of the field. Passant
-regardant has the head looking backwards as in rampant regardant. The
-lion statant (Fig. 95) stands on all four feet, and may be statant
-guardant or statant regardant, according to the position of the head as
-before mentioned.
-
-Sejant is in the position of Fig. 96 and couchant that of Fig. 97.
-
-[Illustration: FIG 96..--Sejant.]
-
-[Illustration: FIG. 97.--Couchant.]
-
-The expression of vigour is the most important individual quality to
-strive after in the treatment of heraldic animals, the line of the back
-and loins may be made to express lithe strength, and power be suggested
-by the massive shoulder, with the powerful fore-leg tapering to the
-wide-stretched and vigorous paw. Dignity and life should be in the pose
-of the leonine head and mane, and broad harmonious effect in the whole
-treatment. The widely spread toes were sometimes very much exaggerated,
-as in the Arms of John of Eltham (Fig. 98), but in character and
-drawing were much nearer the natural facts than the foot of a quiescent
-lion might lead one to imagine. This may be seen on a small scale in
-the domestic cat when she stretches her leg with her claws protruding.
-
-When the lions of the later Gothic type lost the vigorous qualities
-of the earlier examples the toes lost their power and became like
-radiating leaf-forms.
-
-[Illustration: FIG. 98.--Arms of Prince John of Eltham.
-
-Westminster Abbey.]
-
-The setting-on of the tail may also help the expression of vigorous
-life, its junction with the body being well marked instead of being
-allowed to flow softly out of the line of the back. This is well
-shown in Dürer’s lion at Fig. 99, that splendid example of the best
-kind of Renaissance heraldry whose fine drawing, well-balanced design
-and beautiful technique have caused its frequent instance as a striking
-work of heraldic art. The illustration is reproduced from the very
-fine impression in the National Art Library at the Victoria and Albert
-Museum.
-
-Both these examples are excellent for their good decorative
-distribution, the former shield being probably the best extant instance
-of that necessary quality.
-
-In the lions of various periods it will be seen how the type altered
-from time to time, from that of the thirteenth century MSS., which
-possesses a considerable amount of a natural leonine shape, through the
-attenuated beast of the later mediaeval period down to the Renaissance
-form in its two somewhat dissimilar styles: that of Germany, from which
-modern German heraldry is derived, which shows a strong survival of
-Gothic influence; and that of Italy, from which appears to have been
-drawn the heraldry of the rest of Europe until the still recent Gothic
-revival here.
-
-In modern German heraldry the lions have become so over-elaborated that
-in many instances the prevalent effect is one of fluffiness. Too much
-is made of the hair, especially in the legs, which are sometimes much
-more suggestive of the well-feathered legs of a dorking fowl than of
-the clean and powerful, though hairy, limb of a lion; and with the lost
-suggestion of vital energy goes any symbolic dignity that it expresses.
-
-[Illustration: FIG. 99.--The Coat of Arms with a Cock. A. Dürer.]
-
-The later Italian heraldry and the style which followed it ultimately
-dispensed with attenuation in the animals together with most of
-the other decorative qualities of the hated Gothic, and the efforts
-at naturalistic representation resulted in forms which at a little
-distance became mere undistinguishable blobs, to the complete defeat
-of the object of their existence. The rampant lions became tame
-and therefore ludicrous in the upright pose which, deprived of any
-suggestion of rage and strength becomes meaningless, while in what
-may be called the decorative treatment the suggestion of the creature
-and of its attributed qualities in a broad and simple way sanctions
-an arrangement which makes for decorative distribution as well as for
-symbolic expressiveness. Vigour also makes for the dignity that is an
-important consideration in serious design, for when once a ludicrous
-suggestion is attached to a thing it becomes inseparable from it.
-Probably the most frequent accompaniment of such want of vigour is the
-production of a feebly human expression which inevitably suggests the
-connexion with it of some trivial or ludicrous phrase. Now the grinning
-jaws of the early lions are never imbecile.
-
-With regard to the strong characterization that is required valuable
-lessons may be learnt from the lions of the Assyrian bas-reliefs,
-one of which is represented here (Fig. 100). The accentuation of the
-principal muscular forms and masses is very striking, and presents
-suggestions of a method that lends itself well to the expression
-of heraldic character. It is not, of course, intended to import an
-Assyrian lion bodily into the shield, or that the Assyrian style should
-be visible in the resulting work, but only that the method should be
-studied and applied as a special means to a definite end.
-
-[Illustration: FIG. 100.--Lion from Assyrian Bas-relief.]
-
-The degree of detail and the amount of its elaboration will depend on
-the size and general character of the work. Sometimes mere outline will
-suffice, though on a larger scale or in other conditions it would look
-empty. Thence to complete modelling embraces a wide field of choice
-in which to find methods suitable to all purposes. Under ordinary
-conditions a simple broad treatment is much to be desired, definition
-being obtained by few but accurately placed lines, such as those of
-ribs and loins in the body, and of brow, jaw and mane in the head.
-
-The degree of relief of charges should, of course, stop short of any
-suggestion of detachment from the field. This might seem too obvious
-for remark, but an example to the contrary, a large, and in many
-respects beautiful, work in coloured leather was recently to be seen in
-which, the arms of the Medici being the principal motive, the charges
-appeared to be suspended in front of the shield from which they seemed
-to be so distant as to cast full round shadows.
-
-In adjusting a rampant lion or other beast to its field a skeleton
-sketch of the main lines of distribution may be usefully employed as a
-guide in first blocking out the animal, in the same way that similar
-diagrammatic forms are sometimes used in figure composition. On this
-the figure will be drawn, the head being thrown well back and the
-hindmost leg being brought towards the centre line so as to help the
-spacing in the dexter base of the shield.
-
-Care should be taken not to make the higher of the forelegs too short,
-or the value is lost of the strong forward reach from the shoulder,
-which expresses the action while it helps the distribution.
-
-In posing animals on a shield it must never be forgotten that not only
-is a pattern being arranged but that it is made with the body and limbs
-of a supposedly living thing.
-
-Fig. 101 is one of the methods that suggest themselves, and passant
-lions may be spaced in a similar way (Fig. 102).
-
-[Illustration: FIG. 101.]
-
-[Illustration: FIG. 102.]
-
-A lion’s claws and tongue, of which he is _armed_ and _langued_
-respectively, are gules except when he or the field is of that
-tincture, and in either of the latter cases he is armed and langued
-azure, as in the Royal coat of Scotland. This is taken as of course,
-and need not be mentioned in the blazon, though it very often is.
-
-Demi-lions are usually demi-lions rampant, and in this form they were
-largely used as crests, which will be discussed later on. They are
-depicted as severed low down at the loins, and the tail is retained in
-most cases, though not always. When, as a charge, they are in contact
-with a line of an ordinary, as though arising from it, they must be
-described in the blazon as _issuant_.
-
-Demi-lions passant or passant guardant are of more rare occurrence, the
-latter generally in conjunction with another object, as in the arms
-ascribed to the Cinque Ports on the seal of Sandwich (Fig. 103), where
-the demi-lions are joined to the hulls of ships. This evidently arose
-from the joining together by dimidiation or halving of two separate
-coats, viz. the Arms of England with one of local allusion: Az. three
-hulls of ships Or. By a similar method were evolved the Arms of the
-city of Chester, wherein the lions of England are conjoined with the
-wheatsheaves of the Earldom.
-
-[Illustration: FIG. 103.--Seal of Sandwich (Mayor’s Seal).]
-
-Among the separate parts of animals used alone or in repetition a
-lion’s head is a frequent charge, and it follows the general rule of
-being represented in profile unless otherwise described. The lion’s
-leg, called a jamb, is also separately used as a charge, the tail being
-likewise thus employed. It must be remarked, that whenever a separate
-part of an animal is used as a charge the method of its severance must
-be carefully distinguished, whether _couped_, cleanly cut off, or
-_erased_, roughly torn away. In the latter case the erasure generally
-consists of three points or tufts, though not necessarily of that exact
-number so long as the erasure is sufficiently marked. It may, however,
-be noted here that a demi-lion as a crest is considered to be couped
-unless it is otherwise described, the junction with the helm usually
-disappearing within the torse that encircles it at that point.
-
-Animals that can neither be described as actual nor purely imaginary
-are the so-called “heraldic” tiger and “heraldic” antelope, which have
-little apparent relation to their natural namesakes, but were perhaps
-evolved in the effort of an early artist to realize the wonderful
-description of some marvellous traveller. They have a family likeness,
-however, in their armed snouts and in their leonine tails, the latter
-being an appendage with which the mediaeval artist was fond of
-finishing off his creatures in default of more accurate information.
-
-The poses of the lion are followed in a general way by other animals,
-both natural and “heraldic”; but in many instances the attitudes are
-called by different names for different creatures, a practice that
-was usual in mediaeval times, and also has its present examples, such
-as that two partridges are a brace and two hounds a couple, which
-need hardly be further specified. The Stag, emblematic of speed and
-sport rather than of combative virtues, has a special set of terms,
-which were naturally borrowed in part from those used in hunting. Thus
-he is “_at gaze_” when standing with his head affrontée, but when
-he stands with his head in profile he is _statant_ like any other
-beast; _springing_ when in the salient position, _trippant_ when he
-is walking, _at speed_ when running, and when couched he is _lodged_,
-and so he must be described in the blazon. His antlers, which are
-called _attires_, must, if they are of a different colour, be carefully
-mentioned and also his hoofs in a similar case, e.g. Azure a stag
-trippant Arg. attired and unguled (i.e. hoofed) Or.
-
-A distinction is made between the stag and other horned animals in that
-the latter are said to be _armed_ with their horns, as in the crest of
-the Duke of Bedford, a goat statant Arg. armed Or.
-
-Horses and other maned animals, real and imaginary, are _crined_ of
-their manes. Thus, the supporters of the Goldsmiths Company (Fig.
-104) are unicorns or, armed, crined and hoofed arg. (in some examples
-purpure). This treatment of the Goldsmiths’ arms was designed,
-like those of the Grocers Company at p. 64, to harmonize with early
-eighteenth century decorations. The unicorn has a horse’s head and
-body with the legs and cloven hoofs of a stag. Its twisted horn issues
-from the middle of its forehead, and its tail is that of a lion, the
-foregoing examples which have horses’ tails being extremely rare
-exceptions to the general rule.
-
-[Illustration: FIG. 104.--The Arms of the Goldsmiths Company of London.
-Cartoon for mural decoration. Geo. W. Eve.]
-
-[Illustration: Portion of a Pageant Car, with Heraldic Monsters. By
-Albert Dürer.]
-
-[Illustration: Griffin from the Triumphal Arch of the Emperor
-Maximilian I. Dürer.]
-
-Of other imaginary animals the Griffin or Gryphon is probably the
-best known next to the unicorn, seeing that its name is that which
-is popularly applied to most non-natural beasts. Evidently derived
-from one of those creatures by which early eastern art expressed the
-conjunction of various attributes, it came, like many other monsters,
-to be implicitly believed in as an actual beast until a comparatively
-late date. Thus Gerard Leigh has something to say of griffins which
-“bear great enmity to man and horse, though the man be armed and on
-horseback yet they take the one with the other quite from the ground
-and carry them clean away. I think they are of great hugeness,” he goes
-on, “for I have a claw of one of their paws which should show them to
-be as big as two Lyons!” In another place Leigh refuses to believe
-something that he had heard because he “had not seen the proof thereof”!
-
-The griffin is half eagle and half lion, the head forepart and wings
-being those of an eagle and the rest of the body with the hind legs and
-tail are leonine. The head of a griffin has ears, and these serve to
-distinguish it from that of an eagle when it is used alone.
-
-A curious variety of griffin, borne by the Marquis of Ormonde, is
-wingless, has two horns on its head and groups of rays issuing from
-its body, and is termed a male-griffin, for some inscrutable reason. It
-should be noted that the term for a griffin in a rampant position is
-_segreant_, all other poses being described in the ordinary way.
-
-The treatment of the composite animals naturally followed that of the
-creatures which entered into their composition, while the Dragons, more
-purely imaginary creatures, have suggestions of a snakelike character
-in their scales and annulations.
-
-In continental heraldry the dragon has but one pair of legs and behind
-them the body diminishing into a snakelike tail, which sometimes
-terminates in a barbed end. This form we term a Wyvern, reserving the
-word dragon for the four-legged variety.
-
-The conception of a dragon varied greatly, the prevailing
-characteristic in many instances being a hard scaliness somewhat
-suggestive of the Chinese and other oriental types. In other examples
-greater sinuosity and a more leathery texture is apparent, recalling
-to mind the idea of the “loathly worm” of some of the mediaeval dragon
-legends. As a symbol of evil, terrible but overcome, it is associated
-with St. George and with St. Michael, and also appears, with more
-personal allusion, in the well-known device of the Guelphic faction in
-their contest with the Ghibellines.
-
-[Illustration: Arms of the City of London. Wallis. 1677.]
-
-[Illustration: Wyvern (so-called “Dragon”)
-
-From Paradin, “Devices Heroiques,” 1557.]
-
-[Illustration: Privy Seal of Henry VIII.]
-
-
-
-
-CHAPTER V
-
-Heraldic Birds and other Figures, Animate and Inanimate
-
-
-In the same way that the lion asserted its pre-eminence among heraldic
-beasts the Eagle, the most powerful of birds of prey, was adopted
-as the symbol of victory from a time so early that one hesitates to
-set a period to it, for in Chaldea and Assyria, 4000 B.C., the eagle
-typified conquest, even as it did in the Middle Ages. The especially
-characteristic attitude of the heraldic eagle when it is said to be
-_displayed_ is first found in these early picture writings of the East,
-and from thence through countless stages comes to adorn the surface of
-the shields, to whose decoration its spreading form and radiating lines
-so admirably lend themselves. The pose is, of course, a natural one, as
-one may see when a gull hovers and backs in the air; but its decorative
-power and its adaptability to a shield shape are so striking as to
-suggest its invention for the purpose. The same necessity for clear
-definition that influenced the drawing of the mediaeval lion caused the
-eagle to be treated in a somewhat similar way, and the feathers of the
-wings being wide spread with ample clear space between them, while the
-body became to some extent attenuated, made the figure as conventional
-as the lion, and similarly adaptable to decorative distribution on a
-surface.
-
-[Illustration: FIG. 105.--Shield of the Emperor from the Tomb of Prince
-Edmund at Kings Langley. Early Fifteenth Century.]
-
-A good example of the heraldic eagle of the Middle Ages is on one
-of the shields that decorate the tomb of Edmund Plantagenet at Kings
-Langley, Herts (Fig. 105). This, the eagle with two heads of the Holy
-Roman Empire, alludes to Richard, Earl of Cornwall, who though he was
-never actually Emperor, got so far as to be elected King of the Romans
-in 1257, and the arms of the Empire are constantly ascribed to him.
-
-The skeleton sketch that is useful in blocking out an eagle in its
-space will take some such form as Fig. 106.
-
-[Illustration: FIG. 106.]
-
-In the mediaeval period eagles were always shown on shields in the
-pattern-like displayed position, whether they were single or double
-headed, until Renaissance heraldry in its reversion to classic types
-introduced the eagle of the Roman Ensigns and Monuments, which
-thenceforth has had to be taken into account when eagles are described
-in blazon. Thus it is now necessary to state whether the bird is
-displayed, is close or is rising. An eagle is close when it stands in
-profile with its wings folded, and is rising when it stands in the same
-general position but with its wings raised. An eagle in the position
-of that of the Roman Ensign is sometimes blazoned “an eagle with
-wings displayed,” and must not, of course, be confused with “an eagle
-displayed.” When they are flying they, like other birds, are said to be
-volant. They are _armed_ and _membered_ as to their beaks and feet when
-difference of colour renders it necessary to mention those details.
-Other birds are rarely if ever displayed.
-
-Falcons usually have bells strapped to their legs with thongs called
-jesses, and then are blazoned as _jessed_ and _belled_. They are
-sometimes _hooded_ also. The hood covering the eyes has an opening for
-the beak and is usually decorated with a tuft of feathers.
-
-A cock is said to be _armed_ with his beak and spurs, _crested_ as to
-his comb, and _jowlopped_ of his wattles.
-
-A peacock when it carries its train raised and fully spread is
-blazoned, with great and obvious propriety, “a peacock in his pride,”
-but simply as a peacock, without qualification, when the tail is
-trailed.
-
-The pelican, the well-known emblem of maternal love, is shown standing
-in her nest and feeding her brood with blood from her breast, and
-with her wings in a displayed position with the points downward in an
-attitude of protection. In this position she is called a pelican in her
-piety.
-
-As an imaginary variant of an actual thing it may be convenient to
-refer here to the martlet, the very distinctive heraldic bird without
-feet, the “martlette of the sunne,” as old armorists call it. It is
-shaped like a swallow but without feet, for it was believed to live
-entirely in the air. Hence it was assigned as a mark of cadency to the
-fourth son, who, being so far from succession to the land, had only his
-own powers to sustain him (see Fig. 294).
-
-Martlets form part of the arms that are ascribed to Edward the
-Confessor, though in the example at Westminster Abbey the birds
-distinctly have feet and may perhaps have been meant for some other
-bird altogether, perhaps doves, whose symbolism of peace caused their
-early appearance among Royal insignia.
-
-[Illustration: Seal of the Emperor Sigismund, as King of Hungary.]
-
-[Illustration: Seal of Charles IV. as Emperor.]
-
-[Illustration: Seal of Dauphiny, 1494.]
-
-[Illustration: Italian Medal by Pisano, 1441.]
-
-[Illustration: Italian Medal, attributed to Bartolo Talpas, XVth
-Century.]
-
-Of imaginary birds the phoenix is most interesting as a symbol of the
-perpetuation of life, and early writers never tired of describing in
-elaborate detail how the fabled bird, which they, however, accepted and
-believed in as a natural fact, effected his rejuvenescence through fire
-of his own kindling. Therefore the phoenix is represented in heraldry
-as resting upon its pyre. In recent times it has been customary to
-depict the bird as shaped like an eagle, but in earlier examples the
-head was crested like a peacock. Its proper colour was purely fanciful,
-some examples of great beauty being blue and gold, the preponderance of
-tincture varying with the fancy of the artist.
-
-The Harpy of classic story appears in heraldry in the shapes of eagles
-with the faces and breasts of women, and this appears to have been the
-only figure, with one exception, which combines the human form with
-that of a bird, for the bird-headed beings of the Assyrian bas-reliefs
-and other forms of Eastern art were not among those adopted into
-our heraldry, though there are a few instances in German work. The
-exceptions are the swans with women’s faces that in the fourteenth
-century decorated some of the hallings, of hangings of tapestry or
-embroidery, as especially emphasized versions of the chivalric symbol
-of womanhood that the swan was considered to be. For this reason it was
-adopted as a badge at a time which assiduously fashioned its manners
-after the traditionary chivalry of King Arthur and his knights, and
-when every kind of poetic and symbolic heraldry reached its fullest
-development.
-
-FISH.--Of heraldic fish the Dolphin may perhaps be considered the most
-distinguished, mainly from its association in former times with the
-heir to the throne of France; but it is occasionally met with in our
-heraldry, generally perhaps as typical of fish in general, as in the
-arms of the Fishmongers Company of London. It is represented with its
-body curved, and is then said to be _embowed_, and it also occurs in
-the other position referred to below. When it is blazoned _proper_ its
-colour, heraldically, is green with red fins and tail.
-
-Other fish occur as punning allusions to their owners’ names, e.g.
-the Lucies (pike) of the family of Lucy, whose arms are one of the
-quarterings of the Duke of Northumberland.
-
-A fish when placed horizontally across the shield is blazoned _naiant_,
-or swimming, and when perpendicular as though breathing on the surface
-it is _hauriant_.
-
-HUMAN FIGURES.--The human figure appears heraldically as representing
-religious or symbolic persons, and in combination with other forms it
-makes those composite figures which express a conjunction of symbolic
-ideas. A woman’s head and breasts joined to the body of a lion made the
-well-known Sphinx, a figure closely associated with Egypt, to which
-country and to services rendered therein it usually alludes in modern
-heraldry. The Greek sphinx is composed of the head and bust of a woman
-joined to the body and legs of a dog, and in addition is winged. Its
-occurrence is rare in heraldry, a recent instance being the Greek
-sphinx sejant, which is the crest of the University of Leeds.
-
-[Illustration: Printer’s Mark of Grimm & Wirsung, Augsburg, 1521. From
-a volume by Erasmus. Hans Weidlitz.]
-
-[Illustration: Arms of Schwingshärtein, a Nuremberg family. German,
-_ca._ 1580.
-
- The device is a punning one, the figure waving hair being in allusion
- to the name of the family.]
-
-[Illustration: Bookplate by Albert Dürer. _Circa_ 1520.]
-
-In conjunction with a fish’s tail the body of a woman forms the
-Mermaid, the beautiful Syrena of old writers, who never tire of
-telling how, like the harpy, she charms the shipmen with her song.
-Nevertheless, she was of sinister character, “glad and merry in tempest
-and heavy and sad in faire weather.” She is usually represented holding
-a looking-glass in which she regards herself while she combs her long
-hair. The male of the species is called a Triton, and usually holds a
-trident as the symbol of naval dominion. Indeed he is sometimes called
-Neptune, and crowned with a spiked crown, the form known as an Eastern
-crown that is described and illustrated under that head. Another
-semi-human form is the Centaur, the favourite badge of King Stephen,
-the classic monster, half man and half horse and armed with a bow, that
-is sometimes called a Sagittarius.
-
-Male figures were frequently described as Savage Men, and were
-represented rough and shaggy with hair, and with wreaths of oak about
-their loins, the blazon being: a savage man ppr. wreathed about the
-loins with an oak wreath vert. In some instances they were wreathed
-about the temples also.
-
-Heads of both sexes, arms and legs, are used as charges and more
-frequently as crests, and are described as couped or erased, at the
-shoulder or the neck, as the case may be.
-
-The whole Arm from the shoulder is shown bent and is then blazoned,
-an arm _embowed_. It should also be stated in the blazon whether the
-arm is dexter or sinister, and whether, if not naked, it is vested
-(and if so of what colour), or in armour, when it is described as an
-arm _vambraced_. _In armour_ is often substituted for the later term.
-Pairs of arms grasping an object, drawing a bow or wielding a hammer,
-are also met with. When the arm does not extend beyond the elbow it is
-blazoned a cubit arm, and its position, whether erect or otherwise,
-must be specified.
-
-Human hands are borne by several families into whose name “Main”
-enters, either as Tremaine, Maynard, etc., and among other families by
-the O’Neils, and in the well-known badge of Ulster, the distinguishing
-badge of a baronet. They are usually depicted erect and couped at the
-wrist, and are assumed to be open unless it is otherwise stated.
-
-Anything depictable may be used as a charge, but in this wide field
-there are still certain particular objects, that single themselves out
-for more detailed treatment than the rest, and of these the cross in
-its many varied forms, the rose and the fleur-de-lis are the principal.
-
-CROSSES.--In a system of heraldry which took its rise from a military
-Christianity the cross naturally became a much-employed symbol under
-the various forms which the necessities of distinction or decoration
-suggested. Although it has been dealt with to some extent under the
-head of ordinaries, it is as a charge that it reaches its greatest
-variety and beauty. The plain cross with limbs of unequal length, which
-is called a passion cross, is sometimes placed upon steps or degrees,
-as in Fig. 107, when it may be described as a cross calvary.
-
-Of the more decorative varieties those which terminate in a manner
-suggested by the fleur-de-lis are among the most usual and beautiful.
-Probably many of them were decorative before they became distinctive,
-for among the early sculptures are many examples of decorated crosses
-with foliated ends which follow none of the familiar forms and are
-obviously purely ornamental.
-
-[Illustration: FIG. 107.--Cross Calvary.]
-
-[Illustration: FIG. 108.--Cross Flory.]
-
-[Illustration: FIG. 109.--Cross Fleuretté.]
-
-[Illustration: FIG. 110.--Cross Patonee.]
-
-[Illustration: FIG. 111.--Cross Moline.]
-
-Crosses in general are drawn with limbs of equal length except where
-the shape of a shield suggests the lengthening of the lower limb
-in order to satisfactorily place the object in its field, but the
-intention is that the limbs are to be considered equal and not like
-those of the passion cross. The width of crosses may be considerably
-varied, for difference consists not in the proportions of parts to
-each other but in essential variations of form. The floriated, or
-otherwise varied, cross may therefore be made of any proportion that
-the arrangement of the shield may suggest; that is to say, the same
-adaptability exists in these crosses as in the ordinaries, and their
-proportions may and should be varied in relation to the field they
-occupy and the charges with which they are associated. Though the
-floriated crosses are all derived from one source, their various
-shapes have long become fixed and now constitute heraldic difference.
-It will be useful therefore to observe that the end of a cross flory
-(Fig. 108) may approach very closely the form of a fleur-de-lis so
-long as confusion is not caused with the cross fleuretté (Fig. 109),
-in which the fleur-de-lis appears joined to the cross, rather than as
-though developed from it. The cross patonee (Fig. 110) differs from the
-cross flory merely in that the limbs of the former increase in width
-outwards, the lines radiating from the centre in a very pleasant way.
-In early shields the two latter forms are used indifferently for each
-other, as in the arms ascribed to Edward the Confessor, and in such
-cases choice may, of course, be made of one or other form; but it is
-obvious that when definite distinction between similar forms has been
-arrived at it should be observed and followed in later renderings.
-
-[Illustration: FIG. 112.--Seal of Anthony de Bec, Bishop of Durham,
-1283-1311.]
-
-The cross moline (Fig. 111) has ends like a fer-de-moline or millrind.
-A very beautiful example occurs on the seal of Anthony de Bec, Bishop
-of Durham at the end of the thirteenth century (Fig. 112). This form
-of cross moline was distinguished by writers of a late time from the
-ordinary form with more pointed ends as a cross recercelée, but it was
-really the same thing under a different name.
-
-[Illustration: FIG. 113.--Cross Patée.]
-
-The cross patée or formée (Fig. 113) is that which occurs on the
-Imperial crown and other Royal insignia. This is a very graceful form
-when the limbs are well divided and are drawn with pleasant curves,
-as in the crown in Fig. 164. In later examples there has been an
-unfortunate widening of the ends until they almost touch each other
-at the corners with the result that the figure has the appearance of
-a square that is pierced with four radiating vesica-shaped holes and
-hardly that of a cross at all.
-
-[Illustration: FIG. 114.--Cross Crosslet.]
-
-[Illustration: FIG. 115.--Cross crosslet Fitchée.]
-
-[Illustration: FIG. 116.--Maltese Cross.]
-
-The cross crosslet (Fig. 114) becomes (in Fig. 115) a cross crosslet
-fitchée by its lower limb being pointed, in allusion to the temporary
-cross thrust upright into the ground in order, it may be, to serve
-as a symbol of hope and consolation to a dying soldier. It must not
-be supposed, however, that every coat with a cross crosslet fitchée
-originated in the Crusades. Other crosses may be fitchée in a similar
-way, the point taking the place of the whole lower limb as in the
-example, but in some cases it is made to merely continue the lower
-limb, or, in the case of a cross patée fitchée, to issue from the
-middle of the lower end, and in such cases the cross is said to be
-_fitched at the foot_.
-
-[Illustration: FIG. 117.--Cross Bottonée.]
-
-[Illustration: FIG. 118.--Cross Pommel.]
-
-[Illustration: FIG. 119.--Cross Urdée.]
-
-The eight-pointed or Maltese cross, a development from the cross patée
-(Fig. 116), is one of the forms most used in the insignia of Orders
-of Knighthood, the Order of the Bath, for example, and of St. John of
-Jerusalem among others, and is one of a group of crosses distinguished
-from each other by the number of their points. A cross of fourteen
-points occurs in the badge of the Order of St. Michael and St. George,
-and consists of seven limbs of two points each.
-
-The cross bottonée (Fig. 117) is sometimes thought to be a corruption
-of the cross crosslet, whose corners are frequently rounded in early
-examples, or it may indeed have been designed to represent buds, as old
-armorists say, and if so is a perfectly intelligible and expressive
-symbol.
-
-Crosses pomell (Fig. 118), urdée or clichée (Fig. 119), potent (Fig.
-120), furchée (Fig. 121), are some of a large number of crosses that
-are but rarely used.
-
-The cross tau, derived from the Greek letter of that name, is the cross
-of St. Anthony (Fig. 122).
-
-[Illustration: FIG. 120.--Cross Potent.]
-
-[Illustration: FIG. 121.--Cross Furchée.]
-
-[Illustration: FIG. 122.--Cross Tau.]
-
-Crosses may at any time be represented as in relief, which again may
-be accented by means of a central arris or ridge which gives lines of
-light and shade; and this treatment is especially suitable to metal
-work, as is witnessed by many beautiful examples on church bells among
-other things.
-
-Care is necessary, however, in black and white drawing that the
-indication of an arris does not suggest that the cross is “party” in
-any way.
-
-THE FLEUR-DE-LIS is one of the forms derived from a remote antiquity to
-become a widespread symbol throughout the whole of mediaeval heraldry.
-Probably derived from the iris or some similar flower form, it is found
-in the most ancient and the most modern decoration. Even the recent
-excavations of the palace of King Minos at Knossos in Crete disclosed
-forms of this figure on the wall frescoes. Its ornamental beauty
-as well as its spiritual symbolism easily account for its heraldic
-prevalence, and even before regular heraldry was formulated the emblem
-had a quasi-heraldic existence on the crowns and sceptres of the Royal
-seals. Its decorative value needs no pointing out, for its graceful
-lines are not only beautiful in themselves but are easily adapted to
-harmonize with almost any form with which they may be in ornamental or
-heraldic relation.
-
-[Illustration: FIG. 123.--Early Twelfth Century.]
-
-[Illustration: FIG. 124.--Late Twelfth Century.]
-
-[Illustration: FIG. 125.--Late Twelfth Century.]
-
-Of the examples that are given here Fig. 123 is taken from the seal
-of King Louis VII of France, early in the twelfth century, on which
-it appears as the termination of a sceptre. The more distinctively
-heraldic form occurs on the oval counter-seal of his successor, Philip
-II, on which it appears as a badge without a shield, about the year
-1180 (Fig. 124). A very beautiful form of the thirteenth century (Fig.
-126) is also of French origin, and that which occurs on the shield of
-the Black Prince may be considered typical of the fourteenth century
-(Fig. 127). As in all these instances, the fleur-de-lis generally has
-but three leaves, but in some early examples the whole five petals of
-the iris are suggested by the inclusion of intermediate forms between
-the three principal ones (Fig. 125). These were sometimes leaflike, as
-in Fig. 128, an example of the fifteenth century, but more usually
-are thin stems which terminate in small flowerlike forms. A further
-beautiful example is the common seal of Godmanchester, co. Hunts
-(Fig. 129). Fleurs-de-lis are then said to be seeded (a term that was
-probably made by some late armorist in giving a meaning to a form he
-did not understand) or florencée, from the invariable character of the
-fleur-de-lis, the “Lily of the City,” in the Arms of Florence (Fig.
-130). The elaboration of the simple leaflike forms began as early as
-the middle of the fourteenth century at a time when the decorative
-sense was untrammelled, and it is in the freely designed illustrations
-of the MSS. that the first examples are found. The illustration (Fig.
-131) is after one of a number of them that are repeated in various
-colours, but of similar form, in a book of the poems of Convenevole
-da Prato, Petrarch’s tutor, which was made and painted with miniatures
-and other ornaments for Robert of Anjou, King of Naples, about the year
-1340, and was probably executed in Florence. It is somewhat surprising
-to find at so early a date an example of the highly elaborated form
-which became very general in the later Italian decoration.
-
-[Illustration: FIG. 126.--Thirteenth Century.]
-
-[Illustration: FIG. 127.--Fourteenth Century.]
-
-[Illustration: FIG. 128.--Fifteenth Century.]
-
-[Illustration: FIG. 129.--Seal of Godmanchester, Co. Hunts.]
-
-[Illustration: FIG. 130.--Fleur-de-lis from the Pedestal of the Lion,
-Florence. Donatello. Fifteenth Century.]
-
-A beautiful example of the decorated fleur-de-lis of the fifteenth
-century has already been referred to (Fig. 128).
-
-[Illustration: FIG. 131.--Fourteenth Century.]
-
-[Illustration: FIG. 132.--Fifteenth Century.]
-
-[Illustration: FIG. 133.--Eighteenth Century.]
-
-About this time also instances occur of fleur-de-lis of the simpler
-form but with decorated surfaces, as in that from a fifteenth
-century book of the hours that is one of the illustrations to the
-Comte de Laborde’s treatise on “Les Fleurs-de-lis Heraldiques et
-les Fleurs-de-lis Naturelles,” _Revue Archaelogique_, in which the
-conventional fleur-de-lis (Fig. 132) is decorated with natural lilies.
-
-Like other decorative details the fleur-de-lis rapidly deteriorated
-in the general artistic decadence that followed the Tudor period, and
-during and after the latter half of the sixteenth century the beautiful
-and characteristic grace of line was lost, and the form became blobby
-and heavy, as in the eighteenth century French example (Fig. 133),
-while the coarse and ugly shapes that are commonly seen in ordinary
-modern work make it difficult to believe that they could have been
-derived, even remotely, from so beautiful a source.
-
-ROSES.--As a Royal badge a golden rose was used by Edward I, and was
-depicted with a stalk and leaves similar to the badge of the Malatesta
-in Italy in later times. In such cases it must be blazoned “leaved and
-slipped,” otherwise it would be rendered as the conventionalized flower
-alone, the only leaves shown in the latter being those of the calyx,
-which appear between the petals and are heraldically called _barbs_.
-These are frequently mentioned on the blazon, e.g. a rose gules barbed
-and seeded ppr., the seeds being the centre. Of the conflicting roses
-that brought such ruin on the gentry of England the red rose of
-Lancaster had been the badge of Henry IV, as the white rose irradiated
-was that of Edward IV, the latter badge resulting from a combination
-of the rose with the sun, which was another Yorkist emblem. Henry VII
-united the red and white rose badges, as he had united the great rival
-houses that they symbolized. Sometimes a single rose was made per pale
-gu. and ar., or else quarterly of those tinctures (in the former case
-the white half retained the rays that usually surrounded the white rose
-of York), but the method which has come down in general use is that
-of a double rose, the white within the red, or vice versa. In this
-form Henry VII made it part of the collar of the Order of the Garter,
-and thus it appears sculptured on the walls of St. George’s Chapel at
-Windsor. In many instances the York rose retained its rays and the rose
-of Lancaster was placed within it, as in Fig. 134, which is sculptured
-on the exterior walls of the choir. In many of these the ends of the
-petals do not turn over as is most usual, but the modelling indicates a
-somewhat similar form. An interesting example of the Tudor rose as used
-by Queen Elizabeth is that which was found deeply incised in the wood
-of her coffin in Westminster Abbey (Fig. 135). This Queen signified
-the union of the Roses in yet another way in the badge that had been
-her mother’s, in which the tree-stock which supports the white falcon
-sprouts with red and white roses on the same stem.
-
-[Illustration: FIG. 134.]
-
-[Illustration: FIG. 135.]
-
-The Tudor rose has been united by dimidiation to many other badges,
-to the pomegranate and to a sheaf of arrows by Queen Mary, and to the
-thistle by James I and his successors, of whom Queen Anne used the two
-emblems growing from one stem, as in the present Union badge of the
-rose, thistle and shamrock. The Tudor rose crowned still remains the
-Royal badge for England.
-
-THE HARP.--As the Arms of Ireland as well as for the beauty of form
-with which it may be invested, the harp is of the greatest interest
-both generally (as the symbol of minstrelsy) and appropriately; for the
-fame of the Irish as harpists was widespread even in the early Middle
-Ages, when they were among the finest of the world. And although any
-symbol, whatever it may be, becomes hallowed by association, it cannot
-but be felt that the harp is peculiarly fitted to be the emblem of a
-people so full of artistic and romantic enthusiasm.
-
-[Illustration: FIG. 136.]
-
-[Illustration: FIG. 137.]
-
-[Illustration: FIG. 138.]
-
-The heraldic harp was at first very simple and always graceful in form,
-following that of the minstrels, the small harp that was played resting
-on the knee or held suspended from the neck. Examples of the minstrel’s
-harp are Fig. 136 from a thirteenth century French MS. and Fig. 137
-from a Tudor MS.
-
-As a device for Ireland, it first appears on the Great Seal in that
-of Queen Elizabeth (Fig. 138), when it was used as a badge and was
-ensigned with the Imperial crown, as are all Royal badges.
-
-This type of harp is the same as that in the Wappen und Stammbuch by
-Jost Amman, 1579, and was evidently the shape that was in heraldic
-fashion at that period.
-
-In the next reign it became definitely the Arms of Ireland, as is so
-quartered on the Royal Shield by James I, where it has occupied the
-third quarter unmoved throughout the changes of its fellow quarterings.
-
-Its form continued to follow more or less that of the minstrel’s harp
-until the time of Charles II, when the familiar winged figure was made
-its principal characteristic (Fig. 139). This, however, has no special
-heraldic significance, but is merely a variety of ornamental treatment.
-
-While it presents opportunities for the highest efforts of art in
-the treatment of its figure, as is evidenced by Mr. Alfred Gilbert’s
-beautiful harp on the tomb of the Duke of Clarence at Windsor, in the
-majority of instances it is altogether without the grace which is
-its reason for existence, even when it does not quite descend to the
-unlovely lumpiness of Georgian and later times. The possible advantages
-of its greater weight in the design as compared with the slighter form,
-a weight which tends to effect satisfactory balance with the other
-quarters, are counterbalanced by its disadvantages, while the addition
-of Celtic tracery to the minstrel’s harp makes it more completely
-allusive and helps the composition at the same time. Nevertheless the
-figure harp may be very beautiful.
-
-The simpler form is now very generally reverted to, and when artistic
-reasons direct the choice, there are no heraldic considerations that
-need fetter it. The Arms of Ireland are blazoned: Az. a harp Or
-stringed Arg.
-
-[Illustration: FIG. 139.--The Great Seal of Charles II for Ireland.]
-
-Before leaving for a time the further consideration of the shield it
-will be convenient to refer to the very beautiful method of relieving
-and enriching surfaces which is called Diapering, and is a notable
-feature of the more elaborate kinds of heraldry. Numerous and excellent
-examples of its use may be found on the sculptured shields of the
-monuments and chantries, as well as on incised brasses, in enamels and
-in stained glass.
-
-Coming into heraldic use in the thirteenth century, it was soon
-extensively applied to the decoration of armorial shields and
-especially of their fields and ordinaries. In some instances charges
-also were diapered, but only when they were flat in character and when
-the general treatment and material lent themselves to the method. In
-most cases it was confined to plain surfaces. The patterns were in many
-instances derived from those that had been employed from ancient times
-in textile decoration.
-
-Whenever diapering is applied to a shield it is purely ornamental in
-character, and in many instances is geometrical in plan, having no
-forms that could possibly be mistaken for charges, and so be likely to
-interfere with the clear statement of the arms. The example is one of
-the many beautifully diapered shields that decorate the shrine of the
-Percies in Beverley Minster. In sculpture proper, when the design was
-cut out of the surface, a pattern such as that of Fig. 140 was found
-very suitable to the material and to the method of working it; when,
-however, the diaper was modelled up, as in the gesso decoration of
-ceremonial shields, or was incised in reverse, as in a seal, the design
-frequently took the form of flowing lines as the readiest means of
-getting the ornate effect that was required. An example of this latter
-method may be referred to in the Great Seal of Henry IV at p. 18, Fig.
-2.
-
-[Illustration: FIG. 140.--Diapered Shield from the Percy Shrine in
-Beverley Minster. Fourteenth Century.]
-
-In the early examples the diaper, like the semée already referred to,
-was treated as though it were a piece of an ornamental fabric stretched
-over the shield and passing behind the charges without being affected
-or displaced by them. The Renaissance work shows the diaper more
-especially adapted to the occasion, as in a Florentine shield from the
-Palazzo Guadagni and now in the Victoria and Albert Museum, which is
-beautifully decorated in raised lines of gesso which follow the outline
-of the figure at a little distance from it, and the rest of the
-decoration accommodates itself to the shape of the spaces in a manner
-that is especially satisfactory, as conveying the impression of being
-carefully designed for its particular purpose, with each part in due
-relation to the others.
-
-[Illustration: FIG. 141.--Diapered Shield in Painted Gesso at Alloa
-House. The Arms of Henricus de Erskine. 1224. Geo. W. Eve.]
-
-The illuminations of the manuscripts were frequently diapered with
-designs drawn in lines of gold on the ground colour, and a lighter or
-darker tint of the ground colour was similarly employed, sometimes
-also in combination with gold. Indeed, the possibilities of diapering
-as surface decoration are almost without limit if it is reasonably
-handled. Its effect in enriching and adding interest to simple forms
-and spaces is shown in the treatment of the Arms of Henricus de
-Erskine (Fig. 141) and the shield of John, fifth Lord Erskine, and his
-wife, Lady Margaret Campbell (Fig. 142), two of the series of shields
-executed in painted gesso for the hall, Alloa House, Clackmannanshire.
-It is very useful in monochrome, as in engraving for instance, as a
-means of distinguishing contiguous spaces; in the way that line tints
-were employed to do before a colour value was ascribed to them. Being,
-of course, completely under control to be employed or omitted at will,
-it has none of the objections of the tincture lines.
-
-[Illustration: FIG. 142.--Shield of John, Fifth Lord Erskine. Painted
-gesso. Geo. W. Eve.]
-
-The tone effect of diapering must be taken into account, and the
-consequent emphasis of the charges, unless their character is very
-elaborate and broken up, and in that case there may be a tendency to
-confuse their lights and thus obscure and spoil the whole effect.
-Discretion is therefore very necessary in applying that which properly
-handled is a very useful and decorative device. It has been said that
-diaper must have no design of heraldic significance, and this must be
-so wherever it is employed on the actual armorials. When, however, it
-is used as a background or other extra-armorial decoration the converse
-is the case, and badges and charges of an allusive character become
-the most suitable motives that can be employed.
-
-Diapers of complete arms occur on a box of champlevé enamel in the
-Victoria and Albert Museum, whose decorations consist of lozenge-shaped
-spaces filled with the arms of de Valence and others, and in the
-similar work on the table of the tomb of William de Valence in
-Westminster Abbey. In the portrait medals the background was often
-enriched with armorial diapers of distinctive charges, such as the
-fleur-de-lis background to the head of Louis XII and the ermine one
-of Anne de Bretagne, both of which are excellent examples (Fig. 143).
-Similar diapers applied to architectural features are alluded to at p.
-205.
-
-[Illustration: FIG. 143.--Medal of Louis XII and Anne of Brittany.
-Fifteenth Century.]
-
-
-
-
-CHAPTER VI
-
-Helm, Crest and Mantling
-
-
-The treatment of the helm and mantling is a matter of especial interest
-both as a significant part of an achievement of arms and as that part
-of it which affords a great amount of freedom and variety in artistic
-arrangement, for the lines of the helm, the character of the mantling,
-its direction and flow, and to some extent its colour effect, are like
-the shape of the shield, at the disposal of the designer to do as he
-will or can with them.
-
-With regard to the shield, which in course of time developed into a
-merely ornamented surface on which to bear a device, the sense of
-personal allusion was always retained, even when the close association
-of armorials with a military idea became to a great extent weakened,
-but a more essentially warlike character was always ascribed to the
-helmet and crest, as is evidenced by their omission from the arms of
-ecclesiastics and, in many instances and with great propriety, from
-those of corporations. This feeling may also have influenced the
-small size of the helmets of the later sixteenth century onwards.
-The intention, however, was not strong enough to dispense with them
-altogether as the mediaeval men did, and the result was merely to
-weaken the design in including the helmet and crest in a somewhat
-shamefaced way.
-
-In the stately ceremonial of the tournament, helm and crest played no
-less distinguished a part than the shield, for those military sports
-which took so firm a hold on the vigorous tastes of mediaeval chivalry
-were accompanied by brilliant ceremonial, in which heraldry found its
-widest field of display in all kinds of sumptuous application to the
-dress and decoration of the scene.
-
-The lodgings of the knights and nobles were distinguished by paintings
-of their armorials, and banners and pennons projected from the windows.
-The tribunes of the Ladies and of the Judges of the Tournament were
-gay with badges brilliant in colour and of endless variety of form,
-while the combatants themselves in surcoats and shields of Arms and
-with crested helms and armorial horse trappings, exhausted the heraldic
-possibilities of personal adornment.
-
-On a day before that which was fixed for the combats the helms and
-crests of the tourneyers were brought together with much ceremony and
-were arranged in due order to the satisfaction of the Judges of the
-Tournament. Each had its owner’s banner suspended over it and, all
-being ready, the Ladies were conducted round the Hall, when if any one
-of them, by touching a crest, accused its owner of any fault or crime
-against chivalry he was seized, tried and punished, according to the
-magnitude of his offence and the custom of the Tournament.
-
-The helm and crest of the Chevalier d’honneur, the knight selected
-to attend the Lady of the Tournament and at her bidding to extend
-the “Merci des Dames” which forbade further attacks on a combatant
-unfortunate in the mêlée, were the objects of especial ceremonial, and
-(he being withdrawn by his office from active participation in the
-combat) were taken from his head with much courtesy by the Judges and
-the Herald and were solemnly given in charge of the Ladies until such
-time as his duties should cease at the close of the Tournament. Until
-that time an esquire or gentleman bore them aloft upon a lance staff
-near to the Lady of the Tournament.
-
-[Illustration: FIG. 144.--Thirteenth Century.]
-
-With regard to the helm, it will not be desirable to discuss its
-development as armour through the various forms which preceded those
-which were employed to support heraldic crests; and it will suffice to
-begin with the early form, which was more or less cylindrical, as in
-Fig. 144, and afterwards developed into the more complex curves and
-projections of the tournament helm.
-
-At first, comparatively short and resting on the camail which covered
-the head, in time it was made longer, until the helm rested on the
-shoulders, and being buckled back and front to the body armour became,
-as it were, part of it, and besides being a better defence was able
-to support the additional pressure of a crest (which though fashioned
-of light material was still of considerable weight) with a minimum of
-fatigue to its wearer. The crest was attached to the crown plate of the
-helm by means of laces, or by small bolts or other fastenings which
-passed through holes made for the purpose. It appears improbable that
-crests were used to any general extent in actual battle, and for the
-best of all practical reasons, that a crest had been found to be a
-very dangerous ornament which, at close quarters, served as a handle,
-while the laces held, by which to pull down the wearer’s head, and
-King Stephen is said to have been among those that suffered in this
-way. That they were used in battle to some extent is evident, and
-Viollet-le-duc, in referring to the abuse of the Tournament, points out
-that the feudal nobility attempted to treat war itself like a grand
-tournament and appeared on the field extravagantly arrayed with long
-surcoats and lambrequins that encumbered their movements and gave them
-an easy prey to simple archers and similar workmanlike troops.
-
-The shape of the helm was naturally susceptible of much variety but
-its essential structural character remained the same throughout, and
-consisted principally of three parts, the crown plate and two others
-for the front and back of the helm respectively. Sight was provided for
-in one of two ways, either by leaving an opening between the crown and
-front plate or by piercing the latter with horizontal openings which
-were strengthened by an additional piece, generally in the form of a
-cross, and so splayed as to deflect a point that had struck near the
-opening. Both opening and reinforcing piece may be of value in design,
-the former from its strong line which must always be reckoned with, and
-the latter for the opportunity it affords of introducing decorative
-detail where it may be useful. It is interesting to observe that the
-back of the helm is of thinner plate than the front, thus dispensing
-with weight where it was possible to do so. In the later forms of helm,
-which were fastened by straps to the breast and back, the buckle and
-the methods of rivetting it to the plates afford other opportunities
-for utilizing structural details ornamentally. (Fig. 145.)
-
-[Illustration: FIG. 145.--Fifteenth Century. Tilting Helm.]
-
-The perforations which facilitated breathing were generally on the
-right-hand side, and though there were instances of their being on
-both sides it was very unusual in view of the fact that the tournament
-attack was from the left, and that although the tilting spear had a
-coronal instead of a point, care would still be taken to give as little
-hold as possible to the weapon.
-
-This refers to breathing holes, spiracula, in the front plate, but
-there were also openings, sometimes of considerable size, in the
-backplate behind the vertical joint, through which the knight could
-hear and perhaps, by turning his head, see and speak to the squire who
-attended him.
-
-In the fifteenth century the demand for greater mobility and less
-weight in the armour that was used for actual battle had produced
-the Helmet or small helm, having a front which opened and a more or
-less flexible neck, the Bascinet, the Salade and other forms of head
-armour; and thenceforward the great helm was reserved for the uses of
-the tournament.
-
-[Illustration: FIG. 146.--Helmet. Fifteenth Century.]
-
-An example of helmet at Fig. 146, after Viollet-le-duc, will serve to
-explain its structure. The vizor, in two parts, opens upwards on a
-pivot, and the front opens sideways by means of a hinge to permit the
-helmet to be put on, and though there was a great variety in shape
-and construction they were all modifications of the methods of the
-example. The head was capable of movement, the laminated plates of the
-gorget giving a certain amount of flexibility from side to side as well
-as up and down, provision being also made for some amount of turning
-movement. As pieces of defensive mechanism helmets were very excellent,
-but were rarely associated with crests in the time of their actual
-use--though they were frequently so represented in the later times when
-heraldry had become out of touch with the armoured period and did not
-trouble to go farther back for its crest support than the most recent
-form of closed defence for the head.
-
-In all armour, and much besides helms is used in heraldry, it will be
-found useful to acquire a practical knowledge of its structure and
-method of working and also the practical reasons for the form of its
-various parts. By so doing it will become unnecessary to search for
-a model for every need, rather it will be possible in the case of a
-figure to draw the man and put the armour on him in the form that seems
-most suitable. Forms of greater or less simplicity can thus be designed
-as circumstances may dictate, as it may be desirable in the interests
-of light and shade to elaborate or minimize the details. Armour
-should be so designed that its principal lines help the composition
-and express the form in the most forcible, suitable and simple way.
-In an arm, for instance, which is of frequent occurrence as a crest,
-it should be observed how the gauntlet has its defence added to the
-glove, how its wrist fits over the arm piece, the arrangement of the
-elbow piece, the cubitiere, on its inner and outer sides with regard
-to the hollow of the arm, and so forth. By thus familiarizing oneself
-with the essential structure, it becomes possible to handle the subject
-with confidence in design, so that perspective, light and shade and the
-harmonious relationship of lines may be helped, while the structure
-appears convincingly right.
-
-Besides the closed helm which was used in the joust, the mimic duel
-with lances, a more open variety was used in the tourney, for in the
-latter, which was fought by opposing parties of men armed with blunted
-swords and with wooden maces, there was no attack with the point to
-be provided against, and it was therefore possible to lighten the
-armour by means of perforations and to open the face by substituting
-bars for plates. In the helm shown at Fig. 147 it will be noticed
-that not only is the face open, but there are numerous holes in the
-upper part of the gorget, and the breast-plate and other parts of the
-armour were also plentifully perforated. Such armour for tourneying was
-frequently modelled in leather instead of metal, the lighter material
-being a sufficient defence against sword and mace, though it would have
-fared badly against the more concentrated lance shock of the joust,
-and therefore when the lance was also permitted in the tourney more
-efficient armour was worn.
-
-[Illustration: FIG. 147.--Tourney Helm, after Viollet-le-duc. Fifteenth
-Century.]
-
-Fig. 147 shows a form of appliance for fixing the crest by means of
-a sort of skull cap, which was laced to the helm through the holes
-provided for the purpose.
-
-The earliest decoration of symbolic though still merely general
-significance on the helms of the Middle Ages was the reinforcing
-piece surrounding the two sight openings, that was made in one of the
-many forms of cross; and the coronets and decorative fillets which
-denote high rank. These latter were succeeded about the beginning of
-the fourteenth century by the actual crests, which were sometimes
-repetitions, modified or not, of the device on the shield, sometimes of
-a different nature altogether.
-
-[Illustration: FIG. 148.--Panache Crest. French. Fourteenth Century.]
-
-The first attempt to decorate the top of the helm appears to have
-been by panaches of feathers, perhaps also of horsehair, for which
-representations in gilded leather or other more permanent material were
-afterwards substituted. As early as the ninth century movable crests of
-coloured leather had decorated the head armour, being fastened back and
-front to the bronze or iron cap. These were purely ornamental, except
-so far as difference of colour may have made them personal to some
-extent. An example of the middle of the fourteenth century appears as
-Fig. 148. Some of the panache crests retained their feathery character
-and ultimately became crests that were in every way heraldic, while
-others were developed into a fan-like form which itself served as a
-field for the display of a device or even of the whole arms as in the
-case of Sir Geoffrey Louterelle’s crest that is quoted by Boutell.
-These ornaments appear to have been purely decorative additions to the
-helmet, and could have had no defensive value; on the contrary, the
-angle formed by the base with the crown of the helmet would, if rigid,
-have provided lodgment and purchase for a blow which might otherwise
-have slid off.
-
-Heraldic crests came into definite use about the beginning of the
-fourteenth century and soon became of very general application on seals
-and in other armorial ways.
-
-The Tournament crests were large and boldly designed and were
-constructed of various light materials such as leather, paper and
-canvas, worked over a wicker frame; the surface details were modelled
-in fine plaster, and the whole was painted and gilt. Few ancient
-examples exist in this country, the most notable being that of Edward
-the Black Prince which accompanies his shield at Canterbury. Abroad
-they are more numerous and Fig. 149 is an excellent example of them.
-
-This spirited dragon’s head, of Florentine work of the fifteenth
-century, is modelled in gesso over a wood core, and was painted and
-gilt. It is noteworthy that in this instance the torse is modelled with
-the crest.
-
-When a device became a crest it was generally modified to some extent
-in order to fit it practically for its position. Hence the frequency
-of the demi-animals, which, while admitting of more secure adjustment
-to the helm, retained all the vigorous and symbolic qualities of the
-whole figure. Animals’ heads were also largely used and are equally
-satisfactory from the point of view of design, because of the ease with
-which their lines may be made to harmonize with those of the supporting
-helmet.
-
-When a lion or other animal was used whole it was generally in a
-statant position, as it is in the Royal Crest of England, Percy and
-others, for that was the most stable posture in which such a modelled
-object could be fixed to a helm. In such cases the animal looked
-directly in front of it and faced as the helm did.
-
-[Illustration: FIG. 149.--Dragon’s Head Crest from the Bardini
-collection. Florentine. Fifteenth Century.]
-
-Flat objects, the sun in splendour for example, were placed edgeways
-to the front, so that they were best seen from the sides, but in some
-crests, the device, especially when a fleur-de-lis, was formed of
-two planes which intersected each other at right angles, so that the
-complete form was visible from every point of view.
-
-The mantling, or lambrequins, hung from the top of the helmet, being
-fastened to it by laces, and over it the torse, formed of twisted silk
-of two or sometimes more tinctures, encircled the crown of the helm
-below the crest.
-
-The artistic treatment of the crested and mantled helm was nearly
-always satisfactory during the whole period of the tournaments until
-they ceased in the sixteenth century, but about the middle of that
-century began the unfortunate increase of restrictive rules that were
-devised with so little regard to their practical artistic application.
-In place of the great helm which had previously been used in the way
-that was best suited to the display of the crest, that is to say in
-profile or nearly so, the lighter helmet was substituted, and it was
-also decreed that it should be varied in shape, twisted about and
-opened and shut, according to the rank of its owner, but with total
-disregard to the crest. So that we have a lion standing sideways on its
-helmet and even looking down the back of it. For in the worst cases a
-helmet may be seen turned completely round, while its crest remains
-in the original direction. This arose from the stupid application of
-the excellent rule that helms when more than one are employed should
-be posed with regard to some common centre of interest; an obviously
-proper and artistic method, but it should be equally obvious that when
-the helm turns the crest must turn too.
-
-Although it will in most instances be possible to ignore these rules,
-for the bearer’s rank will usually be sufficiently indicated in some
-other way, it is, of course, necessary to know them, and the present
-rules for helmets of rank are as follows:--An Esquire or gentleman
-has a helmet of steel with gold ornaments and it is posed in profile
-with the vizor closed. The position is not interpreted very strictly,
-however, and the helmet may be three-quarter face or may make an
-even nearer approach, in reason, to the full affrontée position. This
-fortunate latitude affords a way by which, when the use of the small
-helm is insisted upon, the crest and its support may be brought into
-intelligible relationship.
-
-A Knight’s or Baronet’s helmet is similar to that of an Esquire, but is
-borne full faced with the vizor open.
-
-It is difficult so see any reason for multiplying indications of rank
-which is already marked in other ways, though the difficulty certainly
-exists in the case of a Knight (with a Baronet there is of course
-none), but it would be easy to devise some distinguishing mark on or
-about the shield or on the helmet itself if the authorities would give
-a ruling in this sense.
-
-The helmet of a Peer is of steel or silver and gold, the front having
-bars or grilles instead of a movable vizor, and its pose is profile
-wise, similar to that of the Esquire’s helmet. Its bars are usually
-five in number, and attempts to signify exact rank by the number of
-bars have not resulted in any rules that are observed.
-
-The Sovereign and Princes of the Blood Royal have barred helmets of
-gold which are placed affrontée.
-
-The modern reversion to the tournament helm as a support for the crest
-was begun in the illustrations to Foster’s _Peerage_ by Dom Anselm and
-Forbes Nixon in 1880 and with what advantage may be seen by inspection
-of that admirable work.
-
-There can be no question of the superior value of the great helm from
-an artistic point of view. Its strong simplicity makes it especially
-suitable as a support for a crest that is treated in a bold and
-expansive manner and its bold curves compose well with the lines of
-the mantling and shield.
-
-The central position which the helm occupies is necessarily an
-important one, and in order to avoid over-accentuation it should be
-so designed as to be a link between the shield and the crest, and not
-be permitted to concentrate attention on itself. The avoidance of
-such undue prominence is helped by the tilting forward of the helm, a
-position which tends to make the horizontal lines, of the “sight” for
-instance, curve upwards and so help the composition, with respect to
-the crest, while the strong line of the front ridge coming down in the
-direction of the shield is also valuable.
-
-The forward lean of the helm is always noticeable and probably points
-to its being carried on a staff as already mentioned, for its highest
-part, which would be the point of support, being usually behind the
-centre, would tend to throw it forward and so bring it into some
-approach to the degree of inclination that it would have when it was on
-the head of a charging knight.
-
-The difficulty of dealing with modern crests usually arises from
-their having been designed with regard only to their representation
-on flat surfaces, but the problem may be solved to some extent--it is
-frequently impossible to do so completely--by carefully adjusting the
-crest and helm to each other and by placing them in the aspect that
-produces the best effect and at the same time expresses their character
-most fully; and for this a sketch model in clay or other plastic
-material will be found very helpful.
-
-The leaving out of sight of all methods and materials other than
-those employed for the immediate purpose in hand has resulted in most
-unfortunate, and in some cases ridiculous, crests which could never
-have been used in the ancient way, and now if they have to be carved
-in relief or in the round, as mural decoration or as the newel of a
-stairway, show themselves wholly inadaptable to reasonable treatment.
-On the other hand the early crests are always “possible,” for the
-mediaeval herald was naturally familiar with the appearance of an
-actual crest modelled in the round, though he may never have modelled
-one himself, and so his design is always structurally right. But what
-can be said for some modern examples, a dove flying over water for
-instance? It seems to have been forgotten until recently that heraldry
-ever had a real existence or could possibly be carried out in more
-than one way, and the result was that anything that was suitable to a
-flat shield was thought equally appropriate for a crest so long as it
-was sufficiently differenced from other bearings. A few experiments
-with a lump of clay would have shown the fallacy of this idea, and
-incidentally might have saved many a family, often in spite of itself,
-from being labelled for ever with an absurd bearing.
-
-As, however, we cannot always choose the heraldic motives with which we
-have to deal we must make the best of the refractory ones, as well as
-of the rest, and the structural side of the subject may be regarded as
-the direction in which the solution of difficult problems may be found.
-As an example, let us take a rampant lion and pose it on a helm, and it
-becomes obvious that if it is taken from a shield without modification
-it will look ridiculously insecure on one leg as it is generally
-posed, Fig. 150, but that it is much improved if arranged in firmer
-relation to its base, the helm, as in Fig. 151.
-
-[Illustration: FIG. 150.]
-
-[Illustration: FIG. 151.]
-
-Another difficult kind of crest is that which is differenced with a
-row of objects in front. For instance: In front of a tower between two
-wings three fleurs-de-lis; which is usually drawn as Fig. 152, although
-wings would never have been modelled fore and aft in that way. If the
-solidity of a crest is kept in mind the model would come out something
-like Fig. 153, and on similar lines the most unpromising material may
-with a little pains be made presentable by the use of sketch models in
-the round.
-
-[Illustration: FIG. 152.]
-
-[Illustration: FIG. 153.]
-
-When two helmets and crests occur together they turn towards each other
-and so naturally help the unity of design, and when there are three,
-the outer ones turn similarly towards that in the centre. If, however,
-the crest be of such a nature that it cannot be turned about, it will
-of course be preferable for the crest to dictate the position of the
-helm rather than to repeat the senseless fault of the helm and crest
-facing different ways.
-
-The arrangement about the helmet of the Torse or Wreath is of
-considerable importance. It should always be treated as a silken favour
-wreathed round the helmet, and not as a support for the crest, to which
-it is merely a decorative accessory. An unfortunate phrase which has
-been used in blazoning crests, from as early as the sixteenth century,
-may be answerable for much ridiculous treatment of the wreath as a
-solid object, viz., _On_ a wreath, etc., which suggests a material
-connexion between it and the crest, and resulted in the stiff rods
-which were balanced on their centres, or, when two crests were used,
-were treated as platforms on which the crests stood on either side of,
-and away from, the helmet.
-
-That this method of blazoning a crest is not unavoidable is evident
-in a draft of the grant of a crest to the Grocers Company of London
-in which the formula is “uppon the healme a camell golde bryded sable
-berynge two bagges of peper,” etc.
-
-In early times the colours of the torse had no relation to those of the
-shield, being adopted in a purely fanciful way, but in the course of
-time the present custom was arrived at, namely, that the wreath should
-consist of the principal metal and colours of the arms, as shown by
-their priority, in the blazon.
-
-[Illustration: FIG. 154.]
-
-As the torse was composed of pieces of silk of different colours
-twisted together, the colours appear alternately, six spaces being
-generally shown, their alternation beginning on the dexter side with
-the metal, as most heraldic alternations do, for the idea was that
-metal was more “worthy” than colour, but there is nothing essential in
-this. In some instances the torse resembles drapery cut into leaves, as
-in Fig. 154, a fifteenth century example from the Palazzo del Podesta,
-Florence. Its place is sometimes taken by a decorative circlet called a
-crest coronet, which, however, is no indication of rank, though it is
-probably derived from the practice at a time before coronets signified
-specific degrees of nobility, when it often appears encircling the
-helmets of personages of high rank. Later, when coronets were beginning
-to take the form that soon became regular, the crest of a Peer was made
-to issue from a coronet, as in that of Richard Earl of Warwick, on his
-tomb. An excellent practice, and one quite in harmony with heraldic
-feeling, that there has been some attempt to revive in modern times.
-Other coronets that occur in crests and are also used as charges are
-described at p. 271.
-
-The MANTLING or LAMBREQUIN, that depends from the helmet, and is a most
-valuable asset to the designer, was derived from some such protection
-to the helmet as the surcoat was to the body armour, and like it was
-soon made to serve decorative purposes. The surcoats, mantles and other
-garments of the fourteenth century, being ornamented with dagged
-edges cut into various tongue-shaped patterns, the mantling naturally
-followed their example and thence proceeded to other ornamental
-development, very simply at first, but continuing with ever-increasing
-elaboration until it became, in many instances, similar to the
-contemporary architectural tracery. Its early form is shown in Fig.
-155, and the beginning of its decorative development in Fig. 156. An
-even earlier instance of dagged edges to drapery occurs on Trajan’s
-column, in the decoration of a tent.
-
-[Illustration: FIG. 155.]
-
-[Illustration: FIG. 156.]
-
-Though the mantling probably remained comparatively simple in actual
-use its treatment in the illuminated MSS. and on monuments shows a very
-ready acceptance of its ornamental possibilities, both as a decorative
-adjunct to the armorials and also as a link between them and other
-decoration. During the Middle Ages it followed the method of the Gothic
-tracery in dividing and sub-dividing in groups of three, which curved
-and interlaced in infinite variety.
-
-In addition to being laced to the helm it was, in some cases, secured
-by two straps which were rivetted to the helm on either side and
-buckled at the back. It was also frequently decorated with badges, and
-in some cases the coat of arms was wholly repeated on it. It sometimes
-took the form of a cap which fitted over the helm, and was continued
-behind, and a curious example of a tourney helm with such an ornament
-is Fig. 157, after Viollet-le-duc, which is part of the equipment of a
-knight about to tourney, whose surcoat is charged with a double-headed
-eagle, and, he being about to encounter with swords and therefore
-having no shield, the charge is repeated on the helm in the bold and
-effective manner here shown. On the stall plate of Gaston de Foix as
-a Knight of the Garter, part of whose arms is Or three pallets Gules,
-the mantling has one side similarly striped with gold and red. Examples
-of mantling charged with badges are also to be found on the Garter
-stall-plates.
-
-[Illustration: FIG. 157.]
-
-The practice of decorating the surface of mantling is still carried
-out to some extent in that of a Knight of the Garter, as it hangs over
-his stall in St. George’s Chapel, the coloured side being sewn with
-a twisted ornament in lace and spangles. The edges are jagged with
-cuts in accordance with the theory that that was the origin of the
-ornamental form. A far-fetched reason for what was after all a purely
-ornamental development.
-
-The office of mantling being a purely decorative one suggests that
-its treatment, as form, should be such as to support and supplement
-the lines of the shield and its contents, and to assist in linking
-together the whole composition. It will therefore avail itself of the
-well-known power of curves to emphasize what they enclose and will
-find endless variety of design in the way its lines may be made to help
-each other in direction and force.
-
-[Illustration: Bookplate of John Stabius, Professor of Mathematics.
-Dürer.]
-
-[Illustration: Arms of Kress of Kressenstein. School of Dürer.]
-
-[Illustration: Arms of Don Pero Lasso di Castilla. German, 16th
-Century.]
-
-[Illustration: Armorials by Dürer.]
-
-The facility of folding over the edges will be found extremely useful
-in correcting balance as well in form as in tone and colour, and its
-use in this way is practically without limit. Such foldings should of
-course be designed in due relation to the general direction of the
-mantling, so as to assist its swing and flow, or else be obviously and
-intentionally opposed to it. In other words, there should be intention
-in every detail.
-
-It will also be noticed how valuable are straight lines, either in the
-Arms or as the top of the shield, to play against the curves.
-
-It has been indicated that the treatment as regards form is practically
-untrammelled, but as to colour there are certain rules that must be
-observed. In the Middle Ages there were no rules other than sumptuary
-laws, to which it is probably due that ermine came to be painted on
-mantlings and caps of maintenance in the same conventional way that it
-appeared on the shield. Otherwise, mantlings were merely governed by
-fancy until late in the sixteenth century, except that in the latter
-part of that period it had become customary for those of Peers to be
-doubled, i.e. lined, with Ermine. With the seventeenth century began
-a uniform mantling of Gules; doubled with Ermine for Peers and with
-Argent for those below that rank. Perhaps the colours were considered
-national as being taken from St. George’s cross on its argent field.
-The present rule is for the mantling to be of the colour and metal
-first mentioned in the blazon of the arms, as the torse does, and it
-dates from the end of the eighteenth century. The exceptions to this
-general rule are as follows:--The Sovereign’s and the Heir Apparent’s
-arms are mantled Or, and doubled ermine, as also are those of the other
-Princes of the Blood Royal. Peers formerly used the first colours of
-their blazon also doubled with ermine, as they still do in Scotland,
-but otherwise they now follow the general rule. However one may regret
-the older custom which produced variety of colour in the surroundings
-of the arms themselves and so gave scope for much beautiful
-arrangement, the established custom should certainly be observed,
-however reluctantly, and colour relief be obtained in other ways; such
-as by treatment of the background where such is practicable. Of course
-modification of tone still remains available.
-
-It is sometimes held that arms that were granted at the time when red
-and white mantlings were usual, and were mentioned in the blazon of the
-Grant, should now and henceforth be so accompanied, and this would seem
-to be a case when choice of method would be legitimate. The description
-in the blazon, usually so binding, is here of little force, for it was
-in such cases a mere routine phrase which conveyed no distinction of
-one case from another, and the change of official custom may be taken
-to have superseded the former rule. Certainly it is not permissible
-nowadays to colour the mantling without reference to the arms or
-without warrant from properly transmitted custom.
-
-
-
-
-CHAPTER VII
-
-Armorial Accessories
-
-
-The armorial shield, and, in a rather less degree, the crest, are in
-an especial sense essential parts of an heraldic achievement, and have
-always been considered fully representative of their bearers. Therefore
-they may be used together, or singly, without the supporters or other
-accessories to which their owner may be entitled. On the other hand,
-supporters, though they may be employed without the arms to support
-badges or monograms, have, in that case, little more than the force of
-fanciful devices.
-
-[Illustration: FIG. 158.--Seal of John de Segrave (_c._ 1300).]
-
-[Illustration: FIG. 159.--Seal of Anne Countess of Devon.]
-
-[Illustration: FIG. 160.--Seal of Ralph Neville, Earl of Westmoreland.]
-
-Supporters were in their origin badges which had acquired permanence by
-custom in the same way that the arms of the shield had acquired it at
-an earlier time. Thus, in addition to the regular armorials which so
-profusely adorned the Seals, certain badges were freely used which from
-association acquired in many cases a permanence by frequent recurrence
-equal to that of the arms with which they were associated. In this way
-lions appear in many of the Great Seals, notably in those of Edward
-III and in the beautiful seal of Henry IV. Such emblems were placed
-decoratively in any spaces that were suitable, and in the simpler
-seals the intervals between the circumscription and the more or less
-triangular shield within it invited their display, as in Fig. 158, the
-seal of John de Segrave (c. 1300), which has a garb on either side of
-the shield. In Fig. 159, the seal of Anne Countess of Devon, lions
-occupy similar spaces, but with their backs to the shields. The seal
-of Ralph Neville, Earl of Westmoreland, Fig. 160, shows greyhounds,
-which, though of subordinate proportion, have assumed the regular
-pose of supporters; while in the splendid seal of Edmond Beaufort,
-Duke of Somerset, Fig. 161, the finely designed supporting figures
-have complete heraldic force. Another fine example is that of William
-Lord Hastings, Fig. 162. The connexion between ancient Badges and the
-Supporters in present use is easily traced, and, as one instance of
-many, it will suffice to mention the white lion Badge of Mowbray, which
-has become one of the supporters of the Duke of Norfolk. The actual
-recognized use of these accessories appears to have begun at the end of
-the fourteenth century; and to have become firmly established in the
-following one.
-
-[Illustration: FIG. 161.--Seal of Edmond Beaufort, Duke of Somerset.]
-
-[Illustration: FIG. 162.--Seal of William Lord Hastings. Fifteenth
-Century.]
-
-The idea that supporters originated in fantastically dressed pages at
-a tournament seems to have little or no foundation, and though there
-may have been some such representation of already established devices,
-later statements on the subject have probably been much over-valued.
-
-Viollet-le-duc quotes an instance of a celebrated tournament, which was
-held on May Day, 1346, at Chambery, when Amedee VI of Savoy had his
-shield hung on a tree and guarded by two lions. The interesting fact is
-mentioned that the shields, helms and crests of the knights who figured
-at this tournament remained in the Church of St. Francis at Chambery,
-until 1660 or thereabouts. Then the church was redecorated, and in the
-disregard for antiquity, which we find so difficult to understand, the
-relics of chivalry disappeared.
-
-At first and for a considerable time the proportion of supporters to
-the arms was very satisfactory, being bold without over emphasis, but
-during the sixteenth and following centuries, a tendency to increase
-their size was felt, and it is in this respect that modern sculptured
-heraldry is lacking in balance, for to over-accentuate the supporters
-is necessarily to minimize the arms, and so divert interest from the
-central motive.
-
-When the space to be filled by the achievement demands it, the pose of
-the supporters may be varied to a considerable extent, but the rampant
-position should always be adhered to when it is possible. Where, for
-instance, the space is wide, as on a mantelpiece, there is no heraldic
-objection to placing the figures in a couchant position on either side
-of the shield, an arrangement that has been frequently resorted to in
-Friezes.
-
-Sanction is given to this freedom of treatment by the fact that it is
-not usual in blazoning supporters to specify the heraldic attitude,
-except in so far as it affects the pose of the head. That is to say,
-if the head is in the normal position, in profile, the figure is
-blazoned, for example, a lion Or. If it were guardant or regardant, the
-fact would likewise be mentioned but not the general pose, rampant or
-anything else.
-
-In the fifteenth and sixteenth centuries the supporters were sometimes
-employed in pairs, and sometimes singly, to hold up the banners of
-arms that were represented in heraldic manuscripts or sculptured on
-monuments, and they were then usually placed in a sejant position.
-In some instances, more frequent in Italy and Germany than in this
-country, supporters bear crested helms on their heads in a very curious
-way. An English instance is on the seal of Edmond Mortimer, A.D. 1372,
-mentioned by Boutell.
-
-On the seals of the fifteenth century onwards, the supporters were
-freely adapted to the available spaces, without much, if any, regard
-for actual physical support to any other part of the achievement. It
-was heraldically sufficient that they were present, and the rest was
-left to the taste and skill of the designer.
-
-The variety of supporters has of course increased with the number of
-those entitled to bear them, and creatures are now used which, though
-perfectly suitable in an allusive way, are not equally adapted to the
-ordinary heraldic treatment, and the result of working in an outworn
-groove appears when Troop horses, Camels, Elephants, and so forth are
-seen climbing up the side of a shield, instead of standing beside it.
-Admit that the rampant attitude in an animal that does not ramp is not
-obligatory, and the difficulty is easily overcome with every advantage
-to the dignity of the composition.
-
-The idea of moral support would also be much to the advantage of
-symbolic human figures that are already burdened in a variety of
-ways, for the sight of a figure, with both hands full, trying to obey
-a non-existent law as to touching the shield that it “supports” is
-pathetically ridiculous. Nevertheless, the hold on the shield is of
-value in linking a design together, when it can be effected without
-violence to ease and probability.
-
-Too great freedom of natural treatment is not desirable, for it is
-out of harmony with the especial decorative quality of heraldry, so
-that one objects to the natural animal supporters that characterized
-the illustrations of the eighteenth century, prowling from behind the
-shields, not as heraldic error, but as wanting in dignity as decorative
-design.
-
-As a general rule, with some few special exceptions, the right
-to bear supporters is confined to Peers and Peeresses and to the
-highest classes, Knights Grand Cross or analogous ranks, of Orders of
-Knighthood. Knights of the Garter, of the Thistle, or of S. Patrick are
-entitled as such to bear Supporters, but as members of those orders are
-now invariably Peers, the question does not arise.
-
-[Illustration: FIG. 163.--Amorini Supporters from Venice.]
-
-Figures of Angels and Amorini that are not considered to have the
-technical qualification of heraldic supporters are of constant
-occurrence in ornamental art, and symbolical figures holding the
-shields of arms are posed in the spandrels of arches with admirable
-effect and perfect propriety, and the fact that symbolic figures are
-sometimes adopted as actual heraldic supporters can hardly be allowed
-to cramp decorative art in so important a particular, nevertheless the
-distinction should be recognized.
-
-At Venice there is an admirably designed incised tablet in which
-Amorini stand beside the shield, each supporting on a pole one of the
-two large crests, Fig. 163; and the demi-angels which support the Royal
-Arms on the spandrels of the screen of Henry V. Chantry at Westminster,
-and the series of similar figures holding Badges in various parts of
-the Abbey should also be noted.
-
-Another admirable work in which Amorini figure is the fine panel of the
-Arms of Cardinal Wolsey, which faces the Crown Court at Hampton Court
-Palace, Fig. 164, a work that is no less remarkable for the strength
-and bold relief of its heraldry than for the grace and beautiful
-modelling of the figures.
-
-Under the head of supporters reference may also be made to the eagles,
-double or single-headed, on which in certain cases armorials are
-borne as a mark of special privilege. The arms of Princes and Peers
-of the Holy Roman Empire are borne on the double-headed Imperial
-Eagle, like those of the Duke of Marlborough as Prince of Mindelheim,
-as a privilege inherent in their rank. The single-headed eagle of
-the Kingdom of Prussia supports in a similar way the armorials of
-The Countess of Derby, to one of whose ancestors, Lord Carnarvon,
-Ambassador at Berlin at the end of the seventeenth century, the
-privilege was granted by Frederick William I. It therefore appears on
-her book plate, which I am permitted to reproduce here, Fig. 165.
-
-[Illustration: FIG. 164.--Sculptured Arms of Cardinal Wolsey. Hampton
-Court Palace.]
-
-Other accessories consist of Crowns, Coronets, Insignia of Order of
-Knighthood, Mottoes, Symbols of Office, Medals or any other emblem of
-personal dignity or ornament.
-
-The principal of these, the Imperial Crown, was, in its earliest form,
-a decorated circlet which was frequently of a most beautiful and
-elaborate character, but whose decoration, apart from its general form,
-had not acquired specific symbolic force, unless the fleur-de-lis that
-sometimes appeared as part of it may be so regarded. If so, it was
-probably introduced with the same idea of religious symbolism, as an
-emblem of the Resurrection, or of the Virgin Mary, or of the Trinity,
-which caused it to be used on sceptres and in other ways. The crowns
-of the early seals show traces of arches in some instances, but it was
-only in the time of Henry V that the crown, the one that succeeded the
-“golden care” of Shakespeare, finally became arched.
-
-The number of the arches, as of the fleurs-de-lis and the crosses
-pattée that were added, varied from time to time, but since the
-restoration of Charles II the essential details have remained constant,
-though the general shape has changed with the contemporary taste in
-other ornament. A considerable variety of form is also found in the
-same period, the arches in Tudor times having sometimes the Gothic
-pointed character, as it appears in Fig. 166, on the reverse of the
-beautiful golden Bulla with which Henry VIII sealed the treaty of the
-Field of the Cloth of Gold. In this instance it will be observed that
-the number of arches is doubled, and the fleurs-de-lis and crosses
-pattée proportionately increased. In a similar way the Scottish Royal
-Crown is represented with an unusually large number of crosses and
-fleurs-de-lis on the rim.
-
-[Illustration: FIG. 165.--The Countess of Derby’s Bookplate.
-
-Geo. W. Eve.]
-
-In other examples, notably those sculptured on St. George’s
-Chapel in Windsor Castle, the arch is much flattened and the crosses
-and fleurs-de-lis stand high on the rim, thus producing a certain
-squareness which is very happily suggestive of strength. It was this
-type of crown that influenced the treatment of those on the present
-Royal bookplates. In the seventeenth century the arches were depressed
-where they cross, and in the Georgian period the extent of the
-depression was very considerable, as may be seen in the maces of that
-time.
-
-[Illustration: FIG. 166.--Golden Bulla with which the Treaty of the
-Field of the Cloth of Gold was Sealed. Sixteenth Century.]
-
-It seems to evidence the want of intention, and that ignoring of
-symbolic value that was characteristic of the time, for otherwise the
-idea would certainly have suggested itself that the orb, the emblem
-of sovereignty, should be held strongly up, and the crown be made to
-suggest its adequacy to its pre-eminent dignity.
-
-Doubtless this was in sympathy with the somewhat heavy curves of other
-ornament, but its effect is common-place, weak and unfortunate. The
-general character of the present day shape is a return to the more
-beautiful pointed arch, and Fig. 167 is the form approved by His
-Majesty for official use. It is to be understood that this does not
-refer to the actual crown, which has remained much as it was in the
-time of Charles II, but to its heraldic equivalent.
-
-[Illustration: FIG. 167.--The Royal Crown as sanctioned for official
-use.]
-
-The decoration of the arches may take many forms, sometimes consisting
-of large pearls, as in the usual way, sometimes of architectural
-crockets as in much of the carved decoration, or as jewelled running
-ornament composed of national Badges, or of oak-leaves and acorns as in
-that which is known as the Imperial State Crown. A fine example of the
-Tudor crown occurs in the stained glass roundel of the Arms of Queen
-Jane Seymour, in which the arches are crocketted, and the crosses have
-the cusped character that was prevalent at this period, Fig. 168.
-
-In the jewels on the rim, no attempt is usually made to copy those of
-the actual crown and great variety of jewelled decoration is therefore
-possible. The gems are most often represented of antique form, that is
-to say, cut _en cabuchon_, instead of in facets, thus presenting a
-decorative simplicity that is very suitable to ornamental effect.
-
-[Illustration: FIG. 168.--Arms of Queen Jane Seymour, Stained Glass
-Roundel. Sixteenth Century.]
-
-With regard to the cross on the orb the former remarks concerning
-crosses pattée are especially applicable, and in addition it should be
-observed how much more satisfactory it is for the lines of the lower
-limb of the cross to be produced from the circumference of the orb than
-for the corners to be projected beyond it. In the latter case the cross
-has the unfortunate effect of being balanced on the orb instead of
-rising from and being part of it.
-
-The essential form of the crown, then, is a circlet heightened with
-crosses and fleurs-de-lis alternately, from which rise two arches that
-spring from behind the crosses pattée and uphold the orb, which is
-itself surmounted by a cross.
-
-Care is necessary in order that the curves of the arches may be kept
-sufficiently flat, for otherwise too much tendency to a half-circle may
-result.
-
-The crosses and fleurs-de-lis offer remarkable opportunities for
-strong, graceful, and varied treatment, and if they are kept fairly
-high, and well defined, the dignity of the design is much enhanced.
-
-The cap which is enclosed in the actual crown is of purple velvet, but
-is represented heraldically as of crimson, and is lined with ermine,
-which being turned up at the edge, appears round the lower rim.
-
-The Coronets of the sons and daughters of the Sovereign have similar
-circlets to that of the crown, but are not enarched, except in the case
-of the Prince of Wales, who has one arch supporting an orb. The latter
-coronet is usually drawn from a point of view from which the complete
-arch is seen spreading from side to side. Fig. 169.
-
-Other Princes and Princesses bear coronets that are varied according
-to nearness to the Throne, the grandchildren of the Sovereign having
-ducal leaves in place of two of the crosses, while nephews have similar
-leaves in place of all the fleurs-de-lis. This must not be taken as
-an invariable rule of heraldry but as an indication of the system that
-is observed in framing the Royal Warrants by which alone the right
-to these coronets, and also to the Royal marks of cadency (q.v.) is
-conferred.
-
-[Illustration: FIG. 169.--Coronet of the Prince of Wales.]
-
-Royal coronets, other than that of the Prince of Wales, do not change
-automatically as private marks of cadency do, but being arranged under
-the same Royal Warrant by which the arms are assigned, they remain as
-so designated until they are changed by the same authority.
-
-The Coronets of Peers were definitely assigned to the various ranks
-by warrant of Charles II, having by that time become developed into
-distinctive forms, as the Crown had been, from the circlets which in
-themselves were marks of high rank and were so used ceremonially in
-conferring a title.
-
-The coronet of a Duke is composed of eight ornamental leaves of
-equal height, wrongly called strawberry leaves, set on a rim which
-is ornamented with jewel-like tracery but not with actual gems.
-Eight being the full number of leaves, five of which are visible in
-representation.
-
-A Marquis’s coronet has four leaves alternately with an equal number
-of silver balls, called pearls, which are set on points to the height
-of the leaves, and the coronet is always represented as so posed that
-three leaves and two balls are visible. It is directed that in all
-coronets the balls shall be of silver and not counterfeit pearls.
-
-An Earl’s coronet has eight balls raised on high points and showing
-between them leaves which are set low down. Five balls and four
-alternate leaves are usually shown. This form is evidently derived
-from the beautiful coronet that is sculptured on the tomb of Thomas
-Fitzalan, Earl of Arundel, 1445, and in the same way that the coronet
-of another Earl of Arundel (A.D. 1487) foreshadowed that of a duke.
-The former of these is very fine, having groups of three pearls on
-alternate points, and with the leaves also on points to the same height
-as the others.
-
-A Viscount’s coronet is a circle with surface decorations which, like
-all the preceding, is as in that of a Duke and has sixteen silver balls
-set close on the rim, and of them nine are shown.
-
-A Baron’s coronet has six silver balls, also set directly on the rim
-and not on points, the circlet in this instance being plain, i.e.,
-without indications of jewel forms.
-
-In the warrant of Charles II it is directed that all the coronets shall
-be worn over a cap of crimson velvet lined with ermine, and having a
-tassel of gold at the top. This cap, however, is not an essential part
-of the coronet, although a head covering of considerable distinction in
-itself. During the greater part of the Middle Ages the temporal peerage
-consisted principally of earls and barons, the former distinguished by
-the circlet of gold, which was variously decorated, and the latter by a
-cap of crimson lined with fur. For military purposes, the coronet was
-fixed to the helmet, and at other times it was placed, for practical
-reasons of comfort among others, round the cap which formed part of
-contemporary costume, as may be seen in many of the beautiful French
-and Italian medals of the fifteenth century, notably in one of Louis
-XII at the end of that period. Fig. 143. In another composition of
-about the same time, a head of King Herod has a crown which encircles
-a cap of the shape usually ascribed, in modern times, to a Cap of
-Maintenance. The last-named head covering is one of much interest as
-an early subject of privilege, although but little appears to be known
-about it. Its shape was obviously not its distinctive quality, and
-it must therefore have been the material or colour which constituted
-its especial value; and having regard to the sumptuary restrictions
-concerning the wearing of ermine, among other things, it seems probable
-that its lining of this fur was its distinctive quality, and that being
-prohibited to those of inferior rank, it would naturally be the cap
-that would be associated with a coronet when it was actually worn. Thus
-was formed the prototype of the coronets as described in the warrants
-of the end of the seventeenth century, when caps of this character had
-ceased to be part of the ordinary costume of people of position. The
-cap is therefore a means of wearing the coronet and no indication of
-definite rank and may certainly be omitted in heraldic design, since it
-adds nothing to what is signified by the coronet itself and is not an
-essential part of it.
-
-This view would appear to have been the contemporary official one, for
-many of the Garter plates subsequent to the warrant of Charles II have
-no caps to the coronets, and that of John, Duke of Argyle, 1700, may be
-cited as an example, among others.
-
-By the before-mentioned warrant, the use of the ermine-lined caps was
-extended to barons equally with other ranks of the peerage.
-
-The rank of Baronet, also hereditary, is of two classes, one of which
-was instituted in 1611 to encourage the plantation of Ulster, and the
-other in 1624 for the plantation of Nova Scotia. All new creations of
-the rank of baronet are of the former kind, and the Badge consists of
-the well-known red hand of Ulster on an argent field. This is borne on
-the coat of arms either on a canton or on a small escutcheon, whichever
-is most convenient, and if the latter it may be anywhere on the main
-shield in the same way that a mark of cadency is placed. The Badge of
-a Baronet of Nova Scotia is an actual jewel like that of an order and
-usually appears below the shield pendent from its ribbon of orange
-tawny silk. It is also worn round the neck like the insignia of an
-order, and consists of an oval medallion on which is the Cross of St.
-Andrew behind a shield ensigned with the Imperial crown and charged
-with the Arms of Scotland, and on the margin of the badge is the motto
-“Fax mentis honestæ gloria.”
-
-The Insignia of Orders of Knighthood are also among the most important
-and decorative accessories, either surrounding the shield, such as
-collars, the Garter, and the motto circle of other orders; or suspended
-below it as crosses and jewels.
-
-[Illustration: FIG. 170.--Arms of John second Earl of Mar, K.G., 1634.
-Modelled gesso, afterwards painted. Geo. W. Eve.]
-
-Knights of the Garter surround the shields of their arms with
-representations of the Garter inscribed with the motto of the order,
-“Honi soit qui mal y pense,” in the well-known way. It was formerly
-light blue, but since the time of George I has been of the dark rich
-colour to which it has given the name of Garter Blue. The buckle,
-motto and other embellishments are of gold and it is now edged with
-the same. This last, however, is purely decorative, but has become
-usual from about the sixteenth century. The motto begins above the
-buckle, which is always placed in the dexter side, and may be in any
-character of lettering that seems fit. Fig. 170 shows a gartered shield
-from the series at Alloa House. The collar consists of twenty-six
-small garters (in allusion to the Sovereign and twenty-five Knight
-Companions), each enclosing a rose, alternately with an equal number
-of knots, the whole being joined together with links of gold. It is
-notable that the roses are Tudor ones, the collar having been added
-to the insignia of the great Order by Henry VII, and are a red rose
-within a white one and a white within a red alternately. Depending from
-the collar is the representation of St. George slaying the Dragon, the
-jewel which is known as the Great George. Composed of gold and enamel
-it was frequently richly jewelled, and otherwise treated as a splendid
-subject for artistic elaboration. When the collar is used with the arms
-it is placed outside the Garter. These constitute the insignia that are
-immediately associated with the shield, but there are in addition the
-Star, the Ribbon and the Lesser George. The Star is worn on the left
-breast, consists of groups of rays, in silver or diamonds, arranged
-in eight points, and bearing in the centre the enamelled Cross of St.
-George encircled with the Garter.
-
-The Lesser George, the jewel which is worn pendent at the side from
-the ribbon of the order which is worn over the left shoulder, consists
-of an oval badge of a similar group to that of the Great George, but
-placed within the Garter which forms a frame to the badge. It will be
-noticed that the Great George has no containing form.
-
-The Collar when it surrounds the shield is placed outside the Garter,
-and either one or both may be used to enclose a crest or other device.
-In thus using the collar of an order in a decorative way, it will
-not be necessary to represent the actual number of pieces in it, but
-only their nature and the proper order in which they occur, and a
-considerable latitude may be taken in treating the details so long as
-their essential character remains clear.
-
-The custom of encircling arms with the Garter has influenced the whole
-British practice with regard to orders of knighthood, other orders
-using in a similar way the motto circle which forms part of their badge.
-
-The foreign practice is to use the collar with its badge to surround
-the arms, or in other cases to suspend a badge from its riband below
-the shield.
-
-A knight of several orders uses principally that which is of superior
-rank either alone or in conjunction with others. In the latter case
-the emblem of the superior is innermost in surrounding the shield; and
-is the dexter of two, or the most central of a greater number, when
-dependent from it. When, however, some special allusion is intended the
-insignia of an inferior order may be used alone.
-
-Thus in the case of an achievement that was to be used in connexion
-with a specific order, the insignia of that order would be properly
-used to the exclusion of one of superior rank.
-
-It will be understood that the heraldic bearing of such insignia is a
-privilege that need not always be exercised, and when it is, may be
-used in a variety of ways. Thus the Garter may closely surround the
-shield in the familiar way or may encircle the whole achievement as in
-some coins and medals, or even be straightened out as in the design of
-some of the Tudor bookbindings.
-
-In view of cases that have actually occurred, it should be noted that
-stars of orders must not be suspended below a shield as a badge may
-be, though they may be embodied in accessory design in a suitable way.
-That is to say, that only those decorations should hang below the
-shield which actually have a pendent character and hang from collars,
-ribbons, and so forth, while stars may decorate panels, be enclosed
-in tracery, or be employed in any other way that is not unsuitable to
-their naturally _appliqué_ character.
-
-The Order of the Thistle has a Collar composed of thistles alternating
-with a badge made of four sprigs of the ancient rue interlaced, the
-whole being enamelled in the proper colours. Depending from the centre
-thistle of the collar is the Badge, a star of eight points bearing the
-figure of St. Andrew supporting his white cross. His gown is green and
-the surcoat purple, and he stands on a mount of green. When not used
-with the collar the Jewel hangs from the dark green ribbon that is worn
-over the left shoulder. Fig. 171 from the series at Alloa House shows
-a method of treating the collar in gesso photographed before painting.
-The star of the order consists of a silver St. Andrew’s cross having
-rays issuing from its angles and bearing in the centre a thistle within
-a circle of green enamel, that is edged with gold and bears in golden
-letters the motto, “Nemo me impune lacessit.” It is this circle and
-motto that are placed round the shields of the knights of the order and
-sometimes with the collar in addition.
-
-[Illustration: FIG. 171.--Shield with Collar of the Order of the
-Thistle. Arms of John, sixth Earl of Mar, K.T. Gesso, before painting.
-Geo. W. Eve.]
-
-The Knights of the Order of St. Patrick surround their arms with
-the sky-blue circle of that order inscribed with the motto, “Quis
-separabit,” and the date MDCCLXXXIII. The Collar is composed of roses
-and harps alternately, tied together with knots of gold. The roses are
-double and are white within red, and red within white alternately,
-like those of the Garter collar. In the centre is an imperial crown
-ensigning a harp from which hangs the badge of gold, oval in shape,
-and surrounded with a wreath of shamrocks which encloses the circle of
-light blue enamel on which is the motto and the date MDCCLXXXIII in
-golden letters. Within the circle is the cross of St. Patrick, Gules on
-a field Argent, surmounted with a trefoil slipped and with each of its
-leaves charged with an imperial crown, Or. The star is of eight points,
-the perpendicular and horizontal rays being larger than the diagonal
-ones, and bears the device within a motto circle exactly similar to
-those of the badge, but without the shamrock wreath. These are the
-three principal orders which form a group that is somewhat apart from
-the rest.
-
-In the foregoing orders consisting, as was customary in earlier times,
-of a Grand Master and of Knight Companions ranking equally among
-themselves, the amount of insignia associated with their arms is
-unimportant as a mark of rank, the simplest being equally efficacious
-heraldically with the more elaborate. In the case, however, of orders
-which are divided into classes, the different parts of the insignia
-have acquired a special importance as indications of rank within the
-order which must be very carefully observed.
-
-Taking the Order of the Bath as typical, the lowest rank, that of
-Companion (C.B.), is shown by suspending the badge below the shield.
-The next grade, Knight Commander (K.C.B.), in addition to the suspended
-badge, encircles the shield with the motto of the order. And finally,
-a Knight Grand Cross (G.C.B.) adds to the preceding the collar of the
-order round his arms, outside the motto circle. It must be noted that
-the order has two divisions, civil and military, whose badges differ.
-The rest of their insignia is identical, except that a wreath of laurel
-accompanies the motto circle of the Military Division.
-
-
-
-
-CHAPTER VIII
-
-Methods and Materials
-
-
-The methods of painting heraldry have changed very little from those
-that were employed in the early MSS. In the unfinished Bible at
-Winchester Cathedral, of which the illuminations are in every stage of
-progress from the sketch to the finished work, the sequence is clearly
-shown. First, the design lightly sketched in with fine charcoal or a
-leaden stylus, then carefully gone over with a black line. The gold
-masses put in and burnished and then the colour. Shading and correction
-of the outline followed, and finally the high lights put a finish to
-the work.
-
-Vellum, a fine parchment made of calf skin, is the most suitable
-surface for heraldic painting in water-colour, although paper,
-which includes various “boards,” is useful for students’ work and
-for preliminary drawings. The colours bear up, and gold acquires an
-appearance of solidity on vellum which cannot be obtained on paper.
-No doubt the surface is somewhat difficult to deal with at first and
-painting on it has a technique of its own, but there is nothing that
-cannot be overcome if it is approached in a practical way. The colour
-of vellum varies from a yellowish white to darkish ivory colour, a
-variety that is due to the natural colour of the skin. It can also be
-obtained in positive colours, the kind that is used in book-binding. It
-is somewhat thickly coated on one side with a chalky preparation, and
-if this side, the front, is used it requires delicate handling, for it
-is easily injured by the scraping that may be necessary for erasure,
-so that a rough spot of skin appears through the preparation and the
-surface can only be restored with great difficulty. Unless, therefore,
-it is necessary to use both sides as for a leaf of a book, the back of
-the skin will be found preferable. It is a little darker in tone and
-not quite so smooth, is tolerably hard and bears erasure well, but the
-knife requires deft handling, and then small corrections can be made
-with it successfully, for colours do not penetrate vellum very far,
-though when properly prepared they adhere to the surface with ample
-tenacity. It will be found very desirable to keep vellum clean rather
-than to trust to subsequent cleaning.
-
-As it is difficult to properly remove pencil marks except with the
-knife, the design should first be made as fully as necessary on paper
-or other surface, and transferred to the vellum by tracing or rubbing
-down or by pouncing. The best way of transferring a design is to go
-carefully over the back of a tracing of it with a sharp pencil and
-having carefully placed it in position on the vellum to rub it down
-with a knife held slanting, a palette knife will do very well, and
-in that way the lines are clearly transferred to the vellum without
-the depression on the surface that a point is likely to make. Tracing
-down the design with a style and coloured transfer paper is less
-satisfactory owing to the blurring of the line, unless the point used
-is very sharp and then it is likely to cut through. In making the
-preliminary design the colour composition with regard to such parts
-as are susceptible of free treatment (such as the mantling) should
-be carefully noted so that nothing experimental need be tried on the
-vellum. Unless both sides of the skin are to be used it is well to
-strain the vellum over an ordinary frame by means of glue or with small
-tacks at frequent intervals, first well damping it on the reverse side
-to that which is to be used. A piece of cardboard should be placed
-between the vellum and the frame to give support to the surface and
-help to throw up the colour, care being taken, however, that the vellum
-though damp is not actually wet or it will stick to the cardboard in
-patches with disastrous effect. Having the design traced on the vellum
-the next step is to lay in the gold. This is provided in shells or
-cakes and is painted on very evenly with a sable brush and when dry is
-burnished with an agate burnisher, or a tusk does very well.
-
-Burnishing is facilitated by first gently passing the finger tip over
-the gold, and a piece of card or other firm substance should be placed
-behind the work during the whole process, or, when a high degree of
-polish is desired, a piece of plate glass may take the place of the
-card. But it must be remembered that over-burnishing deprives the gold
-of its beautiful colour and tends to blackness.
-
-The principal colours are then laid in their places and their quality
-will depend of course on the taste and intention of the artist, but
-in the absence of necessity for modification, the traditional strong
-brilliance will probably be sought after and the colours will be
-used in their fullest strength and purity. For red, Vermilion is
-unapproachable in its place, has great body and is therefore easy to
-use. For blue, Cobalt is very beautiful but is somewhat difficult
-to lay from its want of opacity, a quality which is not improved by
-the glycerine which is used in “moist” colours. French ultramarine
-or French Blue (it is known under various names) forms when mixed
-with white a fairly efficient substitute for cobalt and presents no
-difficulties in laying.
-
-Green. The most brilliant is of course Emerald Green, but as it is
-extremely difficult to lay and easily works up it is much feared and
-avoided. It is very useful in combination with greens of lower tone
-mixed with white to lighten them. Green oxide of chromium (not chrome
-green) is excellent in this way and possesses good body.
-
-The white will be Chinese White, made from oxide of zinc, which does
-not change colour as the lead whites do. The latter, however, are
-extremely useful for temporary work, such as for design that is to
-be carried out in other materials, when the drawing is no longer of
-consequence after it has served its purpose.
-
-The difficult colours Cobalt and Emerald Green can nevertheless be
-laid satisfactorily by means of patient trial, the result depending
-on that skill of manipulation which can only come by much practice
-as well as on the exact degree of moisture with which the colours
-are used. Indeed, it may be well to point out, especially for the
-benefit of those who are familiar with water-colour sketching, how
-comparatively dry all the colours are worked in illumination. Tints,
-even, are best put on with a sparely filled brush in a manner that
-approaches a scumble much more nearly than a wash. This will be found
-most troublesome in tints that are painted on the vellum itself, as
-in white mantling, for instance, or in objects that are “proper,” and
-anything like a wash with a full brush being impossible, a certain
-amount of stippling will probably become inevitable. The work is
-certainly somewhat difficult, and too much disappointment, therefore,
-should not be felt at the failure of first efforts. Shortly, the effort
-should be directed to getting the colour on with as little moisture as
-will suffice, so that the surface of the vellum may not become wet and
-disturbed.
-
-The principal masses of colour being in, such dividing or other strong
-lines as occur will be drawn with black. A drawing pen will probably
-be used for straight ones and in this also care must be taken that
-the black, lamp black or ivory black, is not too diluted, or it will
-probably spread, especially when in contact with colours that contain
-glycerine or waxy constituents.
-
-This done, the next stage of the work, if it is to have the elaboration
-of the real illuminated MSS. rather than of the diagrammatic Rolls of
-Arms, will be to model up the forms with shadow colour, using carmine
-or crimson lake to shade vermilion with the addition of a little sepia
-when stronger colour is required. Blue will be shaded with French blue
-to the required tone, and green with darker green.
-
-The lights may then be put in with light tones of their respective
-colours. Gold is shaded with a low tone of yellow as a general shadow
-colour and with umber, and is sometimes high lighted with Naples yellow
-and white. In accessory decoration gold may be shaded with green and
-finished with a darker tint of the same colour.
-
-In the colour treatment of mantling the tone may well be kept low in
-relation to that of the shield to which it will thus lead up and give
-value.
-
-Instead of lighting with tones of their own colour the parts in which
-modelling is suggested, a very beautiful and decorative effect is
-produced by the mediaeval practice of heightening the whole design with
-gold in lines which coalesce into masses on the high lights and trail
-off into the shadows where also they help to define the form in a very
-effective way. This use of gold throughout the work serves at the same
-time to harmonize and pull the whole thing together into unity. It is
-a method which requires considerable skill of hand and clearness of
-intention, for the lines must be drawn with firm certainty, but when
-successful is most effectively beautiful.
-
-In the treatment of the helmet its relative importance in the
-composition must not be forgotten, nor its brilliancy in combination
-with its central position be allowed to attract undue attention. The
-broad shadow which its body takes in its forward tilted position is
-very useful in keeping down the general tone, in colour work as well
-as in black and white. Also it may be remembered that helmets were
-themselves painted and their rivets gilt.
-
-In painting on paper, where yellow is substituted for gold, Cadmium
-will be found to be the most useful kind of that colour.
-
-Until the invention of moist colour the pigments were obtained in
-powder and mixed with gum water, a great deal of small knowledge being
-required in order that the colours should not rub off the surface on
-the one hand, or crack or otherwise misbehave on the other. Gold was
-mixed in the same way, but if with too little gum it rubbed off and if
-with too much it refused to burnish. Nevertheless, the colours when
-so mixed have a certain advantage in having more body, and a better
-because less waxy surface. However, the greater convenience of moist
-colour is undoubted and in some of them the surface is very good.
-So-named luminous body colour made by Newman of Soho Square has been
-recently tried with very satisfactory results, the cobalt among the
-“difficult colours” being particularly good.
-
-The notable revival of Enamelling has restored to heraldry a very
-beautiful means of expression, one which has proved from the twelfth
-century downwards to be especially suitable to its subject, as well
-from its broad simplicity of treatment as from its permanence and
-beauty. In this connexion one’s thoughts inevitably turn to the
-stall-plates of the Knights of that Most Noble Order of the Garter in
-its Chapel in Windsor Castle, and one is led to hope that they may once
-again be done in a way not unworthy of their splendid and monumental
-predecessors of the old days.
-
-Enamel entered to an enormous extent into the decorative metal work of
-the Middle Ages. Altars, Church vessels, and crosiers, caskets, nefs
-and other domestic objects, the girdles and clasps for ladies’ use, as
-well as the details of military trappings were among the many things
-that were adorned in this manner. The massive military belts that were
-worn below the hips and were indicative of high rank were especially
-rich in goldsmiths’ work and enamels, infinite pains and enormous sums
-being spent on their execution.
-
-[Illustration: FIG. 172.--Queen Eleanor’s Cloak Clasp. Champlevé
-Enamel. Thirteenth century.]
-
-Of the various methods of enamelling that which is known as Champlevé
-is especially associated with Gothic art. Among the most interesting
-of the personal ornaments is the cloak clasp of Queen Eleanor, wife of
-the warrior King Edward I (Fig. 172). Here the arms of her husband,
-England, with those of her own blood, Castile and Leon, unite to make
-a unique fastening to the Royal mantle of that Queen “of Good Memory.”
-This clasp was probably made at Limoges, where Champlevé enamel was
-certainly produced as early as the latter half of the twelfth century
-and probably earlier, the art having been imported, it is said, from
-Venice, whither it had come from the East.
-
-At this same time heraldry was coming into systematic form, and enamel
-was soon employed to display it on the Royal and other monuments,
-beginning perhaps with the memorial slab to Geoffrey Plantagenet, Count
-of Anjou (father of Henry II), who died in 1151, which is now in the
-Museum at Le Mans.
-
-The succeeding centuries are increasingly rich in heraldic enamels,
-the shields in the monuments of Edward III and his Queen, Philippa of
-Hainault, and on the magnificent tomb of William de Valence, Earl of
-Pembroke, in Westminster Abbey, may be taken as examples. The shield
-on the latter monument is reproduced by Boutell and others and will
-well repay study, especially when it is rendered in the colour which is
-necessary to a full appreciation of its beauty (Fig. 174).
-
-Towards the end of the mediaeval period began the Garter stall-plates
-already alluded to as still to be seen on the panels of St. George’s
-Chapel, which date from the early fifteenth century, though some of
-them relate to personages of an earlier time.
-
-These have most fortunately been brought within reach of study in the
-valuable facsimile reproductions in the work by Mr. St. John Hope,
-which includes in its scope the plates which were executed down to
-nearly the end of the fifteenth century. As examples of heraldic
-composition they are invaluable, for although the deterioration of the
-Gothic was already begun, they possess to a remarkable extent those
-decorative qualities that their modern successors so unfortunately
-lack.
-
-Enamel itself consists of a rather dense glass coloured with metallic
-oxides, and must not be confused with the enamel colours which are
-employed in painting on porcelain. The latter are vitrifiable but not
-vitrified material; that is to say, in them the metallic colours in
-powder are mixed with powdered glass, and the whole becomes fluxed
-together when the work is fired in the kiln or muffle, while in true
-enamel the glass and its colouring are intimately combined from
-the first. By way of definition it may be said that enamel work is
-therefore an arrangement of one or more layers of coloured glass on
-fused metal.
-
-In Champlevé work the design is first outlined on a metal plate,
-usually copper, and then, by means of gravers and chisel-like tools
-called scorpers, the space which is to receive the enamel is cut out
-to the necessary depth, from ¹⁄₃₂ to ¹⁄₂₀ of an inch, the rather rough
-surface that is left by the scorper serving as an additional key to
-the enamel (see Fig. 173), which having been ground to a powder and
-moistened with water, is then placed in the cavities prepared for it,
-and, after being carefully dried, is put into a muffle raised to a
-red heat, and thus fired until the enamel is fluxed. The work is then
-allowed to cool, is smoothed and polished, and the metal parts may then
-be gilt. Champlevé is usually executed in opaque enamel; that is, in
-glass made opaque by an admixture of oxide of tin.
-
-In very early specimens two or more colours are found in contact in one
-space, but this is extremely difficult to do, and the resulting line
-is a somewhat ragged one in European work, though wonderful effects
-of opaque colours are produced by the Japanese. Since the thirteenth
-century each colour, in Western work, fills its own space.
-
-[Illustration: FIG. 173.--Plate prepared for Champlevé Enamel.]
-
-The design, must, from the nature of the work, be kept very simple
-without too much subtlety of line that might be lost in the cutting,
-and the laying of the enamel will be facilitated if the angles of small
-spaces are not made too pointed. The principal qualities of form will
-consist in good distribution and well-balanced masses rather than in
-expression of detail. The outlines of charges which are in colour
-on metal, or vice versa, are formed by the edges of the sunk spaces
-and such further definition that maybe required, such as the marking
-of the junction of the further legs with a lion’s body, is effected
-with a line of the ground colour laid in a groove cut for the purpose.
-This perfectly natural method of drawing with the materials that are
-immediately concerned has resulted in some singularly inept modern
-examples of heraldry, where the limbs are deliberately represented as
-detached from the bodies, as though there were something mysteriously
-mediaeval in such an unreasoning travesty of a perfectly simple
-expedient.
-
-Where one colour approaches another, as in the de Valence shield
-(Fig. 174), it will be necessary to leave a narrow rim of metal as an
-outline, and where the work is sufficiently large other details of form
-will be shown in a similar way. Diaper also may be thus drawn in lines
-of metal among colour, as is shown here in the running ornament, or by
-lines of colour in metal, as the case may be.
-
-The gilt outlines of the de Valence Champlevé shield somewhat suggest
-the effect of Cloisonné work, the way in which the Byzantine enamels
-were executed; but this method has been little, if at all, employed
-heraldically. In it the spaces to be filled are made of flat wires that
-are bent to the requisite form and soldered into their places on a
-metal plate, and the work then proceeds as in Champlevé.
-
-[Illustration: FIG. 174.--Shield on Champlevé Enamel from the Monument
-to William de Valence, Earl of Pembroke, in Westminster Abbey.]
-
-In the fifteenth century, when Renaissance art was beginning to look at
-things in a new way and was discovering new methods by which to express
-itself, a new kind of enamel work took the place of the more formal
-Champlevé, just as a freer kind of heraldry was about to supersede the
-decadent Gothic. This became known in time as “Limoges Enamel,” though,
-as we know, that place had been celebrated for enamel in another form
-for hundreds of years. This painted enamel did not, however, take the
-place of Champlevé on monuments, rather the use of enamel in that way
-died out. Probably the painted plaques were too tender for the purpose,
-and in any case the treatment would have had to be much modified to
-bring them into harmony with monumental conditions. Although the
-method was new the treatment of the subjects was largely that of the
-missal paintings, and figure compositions, both sacred and secular,
-were accompanied by decorative borders into which heraldry naturally
-entered. Fig. 175 is an heraldic example of this method as it was
-practised by the celebrated Nardon Penicaud.
-
-[Illustration: FIG. 175.--Arms in Limoges Enamel. Part of a Triptych by
-Nardon Penicaud.]
-
-This kind of enamel is done on a smooth plaque of thin copper or other
-metal which has been slightly domed for the purpose. It is covered with
-a coat of enamel which forms the ground, the back also being enamelled
-in order to equalize the contractile strains, and fired. The design is
-then painted in white of suitable thicknesses, which on being fired
-form tones with the ground colour according to their relative opacity,
-and the result is called grisaille. This is a very charming form of
-decoration in itself, and is frequently done with that intention.
-Usually, however, coloured enamel is painted over it, the work being
-carefully fired at each stage, a very anxious process, and finally it
-may be heightened with gold after the manner of the illuminations. An
-additional method of obtaining decorative effects, in diapers, etc.,
-presents itself in the power of scratching the painted gold with a
-needle before firing. Fig. 176, executed in this manner, is a plaque
-that is the property of W. H. Weldon, Esq.
-
-From the capacity of painted enamel to imitate the effects of the
-illuminations it presents few technical difficulties as design. Its
-practice, however, is another matter, as may be imagined when the risk
-of the numerous firings is taken into account.
-
-A form of enamel that is occasionally used for badges and similar
-heraldic subjects is that which is called bassetaille. In this method
-the subject, usually in the form of a medallion, is carved in low
-relief and the transparent enamel fluxed completely over it, the
-surface being afterwards ground and polished. The varying thickness of
-the enamel, from the deepest part of the relief to the highest, gives a
-quality of gradated colour that is extremely beautiful. In a badge or
-jewel of this kind there is, of course, a rim raised to the height
-necessary to contain the enamel and extending above the highest point
-of the carved subject.
-
-[Illustration: FIG. 176.--Enamelled Plaque. Crest of W. H. Weldon,
-Esq., C.V.O., Norroy King of Arms. Geo. W. Eve.]
-
-Still another method is that which came into use in the fifteenth
-century for jewels, and is known as plique-a-jour, a kind of
-transparent Cloisonné which is said to have been produced by Cellini,
-who certainly knew of it. It is an extremely difficult process, but
-the effect is remarkably precious and jewel-like, the enamel being
-fired into a design which has been built up of bent wire and soldered
-together like Cloisonné without the bedplate, so that the work looks
-like a miniature piece of stained glass (as indeed it is) and of great
-beauty. In a similar way a design may be cut out or saw pierced through
-a plate of metal and filled with enamel _à jour_.
-
-In all methods of enamelling, a drawing of the design must of necessity
-be first made, and it is of course essential that the designer should
-have a practical knowledge of the methods that are concerned, the
-design and the finished work being necessarily interdependent, and
-though written descriptions are useful to indicate the nature of the
-processes nothing can supply the place of actual experiment under
-competent instruction. Familiarity with the practical side of art
-craftsmanship need not imply an intention to produce the work itself,
-but is absolutely necessary to adequately designing for it.
-
-Enamel is increasingly employed in commemorative tablets and in objects
-of ceremonial use, and is also used with equally charming effect on
-the decoration of cabinets, jewel caskets, and other boxes to which as
-wedding gifts or other presentations, heraldry, properly marshalled
-and well executed, is peculiarly appropriate. To such purposes the
-“Limoges” painted method readily lends itself, especially when the
-general design is of somewhat ornate character. With regard to the
-mounting of enamels, metal as framework seems especially suitable to
-their perfect display, as the setting to the gem, and so when a plaque
-is used to decorate a wooden panel it is well to introduce metal as
-an intermediary. But, nevertheless, I have found a well-cut ebony
-frame very satisfactory in itself, and the matter is clearly one for
-experiment.
-
-Champlevé and Cloisonné go well with the more severe styles of design,
-both ornamental and heraldic, in fact, enamel goes best with styles
-similar to those with which it was associated in the early practice.
-The one with the freedom of the Renaissance, the others with the
-greater severity and strength of the Gothic.
-
-For salvers, inkstands, lamps and other utensils heraldry in Champlevé
-enamel is very suitable and it is somewhat remarkable that it is
-not more often employed in place of the engraving which is usually
-inappropriate because of its lack of decorative quality.
-
-METAL.--Although heraldry in metal work has so wide a range, from the
-massive bronze gate to the badge worked on a buckle, that it can only
-be partially dealt with in a general work, it is desirable to touch
-upon such parts of so large a subject as may help the student to find
-in early work good examples for present application. The value of
-the beautiful metal coffret, the jewel case of the Middle Ages, for
-instance, to the designing of the modern box, whether it be intended
-for a similar use or as the repository of a city’s thanks to a hero,
-is obvious. Even the obsolete weapons of early times may be made useful
-for their decoration, as admirable models for the making of trowels
-and other ceremonial implements whose after character as souvenirs of
-interesting occasions renders them suitable to, if indeed it does not
-demand, heraldic or symbolic decoration.
-
-Of the large work the stately bronze doors of Henry VII’s Chapel in
-Westminster Abbey are among the most distinguished examples in their
-perforated design of work whose duty is rather that of a gate than a
-door. The panels are filled with badges in pierced work, the Beaufort
-Portcullis, Henry’s favourite badge, the Falcon and Fetterlock of York,
-the entwined roses of York and Lancaster, and the Royal Monogram, all
-telling their story in terms of beautiful metal work. Within is the
-monument with the effigies of the King and Queen recumbent on the tomb,
-while at the foot amorini support a shield of arms and at the corners
-are placed angels who once held crowns. Designed by Torregiano and
-executed by him or under his direction, it is without doubt the most
-splendid and complete heraldic metal work of its time and style in this
-country. Over the gates in the grille which surrounds the tomb are the
-Royal Arms, France and England quarterly with the dragon and greyhound
-supporters. The latter was the badge of the Nevilles, but the former,
-the Dragon of Cadwallader, was of especial value in the King’s eyes.
-It denoted his descent from Llewellyn and King Arthur, and perhaps he
-liked to feel that his greatness was not wholly dependent upon York
-and Lancaster. It had been flown, on a flag of the Tudor colours,
-argent and vert, on the field of Bosworth when the “White Boar” was
-slain and his crown was plucked from the hawthorn bush into which it
-had fallen and placed on the head of the victor. As badges, the dragon
-and the greyhound are repeated on the upper part all round the grill
-and in its parapet portcullises and roses alternate in the cuspings
-of the tracery. One of these dragons is shown in Fig. 173. Even the
-great candle sconces are Tudor roses placed horizontally, which support
-crowns whose crosses and fleur-de-lis form a decorative rim. As
-heraldic design the proportion of the parts, the vigour of the animals
-and the excellence of the spacing (and this may be especially seen in
-the supporters over the gates) leave nothing to be desired, while the
-general arrangement of the repeated heraldic motives in a decorative
-and yet reticent way is as admirable an example as can be found.
-
-[Illustration: FIG. 177.--Dragon from the Grills in Henry VII’s Chapel,
-Westminster Abbey. Sixteenth Century.]
-
-[Illustration: FIG. 178.--Memorial Brass to Sir J. de Brewys, Wiston
-Church, Sussex.]
-
-Relief in metal work, cast or wrought, was very fully employed in
-the Renaissance monuments in place of the flatter treatment which
-preceded it. The mediaeval memorials more frequently employed the
-flat decoration done in Champlevé enamel fixed into the spaces of
-sculptured stone, or else the incised metal slab, somewhat similar in
-its method of production, which is known as a Monumental Brass. These
-are so comparatively numerous and of such admirable workmanship as to
-form one of the most interesting and instructive means of studying most
-that pertains to good heraldry. They were executed with great care,
-and afford examples of almost every kind of application of arms and
-badges to costume. Their wealth of heraldic lore is ably set forth in
-the works of Creeny, Waller, and others, and a single illustration
-must suffice here. Fig. 178 is the interesting brass to the memory of
-Sir John de Brewys, which is in many respects typical. The figure of
-the knight in his armour, his hands in an attitude of prayer, his head
-resting on his great helm, which bears his crest, and his feet on a
-couchant lion. Around him are shields of his arms six times repeated,
-and between them on little scrolls the words “Jesus” and “Mercy” many
-times occur.
-
-The method of work is very similar to that of the Champlevé enamels,
-allowing for the difference in scale, the lines being boldly incised
-in the metal with chisel-like tools and then filled in with black or
-colour much after the way of the niello and enamel of the smaller and
-more precious work, a hard waxy composition being used as the colouring
-material.
-
-Among the smaller metal work of domestic use, the firedogs, firebacks,
-hinges, locks and other parts of furniture, there is no lack of
-examples. The slabs of cast iron that are known as firebacks were
-very generally used as spaces for heraldry, the emphatic central
-position which they shared with the chimney-piece making them similarly
-appropriate. With the revival of dog-grates the accompanying fireback
-has also returned to favour, and a study of old castings therefore
-becomes additionally necessary. The Tudor examples are usually very
-excellent and bold in design, as in that illustrated here (Fig. 179),
-which displays the Royal Arms, probably of Henry VIII. In a form of
-work which is to be subjected to the action of fire, and even to be
-seen for the most part through lighted fuel, a design is obviously
-fitting in proportion to the degree of elimination of unessential
-detail that is effected, and in the case in point this has been most
-efficiently done. The arms, and the lower part of the centre generally,
-are much fireworn, but anything of this nature simpler and finer in
-pose and modelling than are the supporters it would be difficult to
-find, while the proportion and spacing of the whole composition leave
-nothing to be desired. Fig. 180 is another well-designed Tudor example,
-the arms being those of Queen Elizabeth, who sometimes used the
-greyhound for a supporter as her father had done, instead of the dragon.
-
-[Illustration: FIG. 179.--Armorial Fireback. English. Sixteenth
-Century.]
-
-[Illustration: FIG. 180.--Armorial Fireback. English. Sixteenth
-Century.]
-
-It must be remembered, in designing firebacks, that the work is
-to be carried out by casting and should therefore be of suitable
-character. Casting is necessary because every time that wrought iron
-becomes red-hot and cools again it scales, and so loses a considerable
-thickness of material in a comparatively short time, a disadvantage
-that does not exist in the cast metal. The design in most cases is
-treated panel-wise within a raised border, but in the later backs the
-outline of the design, of the mantling and crest, sometimes formed the
-edge of the fireback without a containing rim. A space at the bottom,
-the part that was most embedded in the fire, is frequently left plain,
-or simply fluted.
-
-[Illustration: FIG. 181.--Mortar in Cast Bronze.]
-
-Fig. 181 is also interesting as heraldry in cast metal, which in
-this case is bronze; and an Italian example is found in the arms of
-the Martelli, cast in bronze by Donatello (Fig. 182), which has much
-spirit, but lacks the excellent distribution of the same creature on
-the decorative shield for the Palazzo Guadagni now in the Museum at
-South Kensington.
-
-[Illustration: FIG. 182.--Arms of the Martelli, by Donatello.]
-
-The elaborate hinges, clasps, and locks of doors and coffers that were
-often enriched still further with coats of arms are also of great
-interest and appear to have been made subjects of lavish decoration
-before the larger domestic belongings were so treated. Of the
-decorations of lock-plates the German example of the Imperial Eagle
-from the Town Hall, Nuremberg (Fig. 183), is interesting as an instance
-of great simplification of form to suit the material in which it is
-expressed. Fig. 184 is another but more ornate example of the treatment
-of pierced and chased metal.
-
-[Illustration: FIG. 183.--Lock-plate. German. From the Town Hall,
-Nuremberg.]
-
-[Illustration: FIG. 184.--Decorated Hinge in Pierced and Chiselled
-Metal. German. Seventeenth Century.]
-
-[Illustration: FIG. 185.--Lock-plate. Chiselled Iron. French.
-Fifteenth Century.]
-
-The French lock-plate in chiselled iron (Fig. 185) was in the Spitzer
-Collection, and is decorated with the crowned Arms of France, and
-with Navarre, Aragon, Bearn and Bourbon quarterly and with a coat at
-top repeated on either side, consisting of three pommes de pin, or
-pine cones. The fleur-de-lis in Gothic tracery on the hasp is also
-notable. Fig. 186 bears the crowned Arms of France surrounded by the
-beautiful collar of St. Michael. Below is the well-known monogram
-which combines the initials of Henry II and of Diana de Poitiers,
-and her badge of crescents forms a circular device interlaced within
-the guilloche border, and a further allusion to her goddess namesake
-occurs in the bows and arrows at the sides. A fellow bolt-plate in the
-same collection has the Arms of France dimidiating those of Medici
-and Dauphiny on the shield at top, and in place of the crescent badge
-below, is a rainbow in clouds and surrounded by laurel; and the
-monogram, a double K for Queen Katherine, is several times repeated.
-
-[Illustration: FIG. 186.--Bolt-plate. French. Sixteenth Century.]
-
-[Illustration: FIG. 187.--Panel in Chiselled Iron. Sixteenth Century.]
-
-A very beautiful work, also in chiselled iron, is the panel of the
-armorial insignia of the Emperor Charles V, the Arms with the Columns
-the latter rising from waves of the sea, being the device that
-represented the Pillars of Hercules and the motto “plus oultre” (Fig.
-187). The arms are encircled with the collar of the Toison d’Or very
-boldly treated. The work is Spanish of the early sixteenth century,
-and is notable for its exquisite finish as well as for its general
-excellence of design and drawing.
-
-[Illustration: FIG. 188.--Key with the Arms of an Archbishop.
-Eighteenth Century.]
-
-[Illustration: FIG. 189.--Key. Eighteenth Century.]
-
-Examples of keys, also from the Spitzer Collection, are given in Figs.
-188 and 189. The former bears the arms of a Cardinal Archbishop, and
-the latter, which is excellently pierced and chiselled, has two lions
-supporting a badge, a crowned castle. Each is of good design, its use
-and material having been well considered so that it is of a decorative
-shape that does not impede its usefulness. The latter is full of minute
-and exquisite detail, indistinguishable in the illustration. Besides
-the decoration of the barrel with a spiral band, there are eagles’
-heads on its wards and the words “vive le roi” are twice inscribed on
-it in letters of gold.
-
-[Illustration: FIG. 190.--Repoussé Buckler in the Royal Armoury,
-Stockholm.]
-
-The beautiful and elaborate repoussé and engraved work that was very
-largely employed in the decoration of metal in the Middle Ages and
-the Renaissance, found full scope in the magnificent armour in which
-the greatest artists and the most skilful craftsmen combined their
-forces to make a gift that should be worthy of a princely hand.
-Repoussé decoration consisted for the most part of the allegorical
-and mythological subjects that were so fashionable at the period, and
-comparatively little heraldry was done in that way. Engraving and
-etching, on the other hand, were extensively used to decorate metal
-with arms and badges.
-
-In the execution of repoussé work a metal plate is fixed down to a bed
-of pitch, a material which affords an efficient support while being
-soft enough to yield to the shaping metal as it is hammered and punched
-into the designed form. The work is afterwards chased and finished
-on the face, but the essential quality is, of course, that of being
-modelled into relief from behind. A very beautiful piece of repoussé
-work is the quadrangular buckler, of late sixteenth century work, in
-the Royal Armoury at Stockholm, which was bought in Holland by Charles
-XV of Sweden (Fig. 190). The design is a fine bold treatment of the
-Arms of the Visconti, and the workmanship is probably Italian. There is
-a backplate with repoussé arms in the same collection.
-
-[Illustration: FIG. 191.--Powder-horn with Armorials. The Royal
-Armoury, Dresden. Sixteenth Century.]
-
-The powder horn (Fig. 191) in the Royal Armoury at Dresden is a very
-good example of the treatment of heraldry on a small object, and
-incidentally shows the practice of placing helms on the heads of
-supporters in order to display some of the crests.
-
-[Illustration: FIG. 192.--Bill or Glaive, German (1620).]
-
-Engraving being extensively used to cut decorative bands of ornament
-on the armour, was naturally the method adopted for ornamenting
-the blades of weapons and other flat surfaces. Indeed, it was from
-the engraving for ornament’s sake that engraving for the purpose
-of reproduction by printing was evolved by Finiguerra, the famous
-Florentine goldsmith, in the middle of the fifteenth century. This
-interesting experiment, if it were an experiment and not a practice
-whose application had been before unnoticed, is said to have been made
-on a piece of plate, a pix, of which the only impression is said to be
-in the Bibliothèque Nationale, Paris. Engraving was also preliminary
-to niello work and to damascening, two somewhat analogous methods of
-decoration, that are peculiarly suitable to the ornamentation of
-metal. In the former the lines of the engraving are filled with a
-sort of black enamel which is fixed in its place by heat, while in
-damascening the design, drawn with boldly cut lines on the steel, is
-filled in with gold or other metal hammered in with mallets, and the
-whole surface is then polished.
-
-The halberds and partisans that were of the nature of ceremonial
-weapons, the arms of body guards, for example, were usually decorated
-in some such way. The bill or glaive (Fig. 192) is a good example
-of German work of its period, and the halberd (Fig. 193) is a very
-interesting specimen of French work of a little earlier date.
-
-These examples will be found valuable in their bearing on the
-decoration of ceremonial tools such as the trowels with which
-foundation-stones are laid.
-
-In engraving a surface for subsequent treatment with another metal or
-with enamel the process itself will dictate the use of a strong and
-suitable method of cutting. When, however, the engraving is to stand
-on its own qualities it is important to bear in mind the difference
-between engraving that is employed as decoration and that intended for
-printing. This distinction has frequently been lost sight of, with the
-result that there is much engraving of the sort that, however well it
-might print, and in some cases this is more than doubtful, it certainly
-does not decorate; while fine bold cutting that is done in the right
-way will realize the value of the play of light on the incised line,
-and the consequent ornamental effect. In this connexion it may perhaps
-be permitted to define shortly the technical distinction between
-etching and engraving. In etched work, then, the design is bitten
-into metal with an acid mordant, while engraving is done with a cutting
-tool.
-
-[Illustration: FIG. 193.--Halberd, Damascened. French (1596).]
-
-Etching is largely evident in the decoration of metal, frequently
-taking the form of lowering the background by biting-in with acid, and
-thus leaving the design to appear in masses of polished surface in
-contrast with the darkened colour of the bitten metal, and the details
-are put in with lines that are etched or engraved, as may be most
-convenient.
-
-[Illustration: FIG. 194.--Cistern in Cast Lead.]
-
-An important quality of this kind of treatment is that while the
-objects are enriched and very expressively decorated their practical
-efficiency for work is in no way impaired, and this may fairly be taken
-to be a conclusive test of right decorative treatment.
-
-[Illustration: FIG. 195.--Fountain in Cast Lead. Dutch. Seventeenth
-Century.]
-
-Interesting features of Renaissance dwellings were the rainwater heads,
-cisterns, fountains, statues and other garden accessories that were
-cast in lead; architectural fashions which are again coming into vogue
-with the returning regard for the style of the Renaissance. The cistern
-(Fig. 194) is an heraldic example in cast lead, and Fig. 195 is a
-fountain in the same material. The latter is Dutch work of the early
-seventeenth century, and was brought from Bois-le-duc. The motives,
-eagles displayed, lions’ heads and the lion rampant of Holland which
-holds in its paws a sword and a sheaf of arrows, are thrice repeated
-round the central pipe, which is surmounted by a crown.
-
-[Illustration: FIG. 196.--Arms of Oxford University. Panel, Copper,
-silvered and oxidized. G. W. Eve.]
-
-Yet another method of metallic production is shown in electro deposited
-replicas of modelled designs such as Fig. 196, a panel treatment of the
-Arms of Oxford University, which may be considered in connexion with
-its fellow of Cambridge, Fig. 89.
-
-
-
-
-CHAPTER IX
-
-Architectural Decoration
-
-
-In its application to architectural decoration heraldry put forth
-some of its finest work as became one of the family of the “mother
-of the arts,” and it was in architecture too that the modern revival
-of heraldic art began, much in the same way that the Renaissance had
-first made its influence felt in the decoration of the monuments of an
-earlier time.
-
-The sculptured heraldry of the Middle Ages was confined to the
-monuments and chantries, such as those of Westminster Abbey,
-Peterborough, Kings Langley, Canterbury, Beverley and many other places
-whose sculptured shields are memorials no less of the personages whose
-arms they bear than of the vigorous art of their time. Certain it is
-that even in the worst periods the heraldic decoration of architectural
-objects continued to show a greater degree of excellence than was
-generally evident in other forms of heraldic expression.
-
-With the growth of the Renaissance, domestic architecture and its
-attendant decoration, in which armorials were displayed, increased
-enormously in extent and beauty, and the colleges which were founded or
-rebuilt in the early sixteenth century followed in the decoration of
-the chapels and halls the excellent examples of their predecessors, but
-in the new and adaptable style that had come into fashion.
-
-Henry VIII patronized art with enthusiasm as a part of his general
-rivalry with the magnificent Francis I, and his example was followed
-by the new families who were taking the place of the old nobility that
-civil war and the scaffold had nearly exterminated, in building stately
-mansions, many of which stand as present examples of the skill and
-thoroughness with which the work was done.
-
-In France the beautiful châteaux which still remain as store-houses of
-heraldic and other artistic wealth were built during the same period
-under Charles VIII, Louis XII and Francis I, and it is difficult to
-describe in adequate language how perfectly they displayed their
-characteristic devices with a dignity that was without one touch of
-obtrusiveness.
-
-Fontainebleau, Blois, Chambord and many another stately building
-testify to the taste and magnificence of their owners as well as to
-the skill that was lavished on their making. Fig. 197, the Gateway of
-the Château de Blois, is especially interesting for the employment of
-badges and heraldic diapers. The porcupine badge of Louis XII appears
-over the doorways as it does within, while the main archway is flanked
-by columns ornamented with a diaper which encloses in its reticulations
-the fleur-de-lis of France and the ermine spot of Brittany. A range
-of similar columns is in one of the interior courts. Fig. 202 is an
-example of the badge-adorned fireplaces in the château. The whole is
-a restoration, very little indeed of the original work having remained.
-
-[Illustration: FIG. 197.--Gateway of the Château de Blois. (Restored.)
-Fifteenth Century.]
-
-In Spain extremely bold and vigorous heraldic sculpture was placed over
-doorways and under windows, but it was often executed with magnificent
-effect in large rectangular panels at the sides of the principal
-entrance. Fine examples are at the doorway of the Hospital at Santiago
-and at that of the University Library at Salamanca.
-
-Italian examples are found in the Florentine wall decoration in the
-Palazzo Vecchio and Palazzo del Podesta, in the composition of which
-small shields bearing the symbols of Saints and the arms of cities were
-usually associated with the principal device.
-
-Heraldic groups were also employed with excellent effect on angles of
-buildings, breaking the straight line in profile in a very satisfactory
-way.
-
-In the scheme of heraldry for a house the principal position on the
-exterior was over the main entrance, and there the armorials of the
-owner were boldly displayed, arms of alliance and genealogical trees
-being reserved for the more intimate surroundings of the interior.
-
-Other parts of the exterior were ornamented with less elaborate
-insignia such as seemed to fit the spaces that offered themselves,
-badges being freely used in this way as well inside as out. Chimney
-stacks and other flat spaces were relieved with panels, and ridges
-and pinnacles were adorned with figures of heraldic significance in
-relation to the family of the house.
-
-In arms in relief, whether in large mural decorations or in the minute
-workmanship of a seal, contiguous spaces, which in flat painting would
-be considered divisions of the same plane, are distinguished from each
-other by sinking the surface in parts or by means of diapering. The
-quarterly shield of Henry IV on his great seal (Fig. 2, p. 18) has
-the field of the English quarter sunk so that the edge of the French
-quarter being higher takes light or throws a shadow which defines the
-space. Additional emphasis is given to ordinaries by strongly bevelling
-their edges which then reflect light in the same way. And diapering,
-which has been already referred to, may have the effect of raising or
-lowering the tone of the decorated surface, according to the amount of
-light it reflects or of shadow that it includes.
-
-The mantling that occurs in sculpture, especially when done in wood,
-does not hesitate to go to the fullest extent in the direction of
-free ornamental treatment, and in thus seizing upon the decorative
-possibilities of its so lightly fettered character it may form a
-connecting decoration between the constituents of an heraldic scheme
-which might otherwise have a certain effect of spottiness.
-
-The pose of the heraldic elements of the design may also be made to
-help materially the general unity of effect. Thus the helmets of a
-series of armorials may be faced towards a central point, such as the
-altar in a church, or the hearth or the daïs of a secular apartment.
-Shields may be inclined in a common direction with similar intention
-and all the heraldry have definite relation to its surroundings. It
-should be remembered, however, that in thus posing the elements of a
-series, a shield must be treated as a whole, and the contents must not
-be altered in sympathy with the direction of its regard.
-
-[Illustration: FIG. 198.--Frieze in Sgraffito.]
-
-A form of external decoration which has been but little used for
-heraldry, though it is one which is readily adapted to the purpose, is
-that kind of cement work in layers that is known as Sgraffito. Examples
-of this method of work are shown in the friezes, Figs. 198 and 199, in
-which the heraldry adds interest to very graceful design, and in the
-panel of the Armorials of Pope Paul III (Fig. 200).
-
-[Illustration: FIG. 199.--Frieze in Sgraffito.]
-
-In Sgraffito work the design is drawn through a coat of moist plaster
-on to a lower one of another colour, much as etching is drawn through
-the ground on to the copper, and like it is, in its simplest form, a
-line art.
-
-[Illustration: FIG. 200.--Arms of Pope Paul III (Farnese). Panel in
-Sgraffito.]
-
-Heraldry in interior decoration found its first application in the
-actual shields, which were hung on the walls of the great Halls of
-mediaeval strongholds, was closely followed by the similar use of
-the more ornate ceremonial ones and continued in the tapestries and
-embroidered hallings which were the wall coverings of the halls and
-chambers. Some of these are still extant, and many others are mentioned
-in the wills of great personages and in the household accounts of the
-time.
-
-[Illustration: FIG. 201.--Armorial carving in the Gallery of the Vyne,
-Hampshire.]
-
-At the end of the fifteenth century panelling was superseding the
-decorative draperies and sculpture was taking the place in domestic
-buildings that it had long held in ecclesiastical ones, the heraldry
-which had been displayed in beautiful needlework being executed in
-carving that was no less beautiful in another way. Plaster work also
-came largely into use for interior decoration.
-
-Many instances of beautifully applied heraldry are given in Mr. Gotch’s
-admirable work[1] and notably the doorway and panelling of the Gallery
-of the Vyne, Hampshire, Fig. 201, which I am permitted to reproduce
-here. The doorway is adorned by arms supported by amorini and the
-panelling is full of shields and badges; the appropriateness of the
-work is immediately felt, and there is nothing obtrusive, everything
-“occurs” with an inevitableness that is delightful.
-
-FOOTNOTES:
-
-[1] _Early Renaissance Architecture in England._
-
-In the decoration of a room the fireplace is naturally the central
-feature, to which in some cases the heraldry is confined; in others,
-and the larger number, it covers the panel above, the decoration
-varying in amount from a carving in the centre of the frieze of the
-chimney-piece, or on comparatively small centres of panelling, to the
-whole armorials fully displayed. Fig. 202 is an example of badges
-employed in this way, and is another of the many representations of the
-devices of Louis XII and his Queen, Anne of Brittany.
-
-These large chimney-piece achievements are produced in a variety of
-ways, being sometimes sculptured in stone or wood, but they are also
-cast in plaster or modelled _in situ_ in the same material.
-
-[Illustration: FIG. 202.--Fireplace in the Salon Louis XII Château de
-Blois. (Restoration in the style of the Fifteenth Century.)]
-
-In the decoration of ceilings complete armorials and even shields of
-arms are by no means so much used as are badges and other fanciful
-devices, the intersections of ribs and the centres of panels being
-naturally selected for the purpose. Two examples of ceiling bosses
-consisting of wreaths enclosing a shield of the Royal Arms and a
-fleur-de-lis badge respectively are from ceilings at Hampton Court
-(Fig. 203), for which also I am indebted to Mr. Gotch’s work.
-
-[Illustration: FIG. 203.--Ceiling Bosses from Hampton Court Palace.
-Sixteenth Century.]
-
-The upper divisions of wall panelling are especially suitable for a
-series of shields and badges when they are at a sufficient height to
-bring the heraldry above the line of the eye. This will probably be in
-carved work, the most direct and natural way of decorating wood, but
-shields in colour, flat or in relief, may occupy the panels with very
-satisfactory effect. A frieze is also an obviously suitable space for
-such a purpose, whether the decoration be modelled or painted, or both.
-
-Among the materials suitable for interior decoration gesso is an
-excellent means of obtaining relief in work that is to be painted,
-and it is more readily handled than modelled plaster, from the ease
-with which it can be kept moist. In early work the smaller details
-of monuments were frequently modelled in this material, as were the
-arms on some of the stone shields in Westminster Abbey; and on the
-decorative panelling, on which jewels and enamels were also modelled
-and painted.
-
-Gesso is simply the Italian name for Plaster of Paris, burnt gypsum,
-but is technically understood to mean a preparation of plaster or other
-material which depends for its hardening on the solidifying of some
-cohesive medium, usually a form of glue, and not on chemical action in
-the material.
-
-Methods of making gesso are described by Cennino Cennini in the MS.,
-written in 1437, in which he describes minutely the technical practices
-of his time. First the plaster is to be “well washed and kept moist
-in a tub for at least a month” and is to be stirred up well every day
-until “it almost rots and is completely slaked and it will become soft
-as silk.” It was then made into cakes, dried and kept for use. By this
-process it became what was called gesso sottile, though the term is
-also applied to the similar preparation of whiting, to be mentioned
-presently. As to its use, it is directed to “Put some cakes of gesso
-sottile into a pipkin of water and let them absorb as much as they
-will. Grind it fine, mix it with fine glue in a pipkin, put the pipkin
-in water so that it becomes hot but does not boil, for if it did it
-would be spoiled.”
-
-A very important point is the thorough slaking and tempering of the
-plaster, which continues to improve the longer it is kept. The glue
-that was used was made from hides, size being made from the fine kinds
-of skin, vellum and parchment, as the finest kind is made now. Fish
-glue was also used from very early times.
-
-Very useful gesso is made with whiting (calcined chalk) instead of the
-plaster. The latter is said to be tougher, but whiting is certainly
-easier in working. The whiting should be soaked in water for at least
-twenty-four hours (like the preceding preparation this kind of gesso
-is all the better the more thoroughly it is prepared), and mixed in a
-vessel, with the fine thin glue, the whole being placed in a saucepan
-of water and kept hot. By keeping the pot of gesso in the water while
-it is being used it will be kept liquid for some time (though the top
-will skin over rather soon) and it may be remelted by again heating it
-from time to time. I find ordinary gelatine a good adhesive and melt it
-into the consistency of a not too strong size before adding it to the
-whiting, together with a few drops of oil or glycerine as a preventive
-from cracking. The gesso is best used with a long-haired brush, such
-as those called riggers, from which it is allowed to flow in a blobby
-way, the lights being first loaded on and afterwards joined down by
-subsequent painting. It may at this stage be modelled to some extent,
-and for this a stiffish brush moistened with warm water is an efficient
-tool. When it is dry the gesso may be carved and shaped with knives and
-riffles with the same facility as plaster. It may then have a coat of
-gelatine (which should be very thin, as otherwise it will form a skin
-that is likely to blur detail), and the work is ready for painting or
-other treatment.
-
-In the treatment of wooden shields in this way care should be taken
-that they are well seasoned, and unless they are sufficiently thick
-they should have transverse pieces at the back to prevent warping;
-a coat of gesso on the back is also useful for the same purpose. If
-the wood is well stopped by being sized several times and is slightly
-roughened the layers of linen or other keying material may be dispensed
-with.
-
-Gesso work is well adapted for treatment in colour, and of this the
-quality may be much improved by the use of underlying metal, gold under
-red, and silver under blue. These metals are applied by the ordinary
-gilders’ methods and are then painted over. Very beautiful effects may
-also be obtained in monochrome on modelled gesso, when the gradations
-of tone may be made to help the relief and vary the colour.
-
-Pyrography, or burnt word etching, is also employed in heraldic
-decoration, a notable instance being the series of shields on the
-fireplace of Lord Leven and Melville at Glenferness. An example of this
-method of work is shown in Fig. 204, a fanciful composition designed
-for the door of a cabinet.
-
-In arranging a scheme of heraldic decoration, the field of choice is
-a very large and varied one, from the simplest shield or badge on the
-frieze of a mantelpiece to the carefully planned series decoration of a
-whole building.
-
-[Illustration: FIG. 204.--Burnt Wood Panel, “Love’s Armorials,”
-executed by Mrs. Geo. W. Eve after design by Geo. W. Eve.]
-
-[Illustration: FIG. 205.--Arms of the Earl and Countess of Mar and
-Kellie. Painted Gesso. Geo. W. Eve.]
-
-As an example of one form of genealogical scheme maybe instanced the
-series of arms and devices in painted gesso now in the hall of Alloa
-House, Alloa, which were done to fill a range of panels in a dado,
-and beginning with the simplest shield of Henricus de Erskine in 1224
-(Fig. 141), extend round the apartment and end, on the opposite side
-of the fireplace, with the quartered and impaled arms of the present
-Earl and Countess of Mar and Kellie (Fig. 205). Alternating with the
-arms of each generation are repetitions of three devices, designed
-for the purpose and consisting of the crest and motto of the Earldom
-of Mar, those of Kellie (Fig. 206) and the monogram and motto with
-the supporters (Fig. 207) respectively. These devices were of course
-capable of any necessary amount of repetition, and when a knighthood of
-an order necessitated a group of two or more shields the devices serve
-to mark the grouping, and as it were to punctuate the whole scheme. The
-gesso was made of whiting and gelatine as already described, and the
-surface was varied by the use of different textures. The colour was
-applied over metal which was allowed to show through on the ridges of
-the diaper that was also introduced to give variety and interest to the
-simpler forms. Others of this series are illustrated in Figs. 141 and
-142.
-
-[Illustration: FIG. 206.--Device. Crest of the Earldom of Kellie.
-Gesso, before painting. Geo. W. Eve.]
-
-[Illustration: FIG. 207.--Device. Monogram and Supporters of the Earl
-of Mar and Kellie. Gesso, before painting. Geo. W. Eve.]
-
-Another method of arranging a scheme of decoration is that which traces
-the advent of quarterings into the shield of a family, by picking
-from the pedigree the matches by which the various coats of arms came
-in, and making them the motives of the work, to the exclusion of
-intermediate matches, proceeding in regular order from the simple arms
-to the final shield of complete quarterings.
-
-Many other schemes will readily suggest themselves. The visits of
-guests of distinction may be marked by panels of their arms in the
-chambers they occupied, perhaps by an enamel plaque in the centre of a
-panel.
-
-The arms of Schools, Colleges and Universities, and of other
-corporations and institutions, motives that are allusive rather than
-personal, are yet of the keenest interest to those concerned, an
-interest that is too often tempered by the unworthiness of the heraldic
-treatment. The practice of hanging on the wall shields of arms of the
-stationers’ shop type may be necessary for commercial reasons, but is
-much to be deplored. It seems impossible to get them improved, the
-feeling that they are “good enough” (and perhaps they are!) appears
-to be sufficient recommendation. Even when the arms are well treated,
-as is rarely the case, and I am not now referring only to the kind
-which satisfies the aesthetic perception of the casual schoolboy, the
-effect of the hanging shield in an ordinary room suggests at best a
-kind of Strawberry Hill Gothic that is out of keeping with any probable
-surroundings. When heraldry that can be treated as a movable picture is
-needed, and something of this kind is made necessary by the want of
-permanence in our dwelling-places, a framed panel of arms is probably
-the most suitable form that modern heraldic wall decoration can take.
-It may be in wood or metal, in colour or monochrome, of any quality and
-interest that may be found most pleasing, and being framed, it will
-take its place in the adornment of an ordinary room in the same way
-that a picture does.
-
-STAINED GLASS.--Of all methods of heraldic expression stained glass
-is perhaps the most appropriate as purely decorative treatment of the
-subject, for not only is the splendour of colour peculiarly fitting,
-but even the commemorative quality of heraldry assimilates in feeling
-with the memorial character which is rarely absent from a stained
-window.
-
-The temptation which it naturally offered to partisan fury has left
-comparatively little of the early work, but sufficient has remained to
-show how perfectly it could be made to serve its purpose.
-
-In a form of design which is carried out with pieces of coloured glass
-cut to the necessary shapes and held together by strips of grooved
-lead, which is soldered into position, this structural lead-work
-presents considerable difficulty. It follows the lines of the
-composition wherever possible, but when the shape of the glass makes
-another course desirable, it does not hesitate to go across a space,
-and in that case, being frankly used for structural reasons, it must
-not clash with those lines that help to define form. In short, design
-in this, perhaps more than in other arts, must conform to the dictation
-of the material. Thus it is important that the pieces of glass should
-be designed of cutable shape without too small re-entering angles,
-and the limits of bending in the lead must also be recognized. Its
-passing across objects is vindicated by structural necessity, and by
-that alone, and narrow places are leaded across, not only because of
-any difficulty that there may be in the cutting, but because the glass
-would probably break there when being fired in a kiln, or when under
-the strains that are set up in a window by wind pressure.
-
-The tendency of outline to lose itself in the darker of the colours
-that it divides has already been referred to, and is very notable in
-this connexion. When therefore the objects are light on dark, the
-lead-work will sink into the background, and although it may leave
-small space for the glass, it is sometimes surprising how efficiently
-that little lights up and expresses the colour. If the charges are
-inconveniently small for the leading, resort is had to what is
-called flash glass, which consists of two layers, of which one only
-is coloured, and is made by dipping a piece of molten white into a
-coloured glass, when the mass is about to be blown into the bulb which,
-shaped and expanded, ultimately becomes a sheet of glass. The desired
-shapes are pierced through the coloured layer of the composite sheet by
-means of grinding, or by etching with hydrofluoric acid, and are left
-white, or stained yellow with a solution of silver, as the case may be.
-
-In addition to the lead-work, which defines the general forms with
-more or less accuracy, details are depicted by means of a brown enamel
-colour, which serves also as a general shadow tint, being painted on
-the glass, and then fired. The brown enamel is also used for the
-diapering which is so especially valuable in glass decoration, and for
-this purpose it may express the design in lines drawn with the colour
-or, being applied as a broad wash; the diaper pattern may be scratched
-out of it with a point. As a general rule over-painting should be used
-as sparingly as possible for the purpose of defining or emphasizing
-form.
-
-The silver stain can be similarly put on, either in lines or in washes,
-these materials, either alone or in combination, serving to express
-surface decorations of all degrees of elaboration.
-
-In addition to the accurate and expressive drawing which goes to make
-good heraldry, the principal feature of glass design is obviously its
-colour effect, the grouping of the colour masses in such a way as will
-best express the subject in beautiful coloured light. In view of the
-obligatory nature of heraldic tinctures, though not of their exact
-quality, the harmony of colour may be helped by suitable treatment of
-the background (which is susceptible of variation that is only limited
-by the nature of the materials) in combination with the prescribed
-colours of the heraldry. And here occurs that temptation to alter the
-tinctures of mantlings which has proved too much for the correctness of
-some heraldic compositions.
-
-The design is usually made on a small scale, showing the colour scheme
-and the general composition, and a full-size drawing in black and white
-is then prepared, in which the arrangement of the leading and the
-character of other details are carefully indicated. On this the various
-coloured glass is laid and cut into the required shapes, which are
-then arranged in due order with the lead, and the whole is securely
-soldered together. The lead having a double groove is in section like
-the letter H, the inside surfaces being milled, to afford a better key
-for the glass and for the cement which is added for additional security.
-
-Pugin, whose influence on architecture was so impressive, had no less
-strong an effect on the heraldry which accompanies it so appropriately,
-and the beautiful armorial decoration of the Houses of Parliament, for
-which he is answerable, is a wonderful mass of fine work in glass and
-stone and other materials. No less remarkable in that it succeeded
-a long period of such extreme weakness, and was itself but the
-firstfruits of the revived interest in the subject.
-
-In this work Pugin was fortunate in the efficient assistance that was
-at his command, and the drawings by his son-in-law and pupil, John
-Powell, by Burgess and others, show how admirably the master mind was
-served. The drawings reproduced here were probably designed by Pugin,
-but the actual work is that of John Powell.
-
-However imbued with the mediaeval spirit Pugin was, the Renaissance
-feeling unmistakably asserts itself in these designs, and in spite of
-the Gothic detail of the tracery they seem to associate themselves
-naturally with the Tudor heraldry rather than with that of an earlier
-time. Indeed, it is possible that Pugin was not unmindful of this, for
-there is little doubt that he had studied the Renaissance work that is
-to be found, as well as that of the Middle Ages, in the neighbouring
-Abbey.
-
-[Illustration: FIG. 208.--Cartoon for Stained Glass. (Upper Part) Royal
-Gallery, Houses of Parliament.]
-
-Tudor heraldry marked the close of the Middle Ages. In character it was
-a combination of the mediaeval style with that of the Renaissance;
-that is to say, it was the expression of what remained of mediaeval
-regard for its subject, in a form that was strongly influenced by the
-new feeling in Art.
-
-Besides the technical knowledge and the power of draughtsmanship
-there is ample evidence of individual design working through various
-influences, handling and assimilating them, a further proof that no
-one possessing real artistic power, in whatever degree, is content
-merely to reproduce the dry bones of any period. However that may
-be, they are very beautiful drawings, serving admirably as models of
-working drawings, in which is set forth all that is necessary to the
-carrying out of the work, and I am much indebted to Messrs. Hardman for
-permission to reproduce them.
-
-The disposition of the lead is very carefully shown throughout, and the
-smaller details are drawn just so far as is necessary for the direction
-of the painter. Repetitions of figures being similarly finished only
-when they differ in some important respect from the initial shape, as
-in the case of the lion in the base of the shield of the Royal Arms
-(Fig. 208), when the pose is sufficiently varied from the upper ones,
-by the field space, as to warrant its separate treatment. These arms
-occupy the upper part of the light in the Royal Gallery, Fig. 209
-being the lower part of the same window. Perhaps the most remarkable
-for vigour is the little white horse which so admirably occupies its
-space, a quatrefoil opening (Fig. 210). All the animals are full of
-vitality, but none have quite so much as this. In this respect it may
-well be contrasted with the much inferior Dragon of Cadwallader in
-Fig. 209. The character of the unicorn (Fig. 211) is altogether unusual
-in English heraldry, and follows the foreign type which derives its
-form from that of a goat with one horn, instead of that which is the
-combination of a horse’s body with the legs of a stag and the tail
-of a lion, a form with which other examples have made us familiar. The
-wild boar of Richard III (Fig. 212), for all his enormous tusks, seems
-not unworthy of the irreverent way in which he is referred to, in a
-working note pencilled on the cartoon, as “the pig.”
-
-[Illustration: FIG. 209.--Cartoon for Stained Glass. (Lower Part) Royal
-Gallery, Houses of Parliament.]
-
-[Illustration: FIG. 210.--Design for Stained Glass in the Houses of
-Parliament. Drawn by John Powell.]
-
-[Illustration: FIG. 211.--Unicorn. Cartoon for Stained Glass, Royal
-Gallery, Houses of Parliament.]
-
-[Illustration: FIG. 212.--The White Boar of Richard III. Cartoon for
-Stained Glass. Royal Gallery, Houses of Parliament.]
-
-[Illustration: FIG. 213.--The Royal Crest. Cartoon for Stained Glass.
-Royal Gallery, Houses of Parliament.]
-
-The comparative smallness of the Royal Crest in Fig. 213 is due to the
-designer’s intention to bring the head into the central line of the
-composition with a view to upstanding effect, and in this respect is of
-course a reasonable problem to have solved. Whether, however, it was
-worth while so to sacrifice the larger proportion which the lion would
-have had to the crown in mediaeval design is another matter.
-
-Nevertheless, the whole series of work is finely designed and
-beautifully drawn with clearly thought-out intentions as a whole, and
-with much delightful fancy in the variation of the decorated detail,
-and to conclude this very interesting series Fig. 214 is from a
-coloured drawing of the white swan of the de Bohuns that was one of the
-badges of Henry IV.
-
-[Illustration: FIG. 214.--Cartoon for Stained Glass. Coloured. Royal
-Gallery, Houses of Parliament.]
-
-In domestic stained glass conditions that were different from those
-that were involved in church windows had to be considered, and
-especially excessive obscuration of the light was to be avoided, this
-being effected by the use of plain, or slightly decorated, quarries,
-the stronger colour being confined to a centre roundel or medallion, a
-very suitable space for heraldic treatment, and to decorated borders.
-In addition, from the time of the Middle Ages such stained windows
-had been made movable by being enclosed in frames which could be
-temporarily fastened into window spaces, as is still done, and for a
-similar reason armorial roundels may remain detached from the window
-and be suspended by wires (see Fig. 168).
-
-Of such roundels there are many excellent examples, that were
-originally in Netley Abbey, in the Hartley Museum at Southampton.
-
-[Illustration: FIG. 215.--Arms of Henry VI, Ockwells Manor, Berks.]
-
-[Illustration: FIG. 216.--Arms of the Earl of Warwick, K.G. Ockwells
-Manor.]
-
-From the second half of the fifteenth century onwards armorial stained
-glass increased greatly in extent and freedom. The shields became
-square and in many instances have the form (derived from the tournament
-shield à bouche) which became associated later with the name of the
-Tudors. Probably the finest examples of domestic stained glass that
-we have are the splendid heraldic windows at Ockwells Manor, Berks.
-In these the shields are much curved, the helmets and mantlings are
-very elaborate, and the figures are drawn with great vitality and
-beauty. Each light has an achievement, consisting of arms with mantled
-helm and crest, in the middle, upon a background of quarries placed
-diamondwise and bearing the Norreys Badge, three distaffs, in yellow
-stain. In diagonal lines, the motto in text letters, “Feyth = fully
-serve,” is several times repeated in all but two of the lights, the
-exceptions being the Royal ones, where “Dieu et mon droit” accompanies
-the Arms of Henry VI (Fig. 215) and “Humble et Loiall,” the motto of
-his Queen, Margaret of Anjou, is with her armorials. In both these
-lights the Norreys Badge appears as in the others. Below the King’s
-Arms are his two supporters, heraldic antelopes Argent, which are
-spotted, as well as armed, crined and unguled (i.e. horned, haired
-and hoofed) Or. The series, which included twelve lights that are now
-vacant, was erected by Sir John Norreys, the builder of Ockwells
-Manor House, and consists of his arms and those, to quote Mr. Everard
-Green, “of his sovereign, patrons and kinsfolk. In short a liber
-amicorum in glass, a not unpleasant way for light to come to us.” The
-arms here illustrated are those of Sir Edmund Beaumont, K.G., and Sir
-James Butler, K.G. (Figs. 217 and 218), of Sir Henry Beauchamp, Earl of
-Warwick (Fig. 216), and the Royal Arms, to which reference has already
-been made. The heraldic particulars of those and others that remain
-will be found amply set forth in _Archaeologia_, vol. lvi., 1899. It
-will be observed that the arms of such as were K.G. are not encircled
-with the Garter, that practice not having as yet come into full general
-use. Some attention should be given to the badges on these windows as
-being good examples of the practice in domestic glass of decorating
-transparent quarries with devices, badges and monograms, floral and
-other running patterns, in stain and grisaille, as admirably serving
-its purpose without too much sacrifice of light, and therefore as
-affording suggestions for modern work which has to comply with similar
-conditions. The lights herein illustrated are from the excellent
-drawings by Mr. W. T. Cleobury, in the Victoria and Albert Museum.
-
-[Illustration: FIG. 217.--Arms of Sir Edmund Beaumont, K.G., Ockwells
-Manor.]
-
-[Illustration: FIG. 218.--Arms of Sir James Butler, K.G., Ockwells
-Manor.]
-
-The glass that has been hitherto mentioned is that which, like the true
-enamels, is coloured in the making with metallic oxides, the painting
-on it being confined to the use of the brown shadow colour, and the
-yellow silver stain. Windows made wholly in that way can be described
-as painted glass because though the silver is a true stain, it is used
-as paint and fired, instead of being incorporated with the glass
-in the pot. About the middle of the sixteenth century, the practice
-came into vogue of using panes of transparent glass as surfaces for
-decorative design in painted colours or in grisaille, and large windows
-of square panes of white glass with elaborate designs of arabesque
-ornament were done in verifiable enamel colours and with a minimum of
-leading, such as those in the Laurentian Library, Florence (Fig. 219).
-The medallion in the centre contains the arms of the Medici, the family
-of Pope Clement VII, whose tiara and keys accompany the arms in another
-of the same series of windows that has been reproduced in Mr. Lewis
-Day’s admirable book, _Windows_.
-
-A very remarkable school of enamelled glass painting that largely
-concerned itself with heraldry existed in Switzerland, encouraged by
-the custom which had grown up of persons and guilds presenting painted
-windows to each other. These largely consisted of portrait subjects
-accompanied by armorial bearings.
-
-Into this work the use of the point entered to a surprising extent, the
-washes of colour being frequently covered with the scratched lines with
-which details were drawn or textures indicated with the minuteness of
-fine engraving. Indeed the process of obtaining effects by drawing with
-a needle in lines of light through a dark medium inevitably suggests
-the art of etching on metal.
-
-[Illustration: FIG. 219.--Painted Window in the Laurentian Library,
-Florence. Sixteenth Century.]
-
-Marvellous as were the effects produced by the needle in the hands of a
-master the method was a dangerous one under less capable control, and
-in any case the effect is altogether different and less glass-like than
-that of the earlier method, being characterized by a sharp glittering
-brilliancy in place of the deep effulgence of pot metal.
-
-[Illustration: FIG. 220.--Drawing for Stained Glass, Victoria and
-Albert Museum.]
-
-This painted glass of the sixteenth century contains much fine vigorous
-heraldic drawing, as may be seen in the working drawings that are
-extant, as well as in the windows themselves, Burgmair and many others,
-whose power in heraldic art is well-known in other directions, having
-also made designs for the glass painters.
-
-Fig. 215 is a characteristic sketch of lions supporting banners and
-shields, a favourite method of grouping in compositions of this kind.
-The vigour and “go” of these animals is very remarkable, and it is
-unfortunate that the artist’s name is not on the drawing.
-
-[Illustration: FIG. 221.--Drawing by Holbein, Victoria and Albert
-Museum.]
-
-[Illustration: FIG. 222.--Drawing for Stained Glass, Victoria and
-Albert Museum. A. Renten. Sixteenth Century.]
-
-The drawing by Holbein, Fig. 221, is very characteristic of his work,
-and of the style of continental heraldry in the sixteenth century when
-the early simplicity was giving way to great elaboration of design.
-
-The helmets in the glass work of this period are useful indications
-of how structural facts, reinforcing pieces for example, and surface
-ornament may be made available as decorative detail, and Fig. 222, by
-A. Renten, is one of many good examples that are found among drawings
-of this kind. The mantlings by this artist are particularly well drawn,
-as is evident in the illustration.
-
-
-
-
-CHAPTER X
-
-Embroidered Heraldry
-
-
-The romantic associations that embroidered heraldry call to mind,
-of fair fingers working the devices on battle flags and on knightly
-surcoats, render it a subject of the utmost fascination, and although
-its adequate treatment would demand more space than can be devoted to
-it here, it will still be possible to refer in some measure to an art
-that, like the heraldry it embodied, touched in one way or another all
-the life of the Middle Ages and has transmitted no little of its beauty
-and charm to the work of our own time.
-
-Long before heraldry was formulated noble ladies practised the art
-and found in it a delightful occupation. Embroidered heraldry is even
-alluded to in that dim time where myth and history meet, as when the
-Raven banner of the Vikings, the dread Landeyda, desolation of the
-land, was woven and embroidered in one noontide by the daughters of
-Reyner Lodbrock, son of Sigurd.
-
-In England in the sixth century Aldelswitha, a noble Saxon lady,
-taught the art to some young girls and so formed the first school
-of art needlework of which we have any record. The four daughters
-of Edward the Elder were celebrated embroiderers, and there was a
-constant succession of skilled needleworkers whose names and even many
-of their notable works were handed down as worthy of remembrance;
-the altar cloths and vestments, covered with golden eagles, that had
-been worked by Queen Aelgitha the wife of Canute among many others.
-And the reputation was not merely a local one, but throughout Europe
-the praises are recorded of the Opus Anglicum, whose name, from being
-at first a general one, afterwards acquired a particular technical
-meaning. The excellence that called forth such universal appreciation
-continued throughout the mediaeval period, as when in the thirteenth
-century Pope Innocent III was enthusiastic in its praise. In the
-development of heraldry embroidery found a congenial subject, and
-ladies busied themselves in depicting with the needle their husbands’
-armorials, as their predecessors had pictured the incidents of their
-own times, on hallings and banners and emblazoned garments, such
-employment being a frequent subject of the beautiful illuminations of
-the painted MSS. which had so much affinity with fine needlework, from
-which it copied and was itself copied in return.
-
-Ecclesiastical vestments and altar frontals contain much heraldry, and
-the Syon Cope, that most interesting work of the thirteenth century,
-contains on its orphreys and borders some sixty coats of arms on round
-or diamond shaped shields. One of those on the orphreys is shown at
-Fig. 223, although it is perhaps more curious than beautiful.
-
-[Illustration: FIG. 223.--Arms of Geneville from the Syon Cope.]
-
-Among the earliest examples of heraldic embroidery that survive is the
-surcoat of Edward the Black Prince, no less admirable in its way than
-the already mentioned shield, and on account of its unique character it
-is necessarily reproduced again and again. It consists of the arms of
-the shield translated into terms of embroidery, and if it were but in
-better preservation a finer model for heraldic work it would be hardly
-possible to conceive. This is but one of the many splendid heraldic
-garments of which so little remains, but which are depicted on the
-monumental effigies with absolute fidelity. Of the latter fact this
-surcoat is one of the proofs, for its copy on the effigies was made
-with such accuracy that even the faults of the needlework are there.[2]
-The embroidery of badges on garments instead of the regular arms was
-also common, as witness the effigies of Richard II and his Queen, Anne
-of Bohemia, in Westminster Abbey.
-
-FOOTNOTES:
-
-[2] _Needlework as Art_, Lady Marion Alford.
-
-[Illustration: FIG. 224.--Embroidered Cap with badges, Victoria and
-Albert Museum. Sixteenth Century.]
-
-A sixteenth century example of embroidered badges, a cap of fine linen
-beautifully worked with fleurs-de-lis and roses as the principal
-motives, is in the Victoria and Albert Museum, and is reproduced in
-Fig. 224.
-
-[Illustration: FIG. 225.--Altar Frontal in Embroidered Linen, Victoria
-and Albert Museum.]
-
-Another example of embroidered linen (Fig. 225) in the Victoria and
-Albert Museum, is an altar frontal which is decorated with heraldic
-motives in appliqué work.
-
-[Illustration: FIG. 226.--Embroidered Badge. Part of the Insignia of
-Charles the Bold, Duke of Burgundy. Fifteenth Century.]
-
-Some interesting and instructive fragments of embroidery exist in the
-Museum at Berne, part of the spoil taken from the tent of Charles
-the Bold, Duke of Burgundy, after the disastrous Battle of Grandson
-in 1476. Fig. 226 is the badge, the flint and steel, of the Great
-Burgundian Order of the Golden Fleece, whose insignia are conspicuous
-in the decoration of the next century in association with the Emperors
-Maximilian and Charles V. In this instance the steel striker serves as
-a space for the quartered arms of Burgundy, Limbourg and Flanders. Fig.
-227 shows the same arms on what was perhaps part of the bardings, the
-tournament or other ceremonial drapery of a charger.
-
-[Illustration: FIG. 227.--Heraldic Embroidery. Part of the Insignia of
-Charles the Bold, Duke of Burgundy. Fifteenth Century.]
-
-Both show admirably how heraldic embroidery should be done, namely, in
-flat applique strongly designed and simply executed. The sable lions of
-Flanders are conclusive proofs of how heraldic vigour and decorative
-distribution may be attained in embroidery.
-
-Towards the end of the sixteenth century embroidery began to be padded
-into relief, a practice which afterwards developed to a remarkable
-extent in spite of its inartistic unsuitability to the material
-and work. It was naturally least offensive in its beginnings, and
-the shield of Eric XIV, King of Sweden (Fig. 228), is a somewhat
-exceptionally good example of the heraldry of its time (about 1560).
-The arms are well-designed, the lions of the fourth quarter, Denmark,
-being particularly spirited, while the execution is very excellent of
-its kind.
-
-[Illustration: FIG. 228.--Arms of Eric XIV, King of Sweden. Berne
-Museum. About 1560.]
-
-An instance of domestic embroidery occurs in Fig. 229, where the arms
-of James I are used as a centre to a design that is, in the main,
-floral.
-
-[Illustration: FIG. 229.--Arms of James I. Victoria and Albert Museum.
-Early Seventeenth Century.]
-
-Work of the highest heraldic importance must always have been that
-of the banners, as the very concentration of battle heraldry, but of
-these, alas! there are no very early examples.
-
-The banners of the Knights of the Garter in St. George’s Chapel were
-doubtless all embroidered formerly, as that of the Sovereign still
-is, but they have for long been done in an inferior way, even as the
-painted stall plates superseded their enamelled predecessors.
-
-Of the various forms of flag that were in use in the day of
-the tournament and even survived, at funeral ceremonies, until
-comparatively modern times, the principal were the Banner, the Pennon
-and the Standard. The Banner, sometimes called the Great Banner, was
-square in shape and bore the arms of its lord exactly as they were
-borne on his shield, i.e., occupying the whole surface. Its use was
-confined to such knights as were especially privileged, and who were
-therefore called Knights Bannerets, and to nobles of higher rank.
-Although the banner as such bore the whole arms of the shield, other
-large and square flags, even when charged with badges, were sometimes
-called by the same name when employed for a special purpose, as, for
-instance, the banner of the Red Dragon of Cadwallader that was borne at
-Bosworth Field.
-
-The Pennon was a long pointed flag, which was borne by a knight and
-was charged with his arms or device. The cutting off of the tail of
-the pennon, leaving the flag square, conferred on its owner the right
-to have a banner thenceforward, which ceremony of creating a Banneret
-always took place on the field of battle and under the royal banner
-displayed. The Standard, properly so-called, was also a pointed flag,
-though banners were sometimes called standards when they were flown
-from a mast that was either fixed in the ground or was supported on
-a solid platform or wagon. From this comes the inaccurate custom of
-describing the Royal Banner as the Royal Standard. The Standard always,
-in England, had the national emblem, the Cross of St. George, next the
-staff, and the remainder of the flag was of the owner’s colours, and
-was charged with his badges and motto (Fig. 230).
-
-[Illustration: FIG. 230.--A Standard. Sixteenth Century.]
-
-The early form of the banner was higher than it was long, that is
-to say, the hoist, that part of a flag that is next the staff, was
-greater than the fly or the length from the staff to the further edge
-of the flag, and that shape continued throughout the Tudor period;
-later, however, the form became more square and finally extended in
-the other direction until at the present time the Admiralty pattern
-is greater in length than in height in the proportion of two to one.
-This has, no doubt, been arranged as the best suited to naval use, and
-for the Union Flag and for the Ensigns it appears satisfactory, but
-when a more armorial sort of flag is in question the naval proportion
-becomes more or less objectionable according to the nature of the
-bearings. In the Royal Banner, as so proportioned, the difficulty of
-designing the rampant lion of the Scottish quarter, so that it may be
-well distributed in its space and still vigorous, or of the Irish harp
-so that it may properly balance with the other quarterings, is nearly
-insuperable.
-
-When we remember that the whole plan on which armorial bearings are
-devised is based on filling an upright space, the shield shape, it is
-not difficult to understand how it is that the attempt to adapt such
-emblems to a horizontal space so frequently suggests the ludicrous
-effect of a distorting mirror. There is of course no reason why the
-proportion of flags should be the same whether they are flown on land
-or sea, and this is very properly recognized in regimental colours and
-in the banners of the Knights of the Garter at Windsor, all of which
-are more nearly square.
-
-Animals on flags, and also on the bardings of horses, always faced
-towards the staff in the one case and towards the head of the horse
-in the other, and this for a very natural reason. The flag flowing
-backward would cause the figure that turned towards its staff to face
-in the direction of advance and the figures on the bardings would, of
-course, have the same direction under the similar circumstances, while
-it is evident that if they faced in the opposite direction they would
-inevitably have given rise to the offensive gibe that they were running
-away.
-
-The banner that concerns us more especially, the Union Jack, may have
-its essential construction explained by reference to the diagrams in
-Fig. 231. First we have two of the three national emblems (1) and (2),
-the cross of St. George and the saltire of St. Andrew, as they had long
-been used by England and Scotland respectively. Soon after King James
-succeeded to the English Crown a banner was made (3) which combined
-the two by placing the red cross of St. George (with a narrow line,
-taken from its white field, left round it) over that of St. Andrew, and
-thence was formed the first Union Jack, under which the great naval
-actions of the eighteenth century were fought.
-
-At the Union with Ireland, in 1801, a fresh element, a red saltire on
-a white field for St. Patrick (4), was introduced, and the red of St.
-Patrick and the white of St. Andrew were united in equal proportions in
-this manner--(5), the red being made to retain a little of its white
-field as St. George had done formerly, and the result so far appears
-in--(6). The cross of St. George, with its white edge, was then placed
-over all, to complete the Union Jack as we know it. This will be found
-quite easy to follow if care is taken to remember the construction,
-and that the lines from corner to corner of the flag divide equally
-the broad white and the red of the saltires. Also that in the upper
-quarter, next the staff, the broad white must be uppermost, and for
-this reason: it is heraldically usual to begin a counter-change of two
-tinctures, a metal (silver or white) and a colour (red), by naming the
-metal first. Further, the tincture that is mentioned first is always
-placed next above the line of diagonal division. Therefore, as the
-blazon in the warrant is a “saltire per saltire quarterly argent and
-gules,” the white must be where it is. And so any possible question of
-precedence was automatically avoided.
-
-[Illustration: FIG. 231.]
-
-The form of the flag as shown on the Royal Warrant of 1801 is seen in
-(7), and is that which has been followed in regimental colours. In this
-it will be observed that in consequence of the narrow white of the
-saltire being a fimbriation that is added to the red the outline of the
-saltire does not register across. The Admiralty pattern, however, in
-what one cannot but feel was an unnecessary effort to avoid this, seems
-to place narrow red strips on top of the white saltire, so that the
-outside diagonal lines manage to register, but the result is to reduce
-St. Patrick’s half of the joint saltire by the width of the narrow
-white.
-
-Now, the evident intention in devising the flag was to effect equal
-representation of Scotland and Ireland in order to lessen the
-probability of quarrels such as had occurred between the Scotch and
-English seamen before the first Union Jack was made in the early
-seventeenth century; and this is perfectly effected by the pattern of
-the Royal Warrant.
-
-The intention of equality is also evidenced in the warrant by similar
-care in designing the Union badge of Rose, Thistle, and Shamrock, for
-after the badge has been described as a rose with a thistle on one side
-and a trefoil on the other, the description is carefully repeated, but
-with the positions of the shamrock and thistle reversed, the obvious
-intention being to remove any ground for a claim to priority that might
-have arisen by assigning the dexter side to one emblem in preference
-to the other. Indeed I have known exception to be taken to a perfectly
-correct rendering of this Union Badge, under the impression that such
-precedence did in fact exist.
-
-Another form of banner which survives is that which was, from a very
-early period, used to decorate trumpets and is still so employed by
-the trumpeters of the Household Cavalry and by those of the Sheriffs
-of counties for use on occasions of ceremony. Such decorations usually
-contain the arms alone, as a great banner does, but there are also
-instances of badges being borne on them and also complete armorial
-insignia. They are tied to the instruments by ribbons or laces, and
-hang squarely down. The bearings, whether simple or complex, are made
-to read upright, when the trumpet is held horizontally, as though they
-were on a hanging shield. This is, of course, the natural way, though
-there are instances to the contrary.
-
-As we have seen, flags were generally embroidered and with more or
-less elaboration according to the circumstances which influenced other
-heraldic treatment. Frequently they were done in cutwork, sewn down and
-done over with beautiful needlework and even adorned with gems. The
-greatest artists were employed to design them, Sandro Botticelli among
-many others.
-
-The methods of the missal painter in his use of gold lines for lights
-and other definitions and decorations were employed in the needlework,
-indeed all the arts of illuminated decoration, taking the term in its
-widest sense, copied from each other, but each adapted the method to
-its own needs and materials; and that is the gist of the whole matter.
-At the beginning, in the seventeenth century, of the period that was
-so fatal to all decorative art, when embroidery took what was probably
-thought to be a wonderful new departure, its subjects were raised to
-an increasing height from the ground where before it had been flatly
-treated. Thenceforward the embroidery became lumpy as the heraldry
-became weak, and both were alike inartistic until comparatively
-recently, until in fact it began to be again recognized that the
-mediaeval artists were right, that the right way to use a material was
-the natural way and not in attempting to make it resemble something
-else. At the time referred to it seems to have been thought that the
-more embroidery was made to look like a coloured relief and the less
-like embroidery the better embroidery it was, and therefore the lions,
-for example, were stuffed up and raised as high as possible and the
-whole effect became coarse and clumsy, an effect that was largely
-contributed to by the inferior design.
-
-The costliness of embroidery helped the introduction of painted
-banners, which in time, assisted by the decay of embroidered as
-of other decorative arts, superseded the needlework. However, the
-inferiority of the painted banner was always recognized, and although
-even the banners of the Knights of the Garter had come to be done in
-the cheaper method, that which hung over the stall of the Sovereign
-continued to be embroidered, as it is to this day. The present banner
-is beautifully worked, and is on the correct lines of flat design.
-
-In painted banners, usually of silk, the material is strained in a
-frame, by means of laces passed through tapes sewn to the edges, and
-the design being drawn or pounced on it, is carefully gone over with
-size, which fills the interstices of the silk, and when dry forms an
-excellent surface for the subsequent gilding and painting in oils.
-
-There can be no doubt, however, that embroidery, now that it has so
-brilliantly revived, is the method of all others in which modern
-banners should be executed, and if this were recognized there need
-be no lack of opportunity. Among others the trumpet banners of the
-Sheriffs who every year are appointed to the respective counties, are
-used to display their arms during the year of office, and afterwards,
-their official life being ended, are frequently made into screens for
-domestic use. It is in this connexion that their method of production
-becomes of especial importance. Their somewhat tawdry and incongruous
-appearance is quickly felt, and they soon disappear into the retirement
-that they merit.
-
-The banners of the City Companies would better decorate their venerable
-halls if fashioned in beautiful needlework, and when they were carried
-in the procession on Lord Mayor’s Day would impart a gleam of real
-splendour into that properties-in-daylight pageant. The painted banners
-could still serve for bad weather flags.
-
-[Illustration: FIG. 232.--Bed Cover, Flemish Work. Victoria and Albert
-Museum.]
-
-In modern heraldic embroidery the design is the weak point, but
-improvement would certainly follow the study of good early work
-and also of good examples of other decorative methods if they were
-intelligently adapted to the materials employed. The purpose and
-character of the object must influence the work, and considerations of
-weight and substance affect the making of a banner, which is to wave
-and flow, at least to some extent that would not need to be insisted on
-in a framed panel. Not that the treatment need be wholly flat, like
-the diagrammatic shield of an early roll of arms, for it may well
-have such definition of the charges as are seen on the Black Prince’s
-surcoat; also the complete form of an object may be sufficiently
-suggested without the employment of methods more suitable to another
-material. Thus, it is not particularly difficult to indicate that a
-thing is round without making it as round as possible.
-
-[Illustration: FIG. 233.--Design for Lace. Arms of Frederick II, King
-of Denmark. From the pattern-book of the Duchess of Brunswick.]
-
-LACE.--Although heraldry does not appear to have been so extensively
-practised in lace as in other forms of needlework, it is still used to
-a considerable extent, and generally as a device that is introduced as
-a personal detail in a large pattern.
-
-Among the few examples of heraldic lace at South Kensington are a piece
-of English needlepoint and the bedcover of Flemish work in which the
-double-headed eagle is well done (Fig. 232), which will repay study,
-and serve to explain the method of this kind of work.
-
-The method of making the preliminary designs for lace is set forth in
-the pattern-books which began to be produced in the sixteenth century,
-and of which very interesting examples are extant. The lace design,
-Fig. 233, is from a book of patterns which belonged to the Duchess
-of Brunswick and is now in the National Art Library of the Victoria
-and Albert Museum, and represents the arms of Frederick II, King of
-Denmark. It has the usual characteristics of the German heraldry of its
-time.
-
-
-
-
-CHAPTER XI
-
-Some Miscellaneous Charges
-
-
- ANNULET.--A simple ring, as in the mark of cadency of a fifth son,
- Fig. 295, p. 288. A ring in which a precious stone is mounted is
- called a gem-ring, and an interesting example occurs in one of
- the badges of the Medici, Fig 234; another Medici badge has three
- gem-rings interlaced.
-
-[Illustration: FIG. 234.--Badge of Medici from Dialogo dell’ imprese,
-1559.]
-
- BARNACLES OR BREYS.--An instrument that was used to control a restive
- horse by exerting pressure on his nostrils. They are represented as in
- Fig. 235, or open as in Fig. 236. (_See also_ Geneville, Fig. 223, p.
- 248.)
-
-[Illustration: FIG. 235.]
-
-[Illustration: FIG. 236.]
-
- BATTERING-RAM.--A siege weapon consisting of a heavy beam headed like
- a ram and having hooks or other means of fastening the chains by which
- it was supported and swung. Figs. 237 to 239 are some of its forms.
- When difference of tincture requires it is said to be headed, or
- armed, and garnished of these appliances. Sometimes the term purfled
- is used for garnished. One of the best known examples is the coat of
- Bertie: _Az._ three battering rams barways in pale ppr. headed and
- garnished, az.
-
-[Illustration: FIG. 237.]
-
-[Illustration: FIG. 238.]
-
-[Illustration: FIG. 239.]
-
- BUCKLES.--Being important part of military equipment were frequently
- employed as charges or as badges in allusion to battle occurrences
- or other notable events. Thus the Badge of the Pelhams commemorates
- the capture of King John of France at the Battle of Poictiers. Buckles
- afford some scope for decoration, as in Fig. 240, a fifteenth century
- example from Westminster Abbey.
-
-[Illustration: FIG. 240.]
-
-[Illustration: FIG. 241.]
-
- BUGLE HORN.--This, the most frequent of the charges derived from the
- Chase, forms an interesting subject for decorative treatment, in its
- possible grace of line and in the ornamental character of its details.
- It is usually shown as if suspended from a knotted or twisted cord, of
- which it is _stringed_, though it is occasionally hung from a flatter
- form of baldric. Its garnishings, mouth-piece, rim rings, etc., are
- usually gold (Fig. 241).
-
-[Illustration: FIG. 242.]
-
-[Illustration: FIG. 243.]
-
-[Illustration: FIG. 244.]
-
- CHAPLET.--A wreath of leaves or of flowers and leaves. In the
- latter the flowers are usually four in number (Fig. 242). When a
- “chaplet” without further qualification is mentioned, a severely
- conventionalized form is sometimes employed, consisting of a ring
- with four flower bosses, as Fig. 243. _See_ Garland. A chaplet of oak
- is called a civic crown (Fig. 244), and one of laurel a triumphal
- crown.
-
- CHESS-ROOK (Fig. 245).--This is probably the result of a mis-reading
- of roc, the coronal of a tilting spear. It is always represented with
- the cleft shape of the latter and never as a castle, the usual form of
- chess-rook.
-
- CINQUE-FOIL (Fig. 246).--A five membered leaf, or conventional flower
- of five petals.
-
-[Illustration: FIG. 245.]
-
-[Illustration: FIG. 246.]
-
-[Illustration: FIG. 247.]
-
- CLARION.--A combination of musical pipes in a hand case, the Syrinx
- or Pan-pipe. It is of frequent occurrence in the heraldry of the
- Middle Ages and in a large variety of more or less elaborate forms,
- one of which is here represented (Fig. 247). It is sometimes called
- a rest, with the suggestion that it represents the piece fixed on a
- breast-plate as a support for the tilting spear, but this appears to
- be extremely improbable.
-
- CLOUDS occur as bordures and other ordinaries in various interesting
- conventional forms and also as points from which emerge arms and other
- objects. Ordinaries composed of clouds in this way are blazoned
- nebuly equally with the more simplified nebuly line. There are many
- examples of this treatment of which Fig. 72, p. 57, will give an idea
- of a bordure nebuly, as it appears in one of the representations at
- the Heralds College of the arms of the Mercers Company.
-
-[Illustration: FIG. 248.]
-
- COCKATRICE.--A wyvern-like monster with a cock’s head, as in the many
- sixteenth century drawings of the arms of the City of Basle, to which
- it was a supporter under its other name of Basilisk, as in Fig. 248,
- part of a drawing by Holbein.
-
- CORONETS.--Crown and coronets other than those of rank, already
- described, may be considered as of two kinds, and are of purely
- symbolic import.
-
-[Illustration: FIG. 249.]
-
- Crowns (including coronets) used as charges, are generally those that
- are more accurately described as heraldic crowns, that is, those which
- have no allusion to specific rank, but are emblematic in various other
- ways. The coronet of decorative leaves set on a rim and sometimes
- called a crest coronet (Fig. 249) is thus borne as a charge in the
- arms of some of the Companies of London in allusion to events in which
- kings have been concerned. When, however, a specifically Royal Crown
- appears it is usually as an Augmentation by special grant from the
- Sovereign. A fine example of crowns and their distribution as charges
- on a shield is Fig. 250, from the tomb of Prince Edmund of Langley, at
- Kings Langley, Herts. The arms are those ascribed to St. Edmund.
-
-[Illustration: FIG. 250.--Shield from the tomb of Prince Edmund of
-Langley. Early Fifteenth Century.]
-
- Other heraldic crowns are the mural crown, representing a fortified
- wall (Fig. 251), and the naval crown, composed of sails and sterns of
- ships (Fig. 252), and both are at the present time restricted with
- care, in the cases of new grants or augmentations, to circumstances in
- which their obvious symbolism applies.
-
-[Illustration: FIG. 251.]
-
-[Illustration: FIG. 252.]
-
-[Illustration: FIG. 253.]
-
- The mural crown is usually composed in our heraldry of the simple
- crenellations shown in the example. Abroad, however, a more elaborate
- and picturesque form occurs in the form of a castellated wall showing
- three towers at intervals.
-
-[Illustration: FIG. 254.]
-
-[Illustration: FIG. 255.]
-
- The crown vallery is intended to represent palisades, as in Fig. 253,
- and when the palisades are more definite and are fastened to the rim
- instead of rising out of it, the crown is palisado instead of vallery
- (Fig. 254).
-
- The Eastern crown, sometimes called an antique crown, is formed of
- five straight rays (Fig. 255), and when in addition there is a star
- on each point it becomes a celestial crown.
-
- CRESCENT.--This charge, beautiful as it appears in the badges
- connected with Henry II of France and Diana of Poitiers, has come
- to be drawn clumsily as to look more like a biscuit with a bite out
- of it than a graceful shape derived from the crescent moon. When it
- is simply described as a crescent it always has its points upwards,
- and it becomes a decrescent if they point to the sinister, and an
- increscent when they are pointed to the dexter. Still rarer as a
- charge than these latter is the full moon, and when she thus occurs
- she is blazoned a Moon in her Plenitude. It is understood that the
- proportionate thickness of a crescent may be any that is felt to be in
- harmony with the general character of the design that accompanies it.
-
- ESCALLOP SHELL.--This beautiful charge, with its radiating lines
- within its outline, appears to have been specially connected with the
- Crusades as the pilgrim’s badge, as such being sewn on to the cloak
- or hat. Later the shells so worn were sometimes elaborately painted
- in the manner of the illuminators, in memory of the pilgrimage. The
- escallop is especially associated with St. James, and so frequently
- occurs in Spanish decoration such as that of the House of the Shells,
- Saragossa, the whole front of which is semée of escallops in high
- relief.
-
- Also, an old writer says: “The shell thereof is the fairest instrument
- that can be, being of nature’s making, which for the beauties sake is
- put in the collars of Saint Michael’s Order.”
-
- ESTOILE.--A star of six wavy points.
-
-[Illustration: FIG. 256.]
-
- ESCARBUNCLE (Fig. 256).--Is derived from the strengthening bands of
- the shield which the mediaeval metal worker’s decorative instinct
- made into beautiful ornament even as it did the hinges of a door. The
- metal plates radiating from the central boss of the shield terminated
- in foliated forms of great beauty, the fleurs-de-lis of the present
- charge, while the hollow ring in the centre enabled it to fit over the
- boss. Many beautiful examples exist of this piece of armour become the
- Badge of Anjou, worn by Henry II.
-
-[Illustration: FIG. 257.]
-
- FOUNTAIN (Fig. 257).--The symbol of a spring of water, is a roundle
- barry, wavy argent and azure, wavy lines having been emblematic
- of water from time immemorial. Its occurrence in the arms of Lord
- Stourton (Sable a bend or between six fountains) is very interesting
- as an example of heraldry of which the meaning is well understood. In
- the admirable account given by Mr. Fox Davies in _The Art of Heraldry_
- he points out that the manor of Stourton on the borders of Wilts and
- Somerset obtained its name from the river Stour which rises within
- the manor. The sources of that river are six wells which exist in a
- tiny valley in Stourton Park, which is still called Six Wells Bottom.
- When Leland wrote in 1540 to 1542 the whole six were in existence
- (some have since disappeared), for he wrote: “The ryver of Stoure
- risith ther of six fountaynes or springes, whereof 3 be on the northe
- side of the Parke, harde withyn the Pale, and other 3 be northe also
- but withoute the Parke. The Lorde Stourton giveth these 6 fountaynes
- yn his Armes.” In addition, not only were three springs inside the
- park and three outside, but also three were in Wiltshire and three in
- Somerset. The appropriateness of three fountains on either side of the
- ordinary is therefore manifest. Would that all heraldic origins were
- equally clear!
-
-[Illustration: FIG. 258.]
-
- FYLFOT (Fig. 258).--A symbolic figure which appears to have been used
- from the remotest antiquity and round which much literature has been
- written in common with its Indian form, the Swastica. Its presence in
- heraldry is probably to be ascribed to mere copying from some eastern
- example, though even thus a symbolic meaning may have been ascribed to
- its cross-like form, or perhaps some one of the transmitted meanings
- may even have been known.
-
- It occurs in the arms of Sir Wm. Kellaway in a “Copy of an antient
- roll of Arms,” in the Heralds’ College.
-
- In Japan it is well-known as the Mon or badge of the Matsudaira family.
-
- HAMMER.--In heraldry both the workman’s hammer, emblematic of
- industry, if it have no more definite symbolism, occurs as well as the
- military _martel-de-fer_. Examples of both are given in Figs. 259 and
- 260. Another instance of the first is in the Arms of the Blacksmiths
- Company of London, Sa a chev. Or between three hammers Arg. handled
- and ensigned with crowns gold; and with this is their swinging motto,
- “By hammer and hand all arts do stand.”
-
-[Illustration: FIG. 259.]
-
-[Illustration: FIG. 260.]
-
- HAWK’S BELLS AND JESSES.--The bells are of the globular kind (Fig.
- 261), and jesses are the leather straps by which they were secured to
- the falcons’ legs. Also attached to the jesses were pieces of metal,
- called vervels, that were stamped with the owner’s monogram or badge.
-
- HAWK’S LURE.--A bird’s wing that was attached to a cord by means of
- which it was thrown in the air in order to attract the falcons to
- hand. Its usual shape as a charge is as in Fig. 262.
-
-[Illustration: FIG. 261.]
-
-[Illustration: FIG. 262.]
-
-[Illustration: FIG. 263.]
-
- HEMP-BRAKE OR HACKLE.--An instrument for bruising hemp. Its best known
- heraldic example is as the badge of Sir Reginald Bray (Fig. 263), the
- architect to Henry VII, for whom he built the magnificent Chapel in
- Westminster Abbey and completed St. George’s Chapel at Windsor. The
- badge is now used by Lord Bray, who is descended from Sir Reginald’s
- brother.
-
-[Illustration: FIG. 264.]
-
-[Illustration: FIG. 265.]
-
-[Illustration: FIG. 266.]
-
-[Illustration: FIG. 267.]
-
- KNOTS.--A form of badge that is composed of one or more cords or
- straps twisted into open knots and used to symbolize the bond of a
- vow. The best known, perhaps, is the Stafford knot (Fig. 264), which
- from being the badge of the Earls of Stafford has been appropriated by
- many institutions connected with that county. The Heneage knot, also
- on a single line, is Fig. 265, and is sometimes accompanied by the
- motto, “Fast though untied,” and Fig. 266 is the Bowen knot of four
- bows. Fig. 267 is from among the devices on the robe of the effigy
- of Anne of Bohemia on her tomb at Westminster Abbey, and is thought
- by Boutell to convey the idea of a monogram. He also sees in the Wake
- and Ormond knot (Fig. 268) the initials W and O entwined. A modern
- attempt was made to form a monogram of the silken tags represented as
- depending from the seal shape of the bookplate (by C. W. Sherborn,
- R.E.) of the celebrated J. Robinson Planché, Dramatist and Somerset
- Herald.
-
-[Illustration: FIG. 268.]
-
-[Illustration: FIG. 269.]
-
-[Illustration: FIG. 270.]
-
-[Illustration: FIG. 271.]
-
- The Bouchier knot is Fig. 269, and Boutell mentions a Bouchier badge
- formed of the knot tied to a coudiere or elbow piece, as from a
- monument in Westminster Abbey.
-
- The Dacre knot is less a knot than a badge, consisting of an escallop
- shell linked by a cord with a ragged staff or a billet (Fig. 270). In
- the same way a sickle and a garb are tied together in the badge of
- Lord Hastings, and are suggestive of the way in which initial letters
- of names were linked with each other and with badges in the splendid
- pageants of the sixteenth century.
-
- The Lacey knot is shown at Fig. 271.
-
- LOZENGE.--Fig. 272.
-
-[Illustration: FIG. 272.]
-
-[Illustration: FIG. 273.]
-
-[Illustration: FIG. 274.]
-
- MANCHE OR MAUNCHE.--A severely conventionalized form of a sleeve,
- derived from the actual sleeve which was worn at a tournament, as a
- ladies’ favour, floating from the shoulder of a favoured knight. The
- illustrations are from the fifteenth century seal of Lord Hastings
- (Fig. 273), and from a MS. of the following century relating to the
- same family (Fig. 274).
-
- MULLET.--A five-pointed star-like figure whose name is derived from
- Mollette, the rowel of a spur (Fig. 293).
-
- PALL.--An heraldic figure which occurs in the arms of certain
- Archbishoprics, being indeed a representation of the Pallium, which is
- an especial vestment of an Archbishop. Mr. Everard Green, Rouge Dragon
- Pursuivant, has fully dealt with this in an admirable monograph which
- is among the Archaeologia of the Society of Antiquaries, from which it
- appears certain that the pall is not the arms of a particular see, but
- is an ensign of the ecclesiastical rank of an archbishop.
-
- PHEON.--The head of a dart, the so-called broad arrow of Government
- stores. It usually has its inner edges engrailed, but this is not
- essential any more than are the rigidly straight lines with which
- it is generally drawn. There are many other forms in early use that
- are much more satisfactory, such as Fig. 275, which is from an early
- sixteenth century MS. The pheon is understood to be point downwards as
- in the example, unless it is otherwise described.
-
-[Illustration: FIG. 275.]
-
- ROUNDELS.--Circular charges whose names differ according to their
- tincture. Thus a roundel or is supposed to be a flat piece of gold
- and is called a Bezant after Byzantium. A roundel arg. is a Plate; a
- roundel gules is a Torteau; the Hurt is azure; the Pellet or Ogress is
- sable; the Pomme is vert. Ancient armorists also mention Golpes, which
- are purpure; Guzes, sanguine; and Oranges, tenné; but these are not
- actually used in English heraldry. Another roundel, called a Fountain,
- is barry-wavey arg. and az., and is further alluded to under its name
- (Fig. 250). The use of the heraldic names of the various roundels
- is not obligatory, however, their description by tinctures, like
- other charges, being equally correct. They are frequently themselves
- charged and may be of ermine or other fur, and be treated in every
- way as other flat spaces. Their treatment in relief or otherwise is
- largely a matter of taste, and whether a roundel be treated as flat
- or globular must depend on the character of the surrounding work. The
- frequently made suggestion that bezants and plates, being derived
- from flat objects, should always be flat, while others should always
- be globular, would often be awkward if carried out in practice,
- especially in sculpture; and even if the derivations be correct, a
- roundel as a circular object without other qualification is just as
- conceivable as a roundel derived from a coin. Suitability to the
- general design seems to be the governing factor here as elsewhere.
-
-[Illustration: FIG. 276.]
-
-[Illustration: FIG. 277.]
-
- PORTCULLIS.--A strong grille for the protection of a fortified
- gateway. It was made of heavy beams securely clamped together and shod
- with iron, and is represented with the chains on either side by which
- it was suspended. The example (Fig. 276) is from the Chartulary of
- Westminster Abbey, where it forms part of the painted decoration of
- the MS. as one of the favourite badges of Henry VII. It has given a
- name to one of the pursuivants of arms, and as part of the armorials
- of the city of Westminster is one of the most familiar charges.
-
- QUATREFOIL (Fig. 277).--A four-leaved charge, derived from clover or
- from a four-petalled flower.
-
- SHAKEFORK (Fig. 278).--An unusual charge which occurs in the Arms of
- Cunningham.
-
-[Illustration: FIG. 278.]
-
-[Illustration: FIG. 279.]
-
-[Illustration: FIG. 280.]
-
- SPADE.--Emblematic of agriculture and industry. It is of great variety
- of form. Figs. 279 and 280 are fifteenth and sixteenth century forms
- of these implements, which were usually of wood shod with iron, as in
- the examples.
-
-[Illustration: FIG. 281.]
-
-[Illustration: FIG. 282.]
-
- SPEAR.--Is usually described as a tilting spear, and when its shaft is
- without swell as a javelin. It is regarded as the emblem of manhood,
- as the distaff is the symbol of womanhood. As usually depicted,
- without the vamplate, it appears as in Fig. 281; but there is no
- reason against representing the plate in addition if it is thought
- desirable. Although the tilting spear was most frequently used with
- the blunted head, the coronel or roc, it is almost always represented
- heraldically with a sharp spear point. The shaft is sometimes
- parti-coloured, or else grooved into flutings as it was in actual use.
- In some cases these grooves were so large and deep as to result in
- a form of the girder principle by which great lightness and strength
- were obtained. The Arms of Shakespeare, granted in 1546, are: Or on a
- bend Sable a spear Gold.
-
- SPURS.--As the peculiar symbol of knighthood are naturally of frequent
- occurrence as charges. They are given star-shaped rowels unless the
- more ancient form with a single point is intended, and it is then
- blazoned a Prick Spur.
-
- “The Spurs ben given to a knight to signify diligence and swiftness.”
-
- SRUTTLE.--Another name for winnowing fan (Fig. 282).
-
-[Illustration: FIG. 283.]
-
-[Illustration: FIG. 284.]
-
-[Illustration: FIG. 285.]
-
- SWORD.--Is sometimes borne in allusion to St. Paul, as it is in the
- Arms of the City of London. Unless otherwise described, a straight
- sword with a cross hilt, an arming sword as it was sometimes called,
- is understood. Its position--that is to say, the direction of the
- blade--whether pale, wise or fesswise, and where there are more swords
- than one, their relative positions and the direction of their points
- are duly stated.
-
- TREFOIL (Fig. 283).--Is always represented with a stalk, as in the
- example, but the term slipped is always included in the blazon
- nevertheless. The form of the charge is usually as given, but in rare
- instances it appears as in Fig. 284, which is from a fifteenth century
- MS. in the Heralds’ College.
-
- WATER BOUGET.--This, like the maunche, is an instance of the
- conventionalization of an actual thing into a shape that bears but
- remote likeness to the original form. Although there are instances
- in which its derivation from water carriers, its undoubted origin,
- is more nearly suggested, its heraldic form was clearly established
- in the fourteenth century, chiefly in connexion with the family of
- Bourchier, which furnished so many persons of note to mediaeval
- history.
-
-
-
-
-CHAPTER XII
-
-Marks of Cadency
-
-
-[Illustration: FIG. 286.]
-
-[Illustration: FIG. 287.]
-
-In order to distinguish the various members of a family among
-themselves certain additions to the shield called marks of cadency are
-employed; and in the earliest days of the heraldic system a son charged
-the arms that he derived from his father with such a mark of difference
-as he thought fit and effectual, but by the middle of the fourteenth
-century some amount of regularity was arrived at, and by the end of the
-sixteenth century the present method had become usual. In this system
-the eldest son is distinguished by a file or label of three points,
-which consists of a horizontal part from which depend the lambeaux
-(Fig. 286 _et seq._). Its origin is extremely obscure, and whether it
-represents the points of garments, or tongues or labels threaded on
-a cord, no one can say with certainty. It seems probable that it may
-have originally been a favour or distinction whose history and original
-significance have been lost. The effigy at Artois of Charles Count
-d’Eu has a label which passes round the shoulders, exactly as other
-collars did, and consists of large labels charged with castles and
-suspended from what appears to be a narrow cord (Fig. 288).
-
-[Illustration: FIG. 288.]
-
-[Illustration: FIG. 289.]
-
-[Illustration: FIG. 290.]
-
-On a shield the label is borne in chief and passes over any charges
-that may be in that part of the arms. In early examples the pendant
-parts are wider than the rest, in some cases much wider, as in the
-Garter Plate of Gaston de Foix, Comte de Longueville and Captal de
-Buch, whose label is charged with a complete coat of arms repeated
-on each point, a cross charged with five escallop shells, which are
-the arms of John de Grielly, a previous Captal de Buch who married
-Blanche de Foix. In later times the points of labels were widened at
-the ends as in Fig. 289, a form which in the eighteenth and nineteenth
-centuries had become as squat and ugly as the still common type (Fig.
-290). In ordinary cadency the label which extends from side to side
-of the shield is no longer used, being reserved for members of the
-Blood Royal, and a shortened form takes its place in ordinary coats
-of arms. Distinctions of cadency are provided to the number of nine,
-and no regular provision is made beyond the ninth son; not because
-others are to go undifferenced, but because in old heraldic treatises
-great importance is ascribed to that mystic figure 9. There were
-nine tinctures (including the rare colours tenné and sanguine), nine
-ordinaries, nine partitions, or methods of displaying charges with
-ordinaries, and so forth. The differences are as follows:--
-
-  The eldest son      a label.
-      second  ”       a crescent.
-      third   ”       a mullet.
-      fourth  ”       a martlet.
-      fifth   ”       an amulet.
-      sixth   ”       a fleur-de-lis.
-      seventh ”       a rose.
-      eighth  ”       a cross moline.
-      ninth   ”       a double quatrefoil.
-
-[Illustration: FIGS. 291-299.]
-
-A mark of cadency is borne on any part of a coat that may be found
-most suitable for its conspicuous display, but always in such a manner
-that it may not be mistaken for a charge. It is generally placed
-somewhere in chief or sometimes in the centre of the shield, and its
-colour may be any that is well seen. Bossewell says (1572): “Every
-difference ought to be placed in the moste evidente part of the coat
-armour, videlicit, in the place where the same maie soonest be scene or
-perceived.” And another early writer indicates the distance at which
-a difference should be easily perceived on a banner or other flag as
-eighteen yards.
-
-The sons of the eldest son bear each his own difference charged upon
-the label of his father, and in similar manner the sons of the second
-son of the head of the family charge their differences on their
-father’s crescent, and so forth. As marking the degree of nearness to
-the headship of the family such distinctions are disused or changed
-as circumstances dictate, but in some cases a second or other junior
-son continues to use his difference after his father’s death in order
-to prevent confusion with his elder brother who has in due course
-succeeded to the undifferenced coat, and in spite of the inevitable
-clashing with the second son of that elder brother, who would also
-bear a crescent for difference. Such a method of distinguishing
-“Houses” as well as sons would, of course, become impossible in a very
-few generations, and this points to the superiority of the mediaeval
-method of differencing as well as to what is the principal weakness of
-modern heraldry in England as a system, namely, the want of distinction
-between the branches of a family. That, however, is more a matter for
-the scientific herald. The mark of cadency may be placed on the crest
-as well as on the arms, but it is not commonly done, except when the
-crest is used alone.
-
-It should be noted here that though daughters (other than Princesses
-of the Blood) do not difference their arms personally, for they rank
-equally among themselves, they do bear their father’s difference so
-long as he bears it.
-
-When by impalement or other means the individuality of the bearer is
-sufficiently pointed out, marks of cadency are frequently considered
-to be redundant, and are therefore omitted; but their inclusion is
-preferable.
-
-Royal cadency follows a method apart, and when arms are assigned by
-the Sovereign to the various members of the Royal Family, as is done
-by warrant on their arrival at full age, the proper individual mark
-of cadency is assigned at the same time. At the present day it always
-takes the form of a label; which is plain for the Prince of Wales, and
-charged in some distinctive manner for other members of the Blood Royal.
-
-The labels of the other living Princes and Princesses to whom arms have
-been assigned are as follows: and it should be noted that all these
-various labels are Argent. The Princess Royal (Duchess of Fife) bears
-over the Royal Arms a label of five points charged with three crosses
-gules alternating with two thistles ppr.
-
-The Princess Victoria differences her arms with a label of five points
-charged with three roses alternately with two crosses gules.
-
-The Princess Maud (Queen of Norway) bears a label of five points
-charged with three hearts and two crosses gules.
-
-The Duke of Connaught has a label of three points, charged on the
-centre point with St. George’s Cross and on each of the others with a
-fleur-de-lis Azure.
-
-The Princess Christian, of Schleswig-Holstein, bears a label of three
-points, the centre of which is charged with St. George’s Cross and each
-of the others with a rose gules.
-
-The Princess Louise (Duchess of Argyll) bears a label of three points,
-the centre point charged with a rose, each of the others with a canton
-gules.
-
-The Princess Beatrice (Princess Henry of Battenberg) bears a label
-of three points, the centre one charged with a heart and each of the
-others with a rose.
-
-In Royal Achievements the labels are charged on the crest and
-supporters as well as the arms, and in these positions are usually
-couped at the ends, though there is no reason why they should be so;
-on the contrary, remembering that these figures are “in the round” it
-would be preferable to follow the ancient usage.
-
-A further distinction from the arms of the Sovereign is made by
-substituting for the Imperial Crown, which is borne on the heads of the
-lion crest and supporter and also encircles the throat of the unicorn,
-the coronet which is proper to the personage concerned.
-
-
-
-
-INDEX
-
-
-              PAGE
-
-  ACCESSORIES, 139
-
-  ACHIEVEMENTS, 16, 19
-
-  ALDEGREVER, 34
-
-  ALEXANDER FIRST, SEAL OF, 66
-
-  ALLOA HOUSE, SHIELDS AT, 113, 114, 115, 157, 161, 217, 219
-
-  ALTAR FRONTAL, 250
-
-  AMMAN, JOST, 35, 108
-
-  AMORINI, 144
-
-  ANGELS, 144
-
-  ANIMALS as crests, 127;
-    and monsters, 66;
-    on flags, 257;
-    on the bardings of horses, 257
-
-  ANNE OF BOHEMIA, DEVICE KNOT OF, 278
-
-  ” OF BRITTANY, 116, 212
-
-  ” COUNTESS OF DEVON, SEAL OF, 140
-
-  ” QUEEN, 108
-
-  ANNULET, 267, 288
-
-  ANSELM, DOM, 40
-
-  ANTHONY DE BEC, SEAL OF, 98
-
-  ARCHITECTURAL HERALDRY, 204
-
-  ARGENT, 44
-
-  ARGYLL, DUKE OF, 155
-
-  ARMORIAL ACCESSORIES, 139
-
-  ” GARMENTS, 3
-
-  ARMOUR, 123
-
-  ARUNDEL, CORONET OF THE EARL OF, 154
-
-  ASSYRIAN LION, 80
-
-  ATTENUATION, 67
-
-  AUGMENTATIONS, 6
-
-  AZURE, 44
-
-
-  BADGES, 141
-
-  BANNERS, 28, 69;
-    of the Garter, 255;
-    painted, 262
-
-  BAR, 50
-
-  BARNACLES, 268
-
-  BARONET, 156;
-    of Nova Scotia, 156
-
-  BARONET’S HELMET, 129
-
-  BARON’S cap, 154;
-    coronet, 154
-
-  BARRY, 47
-
-  BARS-GEMELLE, 50
-
-  BASLE, ARMS OF, 271
-
-  BASSET, LORD, OF DRAYTON, 20
-
-  BASSETAILLE ENAMEL, 178
-
-  BATH, the Order of the, 16;
-    insignia of various ranks, 163
-
-  BATON, 52
-
-  BATTERING-RAM, 268
-
-  BEAUMONT, SIR EDMUND, ARMS OF, 238
-
-  BEDCOVER, LACE, 264
-
-  BEDFORD, DUKE OF, 85
-
-  BEHAM, HANS SEBALD, 34, 35
-
-  BELLS, 277
-
-  BEND, 51
-
-  BENDLET, 52
-
-  BEND-SINISTER, 52
-
-  BENDY, 48
-
-  BERKELEY, ARMS OF, 64
-
-  BERTIE, ARMS OF, 268
-
-  BEZANT, 281
-
-  BIBLE, 70
-
-  ” WINCHESTER CATHEDRAL, 164
-
-  BILL, 197
-
-  BIRDS, 89
-
-  BIRMINGHAM, CITY OF, 52
-
-  BLACK PRINCE, THE, 8, 75;
-    surcoat, 102, 248
-
-  BLACKSMITHS’ COMPANY, ARMS OF, 277
-
-  BLAZON, 15, 38, 54, 75
-
-  BLOIS, BADGES AT, 205
-
-  BOAR, 232
-
-  BOLT-PLATE, 192
-
-  BORDURE, 59
-
-  BOTTICELLI, SANDRO, 261
-
-  BOURCHIER, LOUIS ROBSART, LORD, 17
-
-  ” KNOT, 279
-
-  BOWEN KNOT, 278
-
-  BRASS, MONUMENTAL, 184
-
-  BRAY, SIR REGINALD, BADGE OF, 277
-
-  BREWYS, SIR JOHN DE, BRASS OF, 184
-
-  BRITTANY, BADGE OF, 205
-
-  BRONZE MORTAR, 188
-
-  BRUNSWICK, DUCHESS OF, 265
-
-  BUCKLES, 268
-
-  BUGLE HORN, 269
-
-  BULLA OF GOLD OF HENRY VIII., 149
-
-  BUONAMICI, 31
-
-  BURGES, 13, 226
-
-  BURGUNDY, CHARLES, DUKE OF, 251
-
-  BUTLER, SIR JAMES, ARMS OF, 238
-
-  BYRON, ARMS OF, 52
-
-
-  CADENCY, 286
-
-  CAMBRIDGE UNIVERSITY, ARMS OF, 70
-
-  CANTON, 58
-
-  CAP OF MAINTENANCE, 155
-
-  CARNARVON, LORD, 146
-
-  CAST IRON, 185
-
-  CAXTON, 4
-
-  CEILINGS, 213
-
-  CELLINI, 180
-
-  CENTAUR, 95
-
-  CEREMONIAL SHIELDS, 9, 29;
-    structure of, 30
-
-  CHAMPLEVÉ ENAMEL, 171
-
-  CHAPLET, 269
-
-  CHARGES, 50;
-    flat and in relief, 29;
-    their arrangement, 61
-
-  CHARLES I., GREAT SEAL OF, 74
-
-  ” II., GREAT SEAL OF, 110
-
-  ” V., EMPEROR, ARMS OF, 192
-
-  ” COUNT D’EU, EFFIGY WITH LABEL, 287
-
-  ” THE BOLD, 251
-
-  CHEQUEY, 48
-
-  CHESS-ROOK, 270
-
-  CHESTER, CITY OF, 83
-
-  CHEVRON, 52
-
-  CHIEF, 52
-
-  CHIMNEY PIECES, 212
-
-  CHIVALRY, THE ORDER OF, 4
-
-  CHOICE OF TREATMENT, 7, 19
-
-  CINQUE PORTS, 83, 84
-
-  CINQUEFOIL, 270
-
-  CISTERN, LEAD, 200
-
-  CIVIC CROWN, 270
-
-  CLARENCE, DUKE OF, 109
-
-  CLARION, 270
-
-  CLEMENT VII, POPE, 240
-
-  CLEOBURY, W. T., 238
-
-  CLOISONNÉ ENAMEL, 181
-
-  CLOUDS, 270
-
-  COCK, 79, 92
-
-  COCKATRICE, 271
-
-  COLLAR, of the Order of the Garter, 158;
-    of St. Patrick, 162;
-    of the Thistle, 160;
-    of the Bath, 162;
-    of Toison d’Or, 193
-
-  COLOURS OF MANTLING, 137
-
-  COMPONY, 49
-
-  CORONETS, 271;
-    crest coronet, 271;
-    mural crown, 273;
-    naval crown, 273;
-    crown vallery, 273;
-    crown palisado, 273;
-    eastern crown, 273;
-    celestial crown, 274
-
-  CORONETS, ROYAL, 152
-
-  ” OF PEERS, 153
-
-  COTISE, 51
-
-  COUNTERCHANGE, 49
-
-  COUNTER-COMPONY, 49
-
-  COUNTER-POTENT, 46
-
-  COUNTER-VAIR, 46
-
-  COUPED, 54, 84
-
-  CROSSES, 96
-
-  CROSS, 5, 53;
-    bottonée, 100;
-    couped, 54;
-    calvary, 97;
-    crosslet, 99;
-    crosslet-fitchy, 99;
-    fleuretté, 97;
-    flory, 97;
-    furchée, 101;
-    interlaced, 53;
-    moline, 97;
-    nowy, 54;
-    parted and fretty, 53;
-    patonee, 97;
-    patée, 99;
-    pomell, 100;
-    potent, 101;
-    quadrate, 54;
-    quarter pierced, 54;
-    recercelée, 99;
-    tau, 101;
-    urdée, 100;
-    voided, 53
-
-  CREST, 37, 118;
-    ceremonial use, 118;
-    difficulties in treatment, 130;
-    dragon’s head, 127;
-    of the Black Prince, 126;
-    panache, 125;
-    tourney crest, 136
-
-  CRESTS OF QUEENS REGNANT, 37
-
-  CRESCENT, 192, 274, 288
-
-  CROWN, Imperial, 148;
-    of Henry V., of Henry VIII., of Charles II., 148;
-    Georgian, 149
-
-  CRUSADES, 2
-
-  CUTWORK, 261
-
-
-  DACRE KNOT, 279
-
-  DAMASCENING, 198
-
-  DANCETTÉE, 56
-
-  DAY, LEWIS F., 240
-
-  DEMI-LIONS, 83
-
-  DERBY, COUNTESS OF, 146
-
-  DEVICES AT ALLOA HOUSE, 220, 221
-
-  DIANA DE POITIERS, BADGE OF, 192
-
-  DIAPERING, 110
-
-  DIMIDIATION, 83
-
-  DISTRIBUTION, PLANS FOR, 82, 91
-
-  DIVISION OF THE FIELD, 47
-
-  DOLPHIN, 93
-
-  DONATELLO, 189
-
-  DOVETAILED, 56
-
-  DRAGON OF CADWALLADER, 182, 183
-
-  DRAGON’S HEAD CREST, 127
-
-  DUKE’S CORONET, 153
-
-  DÜRER, 31, 32, 34, 79
-
-
-  EAGLES, 89;
-    plan for distribution, 91
-
-  EAGLE of the Emperor, 90;
-    of the Holy Roman Empire, 146;
-    of Prussia, 146;
-    on lock-plate, 190
-
-  EARL’S CORONET, 154
-
-  EASTERN INFLUENCE ON HERALDRY, 6
-
-  EDMOND BEAUFORT, DUKE OF SOMERSET, SEAL OF, 141
-
-  EDMUND, PRINCE, OF LANGLEY, 60, 90, 272
-
-  EDWARD THE BLACK PRINCE, 8, 75
-
-  ” THE CONFESSOR, 92
-
-  ” I, 3
-
-  ” II, 59
-
-  ” III, 29, 62, 68, 140
-
-  ” IV, 29
-
-  ELEANOR, QUEEN, 3
-
-  ELECTROTYPE, 202
-
-  ELIZABETH, QUEEN, 107, 109
-
-  ELIZABETHAN DECORATION, 36
-
-  EMBATTLED, 56
-
-  EMBROIDERY, 246
-
-  EMBROIDERED ARMS, 252
-
-  ” BADGES, 250
-
-  ENAMEL, 170;
-    Bassetaille, 178;
-    Champlevé, 171;
-    Cloisonné, 181;
-    designs and drawings, 180;
-    “Limoges enamel,” 177;
-    plique-a-jour, 180
-
-  ENGLAND, ARMS OF, 8, 69, 75, 83
-
-  ENGRAILED, 56
-
-  ENGRAVING, DECORATIVE, 196
-
-  ENHANCED, 52
-
-  ERASED, 84
-
-  ERIC, KING OF SWEDEN, ARMS OF, 253
-
-  ERMINES, 44
-
-  ERMINOIS, 44
-
-  ERSKINE, HENRICUS DE, 113
-
-  ESCALLOP SHELL, 274
-
-  ESCARBUNCLE, 275
-
-  ESTOILE, 275
-
-  ESQUIRE’S HELMET, 129
-
-  ETCHED DECORATION, 200
-
-
-  FALCON, 91
-
-  FESS, 50
-
-  FIELD, THE, 41
-
-  ” OF THE CLOTH OF GOLD, GOLD SEAL OF TREATY, 149
-
-  FIREBACKS, 185
-
-  FISH, 93
-
-  FISHMONGERS’ COMPANY, 94
-
-  FITZALAN, EARL OF ARUNDEL, 154
-
-  FITZJAMES, 37
-
-  FLANCHES, 61
-
-  FLANDERS, ARMS OF, 252
-
-  FLASQUES, 61
-
-  FLEURS-DE-LIS, 101
-
-  FLORENCE, ARMS OF, 103
-
-  FLORENTINE HERALDRY, 35
-
-  ” SHIELD, 112
-
-  FLOWERS, 5
-
-  FOREIGN INFLUENCE, 11
-
-  FOSTER’S PEERAGE, 40
-
-  FOUNTAIN, 275;
-    lead, 201
-
-  FRANCE, ARMS OF, 8, 62
-
-  FREDERICK II, ARMS OF, 265
-
-  FRENCH CHÂTEAUX, 205
-
-  FRIEZES, 209
-
-  FROISSART, 27
-
-  FUSIL, 58
-
-  FYLFOT, 276
-
-
-  GALLERY OF THE VYNE, 212
-
-  GARBS, 84
-
-  GARLANDS, 5
-
-  GARTER, the, 156, 158;
-    collar of the, 107;
-    Knight of the, 20;
-    order of the, 136, 158
-
-  GARTER PLATES, 35
-
-  GASTON DE FOIX, 136, 287
-
-  GENEVILLE, ARMS OF, 248
-
-  GEORGE THE LESSER, ORDER OF THE, 158
-
-  GERATTING, 62
-
-  GERMAN HERALDRY, 78;
-    Gothic influence in, 78
-
-  GESSO, 18, 214;
-    its preparations, 215;
-    use, 116;
-    Cennino Cennini, 215
-
-  GILBERT, ALFRED, 109
-
-  GLAIVE, 197
-
-  GLOUCESTER, DUKE OF, 29
-
-  GOAT, 85
-
-  GOBONY, 49
-
-  GODMANCHESTER, SEAL OF, 103
-
-  GOLDEN FLEECE, 193, 251
-
-  GOLDSMITHS’ COMPANY, ARMS OF, 85
-
-  GOLPES, 281
-
-  GOTHIC LIONS, 76
-
-  ” REVIVAL, 12
-
-  ” WORK, 17
-
-  GOUTTÉ D’OR, ETC., 62
-
-  GREAT GEORGE, THE, 158
-
-  ” SEALS, 17, 110, 140
-
-  GREEK SYMBOLIC FIGURES, 21
-
-  GREEN, EVERARD, 238, 280
-
-  GREYHOUNDS, 140
-
-  GRIELLY, ARMS OF, 287
-
-  GRIFFIN OR GRYPHON, 87
-
-  GROCERS’ COMPANY, 133;
-    arms of, 64
-
-  GULES, 44
-
-  GUTTÉE, 62
-
-  GUZES, 281
-
-  GYRON, 58
-
-  GYRONNY, 47
-
-
-  HALBERD, 198
-
-  HAMMER, 276
-
-  HAMPTON COURT, 147, 214
-
-  HARPS, 108
-
-  HARPY, 93
-
-  HAWK’S bells and jesses, 277;
-    lure, 277
-
-  HELM, 117;
-    ceremonial use, 118;
-    development of form, 119;
-    its structure, 120
-
-  HELMET, 122;
-    as a sign of rank, 128
-
-  HEMP-BRAKE, 277
-
-  HENEAGE KNOT, 278
-
-  HENRY V, 106, 140;
-    Great Seal of, 17, 18, 20
-
-  ” V, 17, 18, 29, 35;
-    chantry, 146
-
-  ” VI, ARMS OF, 236
-
-  ” VII, 11, 106, 158;
-    badge of, 282;
-    tomb, 182
-
-  ” II OF FRANCE, ARMS OF, 192
-
-  ” PRINCE OF WALES, 35
-
-  ” SON OF SWANUS, SEAL OF, 66
-
-  HERALDRY, origin of, 1;
-    eastern influence, 6;
-    foreign influence on, 11;
-    Gothic influence, 10, 11;
-    Italian influence, 12
-
-  HERALDIC QUALITIES, 20
-
-  ” SHORTHAND, 55
-
-  ” ANTELOPE, 84
-
-  ” TIGER, 84
-
-  HINGE WITH LIONS, 191
-
-  HOLBEIN, 12, 243
-
-  HOLY ROMAN EMPIRE, EAGLE OF, 146
-
-  HORSE, 85, 230
-
-  HUMAN FIGURES, 94;
-    arms, 95;
-    hands, 95;
-    heads, 95
-
-  HURT, 281
-
-
-  ILLUMINATIONS, 164;
-    methods, materials, 164
-
-  IMPALING, 61
-
-  IN FESS, ETC., 63
-
-  IN ORLE, 62
-
-  INDENTED, 56
-
-  INESCUTCHEON, 58
-
-  INSIGNIA OF ORDERS, 156
-
-  INTERIOR DECORATION, 210
-
-  INVECTED, 56
-
-  IRELAND, arms of, 110;
-    Great Seal for, 110
-
-  IRISH HARP, 108
-
-  ISABELLA OF FRANCE, 59
-
-  ITALIAN GLASS PAINTING, 240
-
-  ” INFLUENCE, 78
-
-  ” SHIELDS, 30, 31, 35
-
-
-  JACOBEAN DECORATION, 36
-
-  JAMB, 84
-
-  JAMES I, 107, 109;
-    arms of, 254
-
-  JANE SEYMOUR, QUEEN, 150
-
-  JAVELIN, 283
-
-  JESSES, 277
-
-  JOHN, DUKE OF ARGYLL, 155
-
-  ” EARL OF MAR, K.T., 161
-
-  ” KING OF FRANCE, 268
-
-  ” LORD ERSKINE, 114
-
-  ” PRINCE, OF ELTHAM, 50, 176
-
-
-  KATHERINE, QUEEN OF FRANCE, 192
-
-  KELLIE, DEVICE FOR EARLDOM OF, 220
-
-  KEYS, 194
-
-  KNIGHTS helmet, 129;
-    of orders, 144;
-    supporters of, 144;
-    other insignia, 156
-
-  KNOTS, 278
-
-  KRESS, 34
-
-
-  LABEL, 286
-
-  LABORDE, COMTE DE, 105
-
-  LACE, 265
-
-  LACEY KNOT, 279
-
-  LADIES, ARMS OF, 36
-
-  LAMBREQUINS, 127
-
-  LANCASTER ROSE, 106
-
-  LEEDS UNIVERSITY, CREST OF, 94
-
-  LEIGH, GERARD, 87
-
-  LELAND, 275
-
-  LEVEN AND MELVILLE, LORD, 217
-
-  “LIMOGES” ENAMEL, 177
-
-  LINES, VARIOUS, 56
-
-  LIONS, 66;
-    Assyrian 80;
-    head, 84;
-    leg, 84;
-    Renaissance, 78
-
-  LOCK-PLATES, 189
-
-  LOUIS VII, 102
-
-  ” XII, 155, 205;
-    badge of, 212;
-    medal of, 116
-
-  LOZENGE, 58
-
-  ” SHIELD, 36
-
-  LOZENGY, 48
-
-  LUROQUES, ARMS OF, 30
-
-
-  MALATESTA, 106
-
-  MALE-GRIFFIN, 88
-
-  MANTLING, 127, 134, 208;
-    colour treatment of, 137;
-    rules for various ranks, 137
-
-  MAR AND KELLIE, EARL OF, 219
-
-  MARGARET CAMPBELL, LADY, 114
-
-  ” OF ANJOU, 236
-
-  MARKS OF CADENCY, 288
-
-  MARQUIS’S CORONET, 153
-
-  MARTEL-DE-FER, 276
-
-  MARTELLI, ARMS OF, 189
-
-  MARTLET, 92
-
-  MARY, QUEEN, 107
-
-  MAUNCHE, 280
-
-  MECKENEN, ISRAEL VAN, 31
-
-  MEDAL WITH DIAPERING, 116
-
-  MEDIAEVAL TREATMENT, 6
-
-  MEDICI, BADGE OF, 267
-
-  MERMAID, 94
-
-  METAL WORK, 181
-
-  MODELLED ARMS, 157
-
-  MON OF MATSUDAIRA FAMILY, 276
-
-  MONSTERS, 66
-
-  MONUMENTAL BRASSES, 184
-
-  MOON, 274
-
-  MORTAR, BRONZE, 188
-
-  MOTTO SHIELD, 30
-
-  MOWBRAY, 141
-
-  MULLET, 280
-
-
-  NEBULÉE, 56
-
-  NEPTUNE, 95
-
-  NIELLO, 198
-
-  NIXON, FORBES, 40
-
-  NORFOLK, DUKE OF, 141
-
-  NORREYS, BADGE OF SIR JOHN, 236
-
-
-  OCKWELLS MANOR, STAINED GLASS AT, 236
-
-  OGRESS, 281
-
-  OR, 44
-
-  ORANGES, 28
-
-  ORDINARIES, 51;
-    proportion of, 51
-
-  ORIGIN OF HERALDRY, 1
-
-  ORIGINALITY, 13
-
-  ORLE, 59
-
-  ORMONDE, MARQUIS OF, 87
-
-  OXFORD UNIVERSITY, ARMS OF, 202
-
-
-  PAINTED BANNERS, 262
-
-  PALE, 52
-
-  PALL, 280
-
-  PALY, 48
-
-  PANACHE CREST, 125
-
-  PAN-PIPE, 270
-
-  PARTY LINES, 47
-
-  ” PER PALE, ETC., 47
-
-  PAVOISE, 26
-
-  PEACOCK, 4, 92
-
-  PEAN, 44
-
-  PEER’S HELMET, 129
-
-  PELHAM, 5
-
-  ” BADGE, 268
-
-  PELICAN, 92
-
-  PELLET, 281
-
-  PENICAUD, NARDON, ENAMEL BY, 177
-
-  PENNON, 255
-
-  PER PALE, ETC., 47
-
-  PERCY, HENRY DE, 68
-
-  ” SHRINE, 111
-
-  PHEON, 280
-
-  PHILIP II, 102
-
-  PHŒNIX, 73
-
-  PILE, 54
-
-  PIRCKHEIMER, 34
-
-  PLANCHÉ, J. ROBINSON, 279
-
-  PLANTS, 5
-
-  PLATE, 281
-
-  PLIQUE-A-JOUR ENAMEL, 180
-
-  POINTS OF THE FIELD, 41
-
-  POITIERS, BATTLE OF, 5
-
-  POKER WORK, 37, 217
-
-  POMME, 281
-
-  PORTCULLIS, 282
-
-  POSE OF ANIMALS, 70
-
-  POTENT, 46
-
-  POTENTY, 56
-
-  POWDER-HORN, 196
-
-  POWELL, JOHN, 13, 226
-
-  PRICK SPUR, 284
-
-  PROPORTION, 16, 19;
-    of ordinaries, 51
-
-  PUGIN, 13, 226
-
-  PURPURE, 44
-
-  PYROGRAPHY, 37, 217
-
-
-  RAGULY, 56
-
-  RALPH NEVILLE, EARL OF WESTMORELAND, SEAL OF, 140
-
-  RENAISSANCE HERALDRY, 9, 10
-
-  ” SHIELDS, 27
-
-  ” WORK, 17
-
-  REPOUSSÉ BUCKLER, 195
-
-  RIBBON, 52
-
-  RICHARD, EARL OF CONNAUGHT, 91
-
-  ROBERT, KING OF NAPLES, 105
-
-  ROBSART, 17
-
-  ROLLS OF ARMS, 2
-
-  ROMAN SCULPTURE, 21
-
-  ROMAN SHIELDS, 35
-
-  ROMPU, 56
-
-  ROSES, 106
-
-  ROUNDEL, STAINED GLASS, 151;
-    from Netley Abbey, 236
-
-  ROUNDELS, 281
-
-  ROYAL ARMS, 37, 38, 146, 227, 236
-
-  ” BANNER, 69
-
-  ” CADENCY, 153, 290
-
-  ” CORONETS, 152
-
-  ” CREST, 233
-
-  ” CROWNS, 148, 149, 150;
-    official type, 150
-
-  ROYAL HELMETS, 129
-
-  ” MANTLING, 138
-
-
-  SABLE, 44
-
-  SAGITTARIUS, 95
-
-  ST. ALBAN’S ABBEY, SHIELDS FROM, 35
-
-  ST. EDMUND, ARMS ASCRIBED TO, 272
-
-  ST. GATIEN CATHEDRAL, SHIELD IN, 33
-
-  ST. GEORGE’S CHAPEL, CROWNS ON, 148
-
-  ST. JAMES, 274
-
-  ST. PATRICK, THE ORDER OF, 162
-
-  SALTIRE, 53
-
-  SANDWICH, SEAL OF, 84
-
-  SAVAGE MEN, 95
-
-  SCHEMES OF DECORATION, 217
-
-  SCHONGAUER, MARTIN, 28, 31
-
-  SCOTLAND, ROYAL ARMS OF, 38
-
-  SCOTTISH ROYAL CROWN, 148
-
-  SCULPTURE, 147, 208
-
-  SEAL, 84, 98, 103, 109, 139, 149
-
-  SEALS, 67, 140, 141
-
-  SEGRAVE, JOHN DE, SEAL OF, 139
-
-  SEMÉE, 62
-
-  SGRAFFITO, 209
-
-  SHAKESPEARE, ARMS OF, 284
-
-  SHERBORN, C. W., 279
-
-  SHIELD BEARING MOTTO, 30;
-    construction, 23;
-    foliated, 33, 36;
-    shapes, 32, 33, 34, 36
-
-  SHIELDS, 21, 28;
-    ceremonial use of, 28;
-    “for Peace,” 28, 29;
-    Norman, 22, 23, 25, 26;
-    ridged, 27, 28;
-    square, 25;
-    triangular, 24, 25, 35
-
-  SHIPS, 83
-
-  SHOVEL, ADM. SIR CLOUDESLEY, 5
-
-  SOLIS, VIRGIL, 35
-
-  SOMERSET, SEAL OF THE DUKE OF, 141
-
-  SPADE, 282
-
-  SPEAR, 283
-
-  SPHINX, 94
-
-  SPURS, 284
-
-  SRUTTLE, 284
-
-  STAFFORD KNOT, 278
-
-  STAG, 85
-
-  STAINED GLASS, 151, 223
-
-  ” DESIGNS AND DRAWINGS, 225
-
-  STANDARD, 255
-
-  STARS OF ORDERS, 160
-
-  STEPHEN, KING, 95, 120
-
-  STOURTON, LORD, 275
-
-  SUB-ORDINARIES, 58
-
-  SUPPORTERS, 139
-
-  SWAN, 4
-
-  SWISS PAINTED GLASS, 240
-
-  SWORD, 284
-
-  SYMBOLISM, 4
-
-  SYON COPE, 247
-
-  SYRENA, 94
-
-  SYRINX, 270
-
-
-  THISTLE, THE ORDER OF THE, 160
-
-  TILTING SPEAR, 283
-
-  TINCTURES, 42
-
-  TOISON D’OR, BADGE OF, 251
-
-  TORREGIANO, 11, 182
-
-  TORSE, 127
-
-  TORTEAU, 281
-
-  TOURNAMENTS, 2, 27, 118
-
-  TOURNEY HELM, 123
-
-  TREASURE, 59
-
-  TREFOIL, 284
-
-  TRICK, SKETCHES IN, 55
-
-  TRITON, 95
-
-  TRUMPET BANNERS, 261
-
-  TUDOR HERALDRY, 10, 226
-
-  ” ROSE, 107
-
-
-  ULSTER BADGE, 96
-
-  UNICORN, 230
-
-  UNION BADGE, 260
-
-  ” JACK, 258
-
-
-  VAIR, 45
-
-  VALENCE, WILLIAM DE, 63, 126
-
-  VELLUM, 164
-
-  VERT, 44
-
-  VERVELS, 277
-
-  VICTORIA, QUEEN, 37
-
-  VISCONTI, ARMS OF, 195
-
-  VISCOUNT’S CORONET, 154
-
-  VOIDERS, 61
-
-
-  WAKE AND ORMOND KNOT, 279
-
-  WALES, CORONET OF THE PRINCE OF, 153
-
-  WARWICK, EARL OF, ARMS OF, 237
-
-  WATER BOUGET, 285
-
-  WAVY, 56
-
-  WELDON, W. H., ESQ., C.V.O., 178
-
-  WESTMORELAND, EARL OF, SEAL, 140
-
-  WHEATSHEAVES, 84
-
-  WIDOWS, ARMS OF, 36
-
-  WILLIAM DE VALENCE, 63, 126
-
-  ” LORD HASTINGS, SEAL OF, 141
-
-  ” OF SENS, 11
-
-  WILLIMENT, J., 12
-
-  WINCHESTER CATHEDRAL, BIBLE, 164
-
-  WINNOWING FAN, 284
-
-  WOLSEY, ARMS OF CARDINAL, 147
-
-  WOOD-CARVING, 211
-
-  WREATH, 269
-
-  WYVERN, 88
-
-
-  YORK ROSE, 106
-
-
-
-
-INDEX TO ILLUSTRATIONS
-
-
-  PAGE
-
-  ALTAR FRONTAL, 250
-
-  AMORINI, 145, 147, 209, 211, 218
-
-  ANGEL, 140
-
-  ANNE OF BOHEMIA, KNOT, 278
-
-  ” OF BRITTANY, MEDAL, 116
-
-  ANNULET, 267, 288
-
-  ANTELOPES, “HERALDIC”, 237
-
-  ARCHBISHOP’S HAT, 194
-
-  ARMOUR, 184
-
-  ARMS, imaginary, 218;
-    in trick, 55
-
-  ” of Cambridge University, 71;
-    of City of London, 88;
-    of Edward the Confessor, 229;
-    of Erskine, 113, 115, 157;
-    of Goldsmiths’ Company, 86;
-    of Grocers’ Company, 64;
-    of Prince John of Eltham, 60, 77;
-    of Kress (German), 136;
-    of Oxford University, 202;
-    of Pope Paul III, 210
-
-  ASSYRIAN BAS-RELIEF, 81
-
-
-  BADGE, EMBROIDERED, 251
-
-  ” of Diane de Poitiers, 192;
-    of Louis XII, 206;
-    of Medici, 267;
-    of Toison d’Or, 86, 87;
-
-  BADGES, 29, 136, 213
-
-  BALANCES, 86
-
-  BANNERS, 242
-
-  BARDINGS, 18
-
-  BARNACLES, 268
-
-  BARRY, 47
-
-  BASILISK, 271
-
-  BASLE, ARMS OF, 271
-
-  BATTERING-RAM, 268
-
-  BEAUMONT, ARMS OF SIR E., 239
-
-  BEND, 51, 137
-
-  BENDY, 48
-
-  BILL, ENGRAVED, 197
-
-  BILLET, 278
-
-  BOAR, 232
-
-  BOOK, 71, 202
-
-  BOOKPLATE, by Dürer, 95, 136;
-    German, 94
-
-  BORDURE, 57, 59, 60
-
-  BOUCHIER KNOT, 279
-
-  BOWEN KNOT, 278
-
-  BOWS, 192
-
-  BREYS, 268
-
-  BRONZE MORTAR, 188
-
-  ” SHIELD, 189
-
-  BUCKLE, 269
-
-  BUCKLES, 86, 174
-
-  BUGLE HORN, 95, 269
-
-  BULLS, 219
-
-  ” HEAD, 140
-
-  BURGUNDY, ARMS OF, 251, 252
-
-  BURNT WOOD PANEL, 218
-
-  BUTLER, ARMS OF SIR JAMES, 239
-
-
-  CADENCY MARKS, 288
-
-  CAMBRIDGE UNIVERSITY, ARMS OF, 71
-
-  CANTING COAT OF ARMS, 94
-
-  CANTON, 59
-
-  CAP, EMBROIDERED, 249
-
-  CAR, PAGEANT, 86
-
-  CARDINAL’S HAT, 147
-
-  CASTLE, 137
-
-  CASTLES, 171
-
-  CEILING BOSSES, HAMPTON COURT, 214
-
-  CHAMPLEVÉ ENAMEL, 171, 174, 176
-
-  CHAPLET, 269
-
-  CHARLES, COUNT D’EU, EFFIGY, 287
-
-  CHARLES II, GREAT SEAL, 110
-
-  ” IV, SEAL AS EMPEROR, 92
-
-  CHEQUEY, 48
-
-  CHESS-ROOK, 270
-
-  CHEVRON, 53
-
-  CHIEF, 51
-
-  CINQUEFOIL, 270
-
-  CISTERN, 200
-
-  CITY OF LONDON, ARMS OF, 88
-
-  CIVIC CROWN, 269
-
-  CLARION, 270
-
-  CLEMENT VII, ARMS OF POPE, 241
-
-  COCK, 79
-
-  COCKATRICE, 271
-
-  COLLAR of the Garter, 149;
-    of the Thistle, 161;
-    of the Toison d’Or, 193
-
-  COLUMBINE, 237
-
-  COLUMNS, 193
-
-  COPPER PANEL, SILVERED, 202
-
-  CORNISH CHOUGH, 147
-
-  CORONET, 195;
-    crest, 271;
-    of an earl, 219;
-    of the Prince of Wales, 153
-
-  CORONETS, 202
-
-  COUNTER-VAIR, 46
-
-  CRESCENT, 288
-
-  CRESCENTS, 192
-
-  CREST, 88, 94, 95, 136, 184, 220, 237, 239, 244;
-    enamelled, of W. H. Weldon, Esq., 179;
-    panache, 125, 135;
-    various treatments, 132
-
-  CRESTS, 145, 196
-
-  CROSS, 53, 88, 265
-
-  ” calvary, 97;
-    couped, 54;
-    crosslet, 99;
-    crosslet fitchée, 99, 115, 157, 161, 219;
-    engrailed, 147;
-    fleuretté 97;
-    flory, 97, 229;
-    formée, 99;
-    Maltese, 99;
-    moline, 97, 98, 288;
-    nowy, 54;
-    patée, 99;
-    patonee, 97;
-    quadrate, 54;
-    quarter pierced, 54;
-    voided, 53;
-    voided and interlaced, 53
-
-  CROWN, 89, 136, 137, 186, 187, 192, 193, 194, 201, 211, 218, 227,
-    233, 242;
-    official type, 151;
-    of a King of Arms, 179;
-    palisado, 273;
-    Tudor, 149, 151;
-    vallery, 273
-
-  CROWNS, 272, 273;
-    embroidered, 253, 254
-
-  CUPID, 218
-
-  CUPS, 86
-
-
-  DACRE KNOT, 279
-
-  DAUPHINY, SEAL OF, 93
-
-  DECORATION SHIELD, ITALIAN, 30, 31
-
-  DEVICE SHIELDS, 220, 221
-
-  DIANE DE POITIERS, BADGE, 192
-
-  DIAPER, 115, 157, 161, 218, 206
-
-  DIAPERED medal, 116;
-    shield, 112, 113, 115
-
-  DOGS, 95
-
-  DOLPHIN, 200
-
-  DOLPHINS, 93
-
-  DONATELLO, SHIELD BY, 189
-
-  DOUBLE quatrefoil, 288;
-    badge, 229
-
-  DRAGON, 86, 89, 183, 186, 187, 229
-
-  DRAGONS, 88
-
-  DÜRER, ALBRECHT, 79, 86, 87, 95, 136, 137
-
-  ” pageant car by, 86;
-    school of, 136
-
-
-  EAGLE, 86, 136, 141, 239
-
-  ” double-headed, 90, 190, 193, 197;
-    lace, 264;
-    of the Emperor, 90;
-    plan for distribution on shield, 91
-
-  EAGLES, 92, 201
-
-  EARL’S CORONET, 219, 220, 221
-
-  EASTERN CROWN, 273
-
-  EDWARD THE CONFESSOR, ARMS OF, 229
-
-  ELEANOR, QUEEN, CLOAK CLASP, 171
-
-  EMBROIDERED BADGE, 251
-
-  ” LINEN, 250
-
-  EMBROIDERY, 248, 254
-
-  ENAMEL BY NARDON PENICAUD, 177
-
-  ” CHAMPLEVÉ, 171, 174, 176
-
-  ” LIMOGES, 177, 179;
-    plate for, 174
-
-  ENAMELLED CLOAK CLASP, 171
-
-  ” SHIELD, 176
-
-  ENGLAND, ARMS OF, 9
-
-  ENGRAVED DECORATION, 8, 197, 199
-
-  EQUESTRIAN FIGURE, 206
-
-  ” SEAL, 18
-
-  ERIC XIV, KING OF SWEDEN, ARMS OF, 253
-
-  ERMINE, 44
-
-  ” BADGE, 213
-
-  ERSKINE, ARMS OF, 113, 115, 157, 161
-
-  ESCALLOP, 278
-
-  ESCARBUNCLE, 275
-
-
-  FEATHERS, 29, 267;
-    peacocks’, 136
-
-  FESS, 51, 137
-
-  FIREBACK, 186, 187
-
-  FIREPLACE, CHÂTEAU DE BLOIS, 213
-
-  FLAGS, 259
-
-  FLANCHES, 61
-
-  FLEURS-DE-LIS, 9, 60, 77, 89, 93, 102-5, 141, 151, 191, 192, 200,
-    201, 214, 237, 239, 288;
-    embroidered, 249, 251, 252
-
-  FLORENTINE GLASS DECORATION, 241
-
-  FOUNTAIN, 275
-
-  FRANCE, ARMS OF, 9
-
-  FREDERICK II OF DENMARK, ARMS OF, 265
-
-  FRIEZE IN SGRAFFITO, 209
-
-  FYLFOT, 276
-
-
-  GARBS, 139
-
-  GARTER, 227
-
-  ” COLLAR, 149
-
-  GARTERED SHIELD, 157
-
-  GATEWAY, CHÂTEAU DE BLOIS, 206
-
-  GESSO, 220, 221
-
-  ” SHIELDS, 161, 219
-
-  GLAIVE, 197
-
-  GODMANCHESTER, SEAL OF, 103
-
-  GOUTTEE, 62
-
-  GREAT SEAL OF CHARLES II, 110
-
-  GREYHOUND, 187
-
-  GREYHOUNDS, 140
-
-  GRIFFIN, 189, 221;
-    seated, 87
-
-  GRIFFINS, 86
-
-  GRILLE OF HENRY VII’S CHAPEL, WESTMINSTER, 183
-
-  GRIMM, ARMS OF, 94
-
-  GROCERS’ COMPANY, ARMS OF, 64
-
-  GYRONNY, 47, 115
-
-
-  HALBERD, ENGRAVED, 199
-
-  HAMMER, 277
-
-  HARP, 108, 109, 227
-
-  HAWK’S BELLS AND JESSES, 278;
-    lure, 278
-
-  HEART, ENFLAMED, 218
-
-  HELM, 119;
-    tilting, 121;
-    tourney, 124;
-    crest for tourney, 136
-
-  HELMET, 18, 31, 79, 86, 88, 94, 119, 121-5, 135, 136, 137, 140, 141,
-    145, 179, 184, 196, 218, 220, 237, 239, 244
-
-  HEMP-BRAKE, 278
-
-  HENEAGE KNOT, 278
-
-  HENRY VI, ARMS OF, 237
-
-  ” VII BADGE, 183
-
-  ” VIII PRIVY SEAL OF, 89
-
-  HERALDIC ANTELOPES, 237
-
-  ” SLAB, 145
-
-  ” TIGER, 141
-
-  HINGE WITH LIONS, 191
-
-  HOLBEIN, 271
-
-  HOLY GHOST, 242
-
-  HORNS, 95
-
-  HORSE, 229
-
-  HOUNDS, 95
-
-  HUMAN FIGURE, 94, 95, 184, 189, 195, 196, 244
-
-  HUMAN FIGURES, 86, 145, 209, 211, 218
-
-
-  IMAGINARY ARMS, 218
-
-  IRON WORK, 190, 191, 192, 193
-
-
-  JAMES I, ARMS OF, EMBROIDERED, 254
-
-
-  KEYS, 194;
-    papal, 210
-
-  KNOTS, 278, 279
-
-
-  LABEL, 286, 287, 288
-
-  LACE, 264, 265
-
-  LACEY KNOT, 279
-
-  LASSO DE CASTILLA, ARMS OF DON PERO, 137
-
-  LEAD CISTERN, 200
-
-  ” FOUNTAIN, 201
-
-  LEOPARD’S FACE, 147
-
-  ” FACES, 86
-
-  LETTERING, 220, 221
-
-  LETTERS, 256
-
-  “LIMOGES” ENAMEL, 177, 179
-
-  LINES, VARIOUS, 56
-
-  LION, 89, 137, 186, 188, 220, 233
-
-  ” Assyrian, 81;
-    passant, 67, 75, 147;
-    passant guardant, 9, 18, 60, 68, 71, 77, 141;
-    rampant, 66, 67, 68, 72, 79, 137, 139, 140;
-    rampant guardant, 72;
-    rampant regardant, 72, 89;
-    salient, 72;
-    sejant, 76
-
-  LIONS, 9, 18, 60, 89, 151, 184, 227, 237, 239, 242, 243;
-    conjoined with ships, 84;
-    embroidered, 248-54;
-    faces of, 137;
-    heads of, 137;
-    in enamel, 171, 174;
-    lace, 265;
-    on hinge, 191;
-    plans for distribution on shields, 83, 89, 137
-
-  LOCK-PLATE, 191;
-    with eagle, 190
-
-  LONDON, CITY OF, ARMS, 88
-
-  LOUIS XII MEDAL, 116
-
-  LOZENGE, 279
-
-  LOZENGES, 48
-
-  LYMPHAD, 115
-
-
-  MAN, SAVAGE, 94, 95
-
-  MANTLING, 79, 88, 94, 95, 135, 136, 137, 179, 220, 237, 244
-
-  MAR AND KELLIE, ARMS OF THE EARL AND COUNTESS OF, 219
-
-  MARTLET, 229, 288
-
-  MAUNCHE, 141, 280
-
-  MAXIMILIAN I, EMPEROR, 86, 87
-
-  MEDAL WITH DIAPER, 116
-
-  MEDALS, ITALIAN, 93
-
-  MEDICI BADGE, 267
-
-  MEMORIAL BRASS, 184
-
-  MITRE, 243
-
-  MONOGRAM, 221
-
-  MORTAR, BRONZE, 188
-
-  MOTTOES, 30, 64, 86, 88, 184, 202, 218, 220, 221, 233, 237, 239,
-    256, 267
-
-  MULLET, 288
-
-  MURAL CROWN, 273;
-    decoration, 64, 86
-
-
-  NAVAL CROWN, 273
-
-  NEBULÉE, 57
-
-
-  OCKWELLS GLASS, 237, 239
-
-  ORLE, 59
-
-  OSTRICH FEATHERS, 267
-
-
-  PAGEANT CAR, part of, 86
-
-  PALE, 51, 115, 157, 161, 219
-
-  PALE, DIAPERED, 113
-
-  PALLETS ON A CHEVRON, 69
-
-  PALY, 48
-
-  PANACHE CREST, 125, 135
-
-  PANEL BY DONATELLO, 104
-
-  ” IN CHISELLED IRON, 193
-
-  ” IN COPPER, 71
-
-  PAN-PIPE, 270
-
-  PAPAL keys, 210;
-    tiara, 210
-
-  PARTED AND FRETTY, 53
-
-  PAUL III, ARMS OF POPE, 210
-
-  PAVOISE, 26
-
-  PELICAN, 93
-
-  PER BEND, 47
-
-  ” CHEVRON, 47
-
-  ” FESS, 47;
-    indented, 239
-
-  ” PALE, 47, 49
-
-  ” SALTIRE, 47
-
-  PHEON, 281
-
-  PHŒNIX, 93
-
-  PILE, 54
-
-  PISANO, MEDAL BY, 93
-
-  PLATE PREPARED FOR ENAMEL, 174
-
-  POINTS OF THE SHIELD, 41
-
-  POKER WORK, 218
-
-  PORCUPINE, 206, 213
-
-  PORTCULLIS, 282
-
-  POTENT, 46
-
-  POWDER-HORN, 196
-
-  PRINCE OF WALES’ CORONET, 153
-
-  PRINTER’S MARK, HERALDIC, 94
-
-  PYROGRAPHY, 218
-
-
-  QUARTERLY, 47
-
-  QUATREFOIL, 282
-
-
-  REPOUSSÉ SHIELD, 195
-
-  ROSE, 107, 147, 288;
-    irradiated, 107
-
-  ROSES, 49
-
-  ROUNDLES, 241
-
-  ROYAL ARMS, 9, 18, 60, 77, 89, 149, 186, 187, 211, 214, 227, 237
-
-  ” CREST, 233
-
-
-  ST. EDMUND, ARMS OF, 272
-
-  SALTIRE, 53, 140
-
-  SAVAGE MAN, 94, 95
-
-  SCALES, 86
-
-  SCULPTURED ARMS, 147
-
-  SEAL, Gold Bulla of Henry VIII, 149;
-    of Anne, Countess of Devon, 140;
-    of Anthony de Bec, Bishop of Durham, 98;
-    of Charles IV, 92;
-    of Dauphin, 93;
-    of Edmond Beaufort, Duke of Somerset, 141;
-    of Henry IV, 18;
-    of John de Segrave, 139;
-    Privy, of Henry VIII, 89;
-    of Ralph Neville, Earl of Westmoreland, 140;
-    of Sandwich, 84;
-    of Sigismund, 92;
-    of William Lord Hastings, 141;
-    Segrave Seal, 149
-
-  SERPENT, 89, 195;
-    nowed, 256
-
-  SGRAFFITO FRIEZE, 209
-
-  ” PANEL, 210
-
-  SHIELD, 88, 89, 94, 95, 136, 137, 237, 239, 244;
-    bronze, by Donatello, 189;
-    cusped, fifteenth and sixteenth century, 32;
-    decoration, 30, 31;
-    diapered, 112, 113, 115;
-    embroidered, 253;
-    from the tomb of Prince Edmund of Langley, 90;
-    in enamel, 176;
-    in gesso, 161, 219;
-    Italian, 145, 210;
-    of the Black Prince, 9;
-    points of, 41
-
-  SHIELDS AT ALLOA HOUSE, 113, 115, 157;
-    decorated, 33, 34, 36;
-    derived from the tournament form, 33;
-    fourteenth century, 24;
-    heater shape, 24, 25;
-    in gesso, 113, 115, 157, 220, 221;
-    Norman, 22;
-    ridged, 27, 28;
-    square, 25;
-    tournament, 26, 33
-
-  SHIP, 115
-
-  SHIPS, CONJOINED WITH LIONS, 84
-
-  SNAKE, 89, 195
-
-  SPADE, 283
-
-  SPEAR, TILTING, 283
-
-  SRUTTLE, 283
-
-  STABIUS, ARMS OF, 136
-
-  STAFFORD KNOT, 278
-
-  STAINED GLASS, 227, 229, 230, 231, 232, 233, 235, 237, 239, 241, 242,
-    243, 244
-
-  STANDARD, 256
-
-  SUPPORTERS, 86, 88, 89, 140, 141, 145, 186, 187, 196, 211, 209, 211;
-    royal, 237
-
-  SWAN, 234
-
-  SWORD, 88, 136
-
-  SYON COPE, ARMS FROM, 248
-
-  SYRINX, 270
-
-
-  TALPAS, MEDAL BY, 93
-
-  THISTLE COLLAR, 161
-
-  TIARA, PAPAL, 210
-
-  TIGER, HERALDIC, 141
-
-  TILTING HELM, 121;
-    spear, 283
-
-  TINCTURES, 44
-
-  TOISON D’OR BADGE, 86, 87, 251;
-    collar, 193
-
-  TORSE, FLORENTINE, 134
-
-  TOURNAMENT COLLAR, 287
-
-  TOURNEY HELM, 124
-
-  ” HELM AND CREST, 136
-
-  TREFOIL, 256, 284
-
-  TRESSURE, 59, 219
-
-  TRICKED ARMS, 55
-
-  TSCHERTTS, ARMS OF, 95
-
-  TUDOR CROWN, 140
-
-
-  UNICORN, 86, 231
-
-  UNION JACK, 259
-
-
-  VAIR, 45, 151;
-    ancient form of, 46
-
-  VARIOUS LINES, 56
-
-
-  WAKE AND ORMOND KNOT, 279
-
-  WARWICK, ARMS OF THE EARL OF, 236
-
-  WATER BOUGET, 284
-
-  WEIDLITZ, HANS, 94
-
-  WELDON, W. H., CREST OF, 179
-
-  WILLIAM DE VALENCE SHIELD, 176
-
-  WINGS, 94;
-    dragons’, 88
-
-  WINGS CONJOINED IN LURE, 151
-
-  WINNOWING FAN, 283
-
-  WIRSUNG, ARMS OF, 94
-
-  WOLSEY, CARDINAL, ARMS OF, 147
-
-  WOOD-CARVING, 211
-
-  WYVERN, 94
-
-
-
-
-Transcriber’s Note:
-
-Minor errors and omissions in punctuation, hyphenation, and
-capitalization have been fixed.
-
-Some words with potential alternative spellings were left as in the
-text, including jowlopped, marygold, spandrils, Poictiers, applique,
-and gouttee.
-
-Page 55: Three instances of non-Unicode shapes have been designated
-by [Shape]. [Shape 1] is similar to an Greek lambda (Λ), but obtuse.
-[Shape 2] is a circle with a dot in the middle and five lines radiating
-from it. [Shape 3] is a cross with three arcs on the top.
-
-Page 58: “displaying an augumentation” changed to “displaying an
-augmentation”.
-
-Page 62: “known as guttee or goutee” changed to “known as guttée or
-gouttee”.
-
-Page 99: “patée or formee” changed to “patée or formée”.
-
-Page 100: “Cross Pomell” changed to “Cross Pommel” in the Fig. 118
-caption.
-
-Page 106: “Maltesta in Italy” changed to “Malatesta in Italy”.
-
-Page 111: “like the semé” changed to “like the semée”.
-
-Page 119: “more or less cylindical” changed to “more or less
-cylindrical”.
-
-Page 173: “Champlévé is usually” changed to “Champlevé is usually”.
-
-Page 216: “in this way car” changed to “in this way care”.
-
-Page 279: “J. Robinson Planche” changed to “J. Robinson Planché”.
-
-Index entry spellings were changed to match the spelling in the text:
-
-Page 295: “furchee” in the index changed to “furchée”.
-
-Page 295: “botonée” in the index changed to “bottonée”.
-
-Page 295: “Durer” in the index changed to “Dürer”.
-
-Page 296: “French chateaux” in the index changed to “French châteaux”.
-
-Page 298: “Lambriquins” in the index changed to “Lambrequins”.
-
-Page 298: “Nebulee” in the index changed to “Nebulée”.
-
-Page 298: “Ogresse” in the index changed to “Ogress”.
-
-Pages 299, 307: “Earl of Westmorland” in the index changed to “Earl of
-Westmoreland”.
-
-Page 304: “crosslet fitché” in the index changed to “crosslet
-fitchée”.
-
-Page 304: “patonce” in the index changed to “patonee”.
-
-Page 305: “Chateau de Blois” in the index changed to “Château de Blois”
-in two places.
-
-Page 297, 305: “Gyrony” in the index changed to “Gyronny”.
-
-Page 306: “saliant” in the index changed to “salient”.
-
-*** END OF THE PROJECT GUTENBERG EBOOK HERALDRY AS ART ***
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the
-United States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away--you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world at no cost and with almost no
-  restrictions whatsoever. You may copy it, give it away or re-use it
-  under the terms of the Project Gutenberg License included with this
-  eBook or online at www.gutenberg.org. If you are not located in the
-  United States, you will have to check the laws of the country where
-  you are located before using this eBook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that:
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg-tm trademark. Contact the Foundation as set
-forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-Section 3. Information about the Project Gutenberg Literary
-Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation's website
-and official page at www.gutenberg.org/contact
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without
-widespread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our website which has the main PG search
-facility: www.gutenberg.org
-
-This website includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/69298-0.zip b/old/69298-0.zip
deleted file mode 100644
index 8d6f499..0000000
--- a/old/69298-0.zip
+++ /dev/null
diff --git a/old/69298-h.zip b/old/69298-h.zip
deleted file mode 100644
index 42e68b7..0000000
--- a/old/69298-h.zip
+++ /dev/null
diff --git a/old/69298-h/69298-h.htm b/old/69298-h/69298-h.htm
deleted file mode 100644
index b7d1eaf..0000000
--- a/old/69298-h/69298-h.htm
+++ /dev/null
@@ -1,11222 +0,0 @@
-<!DOCTYPE html>
-<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
-<head>
-    <meta charset="UTF-8">
-    <title>
-      Heraldry As Art, by G. W. Eve—A Project Gutenberg eBook
-    </title>
-    <link rel="icon" href="images/cover.jpg" type="image/x-cover">
-    <style> /* <![CDATA[ */
-
-body {
-    margin-left: 10%;
-    margin-right: 10%;
-}
-
-    h1,h2,h3 {
-    text-align: center; /* all headings centered */
-    clear: both;
-}
-
-p {
-    margin-top: .51em;
-    text-align: justify;
-    margin-bottom: .49em;
-    text-indent: 1em;
-}
-
-.l0		  {text-indent:0em;}
-.l15	  {margin-left:15%;}
-.p2       {margin-top: 2em;}
-.p4       {margin-top: 4em;}
-.b2		  {margin-bottom: 2em;}
-.b4		  {margin-bottom: 4em;}
-.i5		  {text-indent: 5em; margin-top: 0em; margin-bottom:0.5em;}
-
-.table {display:table;}
-.row { display:table-row;}
-.cell {display:table-cell;}
-.width-143 {width:14.3%;}
-.full-width {width:100%;}
-.vamid {vertical-align:middle;}
-.bracket {vertical-align:top; margin: 0; font-size: 4.25em;}
-div.onleft	   { margin-left: 1em;}
-div.img {margin-left: 15%; margin-right: 15%; width:70%; margin-bottom: 2em;}
-div.cell30 {width: 30%; display: table-cell;}
-div.cell15c {width: 15%; text-align: center; display: table-cell;}
-div.cell20l {width: 20%; text-align: left; display: table-cell;}
-div.cell15r {width: 15%; text-align: right; display: table-cell;}
-div.cell50 {width: 50%; display: table-cell;}
-.x-ebookmaker .table {width: 100%;}
-
-hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;}
-@media print { hr.chap {display: none; visibility: hidden;} }
-
-div.chapter {page-break-before: always;}
-h2.nobreak  {page-break-before: avoid;}
-
-ul.index { list-style-type: none;}
-li.ifrst {
-    margin-top: 1em;
-    text-indent: -2em;
-    padding-left: 1em;
-}
-li.indx  {
-    margin-top: .5em;
-    text-indent: -2em;
-    padding-left: 1em;
-}
-li.isub2 {
-    text-indent: -2em;
-    padding-left: 3em;
-}
-
-table {
-    margin-left: auto;
-    margin-right: auto;
-    width: 70%;
-}
-table.autotable    { border-collapse: collapse; }
-table.autotable td,
-table.autotable th {padding: 4px;}
-.x-ebookmaker table {width: 95%;}
-
-.tdl      {vertical-align: top; text-align: left;}
-.tdm	  {vertical-align: middle;}
-.tdr      {text-align: right;}
-.tdc      {text-align: center;}
-
-.pagenum { /* uncomment the next line for invisible page numbers */
-    /*  visibility: hidden;  */
-    position: absolute;
-    left: 92%;
-    font-size: small;
-    text-align: right;
-    font-style: normal;
-    font-weight: normal;
-    font-variant: normal;
-    color: grey;
-    text-indent: 0;
-} /* page numbers */
-
-.blockquot {
-    margin-left: 5%;
-    margin-right: 5%;
-}
-
-.pxi {text-indent: -2em;}
-
-.center   {text-align: center;
-		   text-indent: 0em;}
-
-.right    {text-align: right;
-		   text-indent: 0em;}
-
-.left	  {text-align: left;
-		   text-indent: 0em;
-		   margin-bottom: 0em;
-		   margin-top: 0em;}
-
-.smcap    {font-variant: small-caps;}
-
-.allsmcap {font-variant: small-caps; text-transform: lowercase;}
-
-.small	  {font-size: 0.8em;}
-
-.big	  {font-size: 1.2em;}
-
-.vvbig	  {font-size: 1.6em;}
-
-.vbig	  {font-size: 1.4em;}
-
-.caption  {font-weight: bold; font-size: small; text-align: center;}
-
-.picpage {
-  page-break-before: always;
-  page-break-after: always;
-}
-
-abbr[title] {text-decoration:none;}
-
-/* Images */
-
-img {
-	max-width: 100%;
-    height: auto;
-    vertical-align: middle;
-}
-img.w100 {width: 100%;}
-img.h200  {height: 200px;}
-img.h800 {height: 800px;}
-img.w98  {width:98%;}
-img.w75	 {width: 75%;}
-img.w60  {width: 60%;}
-img.w50  {width: 50%;}
-img.w35  {width: 35%;}
-img.w25  {width: 25%;}
-img.w15  {width: 15%;}
-img.w18	 {width: 18px;}
-.x-ebookmaker .img {width: 100%;}
-.x-ebookmaker .figcenter {width: 95%; margin-left: 2.5%; margin-right: 2.5%;}
-.x-ebookmaker .figpub {width: 25%;}
-.x-ebookmaker .figinline {width: 4%;}
-
-div.mb0 {margin-bottom: 0em;}
-
-.figcenter {
-    margin: auto;
-    text-align: center;
-    page-break-inside: avoid;
-    max-width: 100%;
-    margin-top: 1em;
-    margin-bottom: 1em;
-}
-
-.figpub {
-    margin: auto;
-    text-align: center;
-    page-break-inside: avoid;
-    margin-top: 1em;
-    margin-bottom: 1em;
-}
-
-/* Footnotes */
-.footnotes        {border: 1px dashed;}
-
-.footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em; margin-top: 1em;}
-
-.footnote .label  {position: absolute; right: 84%; text-align: right;}
-
-.fnanchor {
-    vertical-align: super;
-    font-size: .8em;
-    text-decoration:
-    none;
-}
-
-.title-page {
-  text-align: center;
-  page-break-before: always;
-  page-break-after: always;
-}
-
-/* Transcriber's notes */
-.transnote {background-color: #E6E6FA;
-    color: black;
-     font-size:smaller;
-     padding:0.5em;
-     margin-bottom:5em;
-     font-family:sans-serif, serif; }
-
-/* ]]> */ </style>
-</head>
-<body>
-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Heraldry as art, by G. W. Eve</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online
-at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Heraldry as art</p>
-<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>An account of its development and practice chiefly in England</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: G. W. Eve</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: November 5, 2022 [eBook #69298]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: deaurider, Amber Black and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK HERALDRY AS ART ***</div>
-
-<p class="center p2"><span class="figcenter" id="cover">
-<img src="images/cover.jpg" class="w50" alt="Cover">
-</span></p>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="title-page">
-
-<h1>HERALDRY AS ART</h1>
-
-<hr class="chap x-ebookmaker-drop">
-
-<p class="center vvbig">HERALDRY AS ART</p>
-
-<p class="center big">AN ACCOVNT OF ITS<br>
-DEVELOPMENT AND PRACTICE<br>
-CHIEFLY IN ENGLAND</p>
-
-<p class="center big p2">BY</p>
-
-<p class="center vbig">G. W. EVE</p>
-
-<p class="center p2"><span class="figpub" id="pubmark">
-<img src="images/pubmark.jpg" class="w25" alt="Publisher's Mark">
-</span></p>
-
-<p class="center big p2">  B. T. BATSFORD, 94 HIGH HOLBORN<br>
-  LONDON 1907</p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop">
-
-<p class="center small p4 b4">  <span class="smcap">Butler &amp; Tanner,<br>
-  The Selwood Printing Works, <br>
-  Frome, and London.</span>
-</p>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_v">[Pg v]</span></p>
-
-<h2 class="nobreak" id="Preface">Preface</h2>
-</div>
-
-
-<p>The intention of this book is to assist the workers in the many arts
-that are concerned with heraldry, in varying degrees, by putting before
-them as simply as possible the essential principles of heraldic art.</p>
-
-<p>In this way it is hoped to contribute to the improvement in the
-treatment of heraldry that is already evident, as a result of the
-renewed recognition of its ornamental and historic importance, but
-which still leaves so much to be desired.</p>
-
-<p>It is hoped that not only artists but also those who are, or may
-become, interested in this attractive subject in other ways, will find
-herein some helpful information and direction. So that the work of the
-artist and the judgment and appreciation of the public may alike be
-furthered by a knowledge of the factors that go to make up heraldic
-design and of the technique of various methods of carrying it into
-execution.</p>
-
-<p>To this end the illustrations have been selected from a wide range of
-subjects and concise descriptions of the various processes have been
-included. And although the scope of the book cannot include all the
-methods of applying heraldry, in Bookbinding, Pottery and Tiles for
-example, the principles that are set forth will serve<span class="pagenum" id="Page_vi">[Pg vi]</span> all designers
-who properly consider the capabilities and limitations of their
-materials.</p>
-
-<p>For many facilities in the preparation of the work I here beg to tender
-my very sincere thanks. To the Countess of Derby for the gracious
-loan of her bookplate; to the Earl of Mar and Kellie for permission
-to reproduce the shields at Alloa House; to <abbr title="mister">Mr.</abbr> W. H. Weldon, Norroy
-King of Arms, for the enamel plaque of his crest; to <abbr title="mister">Mr.</abbr> W. Brindley
-for a cast of the Warren shield; to <abbr title="mister">Mr.</abbr> N. H. J. Westlake for the
-Arms of Queen Jane Seymour, from his <i>History of Stained Glass</i>;
-to Messrs. Hardman of Birmingham for the loan of the Pugin drawings;
-to Messrs. E. C. and T. C. Jack for a reproduction of an embroidered
-shield.</p>
-
-<p>My best thanks are also due to Monsieur Emil Levy for leave to use
-illustrations from the Catalogue of the Spitzer Collection; to the
-Society of Antiquaries for the Black Prince’s shield; to the Society
-of Arts for the loan of sundry blocks; and to the officials of the
-Victoria and Albert Museum and the National Art Library for their usual
-and invariable helpfulness. Finally I am especially indebted to my
-publishers, Messrs. Batsford, who have spared neither time nor trouble
-on my behalf.</p>
-
-<p class="right big">G. W. E.</p>
-
-<p class="left p2 big"><span class="smcap">23, Sheen Gate Mansions,</span></p>
-<p class="i5 big"><span class="smcap">East Sheen, <abbr title="southwest">S.W.</abbr></span></p>
-<p class="left big"><i>October</i>, 1907.</p>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_vii">[Pg vii]</span></p>
-
-<h2 class="nobreak" id="Contents">Contents</h2>
-</div>
-
-<table class="autotable">
-<tr>
-<td></td>
-<td></td>
-<td class="tdr">PAGE</td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter I.</span></td>
-<td class="tdl"><b>INTRODUCTORY</b></td>
-<td class="tdr"><a href="#Page_1">1</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">The Origin of Heraldry—Its Uses—Symbolism—Artistic Development—
-The Character of Mediaeval Treatment—The Personal Quality—Fourteenth century Examples—The
-Influence of the Tournaments—Renaissance Heraldry—Decadence—Gothic Revival—The Use of Examples—
-The Aims of Heraldic Design.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter II.</span></td>
-<td class="tdl"><b>THE EVOLUTION OF SHIELD FORMS</b></td>
-<td class="tdr"><a href="#Page_16">16</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">The Achievement—Its Composition and Proportions—Modifications of Proportion—The
-Design of the Heraldic Group—Essential Qualities—Variability of Grouping—The Shield—Its
-Structure and Shape as a Fighting Defence—The Norman Shield and its Successors—Shields “for Peace”
-—Pageant Shields—How they were Made—The Tournament Shield—Evolution of Decorative Forms—Foliated
-Shields—Fifteenth and Sixteenth Century Examples—Freedom in Shield Design—Heraldic Accuracy—What
-is Essential.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter III.</span></td>
-<td class="tdl"><b>HERALDIC RULES</b></td>
-<td class="tdr"><a href="#Page_39">39</a></td>
-</tr>
-</table>
-<span class="pagenum" id="Page_viii">[Pg viii]</span>
-<table class="autotable">
-<tr>
-<td></td>
-<td class="tdl">A Simple Manual of Heraldic Facts—The Shield Surface—The Tinctures—Divisions of
-the Field—Ordinaries—Sketches “in Trick”—Charges and their Arrangement.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter IV.</span></td>
-<td class="tdl"><b>ANIMALS AND MONSTERS</b></td>
-<td class="tdr"><a href="#Page_66">66</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">The Heraldic Lion as a Type—Examples of Various Periods—Heraldic Character—
-Obligatory Poses and Decorative Distribution—Methods of Spacing—Characterization—Imaginary
-Creatures—Unicorns, Dragons and Griffins.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter V.</span></td>
-<td class="tdl"><b>HERALDIC BIRDS AND OTHER FIGURES, ANIMATE AND INANIMATE</b></td>
-<td class="tdr"><a href="#Page_89">89</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">Eagles—Early Types—Plan of Distribution—Other Birds—Bird Monsters—
-Human Figures—Inanimate Charges—Crosses of many Forms—Fleurs-de-lis—Examples
-of Various Periods—The Rose—The Irish Harp—Surface Treatment—Diaper, its use in Sculpture,
-Painting and Engraving—Diapers of Badges.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter VI.</span></td>
-<td class="tdl"><b>HELM, CREST AND MANTLING</b></td>
-<td class="tdr"><a href="#Page_117">117</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">The Helm—Its Structure—Ceremonial Use—Development as Armour—Helmets and their
-Mechanism—Tourney Helms—The Crest—How Made and Fixed—Examples of Actual Crests—Influence
-of Practical Conditions on their Pose—Difficulties in Design and How to Deal with Them—
-The Pose of Helmets—The Torse—Mantling—Its Evolution from Simple Drapery—Its Treatment
-in Relation to Shield and Crested Helm—Colour—Certain Restrictions.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter VII.</span></td>
-<td class="tdl"><b>ARMORIAL ACCESSORIES</b></td>
-<td class="tdr"><a href="#Page_139">139</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">Supporters—Derivation from Badges—Special Conditions of their Pose—
-Non-Heraldic Supporters—Amorini—Angels—Symbolic Figures—The Eagle of the Holy Roman
-Empire—And of Prussia—The Imperial Crown—Authorized Type for Present Use—The Coronet of the
-Prince of Wales—Coronets of Peers—The Question of the Cap—Baronets’ Badges—Insignia
-of Knighthood—The Garter—The Collar and George—Other Orders—Relation of Orders to the
-Shield—Their Importance as Indications of Relative Rank—Typical Examples.<br><br></td>
-<td></td>
-</tr>
-</table>
-<span class="pagenum" id="Page_ix">[Pg ix]</span>
-<table class="autotable">
-
-<tr>
-<td class="tdl"><span class="smcap">Chapter VIII.</span></td>
-<td class="tdl"><b>METHODS AND MATERIALS</b></td>
-<td class="tdr"><a href="#Page_164">164</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">Illumination—Practical Directions—Methods of the Early Illuminators—Colour
-Treatment—Heraldry in Enamel—Champlevé Enamel, Personal and Monumental—The Cloak Clasp of
-Queen Eleanor—The Shield of William de Valence—Stall-plates of the Garter—“Limoges” Enamel—
-Heraldic Enamel by Nardon Penicaud—Bassetaille—Plique-a-jour—Heraldry in Metal—Application
-of Old Examples to Present Use—Bronze—Monumental Brasses—Cast Iron Firebacks—Pierced and
-Chiselled Iron Lock-plates—Keys—Repoussé—Engraved Metal—Ceremonial Weapons and Implements—
-Lead-work—Deposited Metal.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter IX.</span></td>
-<td class="tdl"><b>ARCHITECTURAL DECORATION</b></td>
-<td class="tdr"><a href="#Page_204">204</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">Badges at Blois—And at Hampton Court—Sculpture—Sgraffito—Gesso as a Material
-for Heraldic Relief—Methods of Preparation—A Series of Shields in Painted Gesso—Poker Work—
-Schemes of Decoration—Stained Glass—Technical Conditions—Colour Scheme—Working Drawings—
-Pugin’s Designs for the Houses of Parliament—Powell’s Drawings—Armorial Windows at Ockwells
-Manor—Painted Windows in Florence—The Swiss Painted Glass—Holbein.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter X.</span></td>
-<td class="tdl"><b>EMBROIDERED HERALDRY</b></td>
-<td class="tdr"><a href="#Page_246">246</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">Surcoats—Bardings—Embroidered Linen—Banners—Appliqué Work—Embroidered Badges—
-The Toison d’or of Charles the Bold—Standards—The Proportions of Banners from Early Times—
-The Direction of their Charges and the Reasons therefor—The Composition of the Union Jack—
-Practical Explanation of its Construction—Painted Banners—How Prepared—Trumpet Banners—
-Heraldic Lace.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter XI.</span></td>
-<td class="tdl"><b>SOME MISCELLANEOUS CHARGES</b></td>
-<td class="tdr"><a href="#Page_267">267</a></td>
-</tr>
-</table>
-<span class="pagenum" id="Page_x">[Pg x]</span>
-<table class="autotable">
-<tr>
-<td></td>
-<td class="tdl">Heraldic Crowns—Chaplets—Roundels—Knots.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Chapter XII.</span></td>
-<td class="tdl"><b>MARKS OF CADENCY</b></td>
-<td class="tdr"><a href="#Page_286">286</a></td>
-</tr>
-<tr>
-<td></td>
-<td class="tdl">The Origin of the Label—Its Shape and Varieties—Ordinary Marks of Cadency—
-Their Significance—How Displayed—Royal Cadency—The Distinguishing Marks of Cadency of Present
-Personages of the Blood Royal.<br><br></td>
-<td></td>
-</tr>
-<tr>
-<td class="tdl"><span class="smcap">Index</span></td>
-<td></td>
-<td class="tdr"><a href="#Page_293">293</a><br><br></td>
-</tr>
-</table>
-<table class="autotable">
-<tr>
-<td class="tdl"><span class="smcap">Analytical Index to Illustrations</span></td>
-<td></td>
-<td class="tdr"><a href="#Page_303">303</a></td>
-</tr>
-</table>
-
-<hr class="chap x-ebookmaker-drop">
-
-<p><span class="pagenum" id="Page_1">[Pg 1]</span></p>
-
-<p class="vbig center p2 b2"><b>HERALDRY AS ART</b></p>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter b2">
-<h2 class="nobreak" id="CHAPTER_I">CHAPTER I<br><br>
-Introductory</h2>
-</div>
-
-<p>In dealing with heraldry from the artist’s point of view, as a
-decorative subject which offers interesting scope for technical effort,
-it will not be necessary to go overmuch into the question of its
-origin, nor to elaborate its history beyond what is needed to give such
-knowledge of its methods as may help the doing of present work or the
-intelligent appreciation of the old. Nevertheless, the archaeological
-aspect of the subject, the conditions and rules of its existence,
-must also be carefully studied in order to ensure the correctness of
-the statement that heraldry makes and of which heraldic art is the
-expression.</p>
-
-<p>As for its origin, we may safely say that heraldry, in its essence,
-began when man first used natural forms to symbolize, and ascribe to
-himself, those qualities—strength, courage, cunning—which he had full
-cause to recognize in the beasts with whom he struggled for existence;
-when he reproduced, as well as he could, their ferocious aspect, to
-strike terror into his human enemies while satisfying his own warlike
-vanity, and so adopted them as badges or even as totems.</p>
-
-<p><span class="pagenum" id="Page_2">[Pg 2]</span></p>
-
-<p>In Europe heraldry began to be systematized (as we know it) somewhere
-about the eleventh century, and it flourished exceedingly until about
-the middle of the sixteenth century, the period thus indicated being
-that of its greatest strength and beauty.</p>
-
-<p>The development of defensive armour dictated the placing on it of
-the badges that had for long been used in other ways, so that, being
-depicted on the shield, they became the arms, and became the crest when
-displayed on the head-piece. The device worked on the garment which
-covered the body armour made it a veritable <i>coat of arms</i>, and
-this term, as well as that of coat armour, came in time to be also
-applied to the similar armorials of the shield.</p>
-
-<p>The Crusades, in their aggregation of troops of various nationalities,
-helped to extend, in showing the necessity for, a regular system of
-heraldry as a means of distinguishing one party from another, and the
-feudal system itself with its numerous groups, each under its knightly
-or noble head in ever-extending subordination, conduced to the same end.</p>
-
-<p>The Tournaments which played so brilliant a part in the splendours of
-the Middle Ages also afforded fresh and greatest scope for heraldic
-magnificence. Being restricted for the most part to competitors of
-noble birth, many of whom were attracted from distant places, they
-afforded opportunity for observation and comparison of the various
-bearings. They naturally suggested the inclusion of foreign as well
-as native armorials in the heraldic <abbr title="manuscript">MS.</abbr> of the times, as we find
-them depicted in the Rolls of Arms. The necessity for well-ordered
-arrangement<span class="pagenum" id="Page_3">[Pg 3]</span> soon made itself felt, and thence was evolved systematic
-heraldry as it now exists. The rules thus originated, being based on
-the ever-present difficulties which arose in the actual use of coat
-armour, were admirable for their purpose, for they were devised with
-a common-sense regard for the conditions under which they were to be
-applied, were at first simple and therefore easily understood.</p>
-
-<p>The manner in which the arms were displayed was the most conspicuous
-that was possible, every suitable space that offered itself being
-employed to bear them in one form or another. Thus in time they
-appeared on the shield, helmet and surcoat, and also on the ailettes,
-those flat pieces of steel which were used to still further deflect a
-blow which had slid from the helmet and might otherwise have injured
-the shoulder.</p>
-
-<p>The use of heraldry in battle or tournament by no means exhausted its
-possibilities, however, for even in the warlike Middle Ages armorials
-were used by priests and women, and by statesmen whose services were
-those of the council chamber rather than of the field. In every case
-their strong personal and allusive quality was felt to the full,
-and intensified the human interest in ordinary things. So that the
-enamelled brooch of Queen Eleanor, with its arms of her warrior
-husband Edward I linked with her own, becomes something more than a
-mere fastening; and the armorial robes of the noble wife who wears her
-husband’s armorials on her mantle, covering and protecting her own arms
-embroidered on her gown, are made beautiful expressions of a chivalrous
-idea.</p>
-
-<p><span class="pagenum" id="Page_4">[Pg 4]</span></p>
-
-<p>Heraldry was made especially interesting by the symbolic meanings which
-it embodied, thus expressing in its own way a very universal desire for
-significance in decorative forms. In the Middle Ages, especially full
-as they were of militant fervour and chivalric mysticism, symbolism
-entered into everything. Not the heraldry alone but every part of a
-knight’s armour had a mystic meaning, the knowledge of which was an
-important part of a knightly education. Many of these meanings are
-quaintly set forth in one of the books that Caxton printed, <i>The
-Order of Chivalry</i>. Therein the shield is considered as the especial
-emblem of its bearer and of his knightly duty, for “like as the stroke
-falleth down upon the shield and saveth the knight right so the knight
-ought to apparel him and present his body tofore his lord when he is in
-peril hurt or taken.” Even the manner of doing things was underlaid by
-beautiful ideas. So he who bore the sword of Justice in a ceremony was
-enjoined to bear it truly upright, for Justice should lean neither to
-one side nor the other, but be impartial between the two.</p>
-
-<p>Besides the creatures (lions and so forth) which were taken to signify
-strength, courage, fidelity and other virtues, there were also those
-which symbolized the great mystery of the perpetuation of life, which
-has appealed to the imagination of man throughout historic times. The
-Peacock, in the periodical renewing of his splendour of plumage; the
-Swan, emerging in spotless beauty from the dusky obscurity of its
-cygnet state, both expressed this universal idea. To Christian chivalry
-the Peacock typified the Resurrection and therefore Immortality,
-and<span class="pagenum" id="Page_5">[Pg 5]</span> the Swan became the emblem of that cult of womanhood which was
-so beautiful and characteristic of knightly regard. The symbolism of
-the Cross and the emblems of saints and martyrs form a large part of
-heraldry, as is natural. Plants and flowers were naturally taken to
-express beautiful qualities—constancy, purity, love—as with similar
-intention they may still be acceptably employed in the wreaths and
-garlands which are, on occasion, associated with armorials.</p>
-
-<p>Symbolism of this kind has been lost to heraldry, not, however, leaving
-it without significance; for arms have also allusive meanings that are
-no less interesting as records of incidents that are thought worthy of
-remembrance.</p>
-
-<p>Many mediaeval bearings originated in this way, the belt and buckles
-of Pelham, which commemorate the capture of the French king at
-Poitiers, for instance. The more modern kind of heraldic symbolism
-occurs in the arms of the great Admiral Sir Cloudesley Shovel, who
-commemorated his victory over the fleets of Turkey and France at the
-end of the seventeenth century by adding two crescents in chief, and a
-fleur-de-lis in base to his existing coat, gules a chevron ermine. In
-our own time successful generals embody in their armorials the badges
-of regiments with which they have been connected, or bear allusions to
-places where their successes have been won. In a more peaceful field
-the skill and assiduity of a distinguished physician may be rewarded by
-the addition to his arms of some part of the Royal insignia, to mark
-for all time the services he has rendered to the State. Such arms are
-conferred by special<span class="pagenum" id="Page_6">[Pg 6]</span> grant, and are called Arms of Augmentation or
-Augmentations of Honour. In this way the inherent qualities of heraldry
-are seen to be very stable and to remain constant through the ages in
-spite of changes of manners and of general environment.</p>
-
-<p>Our heraldry, which quickly reached a high degree of decorative
-excellence, developed as a system, in a natural way, on the line of its
-own necessities; as did its artistic expression in a great measure,
-though the latter owed much to transmitted designs and (mainly through
-the influence of the textiles and other importations) helped to
-perpetuate in Western art the beasts and birds and strange composite
-conceptions of the East. These ancient prototypes of familiar heraldic
-forms are singularly interesting, as sometimes possessing in a very
-marked degree qualities, such as vigorous expression and characteristic
-generalization of form, which teach valuable lessons in their
-application to modern use.</p>
-
-<p>Although at first the mediaeval draughtsman followed the drawing of
-his imported or traditional motives very closely (as in the lions of
-some of the thirteenth century MSS. and seals), he soon began to treat
-them in his own way, the way that came to be considered peculiarly
-heraldic. In thus handling his motives he was entirely himself, and the
-outcome was the natural result of the splendid sense of design which
-characterized him. The style is rightly considered purely heraldic
-because it arose from its own heraldic conditions, and was the result
-of the very sane intention that the thing done should be suited to
-the use to which it was to be put, <abbr title="videlicet">viz.</abbr> to serve as a distinctive
-badge which could be seen, and easily<span class="pagenum" id="Page_7">[Pg 7]</span> read at a distance or when
-in motion. Such conditions dictated simple directness of treatment
-and resulted in that bold clear definition which combined with good
-distribution and the fine balance of colour that results from it, to
-produce a very decorative whole. Thus, as so frequently happens in
-other ways, the treatment at first suggested by reasons of practical
-convenience resulted in an effect of great decorative value. The
-method of depicting the pattern-like figures varied, as was natural,
-with the materials employed and with other varying circumstances, and,
-where opportunity served, a high degree of elaboration was reached;
-but whether the treatment was simple or elaborate, breadth of effect
-and decorative quality are nearly always conspicuous. The various
-methods of working, each satisfactory in its own way, are extremely
-interesting, as giving historic sanction to the choice of treatment in
-heraldic expression, and in opposition to the narrow view that as a
-certain kind of work admirably suits its purpose in its own place that
-same treatment should be obligatory in all other cases. The old work
-confirms the broader view, so that when a flat treatment, for example,
-in harmony or in contrast with surrounding decoration, seems desirable,
-the armorials may be done flatly; and when, on the other hand, a more
-elaborate treatment seems fit, modelling in relief or any other means
-of decorative expression may be properly employed. Nevertheless, the
-broad-minded advice to “do as you like” has been sometimes taken too
-literally. Order as well as freedom is necessary to the doing of good
-work, and that can only be secured by study of the subject from the
-systematic<span class="pagenum" id="Page_8">[Pg 8]</span> or archaeological, as well as from the artistic side.</p>
-
-<p>Heraldic art reached its greatest strength in the fourteenth century,
-as appears in what was perhaps the most beautiful example of the work
-of the period, the shield of arms in Canterbury Cathedral, said to be
-that of Edward the Black Prince (<abbr title="figure">Fig.</abbr> 1). It is probably one of the
-shields that were used for his funeral. Here the lions of the English
-coat are admirably distributed and are full of power and spirit. The
-fleurs-de-lis of France are beautifully free and graceful, and are
-equally well-designed to occupy their spaces and as well proportioned
-to them. The whole work, which is so valuable a lesson in the best
-qualities of heraldic design, has suffered from the wear of the
-centuries; but sufficient remains to show that when uninjured it must
-have been superb.</p>
-
-<p>Heraldic art continued finely decorative and expressive for a very
-considerable time until the forms which had shown so much spontaneity
-became more pattern-like, reverting in a measure to the character
-of such of the earlier figures as more nearly reproduced those of
-the textiles; for the fourteenth century examples, such as that to
-which we have just referred, show a conscious effort to express the
-attributes of strength and vitality which were associated with and were
-symbolized by the animals that were depicted. In the late mediaeval
-work this vivifying force became weakened under the numbing influence
-that is inseparable from the reiterated use of forms that have become
-stereotyped. In respect to the appeal which visible expression makes
-to the ordinary<span class="pagenum" id="Page_9">[Pg 9]</span> mind as opposed to mere diagrammatic indication, the
-best work of the fourteenth century in its effort to depict recognized
-attributes links itself in intention with the work of the Renaissance,
-although the methods that were employed differed so greatly.</p>
-
-<div class="picpage">
-<div class="img figcenter p2 b2">
-<span id="fig1"><img src="images/fig1.jpg" class="w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 1.</span>—Shield of the Black Prince in
-Canterbury Cathedral. Fourteenth Century.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_10">[Pg 10]</span></p>
-
-<p>At the end of the fifteenth century the personal bearing of heraldry
-in war had almost ceased, but it remained an important feature of the
-tournaments during the whole period of their existence.</p>
-
-<p>Besides satisfying the martial sense which ever delights in brilliance
-and colour, it also gratified the desire for the expression of meaning
-in decoration, a mental attitude which heraldry exactly fitted. And
-heraldry thenceforward became mainly decorative, while retaining the
-allusive and symbolic qualities that are hardly separable from it.</p>
-
-<p>In Tudor times the number of armorials increased in a very marked
-degree, no doubt sharing in the impetus given to the arts in England
-by the much-needed peace which followed the dynastic wars of York and
-Lancaster. As though to link it with that welcome event, beautiful and
-simple flowers added their charm to heraldry in notable quantity, and
-gillyflowers, columbine, marygold, and many more, appear on shields of
-arms and in crests, as well as in the garlands which were so admirably
-used as decorative accessories to the armorials.</p>
-
-<p>The Gothic heraldry, in common with the other decorative arts, having
-become formalized into a style from which the human interest had to a
-great extent gone, a change took place in harmony with the new feeling;
-but in the revolt from the formalism of late Gothic art heraldry
-frequently went to the opposite extreme, and employed naturalistic
-forms in an unsuitable way.</p>
-
-<p>Much of the Renaissance work, however, retained some of the best
-qualities of the Gothic, in the pose of the<span class="pagenum" id="Page_11">[Pg 11]</span> figures and in the
-general composition, while in addition it attempted a more detailed
-characterization than before.</p>
-
-<p>In many respects it was very admirable and seems, in its suggestion
-of individual thought working on the traditions of an older style, to
-suggest the lines on which modern heraldic design might develop. German
-heraldry has followed these lines to a large extent, and though it has
-perhaps become over-florid, is still full of proofs of the advantage
-which results from continued touch with the Gothic.</p>
-
-<p>In this country there had been a constant succession of foreign
-masons and sculptors, from the time when, in the twelfth century, the
-Frenchman William of Sens came to restore Canterbury Cathedral, and
-the Renaissance style probably received its most effective impetus in
-England from Torregiano and his fellow Florentine artists when they
-superseded the native workers in the designing and carrying out of
-the tombs of Henry VII and others in the beginning of the sixteenth
-century. The king’s tomb was begun in 1503, and is a useful landmark in
-the history of the evolution of heraldic style. From this and similar
-works the English sculptors and designers learnt the methods of that
-revival of art on classic lines which had become developed in Italy for
-nearly a century before it made so definite an impression here.</p>
-
-<p>The work that was produced under these influences was marked by great
-vitality, variety and grace, until it, in its turn, became weak and
-uninteresting, so that by the seventeenth century it had degenerated
-into sheer<span class="pagenum" id="Page_12">[Pg 12]</span> stiff ugliness that it is almost impossible to connect with
-the graceful strength of its prototypes.</p>
-
-<p>Holbein, who worked here (except for a short interval) from 1526
-until his death, executed, besides his paintings, many designs
-for goldsmith’s work and so forth, and has left some few heraldic
-drawings, probably designs for the decoration of books, such as
-dedicatory plates, or for stained glass; but the Italian influence
-was overpowering, and he left little permanent impression on heraldic
-style. An example of his heraldry may be referred to in <abbr title="figure">Fig.</abbr> 221, <abbr title="page">p.</abbr>
-243.</p>
-
-<p>As time went on, and the practical use of heraldry in the field became
-more remote, the sense of proportion became weakened, the decorative
-distribution of the early work was no longer sought after, and the
-general loss of grip is everywhere perceptible in the design; while in
-the execution, especially in later times, minute finish of detail took
-the place of the earlier breadth of treatment. The marked inferiority
-of the heraldry to the other decorative work of its time (a fault
-that is frequently visible in the work of the present day) points to
-a general loss of interest in the expression of heraldry, although
-its use was tenaciously adhered to, and it is abundantly evident
-that in the period which extended from the early seventeenth century
-until recent times regard for heraldry (when such regard existed at
-all except as a mere desire of display) was mainly directed to its
-systematic side and to the ever-increasing detail of its rules and
-precedents.</p>
-
-<p>However, the Gothic revival in the early part of last century again
-directed attention to heraldry, and the<span class="pagenum" id="Page_13">[Pg 13]</span> work of Williment, Pugin,
-Powell, Burges and others, showed once more how decoratively and
-expressively it could be handled when it was seriously studied and
-applied.</p>
-
-<p>With reference to the old examples, a study of which is absolutely
-necessary in order to understand the principles which underlie all
-heraldic design, it will be well to sound a note of warning against
-making a fetish of the work of any period, however good; against
-mere copying of old examples however excellent, except, of course,
-for purposes of study. To merely copy and piece together bits of
-precedent is not the way to make an artistic thing at all. A copy can
-have no vitality of its own, and cannot even reproduce that of its
-original. Even Pugin and Powell cannot be said, in spite of all their
-sympathy and power of draughtsmanship, to have altogether succeeded
-in suggesting the intense vigour which characterized the work of the
-originals that were followed. A broad view must be taken if new work is
-to harmonize with new conditions or be anything more than a mere shadow
-of a preceding style.</p>
-
-<p>Heraldry in order to be expressive and interesting ought to be
-original, or perhaps one should rather say individual, in treatment; an
-effort to express itself by means of the artistic qualities that the
-old work possesses and teaches us to admire, rather than a copy of its
-forms. By original is meant something that the artist thinks out for
-himself, his individual expression of what he wishes to convey, with
-all the help that he can obtain from his knowledge of previous work,
-but without feeling himself bound to imitate it. Points of resemblance
-are inevitable.<span class="pagenum" id="Page_14">[Pg 14]</span> It is hardly possible to avoid showing the influence
-of the examples from which the artist has learnt his craft, nor does
-it matter; but when the copy is intentional and the intention stops
-at that, the work ceases to interest as individual design. All styles
-should be studied for the sake of the lessons they may teach in the
-application of the ordinary principles of design to correct heraldic
-motives, for, after all, that and fitness are what constitute good
-heraldry. Composition, the balance of mass and arrangement of line,
-with all their various possibilities, may be learned from all forms
-and styles of art, pictorial as well as ornamental, that is itself
-based on sound principles. The appreciation of such points and their
-satisfactory application constitute what we know as the sense and
-power of design, and they must be understood before one can pretend to
-practise or discuss it.</p>
-
-<p>Heraldry in its setting forth may be regarded in two ways. As the
-depicting of an actual shield, crest, helm and so forth, as they
-would be shown in a picture of a tournament, for instance; or, as a
-presentation of the heraldic facts in the way that is thought most
-expressive without having too much regard to preceding renderings. The
-former way seems more suitable to the execution of ancient and historic
-arms or of such as are to accompany Gothic surroundings, and the latter
-to be more likely to harmonize with modern decorative conditions, as
-well as to possess more vitality and variety in itself. This harmony
-with surrounding decoration, whether on a wall or in a book or in
-any other way, is one of the essentials of good design and must be
-continually kept in mind. Another, equally important, is that work
-should<span class="pagenum" id="Page_15">[Pg 15]</span> be designed with direct regard to the materials and methods by
-which it is to be done. These very obvious points cannot be too often
-insisted upon, however wearisome the reiteration, for neglect of them
-is at the bottom of most bad work.</p>
-
-<p>Careless treatment of the heraldry, with which it is, nevertheless,
-obliged to deal more or less, sooner or later, seems to pervade applied
-art and to spoil what is otherwise meritorious work. Doubtless much of
-the mischief arises from fear lest improving the drawing or composition
-may violate heraldic rules; and this brings us to the necessity of
-acquiring so much knowledge of the systematic side of heraldry as will
-suffice to show what points are really essential (and therefore to be
-carefully preserved and if need be accented), and what, on the other
-hand, may be modified or ignored. This may best be done by study of
-the system of heraldic description known as blazon, which is described
-further on. But before proceeding to do so it will be necessary to deal
-first with an heraldic composition as a whole.</p>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_16">[Pg 16]</span></p>
-
-<h2 class="nobreak b2" id="CHAPTER_II">CHAPTER II<br><br>
-Evolution of Shield Forms</h2>
-</div>
-
-<p>The armorial group, called an “Achievement” of Arms, principally
-consists of the shield and the crest, the latter supported on its
-helm, and accompanied by the mantling or lambrequins, and in addition,
-mottoes, coronets, supporters and other accessories proper to the
-occasion may form part of its composition. The term “achievement”
-(sometimes corrupted into hatchment) may be applied to any heraldic
-group whether it be a complete presentation of full armorials or
-only a selected part of them. In the simple arrangement of shield,
-helmet and crest, the proportion of the parts to each other remained
-fairly constant from the end of the thirteenth century down to the
-Renaissance, that is to say throughout the whole mediaeval period, and
-may be taken roughly to be rather more than two-fifths of the whole
-height for the shield and rather less than three-fifths for the helmet
-and crest.</p>
-
-<p>This, it need hardly be said, must not be taken for actual measurement,
-but only as suggesting the relative weight in the design of its
-component parts. The result<span class="pagenum" id="Page_17">[Pg 17]</span> of these proportions is to bring the helm
-a little above the actual middle of the composition, and its place
-is then found to be a very satisfactory one, in which it serves as
-a central point on which the other objects group themselves. There
-is also seen to be due scope for the clear definition of the details
-of both arms and crest, while there is an appropriate suggestion of
-dignity in the whole effect. The principal artists of the Renaissance,
-Dürer above all, appear to have fully appreciated this, similar
-proportions appearing in the best type of Renaissance work as in that
-of the Gothic period.</p>
-
-<p>Such proportions were no doubt suggested by those of the actual things
-themselves, but not wholly so; for in other cases the object of the
-artist was rather to display the armorials to the best effect than to
-copy their appearance when they were being used in another way.</p>
-
-<p>Fig. 2, the reverse of the Great Seal of Henry IV, a splendid example
-of the seal engraver’s art, is an interesting illustration of how
-armorials were borne by man and horse, as well as of their approximate
-proportion. An example of the influence of local considerations in
-modifying proportion is the group which occupies the middle of the
-canopy of the tomb, in Westminster Abbey, of Louis Robsart, Lord
-Bourchier, who was standard-bearer to Henry V. The shield is minimised
-as much as possible because its bearings appear large and bold on
-the carved banners at the sides; the crest, however, not occurring
-elsewhere on the monument, is comparatively enormous. In this case the
-shield<span class="pagenum" id="Page_18">[Pg 18]</span> that is associated with the crest is destitute of charges,
-which may, however, have been modelled in gesso on the stone and have
-disappeared.</p>
-
-<div class="picpage">
-<div class="img figcenter p2 b2">
-<span id="fig2"><img src="images/fig2.jpg" class="w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 2.</span>—Seal of Henry IV. Reverse.</div>
-</div>
-</div>
-
-<p>In a similar way the arms in the group over the point of the arch of
-the chantry of Henry V near by are extremely small, a part of the
-mantling is even allowed to fall over them, because they are fully
-displayed<span class="pagenum" id="Page_19">[Pg 19]</span> on the shields supported by angels in the spandrils below.</p>
-
-<p>The shape of the space that is available for displaying the achievement
-and the character of the bearings also influenced proportion, so that
-a crest may be exaggerated, or a shield may be comparatively enlarged,
-in the latter case in order to accommodate quarterings perhaps, and
-the sense of proportion may still be satisfied because of the evident
-reason for the treatment.</p>
-
-<p>The object of an achievement being to display the armorials in the
-most distinctive way, it follows that the subordinate parts of it,
-especially the helmet and mantling, should all be designed to that
-end, that their lines should compose in such a way as to concentrate
-the attention on the more important subjects, and that their details,
-however intricate, should not detract from a broad effect. In short,
-they should be so arranged as to support the central motive and not to
-compete with it. Whatever the style of the design it should first of
-all express the subject in the most explicit way, and carefully avoid
-letting scrolls outshine the crest or mantling distract attention from
-the shield which is encompassed by it.</p>
-
-<p>Choice of method should naturally be based on the desire to represent
-things in the most direct way and by the simplest means that are
-suitable to the purpose in hand, using exactly the right amount of
-elaboration, from the perfect simplicity demanded by a figure in
-perforated iron, through the varying detail of different forms of
-applied art, stained glass, enamel, modelling, carving, painting and
-engraving. There is always<span class="pagenum" id="Page_20">[Pg 20]</span> great charm about simple treatment that
-is at the same time expressive, but the right simplicity can only be
-reached through knowledge, and is a very different thing from the
-emptiness which ignorance hopes to have mistaken for it. Clearness of
-statement expressed by vigour of drawing, beauty of line, balance of
-mass and harmonious coherence of composition, are obviously essential
-qualities; and when to these are added suitability to environment
-and material, the result will be that expression of rightness which
-constitutes style, whatever the style may be.</p>
-
-<p>Heraldic accuracy is assumed as a matter of course, for heraldry that
-is not accurate stultifies itself.</p>
-
-<p>The usual grouping of an achievement was suggested, no doubt, by the
-method of displaying armorials in processions and other ceremonials,
-when the crested and mantled helmet was placed on a lance staff or some
-similar support, and the shield was hung below by its guige. That the
-grouping was also a natural one is visible in the seal of Henry IV (p.
-18), especially if we imagine the figure to be seen from the opposite
-side.</p>
-
-<p>There is nothing heraldically essential in arranging the armorials in
-this order, for the crest may be placed in any other relation to the
-shield that circumstances may render preferable. When, for instance,
-it is undesirable to pile up the design in height the crest is placed
-at the side of the shield. The earliest instance of which I am aware
-is that of Lord Basset of Drayton, whose arms thus appeared on his
-stall-plate as a Knight of the Garter. In such cases it is usually most
-convenient<span class="pagenum" id="Page_21">[Pg 21]</span> to pose the crest on the true right of the shield because
-the swing back of the mantling serves admirably to tie up the whole
-design, but there is no reason why the positions should not be reversed
-if the lines can be made to compose satisfactorily; that is to say, it
-is only a matter of ornamental design and not in any way of heraldic
-right or wrong.</p>
-
-<p><span class="smcap">The Shield.</span>—In the application of badges to the distinctive
-decoration of armour, whence arose the term armory for the science
-of heraldry, the shield naturally singled itself out to be made of
-especial importance as the most suitable space on which to display
-the device; for not only was it most conspicuous from its position
-with regard to the rest of the armour, but its detachability, and the
-facility with which it could be hung by its guige from some suitable
-support, rendered it a ready means of representing its master in
-ceremonials and pageants. As such a representative it became the
-principal vehicle of honourable distinctions, and conversely was also
-made a means of punishing misconduct.</p>
-
-<p>The decorative value of shields had been recognized from the earliest
-times; on the Greek pottery, for example, they appear bearing the
-symbolic representations of birds, lions and other animals, which are
-there drawn with all the vigorous beauty and sense of design that we
-should naturally expect from such a source.</p>
-
-<p>In the Roman sculptures also shields frequently occur, of whose shapes
-some were to reappear at the Renaissance.</p>
-
-<p><span class="pagenum" id="Page_22">[Pg 22]</span></p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig3">
-<img src="images/fig3.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig4">
-<img src="images/fig4.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span id="fig5">
-<img src="images/fig5.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span id="fig6">
-<img src="images/fig6.jpg" class="w75" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 3.</span><br>Back of <abbr title="figure">Fig.</abbr> 4.</div>
-<div class="cell caption"><span class="smcap">Fig. 4.</span><br>Norman Shield.</div>
-<div class="cell caption"><span class="smcap">Fig. 5.</span><br>Eleventh Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 6.</span><br>Back of <abbr title="figure">Fig.</abbr> 5.</div>
-</div>
-</div>
-</div>
-
-<p>The Norman shields, as they are represented in the Bayeux tapestry,
-in early carvings and in seals, were long and narrow, and the leather
-guige by which they could be suspended from the neck was already in
-use, as well as the other thongs which served as arm and hand holds
-(Figs. 3 and 6), and were so arranged as to permit the grasp to be
-applied in a variety of ways as the positions of the shield might
-demand. The two sets of grips, called enarmes, that are here shown will
-serve to make clear the general arrangement, but their placing varied
-considerably, and was naturally adapted to individual requirements
-and peculiarities. The shields were strongly curved in a horizontal
-direction, partially encircling the body and, in many instances, had in
-the centre a projecting boss or umbo. They were rounded at the top, as
-in <abbr title="figure">Fig.</abbr> 5, or the top was straight with rounded comers, as in <abbr title="figure">Fig.</abbr> 4.<span class="pagenum" id="Page_23">[Pg 23]</span>
-Being pointed at the base they were capable of being thrust into the
-ground, so as to be easily held in position by men fighting on foot, to
-whom they formed a very efficient defence, being about 4 feet high, in
-combination with the hedge of lances that accompanied them. Their width
-was about 2 feet or perhaps a little more.</p>
-
-<p>They usually consisted of a foundation of wood covered with strong
-thicknesses of leather, additionally strengthened with bands and
-bosses of metal, and were often richly painted, and even, it is said,
-sometimes adorned with gems.</p>
-
-<p>The round-topped pointed shield appears on the seals for a considerable
-length of time, and in Italy has never gone out of decorative use.</p>
-
-<p>Throughout the eleventh and twelfth centuries the Norman shield
-remained with very little modification, and was therefore the first
-shape to which regular heraldry was applied.</p>
-
-<p>The subjects, besides the armorials which were gradually increasing
-in number and in regularity of arrangement, were at first little more
-than fanciful decoration, the signs of the zodiac and similar devices,
-as well as the badges, which long continued to be used from time to
-time in a more ephemeral way than the regular armorials, though nearly
-approaching them in character.</p>
-
-<p>Very early in the thirteenth century the height of the shield began to
-decrease, and continued to do so until by the middle of the century
-an almost equilateral form was arrived at (Figs. 7, 8, 9). This was
-probably<span class="pagenum" id="Page_24">[Pg 24]</span> the effect of the progress in the making of defensive armour,
-whose improvement ultimately resulted in the disuse of the shield
-altogether. By the end of the thirteenth century heraldry had become
-general, and the triangular shields bore coats of arms which showed in
-their composition the influence of the shape that contained them. The
-fact that a single lion was depicted as rampant rather than in another
-pose, was probably due at first to the greater ease with which it could
-thus be adapted to the space and so satisfy the decorative sense of
-distribution. And the attitude was already in existence in the designs
-of the textiles and in other works of Eastern origin.</p>
-
-<div class="picpage">
-<div class="img figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig7">
-<img src="images/fig7.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig8">
-<img src="images/fig8.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig9">
-<img src="images/fig9.jpg" class="w75" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 7.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 8.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 9.</span></div>
-</div>
-</div>
-</div>
-
-<p>Until the beginning of the fourteenth century the curves which describe
-the sides of the shield commenced quite at the top, but soon afterwards
-(the shape becoming rather narrower in proportion to the height) the
-side lines began straightly at right angles with the top and, at
-about one-fourth of the height, began to develop into the curve which
-formed the point (<abbr title="figure">Fig.</abbr> 11). This is known as the heater shape from its
-resemblance to the heater of a smoothing iron. Soon afterwards the
-straight part<span class="pagenum" id="Page_25">[Pg 25]</span> of the sides extended downwards and the shield, thus
-becoming wider at the base, more nearly approached the square form, as
-in <abbr title="figure">Fig.</abbr> 12.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig10">
-<img src="images/fig10.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig11">
-<img src="images/fig11.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig12">
-<img src="images/fig12.jpg" class="w75" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 10.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 11.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 12.</span></div>
-</div>
-</div>
-</div>
-
-<p>The shapes here given are designed to explain the varying forms from
-time to time, and not the relative size of actual shields.</p>
-
-<p>The pointed shield was one of the most satisfactory shapes for the
-display of a single coat of arms, but it became inconvenient, in most
-cases, when two coats were impaled together or when quarterings were
-involved, the restricted base rendering it extremely difficult to
-deal with objects in that part of the shield. The seals and monuments
-naturally represent shields as very flat, but they were not actually
-so, but were almost always curved in section to a greater or less
-extent, and in one or more directions; for armour was designed to
-deflect a blow rather than to directly resist it, this being one of
-the ordinary principles on which most kinds of defence are based. As
-we have seen in the Norman shields, the curve was at first simply from
-side to side, afterwards, in order to prevent a blow from glancing
-downwards, the lower part of the shield was made to<span class="pagenum" id="Page_26">[Pg 26]</span> project, and
-finally the top was brought forward so that the shield had a double
-curvature, convex from side to side and concave perpendicularly (<abbr title="figure">Fig.</abbr>
-13).</p>
-
-<p>A large shield called a pavoise was used for fighting on foot, a
-partial reversion, for definite practical reasons, to the long shield
-of the Normans. Like the Norman shields, it in some cases had a pointed
-or rounded base, while in others it was roughly rectangular, its most
-marked characteristic being the large and projecting rib whose hollow
-served on occasion to accommodate a supporting stake (Figs. 14 and
-15). It was provided with handgrips and, in most cases, with a guige
-by which it could be slung on the shoulders or carried on the back
-when not in use. Besides those which were painted with subjects which
-extended over the whole surface in the usual way, others were decorated
-with small painted shields drawn on the larger one.</p>
-
-<div class="picpage">
-<div class="img figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig13">
-<img src="images/fig13.jpg" class="w50" alt="">
-</span></div>
-<div class="cell"><span id="fig14">
-<img src="images/fig14.jpg" class="w50" alt="">
-</span></div>
-<div class="cell"><span id="fig15">
-<img src="images/fig15.jpg" class="w50" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 13.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 14.</span><br>Pavoise. Afli.<br>Violet-le-duc.</div>
-<div class="cell caption"><span class="smcap">Fig. 15.</span><br>Back of <abbr title="figure">Fig.</abbr> 14.</div>
-</div>
-</div>
-</div>
-
-<p>The term pavoise is sometimes given to the large decorative shields
-(of various shapes) which were made<span class="pagenum" id="Page_27">[Pg 27]</span> in considerable numbers in the
-sixteenth and seventeenth centuries, especially in Italy; but there
-is no doubt that the term, in strictness, should be confined to this
-special defence of the foot-soldier.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig16">
-<img src="images/fig16.jpg" class="w25" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 16.</span>—Fifteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>A shield with a sharp arris or ridge and a round base is said to
-have been the last form to be used in actual war (<abbr title="figure">Fig.</abbr> 16), and is
-interesting as the prototype of the ridged Renaissance shield, which
-became of such decorative value, especially when modelled in relief,
-because of the play of light and shade which it afforded (<abbr title="figure">Fig.</abbr>
-16<span class="allsmcap">A</span>. See also Figs. 20 and 21).</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig16a">
-<img src="images/fig16a.jpg" class="w50" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 16a.</span>—Ridged Shield. Fifteenth Century.
-Martin Schongauer.</div>
-</div>
-</div>
-</div>
-
-<p>It will, of course, be understood that the various shapes of shields,
-as they were gradually evolved one from the other, did not in
-representation supersede their predecessors altogether, however more
-or less completely they may have done so as actual defence, and a
-considerable amount of overlapping took place in this as in other
-heraldic fashions.</p>
-
-<p>The armorials themselves having been influenced in their composition
-by the shield shape that was in vogue when they were devised, the
-choice of a form that is equally convenient for all the arms of a
-series presents considerable difficulty, and therefore should not be
-decided upon until the nature of their whole contents has been properly
-considered.</p>
-
-<p>Shields were used in the tournament in a variety of ceremonial ways.
-Froissart describes, in his account of the meeting that was held near
-Calais in 1390, how<span class="pagenum" id="Page_28">[Pg 28]</span> they were hung outside the pavilions of the
-defenders, so that by touching them the challengers could signify their
-intention as to the kind of encounter that was to ensue. For this
-purpose two shields were displayed, one “for peace” and another “for
-war,” and according as one or the other was touched the encounter took
-place with blunt or pointed weapons. Similar shields are referred to by
-Edward the Black Prince in his will, dated 1376: “<span lang="frm" xml:lang="frm">l’un pur la guerre,
-de nos armes entiers quartelles</span>” (those represented in <abbr title="figure">Fig.</abbr> 1 at <abbr title="page">p.</abbr> 9),
-“<span lang="frm" xml:lang="frm">et l’autre pur la paix, de nos bages des plumes d’ostruce</span>” (<abbr title="figure">Fig.</abbr> 17),
-both of which decorate his tomb.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig17">
-<img src="images/fig17.jpg" class="w25" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 17.</span>—Shield “for Peace” of The Black Prince. After Stothard.</div>
-</div>
-</div>
-</div>
-
-<p>Together with the banners and pennons of the chief personages, shields
-were hung from the windows of the knights’ lodgings in the neighbouring
-town to where the lists were set. They also adorned the walls of the
-banquet hall, and in every way the actual shields contributed to the
-pageantry of the time, and naturally suggested their representation in
-tapestries and in other permanently decorative ways.</p>
-
-<p><span class="pagenum" id="Page_29">[Pg 29]</span></p>
-
-<p>The treatment of the bearings on the actual shield was, no doubt, by
-means of painting in flat colours, the charges being drawn in the
-simplest and most direct way; for although there are examples in the
-illuminated manuscripts of knights armed with shields whose charges
-are in relief, such treatment was probably exceptional owing to its
-cost and to the difficulty of repairing damage, or may even have been
-due to the elaboration of the illuminator. So that although relief was
-employed in cases of unusual magnificence the ordinary treatment was
-probably flat.</p>
-
-<p>Shields for great ceremonial purposes being more purely decorative were
-naturally more elaborate, and of these the shield at Canterbury must be
-again instanced. Such a shield after serving in the funeral procession
-was suspended over the tomb, together with the sword and crested
-helmet, as was done for Edward III and Henry V in Westminster Abbey and
-for Humphrey, Duke of Gloucester, “the Good Duke Humphrey,” in old <abbr title="saint">St.</abbr>
-Paul’s; but of these only the insignia of Henry V remain, and they are
-by no means in such interesting preservation as those at Canterbury. A
-similar trophy adorned the tomb of Edward IV at Windsor, and is said to
-have been embroidered with pearls and gold.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig18">
-<img src="images/fig18.jpg" class="w35" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 18.</span>—Italian Decoration Shield. Fourteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>The shields that were intended for ceremonial or<span class="pagenum" id="Page_30">[Pg 30]</span> decorative purposes
-were very carefully made of layers of various materials, such as canvas
-and leather, which were stretched over and glued down to the wooden
-understructure in order to afford a key to the material that formed
-a surface for the subsequent work, in much the same way that panels
-were prepared for other kinds of painting at that time. The charges
-were then modelled in gesso, afterwards gilt and painted, or else were
-fashioned in modelled leather and pinned down to the surface. The
-spaces were often diversified with diapered patterns in raised lines of
-gesso or by means of punches, and when the gold and colour were added
-the whole effect was extremely rich and beautiful. Of such pageant
-shields excellent specimens were in the great Bardini collection, now
-dispersed.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig19">
-<img src="images/fig19.jpg" class="w50" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 19.</span>—Florentine Decoration Shield.<br>Fourteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>Fig. 18, a kite-shaped shield of the fourteenth century, bears bendwise
-the word Libertas, the motto of the republic of the town of Luroques,
-in beautiful letters, whose treatment is perfectly appropriate to the
-gesso in which they are executed. The shape of the shield follows
-closely one of the early Norman forms, and is somewhat of the same
-proportion, being 44 inches<span class="pagenum" id="Page_31">[Pg 31]</span> high by 21 inches broad. The square
-pavoise (<abbr title="figure">Fig.</abbr> 19) of wood covered with vellum is painted with the arms
-of the Buonamici, and over them as crest is the portrait of the head of
-that family, Bienheureux Buonamici.</p>
-
-<p>At the time that the use of shields in actual combat was becoming less
-and less frequent, the invention of engraving on metal plates, the
-improvement in wood-engraving, and finally the production of printed
-books, opened a fresh field for heraldic art in the making of the
-plates of arms which marked the patronage of a literary work, or in the
-more familiar bookplate which signified the ownership of the book. Then
-began that long series of beautiful little works by Martin Schongauer,
-Israel van Meckenen, and by Dürer and their successors. In the large
-number of designs thus produced the shields, in many instances, became
-much less simple, ceasing to be a representation of the real defence,<span class="pagenum" id="Page_32">[Pg 32]</span>
-though some of them were developments from it. The cusped forms such
-as Figs. 20 and 21, which came into use in the latter half of the
-fifteenth century, and became still more frequent in the Tudor period,
-perhaps have some affinity with the elaborate fluted armour of the
-time, but others were frank adaptations of the contemporary decorative
-scrolls and were really cartouches more or less in place of a shield.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig20">
-<img src="images/fig20.jpg" class="w50" alt="">
-</span></div>
-<div class="cell"><span id="fig21">
-<img src="images/fig21.jpg" class="w50" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 20.</span>—Fifteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 21.</span>—Sixteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>The special tournament shield, the shield à bouche, had a marked
-influence on subsequent forms. In order that the shield might, during
-the joust, fit closely to the shaft of the lance a semi-circular
-opening was made, sometimes at the top but more usually at the side,
-as in the example (<abbr title="figure">Fig.</abbr> 22), and from this simple expedient a very
-great variety of shape resulted, of which the manner of evolution is
-interesting.</p>
-
-<p>In the ornamental forms that were based on the actual ones this
-embouchure was sometimes plainly indicated, as in the shield from the
-group of Dürer’s coat of arms (<abbr title="figure">Fig.</abbr> 23) and in the French wood-carving
-(<abbr title="figure">Fig.</abbr> 24); in others the lower point of the opening was merged into<span class="pagenum" id="Page_33">[Pg 33]</span>
-one swinging line, as in the shield of the well-known Death’s Head
-coat of arms. The next step was to duplicate the curve suggested by
-the bouche, and from the resulting form proceeded an endless variety
-of similar shapes, the addition of foliated or scroll ornament
-completing the transition from the practical shield to the ornamental
-one. An interesting instance of this duplication of form occurs in
-the shield from a fifteenth century monument in <abbr title="saint">St.</abbr> Gatien Cathedral
-(<abbr title="figure">Fig.</abbr> 25). With the recognition of the purely ornamental character
-of the shield-form the placing of the spear opening on the naturally
-correct side, the dexter, ceased to be thought important,<span class="pagenum" id="Page_34">[Pg 34]</span> and it was
-placed indifferently on one side or the other, and when such shields
-occur in pairs, as in those on the Pirckheimer bookplate by Dürer, the
-bouche-derived curves are placed symmetrically on opposite sides.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig22">
-<img src="images/fig22.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span id="fig23">
-<img src="images/fig23.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig24">
-<img src="images/fig24.jpg" class="w75" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 22.</span>—<br>Tournament Shield.<br> Fifteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 23.</span>—<br>Dürer’s Arms.<br> Early Sixteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 24.</span>—<br>French Wood-carving.<br> Fifteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>Foliated decoration applied to the duplicated tournament form is well
-exemplified in the shield from the plate of the arms of Herr Kress, who
-was the friend of Dürer, though the plate is not Dürer’s work (<abbr title="figure">Fig.</abbr> 26).</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig25">
-<img src="images/fig25.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span id="fig26">
-<img src="images/fig26.jpg" class="w60" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 25.</span>—Fifteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 26.</span>—1530.</div>
-</div>
-</div>
-</div>
-
-<p>Among the work of Dürer’s school the beautiful plates of his pupil Hans
-Sebald Beham will well repay study for their excellent composition and
-for their extreme beauty of draughtsmanship and engraving. Beham’s
-shields were often scrolled at the edge, but not extravagantly so, and
-he frequently employed plain shields, which, like most others at the
-time, however plain in outline, were shown more or less concave in some
-or all directions: a well-known device to obtain relief for the light
-side of the charges by means of the adjacent shadow that is formed by
-the concavity of the shield.</p>
-
-<p>The shields that accompany the figures of the Virtues and Vices,
-engraved by Aldegrever in 1552, are most unusual in their curiously
-shaped edges, and show very emphatically the complete departure from
-the character of the defence shield (Figs. 27-30).</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig27">
-<img src="images/fig27.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig28">
-<img src="images/fig28.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig29">
-<img src="images/fig29.jpg" class="w75" alt="">
-</span></div>
-<div class="cell"><span id="fig30">
-<img src="images/fig30.jpg" class="w60" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 27.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 28.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 29.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 30.</span><br>Shields by Aldegrever. 1552.</div>
-</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_35">[Pg 35]</span></p>
-
-<p>The Italian form derived from the tournament shield took a longer
-shape, still retaining the bouche, and often had the base divided into
-three parts, and many examples of this shape occur on the walls of the
-Palazzo del Podesta, Florence. The surface was generally kept whole and
-not fluted, as in the analogous English form. The most characteristic
-Italian shield, however, was that derived from the angular Roman ones,
-such as those on Trajan’s column, with the outlines curved into cusps.
-This is sometimes called the champfrien shape from its resemblance to
-the face-plate of horse-armour, but the appearance of the form at the
-time of the revived interest in classic art leaves little doubt of the
-source from which it was taken. Among others were oval shields, also
-of classic origin; and the round-topped Norman shape also occurs very
-frequently. Triangular shields with concave outlines were also used.</p>
-
-<p>In the use of more or less elaborate decoration the German artists
-participated. Virgil Solis and Jost Amman among others frequently used
-the scrolled shield, as Beham also had done. That English heraldry felt
-all these influences is evident in the examples from <abbr title="saint">St.</abbr> Alban’s Abbey
-(Figs. 31 and 32), sculptures whose forms are directly derived from the
-tournament shield and were carved in the early sixteenth century.</p>
-
-<p>The application of foliated ornament occurs in the Garter Plates early
-in the fifteenth century, in that of Henry, Prince of Wales, afterwards
-Henry V (<abbr title="figure">Fig.</abbr> 33), and more completely in the sixteenth century shield,
-which bears the arms of the Abbey of <abbr title="saint">St.</abbr> Alban’s (here omitted), <abbr title="figure">Fig.</abbr>
-32.</p>
-
-<p>In the Elizabethan and Jacobean decoration there<span class="pagenum" id="Page_36">[Pg 36]</span> is a reversion to
-the plain square shield, which usually occurs as a centre for scrolls
-and strapwork, the corners becoming slightly pointed, a feature which
-developed into the hideous eared shields of later times, when also the
-decorated form had become the clumsy “ornamental” shield that was so
-long endured.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span class="figcenter" id="fig31">
-<img src="images/fig31.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span class="figcenter" id="fig32">
-<img src="images/fig32.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span class="figcenter" id="fig33">
-<img src="images/fig33.jpg" class="w60" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 31.</span>—Sixteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 32.</span>—Sixteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 33.</span></div>
-</div>
-</div>
-</div>
-
-<p>These various forms point to the useful fact that the shape of a shield
-is only limited by the invention and judgment of the designer. The
-only, and unfortunate, exception is the lozenge, on which the arms
-of ladies are placed in certain cases: an unfortunate shape because
-in most instances it is extremely difficult, if not impossible, to
-accommodate its bearings to it in a satisfactory way. Usage says that
-an unmarried lady must bear her father’s arms, and a widow must bear
-her father’s and husband’s arms together on a lozenge. This is a point
-that cannot be ignored, for an isolated lozenge containing but one
-coat is an heraldic statement that the owner is unmarried: except the
-statement be modified by the association of other arms, as in the case<span class="pagenum" id="Page_37">[Pg 37]</span>
-of peeresses in their own right. Again the necessity of being clear
-about the heraldic facts before attempting to depict them is evident.
-In one instance, at least, the arms of Her late Majesty Queen Victoria
-were drawn on a lozenge, in spite of the undoubted fact that “the Royal
-state is masculine.” It is also for this reason that a Crest is borne
-by the Sovereign even when a lady occupies that exalted position.</p>
-
-<p>The immense scope that is afforded by the variety of shield shapes is
-extremely valuable in adapting heraldry to general design, in fitting
-a shield to its space, in adapting it to its bearings, and in bringing
-its lines into proper relation to those of accompanying figures or
-ornament. It may also help in the expression of a general idea, as
-in the burnt wood panel on <abbr title="page">p.</abbr> 218, where there is a suggestion of
-rose-leaves in the edges of the shield.</p>
-
-<p>It is obvious that as the statement which heraldry makes is a very
-definite one, its accuracy should be the first care, and that this
-vital consideration is frequently lost sight of is but too evident from
-the fact that even the King’s Arms are as frequently maltreated as the
-King’s English.</p>
-
-<p>It will be needless to specify instances—they are not few—of works
-of great public as well as artistic interest wherein the arms have
-no real connexion with the matter they are supposed to illuminate,
-though doubtless the intention was right, and if it had been accurately
-carried out would have been appropriate enough. Sometimes the arms that
-are ascribed to the family of Fitzjames appear on the shield on which
-the artist thought he was depicting the Royal Arms of England.</p>
-
-<p><span class="pagenum" id="Page_38">[Pg 38]</span></p>
-
-<p>From the Royal Arms of Scotland the distinctive tressure flory
-counterflory which encloses the lion is left out, and this occurs
-on the walls of a public library which happens to be the gift of a
-Scottish philanthropist.</p>
-
-<p>Errors are also due to faulty intention, for if we have to deal with a
-subject which applies to the whole country it is manifestly wrong to
-use the lions of England only, to the exclusion of the armorials of the
-rest of the United Kingdom, and yet this is constantly done.</p>
-
-<p>Careful observance of customary rules by no means precludes variety
-of treatment, however, but, on the contrary, affords ample scope
-for excellence of design in stating the heraldic facts with perfect
-accuracy. As already said, it is this symbolic statement that gives
-heraldry its peculiar value in decoration, for a similar effect of
-mass and line could doubtless be got in another way, but not the same
-quality of personal allusion.</p>
-
-<p>It will therefore be necessary to ascertain how to distinguish in some
-way between the unessential, and therefore available, variation which
-is so valuable to design, and such departure from accurate rendering of
-the subject as constitutes heraldic mis-statement that may stultify the
-whole work. In this important respect guidance may be found, as already
-intimated, in the system of description called Blazon, in which should
-be expressed all that is essential, and from which everything that is
-not essential should be omitted.</p>
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_39">[Pg 39]</span></p>
-
-<h2 class="nobreak b2" id="CHAPTER_III">CHAPTER III<br>
-Heraldic Rules</h2>
-</div>
-
-<p>With the regular establishment of heraldry the need for a technical
-method of describing the various bearings at once made itself felt,
-and the system of Blazon was the result. Like the heraldry which it
-described it was admirably adapted to its purpose, being simple,
-perfectly explicit of the character, pose, and position of its subject,
-without excessive minuteness in detail. In time, however, it not
-only became more complicated, as was natural, but it at last became
-a vehicle for the pedantry which, succeeding the artistic feeling of
-the Middle Ages, expended itself in the making of unnecessary rules.
-By the time the seventeenth century was reached it seemed to be
-thought to show the height of heraldic knowledge to insist on every
-insignificant detail, and so prevent the artist from deviating into
-anything more excellent than was customary at the moment. Indeed this
-pedantic affection for exactness in trifles sometimes makes one wonder
-that in blazoning a maiden’s face it was not thought necessary to
-mention that it included <i>a nose between two eyes in chief and a
-mouth in base</i> ppr. As a guide to the degree beyond which freedom
-of treatment<span class="pagenum" id="Page_40">[Pg 40]</span> may not go without destroying the heraldic validity of
-the subject, blazoning should be assiduously practised, however irksome
-and pedantic it may appear, until a technical note of any armorials can
-be written with precision and such a description be translated into a
-sketch with equal certainty. After studying the system as explained
-herein, I would recommend as practice the endeavouring to properly
-describe the armorials in an illustrated work, a Peerage for instance,
-with subsequent reference to the authentic blazon for confirmation
-or correction. Conversely a sketch should be made from a blazon, and
-then compared in a similar way with the illustration. For this purpose
-Foster’s <i>Peerage and Baronetage</i>, 1881-3, with its beautiful
-woodcuts after drawings by Dom Anselm and Forbes Nixon, will be of
-admirable service, and at the same time will familiarize the student
-with excellent heraldic design. The achievements in that work are
-represented with great strength and directness, and have much affinity
-with the spirit of the mediaeval work, and are therefore worthy of
-careful study. At the same time any tendency to make a style (which
-may easily become an eccentricity) into an aim rather than an incident
-should be carefully avoided.</p>
-
-<p>Blazon is not intended to enable two persons to depict a coat exactly
-alike in petty detail, but rather that each in rendering the subject
-in his own fashion may be correct in essentials, so that there can be
-no question of what coat is intended. Similarly, when a Patent of Arms
-refers to those “in the margin” thereof “more plainly depicted” (i.e.
-more legibly than in the technically worded blazon), it is not meant
-that the treatment (it may be bad) or the<span class="pagenum" id="Page_41">[Pg 41]</span> exact quality of tincture
-(it may be discoloured) is to be copied, and this is by no means an
-unnecessary warning, as experience has shown.</p>
-
-<p>In naming the parts <i>of the field</i> or general surface, it must
-be remembered that the shield of arms is regarded as being held in
-position in front of its bearer: the side towards the right shoulder
-being called <i>the dexter</i>, and that towards the left <i>the
-sinister</i>. Of these the former is “more worthy” than the latter;
-that is to say, a charge that is not centrally placed would be to the
-dexter rather than to the sinister side of the shield; this, it may
-be remembered, being the reverse of the manner of wearing medals and
-orders on the breast. The upper part of the shield is <i>the chief</i>
-and the lower part <i>the base</i>, the former naturally taking
-precedence over the latter. This is important in relation to the blazon
-of parti-coloured fields.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig34">
-<img src="images/fig34.jpg" class="w35" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 34.</span></div>
-</div>
-</div>
-</div>
-
-<p>In order to facilitate the accurate placing of objects in their
-intended positions on the field its various parts were thus named (<abbr title="figure">Fig.</abbr>
-34):—</p>
-
-<div class="blockquot">
-
-<div class="table onleft">
-<div class="row">
-<div class="cell">
-    <p class="l0">A. Dexter</p>
-    <p class="l0">B. Middle</p>
-    <p class="l0">C. Sinister</p>
-</div>
-<div class="cell bracket">}</div>
-<div class="cell vamid">Chief.</div>
-</div>
-</div>
-
-<p>D. The honour point, probably so named from its relative position to
-that of the heart in the human body.</p>
-
-<p>E. The fess point, named after the ordinary which passes through it
-horizontally, as hereafter described.</p>
-
-<p>F. The nombril or navel point, another fanciful allusion to the human
-body.</p>
-
-<div class="table onleft">
-<div class="row">
-<div class="cell">
-    <p class="l0">G. Dexter</p>
-    <p class="l0">H. Middle</p>
-    <p class="l0">I. Sinister</p>
-</div>
-<div class="cell bracket">}</div>
-<div class="cell vamid">Base.</div>
-</div>
-</div>
-
-</div>
-
-<p><span class="pagenum" id="Page_42">[Pg 42]</span></p>
-
-
-<p class="l0">Most of these terms have now become obsolete, but it is still necessary
-to know them with regard to their application in old blazon.</p>
-
-<p>In modern blazon when it is necessary to specify the part of the field
-that is occupied, the terms <i>in chief</i>, or <i>in base</i>, <i>in
-dexter chief</i>, <i>in sinister chief</i>, <i>in dexter base</i>,
-or <i>in sinister base</i>, or, if in the sides of the shield, the
-dexter or sinister side simply, as the case may be. It will be rarely
-necessary, however, to use any other than the first two of these
-phrases, for the position of charges is in most instances understood
-from other circumstances.</p>
-
-<p>Every blazon begins by describing the field, its divisions (if any)
-and colour. The partition lines by which it may be divided are named
-like the ordinaries, and may therefore be most usefully considered in
-connexion with them (<i>see</i> <abbr title="page">p.</abbr> 47).</p>
-
-<p>Heraldic tinctures, as they are all called, consist of metals, colours
-and furs. The metals and their technical names are: Or = gold, and
-Argent = silver. In painting, yellow is equivalent to gold and may be
-substituted for it; as white may be, and generally is, substituted for
-silver. It may be noted, however, that when an animal is naturally
-yellow, and is blazoned <i>proper</i> (ppr.) it must be painted yellow
-and not gold.</p>
-
-<p>The colours are: Gules, signifying red; Azure for blue; Vert for
-green; Purpure, purple; and Sable, black. Though the terms are more
-immediately derived from Norman-French, the early language of chivalry,
-some of them at least are believed to have been derived from Eastern,
-probably Persian, sources. In practice they are considered to be
-completely anglicized and are pronounced<span class="pagenum" id="Page_43">[Pg 43]</span> accordingly. This also
-applies to most heraldic terms, but not to all, the practice in this
-respect being somewhat arbitrary.</p>
-
-<p>Tinctures are sometimes indicated by means of lines and other marks,
-a system which arose in the beginning of the seventeenth century, and
-was derived from the line tints which had long been used in engraving
-to distinguish contiguous spaces from each other, and used in this way
-they were valuable and unobjectionable because they were under control.
-When, however, a colour meaning was given to the lines the designer
-was no longer able to restrict their employment to where they were
-artistically useful, but must use them throughout or not at all. And
-the latter is, on the whole, the more satisfactory way. On flat spaces,
-if the lines are sufficiently pronounced to be legible, they may lead
-the eye in a direction that is not helpful to the composition, and on
-modelled charges or crests they have a flattening and confusing effect
-that is very disagreeable. In some instances the tincture lines have
-been used only in small patches, such as in shadows, and this is least
-objectionable, but is only possible in very simple cases. The signs of
-the tinctures are as follows:—</p>
-
-<div class="blockquot">
-
-<p>Argent is shown by a plain surface.</p>
-
-<p>Or is signified by spots and sometimes by slight pecks which produce
-the appearance of a grain.</p>
-
-<p>Gules by perpendicular lines.</p>
-
-<p>Azure by horizontal lines.</p>
-
-<p>Vert by oblique lines drawn downwards from dexter to sinister.</p>
-
-<p>Purpure by oblique lines from sinister to dexter, and</p>
-
-<p><span class="pagenum" id="Page_44">[Pg 44]</span></p>
-
-<p>Sable by horizontal and perpendicular lines hatched across each other
-(<abbr title="figure">Fig.</abbr> 35).</p>
-</div>
-
-<div class="picpage">
-<div class="figcenter">
-<span id="fig35"><img src="images/fig35.jpg" class="w100" alt=""></span></div>
-<div class="table center full-width">
-<div class="row">
-<div class="cell width-143">Or.</div>
-<div class="cell width-143">Argent.</div>
-<div class="cell width-143">Gules.</div>
-<div class="cell width-143">Azure.</div>
-<div class="cell width-143">Vert.</div>
-<div class="cell width-143">Purpure.</div>
-<div class="cell width-143">Sable.</div>
-</div>
-</div>
-<p class="center caption b2"><span class="smcap">Fig. 35.</span>—The Tinctures.</p>
-
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig36">
-<img src="images/fig36.jpg" class="w35" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 36.</span></div>
-</div>
-</div>
-</div>
-
-<p>The tinctures are usually contracted into <abbr title="argent">arg.</abbr>, <abbr title="gules">gu.</abbr>, <abbr title="azure">az.</abbr>, vt., <abbr title="purpure">purp.</abbr>,
-and <abbr title="sable">sa.</abbr> for convenience.</p>
-
-<p>It will probably be found that errors of memory are most likely to
-occur from confusing the direction of the lines which signify blue and
-red respectively; this may be avoided to some extent by connecting the
-letters H.B., which distinguish what is perhaps the most used grade of
-lead-pencil, with the fact to be remembered: Horizontal = Blue. Also
-the fact that objects on the horizon are blue may assist the memory.</p>
-
-<p>The furs are as follows: Ermine, it is hardly necessary to say, is
-white with black spots (<abbr title="figure">Fig.</abbr> 36). Ermines is black with white spots,
-and is probably a purely heraldic inversion of ermine. Erminois is
-ermine with a gold ground instead of white, and Pean, which is inverted
-erminois, has a black ground spotted with gold. The actual ermine
-being composed of many small skins sewn together, the black-tipped
-tails formed a regular powdering of spots. These, however, have from
-the earliest<span class="pagenum" id="Page_45">[Pg 45]</span> heraldic times been represented by conventional forms of
-immense variety, which usually consist of a divided central portion
-with the addition of three spots above, the latter being sometimes
-embellished with diverging lines. The conventional version of ermine
-was even used in costume, being painted on the material which was used
-by those to whom the wearing of real ermine was forbidden by sumptuary
-law. It will be observed that the body of the spot has become turned
-upside down in its transition from the form of the natural tail.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span class="figcenter" id="fig37">
-<img src="images/fig37.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span class="figcenter" id="fig38">
-<img src="images/fig38.jpg" class="w60" alt="">
-</span></div>
-<div class="cell"><span class="figcenter" id="fig39">
-<img src="images/fig39.jpg" class="w60" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 37.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 38.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 39.</span></div>
-</div>
-</div>
-</div>
-
-<p>By a similar combination of small skins, in this case grey and white,
-<i>Vair</i> was formed (<abbr title="figure">Fig.</abbr> 37), and this fur also acquired a
-generally conventionalized shape, which became, in its late variety,
-somewhat like a series of the hideous eared shields of the eighteenth
-century. Vair is understood to be argent and azure in alternate spaces,
-the blue representing the grey part of the natural fur, and it is only
-when other tinctures are employed that they need to be mentioned in
-the blazon. In the latter case the term changes to vairy, or vairé, of
-such and such tinctures. One of the older forms of vair was made with
-undulating lines alternating with straight ones<span class="pagenum" id="Page_46">[Pg 46]</span> (<abbr title="figure">Fig.</abbr> 38), and is
-obviously better than the modern form. Another early variety carried
-the curved lines up to the straight ones, and was drawn somewhat as
-though the angles of the modern vair were rounded into curves, the
-result being a pleasant form that is shown in <abbr title="figure">Fig.</abbr> 39. Vair may be of
-three tinctures or even more, and instances are mentioned, by Gerard
-Leigh for example, but such cases are very rare.</p>
-
-<p>Potent is a fur similarly built up whose skins are in the shape of
-crutch-heads, and it is subject to the same colour conditions as vair
-(<abbr title="figure">Fig.</abbr> 40).</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig40"><img src="images/fig40.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig41"><img src="images/fig41.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig42"><img src="images/fig42.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 40.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 41.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 42.</span></div>
-</div>
-</div>
-</div>
-
-<p>Counter-vair and Counter-potent have pieces of the same colour opposed
-to each other, as in the example of counter-vair (<abbr title="figure">Fig.</abbr> 41), and it will
-be noticed that these variations of the simpler furs are inferior to
-them in that they lose the completeness of the counter-change. In both
-vair and potent the colour pieces are more frequently than not placed
-point upwards in relation to the metal ones, but there is no definite
-rule about this. An ancient form of vair which somewhat resembles
-potent is <abbr title="figure">Fig.</abbr> 42.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig43"><img src="images/fig43.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig44"><img src="images/fig44.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig45"><img src="images/fig45.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig46"><img src="images/fig46.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 43.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 44.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 45.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 46.</span></div>
-</div>
-</div>
-
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span class="figcenter" id="fig47"><img src="images/fig47.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span class="figcenter" id="fig48"><img src="images/fig48.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span class="figcenter" id="fig49"><img src="images/fig49.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span class="figcenter" id="fig50">
-<img src="images/fig50.jpg" class="w75" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 47.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 48.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 49.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 50.</span></div>
-</div>
-</div>
-</div>
-
-<p>Having described the tinctures it will now be convenient to return to
-divisions of the field, the simplest possible<span class="pagenum" id="Page_47">[Pg 47]</span> variation from a plain
-shield. A surface is <i>party per pale</i> (<abbr title="figure">Fig.</abbr> 43) when it is divided
-by a perpendicular line into two halves, <i>party per fess</i> (<abbr title="figure">Fig.</abbr>
-44) when the line which equally divides the shield is a horizontal
-one, <i>party per bend</i> (<abbr title="figure">Fig.</abbr> 45) when it goes diagonally downwards
-from dexter to sinister, and <i>party per bend-sinister</i> when
-the diagonal is reversed. The word <i>party</i>, however, has now
-fallen into disuse, and the terms <i>per fess</i>, <i>per pale</i>
-and so forth are considered sufficient. <i>Per chevron</i>, <i>per
-saltire</i> and <i>quarterly</i> are as represented (Figs. 46, 47, 48).
-<i>Gyronny</i> (<abbr title="figure">Fig.</abbr> 49) is a combination of the two last named, and
-the number of its pieces being normally eight, any variation from that
-number must be expressly mentioned. <i>Barry</i> (<abbr title="figure">Fig.</abbr> 50) is composed
-of repeated horizontal lines, which<span class="pagenum" id="Page_48">[Pg 48]</span> are odd in number, so that the
-spaces begin and end with different tinctures. <i>Paly</i> (<abbr title="figure">Fig.</abbr> 51)
-and <i>Bendy</i> (<abbr title="figure">Fig.</abbr> 52) are similarly composed of perpendicular
-and oblique lines respectively. <i>Chequey</i> (<abbr title="figure">Fig.</abbr> 53) is, of
-course, made into squares by perpendicular and horizontal lines, and
-<i>Lozengy</i> (<abbr title="figure">Fig.</abbr> 54) similarly results from crossing oblique ones.
-Varieties of the latter form arise from a combination of perpendicular
-with oblique lines, called <i>paly bendy</i>, and of horizontal
-with oblique, which is called <i>barry bendy</i>. Both are of rare
-occurrence and perhaps resulted from bad drawing of lozengy.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig51"><img src="images/fig51.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig52"><img src="images/fig52.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig53"><img src="images/fig53.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig54"><img src="images/fig54.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 51.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 52.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 53.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 54.</span></div>
-</div>
-</div>
-</div>
-
-<p>The field being the first part of a coat of arms to be described, the
-character of its division, if any, precedes the mention of its colour.
-For example: per pale Or and Gules. Here it may be noted that a field
-may be party of two metals or of two colours, for the general rule
-against colour being placed upon colour or metal on metal does not
-apply in these cases, the spaces being but divisions of one plane and
-not parts that are superposed one on the other. Nor does it apply to
-objects that are charged on a <i>party</i> field, for in that case it
-is inevitable that the tincture of the charge must interfere with one
-or other of the tinctures of the field.<span class="pagenum" id="Page_49">[Pg 49]</span> Nevertheless, when confusion
-would be very pronounced counter-change is resorted to, as for example
-(<abbr title="figure">Fig.</abbr> 55): per pale <abbr title="argent">arg.</abbr> and <abbr title="azure">az.</abbr> three roses counter-changed.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig55"><img src="images/fig55.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 55.</span></div>
-</div>
-</div>
-</div>
-
-<p>In blazoning party fields the tinctures count from the dexter side
-when the divisions are perpendicular, and from the chief when they
-are horizontal. In cases of diagonal division it must be remembered
-that the chief has precedence over the dexter side, and therefore in
-a field “per bend or and gules,” for instance, the space above the
-diagonal counts first and is therefore or. If this point is kept in
-mind, the difficulties that are frequently experienced in such blazon
-disappear. Thus in <i>per saltire</i> the divisions count from the
-uppermost space, and in <i>gyronny</i>, this space being again divided
-by the perpendicular line, the alternation begins with that part of
-the chief which is nearest the dexter, or in other words, the first
-quarter of the shield is per bend. In bendy the space next above the
-middle diagonal may be taken for the first tincture as the key to the
-alternation.</p>
-
-<p>Barry, Paly and Bendy are each understood to be composed of six pieces
-unless it is otherwise mentioned.</p>
-
-<p>When chequey is applied to ordinaries, at least three rows or
-<i>tracks</i> are considered essential; so that when there is but one
-row it is called Gobony or Compony, and is Counter-compony when there
-are two. The two latter varieties occur most frequently in bordures.</p>
-
-<p>The objects that are borne on the shield are divided into<span class="pagenum" id="Page_50">[Pg 50]</span> two main
-groups that are respectively called Ordinaries and Charges.</p>
-
-<p>Ordinaries comprise those simple flat figures which are in most
-cases formed by divisions of the shield and generally extend to its
-edges. They are the Fess, the Bend, the Chief, the Pale, the Chevron,
-the Cross and the Saltire. Some of these have diminutives, similar
-figures drawn distinctly smaller and having separate names, and these
-will be found under their principals. Other forms, sometimes called
-sub-ordinaries are the Pile, Quarter, Canton, Gyron, Bordure, Orle,
-Tressure and Flanches.</p>
-
-<p>Other objects, animals, flowers, trees, anything depictable, animate or
-inanimate, may be borne as Charges on the field, on ordinaries, or on
-each other.</p>
-
-<p>The Fess (<abbr title="figure">Fig.</abbr> 56) is drawn horizontally across the shield and occupies
-the middle of it from side to side, and the blazon might be, for
-example, Or, a fess gules, i.e. a red fess on a golden shield. Where
-more than one occurs in the same coat they are necessarily smaller and
-are called Bars, e.g. Argent three bars sable.</p>
-
-<p>When bars are distinctly arranged in pairs each pair is called a
-Bar-gemelle, thus <abbr title="azure">Az.</abbr> three bars-gemelles Or, means three pairs of bars.</p>
-
-<p>The proportion of the ordinaries to their fields varies very
-considerably, and this for many reasons. When the ordinary is alone,
-when it is between charges or where it is itself charged, the
-proportion will change with the conditions. The character of such
-charges and therefore their weight in the composition must also be
-taken into account, for the adequate display of all the constituents of
-the coat is the object in view.</p>
-
-<p><span class="pagenum" id="Page_51">[Pg 51]</span></p>
-
-<p>As an approximate proportion the width of an ordinary may be taken as
-somewhat less than one-third of the field when neither, or both, are
-charged; as a full third when itself charged and on a plain field; and
-as rather more than one-fifth when the field only is charged.</p>
-
-<p>By similar niceties of design the sense of lightness or weight may be
-conveyed, so that for decorative purposes the shield may be brought
-into due relation with the character of surrounding ornament. Colour
-also will affect the apparent proportion, a dark object on a light
-ground appearing smaller than it really is, and vice versa, and this
-requires careful attention in the counter-change which occur in
-heraldry as in other forms of design.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig56"><img src="images/fig56.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig57"><img src="images/fig57.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig58"><img src="images/fig58.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig59"><img src="images/fig59.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 56.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 57.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 58.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 59.</span></div>
-</div>
-</div>
-</div>
-
-<p>The Bend is drawn from the dexter chief to the sinister base (<abbr title="figure">Fig.</abbr> 57),
-and is sometimes accompanied by a smaller bend on either side, when
-it is said to be <i>cotised</i> and must so be distinctly described,
-as <abbr title="argent">arg.</abbr> a bend cotised <abbr title="sable">sa.</abbr>; if, however, the cotises were of another
-tincture to the bend the blazon would be, for instance, <abbr title="argent">arg.</abbr> a bend <abbr title="sable">sa.</abbr>
-cotised <abbr title="gules">gu.</abbr>, that is, a black bend between two smaller red ones on a
-white shield. The word cotise is also used for other diminutives that
-accompany their ordinaries on either side, and there are instances of
-shields being said to be cotised by<span class="pagenum" id="Page_52">[Pg 52]</span> their supporters. Where two or
-more bends of equal width occur they are called bendlets, and when they
-are raised above their normal position as in the Arms of Byron and of
-Birmingham they are said to be <i>enhanced</i>.</p>
-
-<p>The Bend-sinister is a bend reversed; that is to say, descending from
-the sinister chief to the opposite base; indeed, it sometimes occurs in
-wood-carving merely by reason of the carver having inadvertently turned
-his tracing over. The bend-sinister is sometimes used as a mark of
-illegitimacy. One of its diminutives, the Baton (a small bend-sinister,
-whose ends stop considerably short of the edges of the shield), is
-especially used with this intention. A bend-sinister is not necessarily
-a mark of illegitimacy. The old heralds indeed do not seem to have
-marked a coat in this way in order to hold up its bearer to obloquy,
-but simply employed the ordinary as a difference.</p>
-
-<p>A diminutive of the bend called a Ribbon occurs in the Arms of
-Abernethy—Or a lion rampant gules, debruised, i.e. passed over by a
-ribbon sable.</p>
-
-<p>The Chief occupies the top of the shield from side to side and has no
-diminutive (<abbr title="figure">Fig.</abbr> 58).</p>
-
-<p>The Pale is drawn perpendicularly down the centre of the coat (<abbr title="figure">Fig.</abbr>
-59), and when one of a number is called a Pallet, which again is
-sometimes called an Endorse when it accompanies the pale as the cotise
-does the bend.</p>
-
-<p>The Chevron (<abbr title="figure">Fig.</abbr> 60), usually drawn as a right angle, may be varied
-to a very large extent as conditions of space require; it becomes
-unpleasant, however, when more obtuse than a right angle. In later
-French and Italian heraldry it is frequently drawn remarkably acute,<span class="pagenum" id="Page_53">[Pg 53]</span>
-its point often extending to the top of the shield, and this form is
-usually found associated with very small and weakly drawn charges. When
-more chevrons than one are used together they are called Chevronels.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig60"><img src="images/fig60.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig61"><img src="images/fig61.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig62"><img src="images/fig62.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 60.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 61.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 62.</span></div>
-</div>
-</div>
-</div>
-
-<p>The Cross (<abbr title="figure">Fig.</abbr> 61) and its diagonal variety the Saltire (<abbr title="figure">Fig.</abbr> 62)
-are sometimes <i>voided</i>, as in <abbr title="figure">Fig.</abbr> 63, so that the field shows
-through, and may also be interlaced, as <abbr title="argent">arg.</abbr> a cross voided and
-interlaced sa (<abbr title="figure">Fig.</abbr> 64). <i>Parted and fretty</i> is an equivalent
-term. Its proportion, even in shields of which it was the only bearing,
-was much narrower in mediaeval times than later.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig63"><img src="images/fig63.jpg" class="w35" alt=""></span></div>
-<div class="cell"><span id="fig64"><img src="images/fig64.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 63.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 64.</span></div>
-</div>
-</div>
-</div>
-
-<p>The great variety of its form as a charge is referred to under that
-head, and some of its less usual forms as an ordinary are: <abbr title="figure">Fig.</abbr> 65, a
-cross quarter pierced; <abbr title="figure">Fig.</abbr> 66, a<span class="pagenum" id="Page_54">[Pg 54]</span> cross quadrate; <abbr title="figure">Fig.</abbr> 67, a cross
-nowy; and <abbr title="figure">Fig.</abbr> 68, a cross couped.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig65"><img src="images/fig65.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig66"><img src="images/fig66.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig67"><img src="images/fig67.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig68"><img src="images/fig68.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 65.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 66.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 67.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 68.</span></div>
-</div>
-</div>
-</div>
-
-<p>The Pile is represented in <abbr title="figure">Fig.</abbr> 69. When more than one occur they point
-towards the base, unless their position is otherwise specified, and
-their points may either be in a line perpendicular to their widest part
-or they may converge towards the centre; in the latter position they
-are blazoned “piles in point.” Sometimes three piles are alternated so
-that there are “two in chief and one in base,” the latter, of course,
-being point upwards between the other two.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig69"><img src="images/fig69.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 69.</span></div>
-</div>
-</div>
-</div>
-
-<p>With the important exception of the chief all the foregoing ordinaries,
-as bearings occupying the principal parts of the shield, are mentioned
-in blazon immediately after the field and before the charges, if any,
-as: Argent a bend between two fleurs-de-lis Gules, for example. The
-chief, on the other hand, is not blazoned until after the rest of the
-shield has been fully described.</p>
-
-<p>Ordinaries may themselves be charged, and in that case the sequence in
-the blazon is: (1) the field; (2) the objects<span class="pagenum" id="Page_55">[Pg 55]</span> immediately on it; and
-lastly, the charges with which the latter are charged. For example:
-Az. <i>on a</i> chevron between three roses Or, as many fleurs-de-lis
-of the field. It will be noticed that the fact that the ordinary is
-charged is mentioned early in the blazon, though the description of
-the charges is left till later in accordance with the sequence already
-stated. Also that the chevron and roses being of the same tinctures the
-word <i>Or</i> only follows the last of the objects to which it refers.
-Another point that is here exemplified is the avoidance of tautology by
-the use of the words “as many” instead of the repetition of the number
-three, and again in describing the fleurs-de-lis by tincturing them “of
-the field” instead of repeating <abbr title="azure">az.</abbr> This extreme objection to tautology
-is very characteristic of heraldic language, and where it is impossible
-to otherwise avoid repeating a tincture the ordinary word will be used
-in place of the technical one, as Gold in place of Or.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig70"><img src="images/fig70.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 70.</span></div>
-</div>
-</div>
-</div>
-
-<p>Having proceeded so far with the subject of blazon, two very convenient
-methods of noting heraldic facts may now be described. That which is
-called a “trick” is a slight sketch, in which simplification is carried
-to the ultimate extent by indicating with numbers the charges which
-are repeated. As an instance, the coat blazoned above would appear in
-trick thus (<abbr title="figure">Fig.</abbr> 70). In the other method, which is a sort of heraldic
-shorthand, the blazon would be written: <abbr title="azure">Az.</abbr> on a <a id="shapes"></a><img src="images/shape1.jpg" class="figinline w18" alt="similar to an Greek lambda (Λ), but obtuse"> bet 3 <img src="images/shape2.jpg" class="figinline w18" alt="circle with a dot in the middle and five lines radiating from it">
-Or 3 <img src="images/shape3.jpg" class="figinline w18" alt="a cross with three arcs on the top"> <abbr title="azure">Az.</abbr>, the niceties of ordinary blazon in avoiding
-repetition being ignored.</p>
-
-<p><span class="pagenum" id="Page_56">[Pg 56]</span></p>
-
-<p><span class="smcap">Various Lines.</span>—The lines with which simple objects are drawn
-and fields divided are, normally, plain ones; but various others are
-also employed, and constitute important differences between one coat
-and another. Those in ordinary use are as follows (<abbr title="figure">Fig.</abbr> 71):—</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell tdm">Engrailed</div>
-<div class="cell tdc"><span id="fig71eng"><img src="images/fig71eng.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Invected</div>
-<div class="cell tdc"><span id="fig71inv"><img src="images/fig71inv.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Wavy</div>
-<div class="cell tdc"><span id="fig71wav"><img src="images/fig71wav.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Nebulée</div>
-<div class="cell tdc"><span id="fig71neb"><img src="images/fig71neb.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Indented</div>
-<div class="cell tdc"><span id="fig71ind"><img src="images/fig71ind.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Dancettée</div>
-<div class="cell tdc"><span id="fig71dan"><img src="images/fig71dan.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdl">Embattled</div>
-<div class="cell tdc"><span id="fig71emb"><img src="images/fig71emb.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Raguly</div>
-<div class="cell tdc"><span id="fig71rag"><img src="images/fig71rag.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Dovetailed</div>
-<div class="cell tdc"><span id="fig71dov"><img src="images/fig71dov.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Potenty</div>
-<div class="cell tdc"><span id="fig71pot"><img src="images/fig71pot.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell tdm">Rompu</div>
-<div class="cell tdc"><span id="fig71rom"><img src="images/fig71rom.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell"></div>
-<div class="cell tdc"><span class="caption smcap">Fig. 71.</span></div>
-</div>
-</div>
-</div>
-
-<p>Engrailed may be drawn with cusps of any suitable size or quality of
-curvature. Its points must turn outwards from an ordinary, and when
-used as a party line they point to the dexter in per pale and upwards
-in per fess and per chevron.</p>
-
-<p>All lines other than plain ones must be mentioned in the blazon in
-immediate connexion with the objects to which<span class="pagenum" id="Page_57">[Pg 57]</span> they refer and before
-the tincture, as, Gules a bordure engrailed Or. As the only party line
-that appears to face in one direction, engrailed follows the general
-heraldic feeling in turning its point to the dexter or to the chief
-unless there is special reason to the contrary.</p>
-
-<p>Invected is engrailed reversed, so that the points turn inward. Its use
-is comparatively rare and the effect is not very pleasing.</p>
-
-<p>In wavy any form of regular undulation may be employed so long as there
-is no possibility of confusion with nebulée.</p>
-
-<p>Nebulée is usually drawn in some modification of the two forms given
-above, but there is an old and interesting treatment in which a nearer,
-though still conventional, suggestion of clouds covers the ordinary,
-as in <abbr title="figure">Fig.</abbr> 72. This is a bordure nebuly equally with that drawn in the
-ordinary way.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig72"><img src="images/fig72.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 72.</span></div>
-</div>
-</div>
-</div>
-
-<p>Indented is composed of small serrations, while Dancettée usually
-consists of not more than three chevrons which, in the case of a fess,
-for instance, may be complete, or the series may begin and end with a
-half chevron as in the example. In early instances the angles are very
-acute, and in the case of party lines extend well across the field. In
-such a case the line should begin on one side of the shield and finish
-on the other in order to equalize the direction of the points.</p>
-
-<p>Embattled, when applied to fesses and chevrons, is confined to
-the upper line unless the ordinary is blazoned “embattled counter
-embattled,” in which case both lines<span class="pagenum" id="Page_58">[Pg 58]</span> are similarly treated. When
-applied to a chevron the sides of the crenellations are usually kept
-vertical, as though in the wall of a sloping way, rather than at right
-angles to the ordinary, though the latter form also occurs.</p>
-
-<p>Raguly, especially when applied to a fess or a pale, is suggestive of
-stumps of branches that have been lopped from the parent stem, and this
-probably indicates its origin. Thus the projections on both sides of
-the ordinary slope the same way, and, in many examples, they alternate.
-In the case of a cross they point along the limbs outwards from the
-centre.</p>
-
-<p>Many of the heraldic lines are of very ancient usage, and the popular
-idea that they are signs of modernity is quite an erroneous one, some
-of them occurring as early as the reign of Edward I.</p>
-
-<p>A line is Rompu when it is interrupted as in <abbr title="figure">Fig.</abbr> 62, and an instance
-of this occurs in the Arms of Allen, which is per bend rompu.</p>
-
-<p><span class="smcap">Sub-ordinaries.</span>—The Canton, Gyron, Inescutcheon, Orle,
-Tressure, Bordure and Flanches are classed as Sub-ordinaries. The fusil
-or lozenge (<abbr title="quod vide"><i>q.v.</i></abbr>) and some others are also sometimes included in
-this division, but classification of this kind is of little practical
-importance.</p>
-
-<p>The Canton (<abbr title="figure">Fig.</abbr> 73) is frequently a means of <a id="augmentation"></a>displaying an
-augmentation, a special distinction added to a previously existing
-coat, as in the arms of the family of Lane and others. It is drawn
-of any convenient size short of being possibly confused with the
-Quarter, the latter occupying the proportion of the shield that its
-name implies. The fact that even in modern coats the canton partially
-covers, if necessary, a charge near<span class="pagenum" id="Page_59">[Pg 59]</span> the same part of the shield
-suggests that it was in its origin an added mark of honour; and also
-because like the chief, it is mentioned in the blazon only after the
-main part of the shield has been described.</p>
-
-<p>The Orle (<abbr title="figure">Fig.</abbr> 69) becomes a Tressure (<abbr title="figure">Fig.</abbr> 70) by the addition
-of fleurs-de-lis, and when doubled and decorated with alternating
-fleurs-de-lis on both sides the beautiful “double tressure flory
-counterflory” of the Royal arms of Scotland is formed.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig73"><img src="images/fig73.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig74"><img src="images/fig74.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig75"><img src="images/fig75.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig76"><img src="images/fig76.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 73.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 74.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 75.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 76.</span></div>
-</div>
-</div>
-</div>
-
-<p>Other ordinaries may also be made flory in a similar way, and a
-partition line may be flory counterflory, so that each division of the
-field interpenetrates the other in a very beautiful counter-change.</p>
-
-<p>The Bordure (<abbr title="figure">Fig.</abbr> 71) was extensively used in the Middle Ages as an
-addition to the arms of a family by which to distinguish its individual
-members from each other, as it still is in Scotland, and in its
-application to historic personages is a subject of great interest; for
-example, the shield of John of Eltham bore the arms of his father,
-Edward II, the lions of England, differenced with a bordure charged
-with fleurs-de-lis, in allusion to his mother, Isabella of France. The
-shield (<abbr title="figure">Fig.</abbr> 77)<span class="pagenum" id="Page_60">[Pg 60]</span> appears on the tomb of his nephew, Prince Edmund, at
-Kings Langley, but a much finer example is that from Prince John’s own
-monument in Westminster Abbey, at <abbr title="page">p.</abbr> 77. This part of the subject will
-well repay pursuit, though space forbids its further consideration here.</p>
-
-<div class="picpage">
-<div class="img figcenter p2 b2">
-<span id="fig77"><img src="images/fig77.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 77.</span><br>
-Arms of Prince John of Eltham. From the Monument to Prince Edmund of
-Langley at Kings Langley.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_61">[Pg 61]</span></p>
-
-<p>It should be noted that when a chief or a canton occurs in the same
-arms with a bordure it surmounts the latter, or rather the bordure
-stops when it touches the other, for both are usually represented as
-in the same plane. Also, when a coat with a bordure is impaled with
-another, as in the arms of husband and wife, the bordure stops at the
-junction with the other coat. Nevertheless, the charges on the bordure,
-if any, and of specified number, remain, with the rest of the arms,
-unaffected by its diminution.</p>
-
-<p>The fact that the chief surmounts a bordure lends probability to the
-assertion that chiefs like cantons were at first honorific additions to
-pre-existing arms.</p>
-
-<p>Flanches are represented in <abbr title="figure">Fig.</abbr> 78, and their diminutives, Flasques
-and Voiders, are sometimes met with in old works.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig78"><img src="images/fig78.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 78.</span></div>
-</div>
-</div>
-</div>
-
-<p>A shield of arms is said to be <i>charged</i> with the figures upon it,
-but the term charge is usually understood to mean some object other
-than the ordinaries just described.</p>
-
-<p>Before proceeding further, however, it will be well to consider the
-various ways in which charges may be arranged with regard to the
-shield, to the ordinary and to each other.</p>
-
-<p>A single charge whose position is not otherwise fixed by the blazon
-naturally occupies the whole shield, but when charges are repeated the
-arrangement is, of course, more complex.</p>
-
-<p>The most usual number of repeated charges in a coat of arms is three,
-two in chief and one in base, an arrangement<span class="pagenum" id="Page_62">[Pg 62]</span> obviously suggested by
-the space available on a pointed shield, and in blazoning they are said
-to be <i>two and one</i>. As a rule, however, this distribution is
-assumed to exist unless another is specified. When the charges are more
-than three their disposition must always be mentioned, as: Gules six
-horse-shoes, three two a one, <abbr title="argent">Arg.</abbr> and so on for ten or more, counting
-always from the chief or top of the shield.</p>
-
-<p>An indefinite number of charges equally distributed over a surface,
-whether of field, ordinary or charge, is said to be Semée, as in the
-Arms of France that were assumed by Edward III and his successors, <abbr title="azure">az.</abbr>
-semée-de-lis or. As in this instance, a field semée of anything was
-depicted as though cut from a large surface similarly decorated, so
-that here and there at the edges a part only of the figures remained.
-This early method has been relinquished in favour of what was anciently
-called Geratting, by so arranging the powdering of charges that they do
-not touch the sides of the shield or any other object with which they
-are associated. Considerable management is required to so arrange them
-that they shall be equally distributed, and care must be taken that
-they do not appear to be <i>in orle</i>, as is explained below.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig79"><img src="images/fig79.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 79.</span></div>
-</div>
-</div>
-</div>
-
-<p>Somewhat similar to semée is what is known as <a id="goutee"></a>guttée or gouttee (<abbr title="figure">Fig.</abbr>
-79), a means of covering a field or other object by means of a kind
-of semée of drops, which have different names according to their
-tinctures. Thus when they are gold they are gouttés d’or; when argent,
-gouttés d’eau; when gules, gouttés<span class="pagenum" id="Page_63">[Pg 63]</span> de sang; azure, gouttés de larmes;
-sable they are gouttés de poix; and gouttés d’olive are vert.</p>
-
-<p>It is quite permissible to blazon them by their tincture; thus “arg.
-gouttée de sang,” would be equally correctly written, <abbr title="argent">arg.</abbr> guttée gules.</p>
-
-<p>The direction of the ordinaries affords another excellent means of
-placing charges; thus, objects in a horizontal line across the middle
-of the shield are <i>in fess</i>, when at the top they are <i>in
-chief</i>, and so forth.</p>
-
-<p>Similarly, charges one above the other are blazoned <i>in pale</i>.
-Here it should be noted that in pale and in fess do not mean occupying
-the <i>space</i> of a pale or of a fess, but merely that they are
-disposed in the indicated direction. Thus the lions of England are
-<i>in pale</i>, but should, of course, be drawn right across their
-field, and in a similar manner charges in fess extend from chief to
-base when their character admits of the extension.</p>
-
-<p>In some instances a number of charges are placed on the field between
-others, as: three roses in bend between two roundles; but the result
-can rarely be made satisfactory as design, such a coat seeming to need
-the steadying effect of the lines of an ordinary.</p>
-
-<p>Charges that are ranged round the field, as in the enamelled shield of
-William de Valence at Westminster, <abbr title="page">p.</abbr> 176, are <i>in orle</i>; if the
-number of martlets were specified, the blazon would be so many martlets
-in orle; but if the number were indefinite, the term would be an orle
-of martlets.</p>
-
-<div class="picpage p2">
-<div class="img figcenter b2">
-<span id="fig80"><img src="images/fig80.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 80.</span>—Arms of the Grocers Company of
-London. Cartoon for mural decoration. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p>When a fess or a chevron is between three charges the latter naturally
-fall into the position of two in chief and one in base, and that is
-the most usual number and<span class="pagenum" id="Page_64">[Pg 64]</span> arrangement. Instances of greater numbers
-so disposed are rare among ancient examples, for in designing them the
-pointed shield seems to have been kept always in view with the notable
-exception of Berkeley, <abbr title="gules">Gu.</abbr> a chevron ermine between ten crosses pattée
-Ar; but these<span class="pagenum" id="Page_65">[Pg 65]</span> adapt themselves perfectly to the shield and chevron,
-being balanced by the large number above, as also do the cloves of the
-Grocers Company that are similarly arranged. <abbr title="figure">Fig.</abbr> 80 shows a rendering
-of the last-mentioned arms as designed to accompany work of the
-eighteenth century.</p>
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_66">[Pg 66]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_IV">CHAPTER IV
-<br> Animals and Monsters</h2>
-</div>
-
-<p>Among the forms that are characteristically heraldic the Lion, the
-symbol of courage, power and magnanimity, is most prominent and typical.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig81"><img src="images/fig81.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 81.</span> Thirteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>It has already been mentioned that the earliest heraldic lion, followed
-the Eastern examples with considerable fidelity, as may be seen by
-comparing the lions of the early MSS., such as <abbr title="figure">Fig.</abbr> 81, with those of
-the textiles which were the product of Oriental looms, and of such as
-were set up in Sicily with Oriental workmen in the twelfth century.
-These early examples were drawn broadly and simply as was fitting
-to the material in which they were expressed, and their shape and
-proportion approached that of nature. The lion of the early seals, such
-as Figs. 82 and 83, present the same characteristics. The former seal
-is that of Alexander First in the twelfth century, and the latter that
-of Henry, son of Swanus de Denehy, in the thirteenth. The attenuation
-which became so characteristic a feature of the animals in later<span class="pagenum" id="Page_67">[Pg 67]</span> work
-arose from the necessity of clear definition of the object which was
-to serve as a distinctive badge that would be visible at a distance
-and when in motion, as has been already pointed out. The device was
-intended to be easily read under the various conditions of use, and
-in complying with those conditions the early draughtsman well proved
-that splendid sense of design which distinguished him. To this end the
-object was drawn as large as the containing space would fairly permit,
-and its form was attenuated so as to allow the ground to show through
-in due proportion to complete the necessary clearness of definition. A
-figure thus treated became a symbol, rather than a representation of
-the intended creature, but was, nevertheless, in the best instances,
-full of character, vigour and vitality; that is to say, the qualities
-that were attributed to the animal, not its mere form, were the object
-of expression. The placing of the beasts in the shield and their
-proportion to it is always satisfactory at this time, and suggests that
-too much<span class="pagenum" id="Page_68">[Pg 68]</span> care cannot be taken in trying to attain a similar excellence
-in present work, but by expressing qualities rather than by copying
-forms. Of the examples of lions of various periods, <abbr title="figure">Fig.</abbr> 84 is taken
-from the seal of Henry de Percy, 1300. Figs. 85 and 86, a lion rampant
-and passant guardant respectively, are from the enamelled arms on the
-tomb of Edward III in Westminster Abbey. <abbr title="figure">Fig.</abbr> 87 is from a fifteenth
-century shield of stained glass that is now in the Victoria and Albert
-Museum.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter mb0">
-<div class="row">
-<div class="cell"><span id="fig82"><img src="images/fig82.jpg" class="h200" alt=""></span></div>
-<div class="cell"><span id="fig83"><img src="images/fig83.jpg" class="h200" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 82.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 83.</span></div>
-</div>
-</div>
-<div class="table figcenter">
-<div class="row">
-<div class="cell caption">Device Seals. Thirteenth Century.</div>
-</div>
-</div>
-
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig84"><img src="images/fig84.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig85"><img src="images/fig85.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 84.</span>—End of Twelfth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 85.</span>—Late Fourteenth Century.</div>
-</div>
-</div>
-
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig86"><img src="images/fig86.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig87"><img src="images/fig87.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 86.</span>—Later Fourteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 87.</span>—Fifteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>The exact proportion which charges should bear to the field cannot,
-of course, be stated with accuracy, there being no ready means of
-measurement, even if such<span class="pagenum" id="Page_69">[Pg 69]</span> were desirable, and it must necessarily
-remain a matter for artistic perception to find the just mean between
-crowding a space and failing to fill it. It is evident also that the
-proportion would be modified by circumstances, such as the character of
-the charge (whether condensed or dispersed), and also to some extent
-by colour, with regard to the respective effects of light on dark or
-dark on light as affecting apparent size. It may, however, be suggested
-that the charges should be insisted upon to the fullest extent that is
-compatible with the general style of the design, the field remaining of
-such weight that the Scottish quarter of the Royal Banner, for example,
-if seen as a mass at a distance, will tell as gold rather than red. And
-after all is said, the actual balance must be left to the decision of
-the trained eye.</p>
-
-<p>When strong outline filled in with colour is the method of working, due
-allowance must be made for the tendency of the line to become merged in
-the darker of the two tinctures; and the object will therefore need to
-be drawn slightly larger or smaller accordingly.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig88"><img src="images/fig88.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 88.</span></div>
-</div>
-</div>
-</div>
-
-<p>There are also illusions of an optical nature that are produced by
-certain combinations of lines. If, for instance, three pallets are
-charged upon a chevron, it will be found that the middle one must be
-appreciably wider than those beside it if the three are to appear
-equal. <abbr title="figure">Fig.</abbr> 88 shows this, though the fact is more clearly appreciable
-in a drawing on a larger scale.</p>
-
-<p>The Pose of the Animals must be carefully observed<span class="pagenum" id="Page_70">[Pg 70]</span> as being of the
-utmost heraldic importance, and must in the main be adhered to with
-complete fidelity. To neglect in this respect is due much of the bad
-heraldry which too often vitiates otherwise good work.</p>
-
-<p>In the early days of the science, when the bearings were few, the
-nature of the creature was, no doubt, sufficient for the intended
-purpose, for there would be no other near with which to confuse it, and
-the pose was probably dictated by the form of the space that the animal
-was required to fill, but when it became necessary to distinguish
-between different bearers of the same animal, pose assumed a special
-significance and therefore became one of the principal means of
-heraldic distinction.</p>
-
-<p>Of the two principal poses, rampant and passant, the former is more
-suitable to upright spaces and the latter to horizontal ones. When
-however a passant lion has to fill an upright space, such as a canton
-or a quarter of a shield, or a rampant lion to fill a horizontally
-flattened one such as the second quarter of the Royal Standard when it
-is constructed in accordance with Admiralty measurements difficulties
-occur. One such problem occurs in the arms of Cambridge University,
-Gules a cross Ermine between four lions of England, a Bible fesswise of
-the field clasped and garnished Or (<abbr title="figure">Fig.</abbr> 89).</p>
-
-<div class="picpage p2">
-<div class="img figcenter b2">
-<span id="fig89"><img src="images/fig89.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 89.</span>—Arms of the University of Cambridge.<br>
-Panel in copper silvered and oxidized. G. W. Eve.</div>
-</div>
-</div>
-
-<p>It was the rampant position that was considered the typical leonine
-one, however, and therefore it was that the lions of England were
-called leopards in early times: not that they differed in their
-relation to the natural form, but simply that they were not in the
-understood leonine posture. It will be seen from <span class="pagenum" id="Page_72">[Pg 72]</span>the example (<abbr title="figure">Fig.</abbr>
-90) that rampant signifies an upright pose with all the legs separated
-in a suggestion of vigorous rage. This arrangement of the limbs is
-heraldically essential, for when the hind legs are placed together the
-position is called <i>salient</i> or leaping (<abbr title="figure">Fig.</abbr> 91). With regard
-to the heads of animals, it must be understood that in heraldry the
-normal position is in profile, and then it requires no special mention
-in the blazon. If, however, the blazon is, for example, a lion rampant
-guardant, the head is turned until it looks straight out of the shield
-at the spectator (<abbr title="figure">Fig.</abbr> 92). <i>Regardant</i> is<span class="pagenum" id="Page_73">[Pg 73]</span> when the head is
-turned still farther so that it looks backward over the shoulder (<abbr title="figure">Fig.</abbr>
-93). In some early works the term regardant is used in the same sense
-as guardant, full faced, but the position first described is what is
-now understood by the term.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig90"><img src="images/fig90.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig91"><img src="images/fig91.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 90.</span>—Rampant.</div>
-<div class="cell caption"><span class="smcap">Fig. 91.</span>—Salient.</div>
-</div>
-</div>
-</div>
-
-<p>The tail of the rampant lion, which in early examples was elaborated
-into a highly ornamental appendage, is usually held in an erect
-position, but there is no heraldic reason why it should not occupy any
-other position which the shape of the field might render desirable.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig92"><img src="images/fig92.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig93"><img src="images/fig93.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 92.</span>—Rampant Guardant.</div>
-<div class="cell caption"><span class="smcap">Fig. 93.</span>—Rampant Regardant.</div>
-</div>
-</div>
-</div>
-
-<p>It seems to have been always believed that the rage of a lion was
-indicated by the agitation of the tail, and Leigh, writing in the
-sixteenth century, says: “<span lang="ang" xml:lang="ang">When the lion is angry, first he beateth the
-earth and then his own backe with his taile.</span>” On the other hand, it is
-now asserted by wild beast tamers that a lion is most dangerous when
-his tail assumes the rigidity of an iron bar and possibly the first
-draughtsman to depict the Howard or the Percy lion, in his well-known
-and now stereotyped attitude with the tail extended horizontally, was
-aware of this.</p>
-
-<p>It is sometimes said that the tail passing between the legs constitutes
-a definite heraldic variation, but this is extremely unlikely. The
-term ascribed to it of “coward” is much too dangerous to have been
-intentionally borne on a shield which symbolically stood for its owner,
-except with some other symbol in a position of superiority, such as
-the eagle over the dragon in the Guelph arms. Most probably it was one
-of the trivial inventions by which the later heraldic writers sought
-to fix and give meaning to an accidental and unessential<span class="pagenum" id="Page_74">[Pg 74]</span> detail.
-There are numerous instances of this free treatment of the tail when
-there could be no possible heraldic intention, and in every case it
-is apparent that some difficulty in arrangement was overcome, as in
-both the Great Seals for Scotland of Charles I the lion supporter has
-the tail between the legs, and it is not possible to consider this a
-Scottish joke, though the animal looks singularly mild and cheerful.
-However this may be, the tail may certainly go anywhere outside the
-legs. A lion’s tail may be double or forked, and in that case the
-blazon says <i>double queued or queue forchée</i>. Both terms mean
-the same thing, for the double tail issues from but one root. In rare
-instances it is twisted into a knot, and is then said to be nowed.</p>
-
-<p>Although the lion has been conventionalized, more or less, into
-a pattern, and his positions are always the subject of careful
-regulation, he is still susceptible of considerable variation of pose,
-within heraldic limits, based on the facts of anatomical structure; so
-that while the possibilities of animal movement are observed, it may
-be designed to cover its field pattern-wise whatever the shape of the
-shield may be, and at the same time retain great vitality and power.
-The effort to express vigorous action without suggesting progression
-out of the space is not easy perhaps, but the contrary effect is very
-ludicrous, as is often apparent in modern mural decorations that are
-based on heraldic motives, rampant lions seeming to be walking placidly
-up a wall in a procession of their fellows.</p>
-
-<p>The <i>lion passant</i> is depicted with all the limbs separated and
-the right forepaw raised (<abbr title="figure">Fig.</abbr> 94), and when its head<span class="pagenum" id="Page_75">[Pg 75]</span> is full faced,
-affrontée, it is passant guardant, the position of the lions in the
-Royal arms of England, <abbr title="videlicet">viz.</abbr> Gules three lions passant guardant in pale
-Or. The most frequent error in rendering this coat is the turning the
-heads in profile, and it cannot therefore be too often insisted upon
-that lions so treated are not “lions of England” at all.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig94"><img src="images/fig94.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig95"><img src="images/fig95.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 94.</span>—Passant.</div>
-<div class="cell caption"><span class="smcap">Fig. 95.</span>—Statant.</div>
-</div>
-</div>
-</div>
-
-<p>The shield at Canterbury that is ascribed to Edward the Black Prince
-has been already described as a most satisfactory example, which is in
-brilliant contrast to the modern instances wherein the lions occupy a
-central column in a broad field with a wide blank space at either side
-of them. This perhaps arose from a mis-reading of the words “in pale”
-of the blazon, which were perhaps taken to mean “in place of a pale,”
-whereas they mean “in the direction of a pale,” i.e. one over the other
-but without lateral limits other than those of the field. Passant
-regardant has the head looking backwards as in rampant regardant. The
-lion statant (<abbr title="figure">Fig.</abbr> 95) stands on all four feet, and may be statant
-guardant or statant regardant, according to the position of the head as
-before mentioned.</p>
-
-<p><span class="pagenum" id="Page_76">[Pg 76]</span></p>
-
-<p>Sejant is in the position of <abbr title="figure">Fig.</abbr> 96 and couchant that of <abbr title="figure">Fig.</abbr> 97.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig96"><img src="images/fig96.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig97"><img src="images/fig97.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig 96.</span>.—Sejant.</div>
-<div class="cell caption"><span class="smcap">Fig. 97.</span>—Couchant.</div>
-</div>
-</div>
-</div>
-
-<p>The expression of vigour is the most important individual quality to
-strive after in the treatment of heraldic animals, the line of the back
-and loins may be made to express lithe strength, and power be suggested
-by the massive shoulder, with the powerful fore-leg tapering to the
-wide-stretched and vigorous paw. Dignity and life should be in the pose
-of the leonine head and mane, and broad harmonious effect in the whole
-treatment. The widely spread toes were sometimes very much exaggerated,
-as in the Arms of John of Eltham (<abbr title="figure">Fig.</abbr> 98), but in character and
-drawing were much nearer the natural facts than the foot of a quiescent
-lion might lead one to imagine. This may be seen on a small scale in
-the domestic cat when she stretches her leg with her claws protruding.</p>
-
-<p>When the lions of the later Gothic type lost the vigorous qualities
-of the earlier examples the toes lost their power and became like
-radiating leaf-forms.</p>
-
-<div class="picpage p2">
-<div class="img figcenter b2">
-<span id="fig98"><img src="images/fig98.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 98.</span>—Arms of Prince John of Eltham.<br>Westminster Abbey.</div>
-</div>
-</div>
-
-<p>The setting-on of the tail may also help the expression of vigorous
-life, its junction with the body being well marked instead of being
-allowed to flow softly out of<span class="pagenum" id="Page_78">[Pg 78]</span> the line of the back. This is well
-shown in Dürer’s lion at <abbr title="figure">Fig.</abbr> 99, that splendid example of the best
-kind of Renaissance heraldry whose fine drawing, well-balanced design
-and beautiful technique have caused its frequent instance as a striking
-work of heraldic art. The illustration is reproduced from the very
-fine impression in the National Art Library at the Victoria and Albert
-Museum.</p>
-
-<p>Both these examples are excellent for their good decorative
-distribution, the former shield being probably the best extant instance
-of that necessary quality.</p>
-
-<p>In the lions of various periods it will be seen how the type altered
-from time to time, from that of the thirteenth century MSS., which
-possesses a considerable amount of a natural leonine shape, through the
-attenuated beast of the later mediaeval period down to the Renaissance
-form in its two somewhat dissimilar styles: that of Germany, from which
-modern German heraldry is derived, which shows a strong survival of
-Gothic influence; and that of Italy, from which appears to have been
-drawn the heraldry of the rest of Europe until the still recent Gothic
-revival here.</p>
-
-<p>In modern German heraldry the lions have become so over-elaborated that
-in many instances the prevalent effect is one of fluffiness. Too much
-is made of the hair, especially in the legs, which are sometimes much
-more suggestive of the well-feathered legs of a dorking fowl than of
-the clean and powerful, though hairy, limb of a lion; and with the lost
-suggestion of vital energy goes any symbolic dignity that it expresses.</p>
-
-<div class="picpage p2">
-<div class="img figcenter b2">
-<span id="fig99"><img src="images/fig99.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 99.</span>—The Coat of Arms with a Cock. A.
-Dürer.</div>
-</div>
-</div>
-
-<p>The later Italian heraldry and the style which followed it ultimately
-dispensed with attenuation in the animals<span class="pagenum" id="Page_80">[Pg 80]</span> together with most of
-the other decorative qualities of the hated Gothic, and the efforts
-at naturalistic representation resulted in forms which at a little
-distance became mere undistinguishable blobs, to the complete defeat
-of the object of their existence. The rampant lions became tame
-and therefore ludicrous in the upright pose which, deprived of any
-suggestion of rage and strength becomes meaningless, while in what
-may be called the decorative treatment the suggestion of the creature
-and of its attributed qualities in a broad and simple way sanctions
-an arrangement which makes for decorative distribution as well as for
-symbolic expressiveness. Vigour also makes for the dignity that is an
-important consideration in serious design, for when once a ludicrous
-suggestion is attached to a thing it becomes inseparable from it.
-Probably the most frequent accompaniment of such want of vigour is the
-production of a feebly human expression which inevitably suggests the
-connexion with it of some trivial or ludicrous phrase. Now the grinning
-jaws of the early lions are never imbecile.</p>
-
-<p>With regard to the strong characterization that is required valuable
-lessons may be learnt from the lions of the Assyrian bas-reliefs,
-one of which is represented here (<abbr title="figure">Fig.</abbr> 100). The accentuation of the
-principal muscular forms and masses is very striking, and presents
-suggestions of a method that lends itself well to the expression
-of heraldic character. It is not, of course, intended to import an
-Assyrian lion bodily into the shield, or that the Assyrian style should
-be visible in the resulting work, but only that the method should be
-studied and applied as a special means to a definite end.</p>
-
-<p><span class="pagenum" id="Page_81">[Pg 81]</span></p>
-
-<div class="picpage p2">
-<div class="img figcenter b2">
-<span id="fig100"><img src="images/fig100.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 100.</span>—Lion from Assyrian Bas-relief.</div>
-</div>
-</div>
-
-<p>The degree of detail and the amount of its elaboration will depend on
-the size and general character of the work. Sometimes mere outline will
-suffice, though on a larger scale or in other conditions it would look
-empty. Thence to complete modelling embraces a wide field of choice
-in which to find methods suitable to all purposes. Under ordinary
-conditions a simple broad treatment is much to be desired, definition
-being obtained by few but accurately placed lines, such as<span class="pagenum" id="Page_82">[Pg 82]</span> those of
-ribs and loins in the body, and of brow, jaw and mane in the head.</p>
-
-<p>The degree of relief of charges should, of course, stop short of any
-suggestion of detachment from the field. This might seem too obvious
-for remark, but an example to the contrary, a large, and in many
-respects beautiful, work in coloured leather was recently to be seen in
-which, the arms of the Medici being the principal motive, the charges
-appeared to be suspended in front of the shield from which they seemed
-to be so distant as to cast full round shadows.</p>
-
-<p>In adjusting a rampant lion or other beast to its field a skeleton
-sketch of the main lines of distribution may be usefully employed as a
-guide in first blocking out the animal, in the same way that similar
-diagrammatic forms are sometimes used in figure composition. On this
-the figure will be drawn, the head being thrown well back and the
-hindmost leg being brought towards the centre line so as to help the
-spacing in the dexter base of the shield.</p>
-
-<p>Care should be taken not to make the higher of the forelegs too short,
-or the value is lost of the strong forward reach from the shoulder,
-which expresses the action while it helps the distribution.</p>
-
-<p>In posing animals on a shield it must never be forgotten that not only
-is a pattern being arranged but that it is made with the body and limbs
-of a supposedly living thing.</p>
-
-<p>Fig. 101 is one of the methods that suggest themselves, and passant
-lions may be spaced in a similar way (<abbr title="figure">Fig.</abbr> 102).</p>
-
-<p><span class="pagenum" id="Page_83">[Pg 83]</span></p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig101"><img src="images/fig101.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig102"><img src="images/fig102.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 101.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 102.</span></div>
-</div>
-</div>
-</div>
-
-<p>A lion’s claws and tongue, of which he is <i>armed</i> and
-<i>langued</i> respectively, are gules except when he or the field is
-of that tincture, and in either of the latter cases he is armed and
-langued azure, as in the Royal coat of Scotland. This is taken as of
-course, and need not be mentioned in the blazon, though it very often
-is.</p>
-
-<p>Demi-lions are usually demi-lions rampant, and in this form they were
-largely used as crests, which will be discussed later on. They are
-depicted as severed low down at the loins, and the tail is retained in
-most cases, though not always. When, as a charge, they are in contact
-with a line of an ordinary, as though arising from it, they must be
-described in the blazon as <i>issuant</i>.</p>
-
-<p>Demi-lions passant or passant guardant are of more rare occurrence, the
-latter generally in conjunction with another object, as in the arms
-ascribed to the Cinque Ports on the seal of Sandwich (<abbr title="figure">Fig.</abbr> 103), where
-the demi-lions are joined to the hulls of ships. This evidently arose
-from the joining together by dimidiation or halving of two separate
-coats, <abbr title="videlicet">viz.</abbr> the Arms of England with one of local allusion: <abbr title="azure">Az.</abbr> three
-hulls of ships Or. By a similar method were evolved the Arms of the
-city of<span class="pagenum" id="Page_84">[Pg 84]</span> Chester, wherein the lions of England are conjoined with the
-wheatsheaves of the Earldom.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig103"><img src="images/fig103.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 103.</span>—Seal of Sandwich (Mayor’s Seal).</div>
-</div>
-</div>
-</div>
-
-<p>Among the separate parts of animals used alone or in repetition a
-lion’s head is a frequent charge, and it follows the general rule of
-being represented in profile unless otherwise described. The lion’s
-leg, called a jamb, is also separately used as a charge, the tail being
-likewise thus employed. It must be remarked, that whenever a separate
-part of an animal is used as a charge the method of its severance must
-be carefully distinguished, whether <i>couped</i>, cleanly cut off,
-or <i>erased</i>, roughly torn away. In the latter case the erasure
-generally consists of three points or tufts, though not necessarily of
-that exact number so long as the erasure is sufficiently marked. It
-may, however, be noted here that a demi-lion as a crest is considered
-to be couped unless it is otherwise described, the junction with the
-helm usually disappearing within the torse that encircles it at that
-point.</p>
-
-<p>Animals that can neither be described as actual nor purely imaginary
-are the so-called “heraldic” tiger and “heraldic” antelope, which have
-little apparent relation to their natural namesakes, but were perhaps
-evolved in the effort of an early artist to realize the wonderful
-description of some marvellous traveller. They have a family likeness,
-however, in their armed snouts and in their leonine tails, the latter
-being an<span class="pagenum" id="Page_85">[Pg 85]</span> appendage with which the mediaeval artist was fond of
-finishing off his creatures in default of more accurate information.</p>
-
-<p>The poses of the lion are followed in a general way by other animals,
-both natural and “heraldic”; but in many instances the attitudes are
-called by different names for different creatures, a practice that was
-usual in mediaeval times, and also has its present examples, such as
-that two partridges are a brace and two hounds a couple, which need
-hardly be further specified. The Stag, emblematic of speed and sport
-rather than of combative virtues, has a special set of terms, which
-were naturally borrowed in part from those used in hunting. Thus he is
-“<i>at gaze</i>” when standing with his head affrontée, but when he
-stands with his head in profile he is <i>statant</i> like any other
-beast; <i>springing</i> when in the salient position, <i>trippant</i>
-when he is walking, <i>at speed</i> when running, and when couched
-he is <i>lodged</i>, and so he must be described in the blazon. His
-antlers, which are called <i>attires</i>, must, if they are of a
-different colour, be carefully mentioned and also his hoofs in a
-similar case, e.g. Azure a stag trippant <abbr title="argent">Arg.</abbr> attired and unguled (i.e.
-hoofed) Or.</p>
-
-<p>A distinction is made between the stag and other horned animals in that
-the latter are said to be <i>armed</i> with their horns, as in the
-crest of the Duke of Bedford, a goat statant <abbr title="argent">Arg.</abbr> armed Or.</p>
-
-<p>Horses and other maned animals, real and imaginary, are <i>crined</i>
-of their manes. Thus, the supporters of the Goldsmiths Company (<abbr title="figure">Fig.</abbr>
-104) are unicorns or, armed, crined and hoofed <abbr title="argent">arg.</abbr> (in some examples
-purpure). <span class="pagenum" id="Page_87">[Pg 87]</span>This treatment of the Goldsmiths’ arms was designed,
-like those of the Grocers Company at <abbr title="page">p.</abbr> 64, to harmonize with early
-eighteenth century decorations. The unicorn has a horse’s head and
-body with the legs and cloven hoofs of a stag. Its twisted horn issues
-from the middle of its forehead, and its tail is that of a lion, the
-foregoing examples which have horses’ tails being extremely rare
-exceptions to the general rule.</p>
-
-<div class="picpage p2">
-<div class="img figcenter b2">
-<span id="fig104"><img src="images/fig104.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 104.</span>—The Arms of the Goldsmiths Company
-of London. Cartoon for mural decoration. Geo. W. Eve.</div>
-</div>
-
-<div class="img figcenter b2">
-<span id="pagcar"><img src="images/pagcar.jpg" class="w75" alt=""></span>
-<div class="caption">Griffin from the Triumphal Arch of the Emperor
-Maximilian I. Dürer.</div>
-</div>
-
-<div class="img figcenter b2">
-<span id="griffin"><img src="images/griffin.jpg" class="w75" alt=""></span>
-<div class="caption">Portion of a Pageant Car, with Heraldic Monsters. By
-Albert Dürer.</div>
-</div>
-</div>
-
-<p>Of other imaginary animals the Griffin or Gryphon is probably the
-best known next to the unicorn, seeing that its name is that which
-is popularly applied to most non-natural beasts. Evidently derived
-from one of those creatures by which early eastern art expressed the
-conjunction of various attributes, it came, like many other monsters,
-to be implicitly believed in as an actual beast until a comparatively
-late date. Thus Gerard Leigh has something to say of griffins which
-“bear great enmity to man and horse, though the man be armed and on
-horseback yet they take the one with the other quite from the ground
-and carry them clean away. I think they are of great hugeness,” he goes
-on, “for I have a claw of one of their paws which should show them to
-be as big as two Lyons!” In another place Leigh refuses to believe
-something that he had heard because he “had not seen the proof thereof”!</p>
-
-<p>The griffin is half eagle and half lion, the head forepart and wings
-being those of an eagle and the rest of the body with the hind legs and
-tail are leonine. The head of a griffin has ears, and these serve to
-distinguish it from that of an eagle when it is used alone.</p>
-
-<p>A curious variety of griffin, borne by the Marquis of Ormonde, is
-wingless, has two horns on its head and<span class="pagenum" id="Page_88">[Pg 88]</span> groups of rays issuing from
-its body, and is termed a male-griffin, for some inscrutable reason. It
-should be noted that the term for a griffin in a rampant position is
-<i>segreant</i>, all other poses being described in the ordinary way.</p>
-
-<p>The treatment of the composite animals naturally followed that of the
-creatures which entered into their composition, while the Dragons, more
-purely imaginary creatures, have suggestions of a snakelike character
-in their scales and annulations.</p>
-
-<p>In continental heraldry the dragon has but one pair of legs and behind
-them the body diminishing into a snakelike tail, which sometimes
-terminates in a barbed end. This form we term a Wyvern, reserving the
-word dragon for the four-legged variety.</p>
-
-<p>The conception of a dragon varied greatly, the prevailing
-characteristic in many instances being a hard scaliness somewhat
-suggestive of the Chinese and other oriental types. In other examples
-greater sinuosity and a more leathery texture is apparent, recalling
-to mind the idea of the “loathly worm” of some of the mediaeval dragon
-legends. As a symbol of evil, terrible but overcome, it is associated
-with <abbr title="saint">St.</abbr> George and with <abbr title="saint">St.</abbr> Michael, and also appears, with more
-personal allusion, in the well-known device of the Guelphic faction in
-their contest with the Ghibellines.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter b2">
-<span id="wallis"><img src="images/wallis.jpg" class="w50" alt=""></span>
-<div class="caption">Arms of the City of London. Wallis. 1677.</div>
-</div>
-
-<div class="figcenter p2 b2">
-<span id="wyvern"><img src="images/wyvern.jpg" class="w50" alt=""></span>
-<div class="caption">Wyvern (so-called “Dragon”)<br>From Paradin, “Devices Heroiques,” 1557.</div>
-</div>
-
-<div class="figcenter p2 b2">
-<span id="privy"><img src="images/privy.jpg" class="w50" alt=""></span>
-<div class="caption">Privy Seal of Henry VIII.</div>
-</div>
-</div>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_89">[Pg 89]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_V">CHAPTER V<br>
-Heraldic Birds and other Figures, Animate and Inanimate</h2>
-</div>
-
-<p>In the same way that the lion asserted its pre-eminence among heraldic
-beasts the Eagle, the most powerful of birds of prey, was adopted
-as the symbol of victory from a time so early that one hesitates to
-set a period to it, for in Chaldea and Assyria, 4000 <span class="allsmcap">B.C.</span>,
-the eagle typified conquest, even as it did in the Middle Ages. The
-especially characteristic attitude of the heraldic eagle when it is
-said to be <i>displayed</i> is first found in these early picture
-writings of the East, and from thence through countless stages comes
-to adorn the surface of the shields, to whose decoration its spreading
-form and radiating lines so admirably lend themselves. The pose is,
-of course, a natural one, as one may see when a gull hovers and backs
-in the air; but its decorative power and its adaptability to a shield
-shape are so striking as to suggest its invention for the purpose. The
-same necessity for clear definition that influenced the drawing of the
-mediaeval lion caused the eagle to be treated in a somewhat similar
-way, and the feathers of the wings being wide spread with ample clear
-space<span class="pagenum" id="Page_90">[Pg 90]</span> between them, while the body became to some extent attenuated,
-made the figure as conventional as the lion, and similarly adaptable to
-decorative distribution on a surface.</p>
-
-<div class="picpage p2 b2">
-<div class="img figcenter">
-<span id="fig105"><img src="images/fig105.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 105.</span>—Shield of the Emperor from the Tomb
-of Prince Edmund at Kings Langley. Early Fifteenth Century.</div>
-</div>
-</div>
-
-<p>A good example of the heraldic eagle of the Middle<span class="pagenum" id="Page_91">[Pg 91]</span> Ages is on one
-of the shields that decorate the tomb of Edmund Plantagenet at Kings
-Langley, Herts (<abbr title="figure">Fig.</abbr> 105). This, the eagle with two heads of the Holy
-Roman Empire, alludes to Richard, Earl of Cornwall, who though he was
-never actually Emperor, got so far as to be elected King of the Romans
-in 1257, and the arms of the Empire are constantly ascribed to him.</p>
-
-<p>The skeleton sketch that is useful in blocking out an eagle in its
-space will take some such form as <abbr title="figure">Fig.</abbr> 106.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig106"><img src="images/fig106.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 106.</span></div>
-</div>
-</div>
-</div>
-
-<p>In the mediaeval period eagles were always shown on shields in the
-pattern-like displayed position, whether they were single or double
-headed, until Renaissance heraldry in its reversion to classic types
-introduced the eagle of the Roman Ensigns and Monuments, which
-thenceforth has had to be taken into account when eagles are described
-in blazon. Thus it is now necessary to state whether the bird is
-displayed, is close or is rising. An eagle is close when it stands in
-profile with its wings folded, and is rising when it stands in the same
-general position but with its wings raised. An eagle in the position
-of that of the Roman Ensign is sometimes blazoned “an eagle with
-wings displayed,” and must not, of course, be confused with “an eagle
-displayed.” When they are flying they, like other birds, are said to be
-volant. They are <i>armed</i> and <i>membered</i> as to their beaks and
-feet when difference of colour renders it necessary to mention those
-details. Other birds are rarely if ever displayed.</p>
-
-<p>Falcons usually have bells strapped to their legs with<span class="pagenum" id="Page_92">[Pg 92]</span> thongs called
-jesses, and then are blazoned as <i>jessed</i> and <i>belled</i>. They
-are sometimes <i>hooded</i> also. The hood covering the eyes has an
-opening for the beak and is usually decorated with a tuft of feathers.</p>
-
-<p>A cock is said to be <i>armed</i> with his beak and spurs,
-<i>crested</i> as to his comb, and <i>jowlopped</i> of his wattles.</p>
-
-<p>A peacock when it carries its train raised and fully spread is
-blazoned, with great and obvious propriety, “a peacock in his pride,”
-but simply as a peacock, without qualification, when the tail is
-trailed.</p>
-
-<p>The pelican, the well-known emblem of maternal love, is shown standing
-in her nest and feeding her brood with blood from her breast, and
-with her wings in a displayed position with the points downward in an
-attitude of protection. In this position she is called a pelican in her
-piety.</p>
-
-<p>As an imaginary variant of an actual thing it may be convenient to
-refer here to the martlet, the very distinctive heraldic bird without
-feet, the “martlette of the sunne,” as old armorists call it. It is
-shaped like a swallow but without feet, for it was believed to live
-entirely in the air. Hence it was assigned as a mark of cadency to the
-fourth son, who, being so far from succession to the land, had only his
-own powers to sustain him (see <abbr title="figure">Fig.</abbr> 294).</p>
-
-<p>Martlets form part of the arms that are ascribed to Edward the
-Confessor, though in the example at Westminster Abbey the birds
-distinctly have feet and may perhaps have been meant for some other
-bird altogether, perhaps doves, whose symbolism of peace caused their
-early appearance among Royal insignia.</p>
-
-<div class="picpage">
-<div class="figcenter">
-<span id="sigismund"><img src="images/sigismund.jpg" class="w35" alt=""></span>
-<div class="caption">Seal of the Emperor Sigismund, as King of Hungary.</div>
-</div>
-
-<div class="figcenter">
-<span id="emperor"><img src="images/emperor.jpg" class="w35" alt=""></span>
-<div class="caption">Seal of Charles IV. as Emperor.</div>
-</div>
-
-<div class="figcenter">
-<span id="dauphiny"><img src="images/dauphiny.jpg" class="w35" alt=""></span>
-<div class="caption">Seal of Dauphiny, 1494.</div>
-</div>
-
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="pisano"><img src="images/pisano.jpg" class="w98" alt=""></span></div>
-<div class="cell"><span id="talpas"><img src="images/talpas.jpg" class="w98" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption">Italian Medal by Pisano, 1441.</div>
-<div class="cell caption">Italian Medal, attributed to Bartolo Talpas, XVth
-Century.</div>
-</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_93">[Pg 93]</span></p>
-
-<p>Of imaginary birds the phoenix is most interesting as a symbol of the
-perpetuation of life, and early writers never tired of describing in
-elaborate detail how the fabled bird, which they, however, accepted and
-believed in as a natural fact, effected his rejuvenescence through fire
-of his own kindling. Therefore the phoenix is represented in heraldry
-as resting upon its pyre. In recent times it has been customary to
-depict the bird as shaped like an eagle, but in earlier examples the
-head was crested like a peacock. Its proper colour was purely fanciful,
-some examples of great beauty being blue and gold, the preponderance of
-tincture varying with the fancy of the artist.</p>
-
-<p>The Harpy of classic story appears in heraldry in the shapes of eagles
-with the faces and breasts of women, and this appears to have been the
-only figure, with one exception, which combines the human form with
-that of a bird, for the bird-headed beings of the Assyrian bas-reliefs
-and other forms of Eastern art were not among those adopted into
-our heraldry, though there are a few instances in German work. The
-exceptions are the swans with women’s faces that in the fourteenth
-century decorated some of the hallings, of hangings of tapestry or
-embroidery, as especially emphasized versions of the chivalric symbol
-of womanhood that the swan was considered to be. For this reason it was
-adopted as a badge at a time which assiduously fashioned its manners
-after the traditionary chivalry of King Arthur and his knights, and
-when every kind of poetic and symbolic heraldry reached its fullest
-development.</p>
-
-<p><span class="smcap">Fish.</span>—Of heraldic fish the Dolphin may perhaps be<span class="pagenum" id="Page_94">[Pg 94]</span> considered
-the most distinguished, mainly from its association in former times
-with the heir to the throne of France; but it is occasionally met with
-in our heraldry, generally perhaps as typical of fish in general, as in
-the arms of the Fishmongers Company of London. It is represented with
-its body curved, and is then said to be <i>embowed</i>, and it also
-occurs in the other position referred to below. When it is blazoned
-<i>proper</i> its colour, heraldically, is green with red fins and tail.</p>
-
-<p>Other fish occur as punning allusions to their owners’ names, e.g.
-the Lucies (pike) of the family of Lucy, whose arms are one of the
-quarterings of the Duke of Northumberland.</p>
-
-<p>A fish when placed horizontally across the shield is blazoned
-<i>naiant</i>, or swimming, and when perpendicular as though breathing
-on the surface it is <i>hauriant</i>.</p>
-
-<p><span class="smcap">Human Figures.</span>—The human figure appears heraldically as
-representing religious or symbolic persons, and in combination
-with other forms it makes those composite figures which express a
-conjunction of symbolic ideas. A woman’s head and breasts joined to the
-body of a lion made the well-known Sphinx, a figure closely associated
-with Egypt, to which country and to services rendered therein it
-usually alludes in modern heraldry. The Greek sphinx is composed of
-the head and bust of a woman joined to the body and legs of a dog, and
-in addition is winged. Its occurrence is rare in heraldry, a recent
-instance being the Greek sphinx sejant, which is the crest of the
-University of Leeds.</p>
-
-<div class="picpage p2">
-<div class="img figcenter b2">
-<div class="row">
-<div class="cell"><span id="grimm"><img src="images/grimm.jpg" class="w98" alt=""></span></div>
-<div class="cell"><span id="schwings"><img src="images/schwings.jpg" class="w98" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption">Printer’s Mark of Grimm &amp; Wirsung, Augsburg, 1521. From
-a volume by Erasmus. Hans Weidlitz.</div>
-<div class="cell caption">Arms of Schwingshärtein, a Nuremberg family. German,
-<i><abbr title="circa">ca.</abbr></i> 1580.<br>The device is a punning one, the figure waving hair being in allusion
-to the name of the family.</div>
-</div>
-</div>
-
-<div class="figcenter">
-<span id="bookplate"><img src="images/bookplate.jpg" class="w75" alt=""></span>
-<div class="caption">Bookplate by Albert Dürer. <i>Circa</i> 1520.</div>
-</div>
-</div>
-
-<p>In conjunction with a fish’s tail the body of a woman forms the
-Mermaid, the beautiful Syrena of old writers,<span class="pagenum" id="Page_95">[Pg 95]</span> who never tire of
-telling how, like the harpy, she charms the shipmen with her song.
-Nevertheless, she was of sinister character, “glad and merry in tempest
-and heavy and sad in faire weather.” She is usually represented holding
-a looking-glass in which she regards herself while she combs her long
-hair. The male of the species is called a Triton, and usually holds a
-trident as the symbol of naval dominion. Indeed he is sometimes called
-Neptune, and crowned with a spiked crown, the form known as an Eastern
-crown that is described and illustrated under that head. Another
-semi-human form is the Centaur, the favourite badge of King Stephen,
-the classic monster, half man and half horse and armed with a bow, that
-is sometimes called a Sagittarius.</p>
-
-<p>Male figures were frequently described as Savage Men, and were
-represented rough and shaggy with hair, and with wreaths of oak about
-their loins, the blazon being: a savage man <abbr title="purpure">ppr.</abbr> wreathed about the
-loins with an oak wreath vert. In some instances they were wreathed
-about the temples also.</p>
-
-<p>Heads of both sexes, arms and legs, are used as charges and more
-frequently as crests, and are described as couped or erased, at the
-shoulder or the neck, as the case may be.</p>
-
-<p>The whole Arm from the shoulder is shown bent and is then blazoned, an
-arm <i>embowed</i>. It should also be stated in the blazon whether the
-arm is dexter or sinister, and whether, if not naked, it is vested (and
-if so of what colour), or in armour, when it is described as an arm
-<i>vambraced</i>. <i>In armour</i> is often substituted for the later
-term. Pairs of arms grasping an object, drawing a bow<span class="pagenum" id="Page_96">[Pg 96]</span> or wielding a
-hammer, are also met with. When the arm does not extend beyond the
-elbow it is blazoned a cubit arm, and its position, whether erect or
-otherwise, must be specified.</p>
-
-<p>Human hands are borne by several families into whose name “Main”
-enters, either as Tremaine, Maynard, etc., and among other families by
-the O’Neils, and in the well-known badge of Ulster, the distinguishing
-badge of a baronet. They are usually depicted erect and couped at the
-wrist, and are assumed to be open unless it is otherwise stated.</p>
-
-<p>Anything depictable may be used as a charge, but in this wide field
-there are still certain particular objects, that single themselves out
-for more detailed treatment than the rest, and of these the cross in
-its many varied forms, the rose and the fleur-de-lis are the principal.</p>
-
-<p><span class="smcap">Crosses.</span>—In a system of heraldry which took its rise from
-a military Christianity the cross naturally became a much-employed
-symbol under the various forms which the necessities of distinction or
-decoration suggested. Although it has been dealt with to some extent
-under the head of ordinaries, it is as a charge that it reaches its
-greatest variety and beauty. The plain cross with limbs of unequal
-length, which is called a passion cross, is sometimes placed upon steps
-or degrees, as in <abbr title="figure">Fig.</abbr> 107, when it may be described as a cross calvary.</p>
-
-<p>Of the more decorative varieties those which terminate in a manner
-suggested by the fleur-de-lis are among the most usual and beautiful.
-Probably many of them were decorative before they became distinctive,
-for among the early sculptures are many examples of decorated crosses<span class="pagenum" id="Page_97">[Pg 97]</span>
-with foliated ends which follow none of the familiar forms and are
-obviously purely ornamental.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig107"><img src="images/fig107.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig108"><img src="images/fig108.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig109"><img src="images/fig109.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 107.</span>—Cross Calvary.</div>
-<div class="cell caption"><span class="smcap">Fig. 108.</span>—Cross Flory.</div>
-<div class="cell caption"><span class="smcap">Fig. 109.</span>—Cross Fleuretté.</div>
-</div>
-</div>
-
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig110"><img src="images/fig110.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span class="figcenter" id="fig111"><img src="images/fig111.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 110.</span>—Cross Patonee.</div>
-<div class="cell caption"><span class="smcap">Fig. 111.</span>—Cross Moline.</div>
-</div>
-</div>
-</div>
-
-<p>Crosses in general are drawn with limbs of equal length except where
-the shape of a shield suggests the lengthening of the lower limb
-in order to satisfactorily place the object in its field, but the
-intention is that the limbs are to be considered equal and not like
-those of the passion cross. The width of crosses may be considerably
-varied, for difference consists not in the proportions of parts to
-each other but in essential variations of form. The floriated, or
-otherwise varied, cross may therefore be made of any proportion that
-the arrangement of the shield may suggest; that is to say, the same
-adaptability exists in these crosses as in the ordinaries, and their
-proportions may and should be varied in relation to the field they
-occupy and<span class="pagenum" id="Page_98">[Pg 98]</span> the charges with which they are associated. Though the
-floriated crosses are all derived from one source, their various
-shapes have long become fixed and now constitute heraldic difference.
-It will be useful therefore to observe that the end of a cross flory
-(<abbr title="figure">Fig.</abbr> 108) may approach very closely the form of a fleur-de-lis so
-long as confusion is not caused with the cross fleuretté (<abbr title="figure">Fig.</abbr> 109),
-in which the fleur-de-lis appears joined to the cross, rather than as
-though developed from it. The cross patonee (<abbr title="figure">Fig.</abbr> 110) differs from the
-cross flory merely in that the limbs of the former increase in width
-outwards, the lines radiating from the centre in a very pleasant way.
-In early shields the two latter forms are used indifferently for each
-other, as in the arms ascribed to Edward the Confessor, and in such
-cases choice may, of course, be made of one or other form; but it is
-obvious that when definite distinction between similar forms has been
-arrived at it should be observed and followed in later renderings.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig112"><img src="images/fig112.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 112.</span>—Seal of Anthony de Bec, Bishop of
-Durham, 1283-1311.</div>
-</div>
-</div>
-</div>
-
-<p>The cross moline (<abbr title="figure">Fig.</abbr> 111) has ends like a fer-de-moline or millrind.
-A very beautiful example occurs on<span class="pagenum" id="Page_99">[Pg 99]</span> the seal of Anthony de Bec, Bishop
-of Durham at the end of the thirteenth century (<abbr title="figure">Fig.</abbr> 112). This form
-of cross moline was distinguished by writers of a late time from the
-ordinary form with more pointed ends as a cross recercelée, but it was
-really the same thing under a different name.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig113"><img src="images/fig113.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 113.</span>—Cross Patée.</div>
-</div>
-</div>
-</div>
-
-<p>The cross <a id="formee"></a>patée or formée (<abbr title="figure">Fig.</abbr> 113) is that which occurs on the
-Imperial crown and other Royal insignia. This is a very graceful form
-when the limbs are well divided and are drawn with pleasant curves,
-as in the crown in <abbr title="figure">Fig.</abbr> 164. In later examples there has been an
-unfortunate widening of the ends until they almost touch each other
-at the corners with the result that the figure has the appearance of
-a square that is pierced with four radiating vesica-shaped holes and
-hardly that of a cross at all.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig114"><img src="images/fig114.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig115"><img src="images/fig115.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig116"><img src="images/fig116.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 114.</span>—Cross Crosslet.</div>
-<div class="cell caption"><span class="smcap">Fig. 115.</span>—Cross crosslet Fitchée.</div>
-<div class="cell caption"><span class="smcap">Fig. 116.</span>—Maltese Cross.</div>
-</div>
-</div>
-</div>
-
-<p>The cross crosslet (<abbr title="figure">Fig.</abbr> 114) becomes (in <abbr title="figure">Fig.</abbr> 115) a cross crosslet
-fitchée by its lower limb being pointed, in allusion to the temporary
-cross thrust upright into the ground in order, it may be, to serve
-as a symbol of hope and consolation to a dying soldier. It must not
-be<span class="pagenum" id="Page_100">[Pg 100]</span> supposed, however, that every coat with a cross crosslet fitchée
-originated in the Crusades. Other crosses may be fitchée in a similar
-way, the point taking the place of the whole lower limb as in the
-example, but in some cases it is made to merely continue the lower
-limb, or, in the case of a cross patée fitchée, to issue from the
-middle of the lower end, and in such cases the cross is said to be
-<i>fitched at the foot</i>.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig117"><img src="images/fig117.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig118"><img src="images/fig118.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig119"><img src="images/fig119.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 117.</span>—Cross Bottonée.</div>
-<div class="cell caption"><span class="smcap">Fig. 118.</span>—<a id="pommel"></a>Cross Pommel.</div>
-<div class="cell caption"><span class="smcap">Fig. 119.</span>—Cross Urdée.</div>
-</div>
-</div>
-</div>
-
-<p>The eight-pointed or Maltese cross, a development from the cross patée
-(<abbr title="figure">Fig.</abbr> 116), is one of the forms most used in the insignia of Orders
-of Knighthood, the Order of the Bath, for example, and of <abbr title="saint">St.</abbr> John of
-Jerusalem among others, and is one of a group of crosses distinguished
-from each other by the number of their points. A cross of fourteen
-points occurs in the badge of the Order of <abbr title="saint">St.</abbr> Michael and <abbr title="saint">St.</abbr> George,
-and consists of seven limbs of two points each.</p>
-
-<p>The cross bottonée (<abbr title="figure">Fig.</abbr> 117) is sometimes thought to be a corruption
-of the cross crosslet, whose corners are frequently rounded in early
-examples, or it may indeed have been designed to represent buds, as old
-armorists say, and if so is a perfectly intelligible and expressive
-symbol.</p>
-
-<p><span class="pagenum" id="Page_101">[Pg 101]</span></p>
-
-<p>Crosses pomell (<abbr title="figure">Fig.</abbr> 118), urdée or clichée (<abbr title="figure">Fig.</abbr> 119), potent (<abbr title="figure">Fig.</abbr>
-120), furchée (<abbr title="figure">Fig.</abbr> 121), are some of a large number of crosses that
-are but rarely used.</p>
-
-<p>The cross tau, derived from the Greek letter of that name, is the cross
-of <abbr title="saint">St.</abbr> Anthony (<abbr title="figure">Fig.</abbr> 122).</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig120"><img src="images/fig120.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig121"><img src="images/fig121.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig122"><img src="images/fig122.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 120.</span>—Cross Potent.</div>
-<div class="cell caption"><span class="smcap">Fig. 121.</span>—Cross Furchée.</div>
-<div class="cell caption"><span class="smcap">Fig. 122.</span>—Cross Tau.</div>
-</div>
-</div>
-</div>
-
-<p>Crosses may at any time be represented as in relief, which again may
-be accented by means of a central arris or ridge which gives lines of
-light and shade; and this treatment is especially suitable to metal
-work, as is witnessed by many beautiful examples on church bells among
-other things.</p>
-
-<p>Care is necessary, however, in black and white drawing that the
-indication of an arris does not suggest that the cross is “party” in
-any way.</p>
-
-<p><span class="smcap">The Fleur-de-lis</span> is one of the forms derived from a remote
-antiquity to become a widespread symbol throughout the whole of
-mediaeval heraldry. Probably derived from the iris or some similar
-flower form, it is found in the most ancient and the most modern
-decoration. Even the recent excavations of the palace of King Minos at
-Knossos in Crete disclosed forms of this figure on the wall frescoes.
-Its ornamental beauty as well as its spiritual symbolism easily account
-for its heraldic prevalence,<span class="pagenum" id="Page_102">[Pg 102]</span> and even before regular heraldry was
-formulated the emblem had a quasi-heraldic existence on the crowns and
-sceptres of the Royal seals. Its decorative value needs no pointing
-out, for its graceful lines are not only beautiful in themselves but
-are easily adapted to harmonize with almost any form with which they
-may be in ornamental or heraldic relation.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig123"><img src="images/fig123.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig124"><img src="images/fig124.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig125"><img src="images/fig125.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 123.</span>—Early Twelfth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 124.</span>—Late Twelfth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 125.</span>—Late Twelfth Century.</div>
-</div>
-</div>
-</div>
-
-<p>Of the examples that are given here <abbr title="figure">Fig.</abbr> 123 is taken from the seal
-of King Louis VII of France, early in the twelfth century, on which
-it appears as the termination of a sceptre. The more distinctively
-heraldic form occurs on the oval counter-seal of his successor, Philip
-II, on which it appears as a badge without a shield, about the year
-1180 (<abbr title="figure">Fig.</abbr> 124). A very beautiful form of the thirteenth century (<abbr title="figure">Fig.</abbr>
-126) is also of French origin, and that which occurs on the shield of
-the Black Prince may be considered typical of the fourteenth century
-(<abbr title="figure">Fig.</abbr> 127). As in all these instances, the fleur-de-lis generally has
-but three leaves, but in some early examples the whole five petals of
-the iris are suggested by the inclusion of intermediate forms between
-the three principal ones (<abbr title="figure">Fig.</abbr> 125). These were sometimes leaflike, as
-in <abbr title="figure">Fig.</abbr> 128, an example of the fifteenth century,<span class="pagenum" id="Page_103">[Pg 103]</span> but more usually
-are thin stems which terminate in small flowerlike forms. A further
-beautiful example is the common seal of Godmanchester, co. Hunts
-(<abbr title="figure">Fig.</abbr> 129). Fleurs-de-lis are then said to be seeded (a term that was
-probably made by some late armorist in giving a meaning to a form he
-did not understand) or florencée, from the invariable character of the
-fleur-de-lis, the “Lily of the City,” in the Arms of Florence (<abbr title="figure">Fig.</abbr>
-130). The elaboration of the simple leaflike forms began as early as
-the middle of the fourteenth century at a time when the decorative
-sense was untrammelled, and it is in the freely designed illustrations
-of the MSS. that the first examples are found. The illustration (<abbr title="figure">Fig.</abbr>
-131) is after one of a number of them that are repeated in various
-colours, but of similar form, in a book of the poems of Convenevole<span class="pagenum" id="Page_105">[Pg 105]</span>
-da Prato, Petrarch’s tutor, which was made and painted with miniatures
-and other ornaments for Robert of Anjou, King of Naples, about the year
-1340, and was probably executed in Florence. It is somewhat surprising
-to find at so early a date an example of the highly elaborated form
-which became very general in the later Italian decoration.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig126"><img src="images/fig126.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig127"><img src="images/fig127.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig128"><img src="images/fig128.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 126.</span>—Thirteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 127.</span>—Fourteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 128.</span>—Fifteenth Century.</div>
-</div>
-</div>
-
-<div class="figcenter">
-<span id="fig129"><img src="images/fig129.jpg" class="w35" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 129.</span>—Seal of Godmanchester, <abbr title="company">Co.</abbr> Hunts.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig130"><img src="images/fig130.jpg" class="w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 130.</span>—Fleur-de-lis from the Pedestal of
-the Lion, Florence. Donatello. Fifteenth Century.</div>
-</div>
-</div>
-
-<p>A beautiful example of the decorated fleur-de-lis of the fifteenth
-century has already been referred to (<abbr title="figure">Fig.</abbr> 128).</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig131"><img src="images/fig131.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig132"><img src="images/fig132.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig133"><img src="images/fig133.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 131.</span>—Fourteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 132.</span>—Fifteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 133.</span>—Eighteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>About this time also instances occur of fleur-de-lis of the simpler
-form but with decorated surfaces, as in that from a fifteenth
-century book of the hours that is one of the illustrations to the
-Comte de Laborde’s treatise on “Les Fleurs-de-lis Heraldiques et les
-Fleurs-de-lis Naturelles,” <i>Revue Archaelogique</i>, in which the
-conventional fleur-de-lis (<abbr title="figure">Fig.</abbr> 132) is decorated with natural lilies.</p>
-
-<p><span class="pagenum" id="Page_106">[Pg 106]</span></p>
-
-<p>Like other decorative details the fleur-de-lis rapidly deteriorated
-in the general artistic decadence that followed the Tudor period, and
-during and after the latter half of the sixteenth century the beautiful
-and characteristic grace of line was lost, and the form became blobby
-and heavy, as in the eighteenth century French example (<abbr title="figure">Fig.</abbr> 133),
-while the coarse and ugly shapes that are commonly seen in ordinary
-modern work make it difficult to believe that they could have been
-derived, even remotely, from so beautiful a source.</p>
-
-<p><span class="smcap">Roses.</span>—As a Royal badge a golden rose was used by Edward
-I, and was depicted with a stalk and leaves similar to the badge
-of the <a id="malatesta"></a>Malatesta in Italy in later times. In such cases it must be
-blazoned “leaved and slipped,” otherwise it would be rendered as the
-conventionalized flower alone, the only leaves shown in the latter
-being those of the calyx, which appear between the petals and are
-heraldically called <i>barbs</i>. These are frequently mentioned on
-the blazon, e.g. a rose gules barbed and seeded <abbr title="purpure">ppr.</abbr>, the seeds being
-the centre. Of the conflicting roses that brought such ruin on the
-gentry of England the red rose of Lancaster had been the badge of Henry
-IV, as the white rose irradiated was that of Edward IV, the latter
-badge resulting from a combination of the rose with the sun, which was
-another Yorkist emblem. Henry VII united the red and white rose badges,
-as he had united the great rival houses that they symbolized. Sometimes
-a single rose was made per pale <abbr title="gules">gu.</abbr> and ar., or else quarterly of those
-tinctures (in the former case the white half retained the rays that
-usually surrounded the white rose of York), but the method which has
-come<span class="pagenum" id="Page_107">[Pg 107]</span> down in general use is that of a double rose, the white within
-the red, or vice versa. In this form Henry VII made it part of the
-collar of the Order of the Garter, and thus it appears sculptured on
-the walls of <abbr title="saint">St.</abbr> George’s Chapel at Windsor. In many instances the York
-rose retained its rays and the rose of Lancaster was placed within
-it, as in <abbr title="figure">Fig.</abbr> 134, which is sculptured on the exterior walls of the
-choir. In many of these the ends of the petals do not turn over as
-is most usual, but the modelling indicates a somewhat similar form.
-An interesting example of the Tudor rose as used by Queen Elizabeth
-is that which was found deeply incised in the wood of her coffin in
-Westminster Abbey (<abbr title="figure">Fig.</abbr> 135). This Queen signified the union of the
-Roses in yet another way in the badge that had been her mother’s, in
-which the tree-stock which supports the white falcon sprouts with red
-and white roses on the same stem.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig134"><img src="images/fig134.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig135"><img src="images/fig135.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 134.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 135.</span></div>
-</div>
-</div>
-</div>
-
-<p>The Tudor rose has been united by dimidiation to many other badges,
-to the pomegranate and to a sheaf of arrows by Queen Mary, and to the
-thistle by James I<span class="pagenum" id="Page_108">[Pg 108]</span> and his successors, of whom Queen Anne used the two
-emblems growing from one stem, as in the present Union badge of the
-rose, thistle and shamrock. The Tudor rose crowned still remains the
-Royal badge for England.</p>
-
-<p><span class="smcap">The Harp.</span>—As the Arms of Ireland as well as for the
-beauty of form with which it may be invested, the harp is of the
-greatest interest both generally (as the symbol of minstrelsy) and
-appropriately; for the fame of the Irish as harpists was widespread
-even in the early Middle Ages, when they were among the finest of the
-world. And although any symbol, whatever it may be, becomes hallowed
-by association, it cannot but be felt that the harp is peculiarly
-fitted to be the emblem of a people so full of artistic and romantic
-enthusiasm.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig136"><img src="images/fig136.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig137"><img src="images/fig137.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig138"><img src="images/fig138.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 136.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 137.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 138.</span></div>
-</div>
-</div>
-</div>
-
-<p>The heraldic harp was at first very simple and always graceful in form,
-following that of the minstrels, the small harp that was played resting
-on the knee or held suspended from the neck. Examples of the minstrel’s
-harp are <abbr title="figure">Fig.</abbr> 136 from a thirteenth century French <abbr title="manuscript">MS.</abbr> and <abbr title="figure">Fig.</abbr> 137
-from a Tudor <abbr title="manuscript">MS.</abbr></p>
-
-<p>As a device for Ireland, it first appears on the Great<span class="pagenum" id="Page_109">[Pg 109]</span> Seal in that
-of Queen Elizabeth (<abbr title="figure">Fig.</abbr> 138), when it was used as a badge and was
-ensigned with the Imperial crown, as are all Royal badges.</p>
-
-<p>This type of harp is the same as that in the Wappen und Stammbuch by
-Jost Amman, 1579, and was evidently the shape that was in heraldic
-fashion at that period.</p>
-
-<p>In the next reign it became definitely the Arms of Ireland, as is so
-quartered on the Royal Shield by James I, where it has occupied the
-third quarter unmoved throughout the changes of its fellow quarterings.</p>
-
-<p>Its form continued to follow more or less that of the minstrel’s harp
-until the time of Charles II, when the familiar winged figure was made
-its principal characteristic (<abbr title="figure">Fig.</abbr> 139). This, however, has no special
-heraldic significance, but is merely a variety of ornamental treatment.</p>
-
-<p>While it presents opportunities for the highest efforts of art in
-the treatment of its figure, as is evidenced by <abbr title="mister">Mr.</abbr> Alfred Gilbert’s
-beautiful harp on the tomb of the Duke of Clarence at Windsor, in the
-majority of instances it is altogether without the grace which is
-its reason for existence, even when it does not quite descend to the
-unlovely lumpiness of Georgian and later times. The possible advantages
-of its greater weight in the design as compared with the slighter form,
-a weight which tends to effect satisfactory balance with the other
-quarters, are counterbalanced by its disadvantages, while the addition
-of Celtic tracery to the minstrel’s harp makes it more completely
-allusive and helps the composition at the same time. Nevertheless the
-figure harp may be very beautiful.</p>
-
-<p><span class="pagenum" id="Page_110">[Pg 110]</span></p>
-
-<p>The simpler form is now very generally reverted to, and when artistic
-reasons direct the choice, there are no heraldic considerations that
-need fetter it. The Arms of Ireland are blazoned: <abbr title="azure">Az.</abbr> a harp Or
-stringed <abbr title="argent">Arg.</abbr></p>
-
-<div class="picpage">
-<div class="figcenter p2 b2">
-<span id="fig139"><img src="images/fig139.jpg" class="w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 139.</span>—The Great Seal of Charles II for
-Ireland.</div>
-</div>
-</div>
-
-<p>Before leaving for a time the further consideration of the shield it
-will be convenient to refer to the very beautiful method of relieving
-and enriching surfaces which is called Diapering, and is a notable
-feature of the more elaborate kinds of heraldry. Numerous and excellent
-examples of its use may be found on the sculptured<span class="pagenum" id="Page_111">[Pg 111]</span> shields of the
-monuments and chantries, as well as on incised brasses, in enamels and
-in stained glass.</p>
-
-<p>Coming into heraldic use in the thirteenth century, it was soon
-extensively applied to the decoration of armorial shields and
-especially of their fields and ordinaries. In some instances charges
-also were diapered, but only when they were flat in character and when
-the general treatment and material lent themselves to the method. In
-most cases it was confined to plain surfaces. The patterns were in many
-instances derived from those that had been employed from ancient times
-in textile decoration.</p>
-
-<p>Whenever diapering is applied to a shield it is purely ornamental in
-character, and in many instances is geometrical in plan, having no
-forms that could possibly be mistaken for charges, and so be likely to
-interfere with the clear statement of the arms. The example is one of
-the many beautifully diapered shields that decorate the shrine of the
-Percies in Beverley Minster. In sculpture proper, when the design was
-cut out of the surface, a pattern such as that of <abbr title="figure">Fig.</abbr> 140 was found
-very suitable to the material and to the method of working it; when,
-however, the diaper was modelled up, as in the gesso decoration of
-ceremonial shields, or was incised in reverse, as in a seal, the design
-frequently took the form of flowing lines as the readiest means of
-getting the ornate effect that was required. An example of this latter
-method may be referred to in the Great Seal of Henry IV at <abbr title="page">p.</abbr> 18, <abbr title="figure">Fig.</abbr>
-2.</p>
-
-<div class="picpage">
-<div class="figcenter p2 b2">
-<span id="fig140"><img src="images/fig140.jpg" class="w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 140.</span>—Diapered Shield from the Percy
-Shrine in Beverley Minster. Fourteenth Century.</div>
-</div>
-</div>
-
-<p>In the early examples the diaper, <a id="semee"></a>like the semée already referred to,
-was treated as though it were a piece of an ornamental fabric stretched
-over the shield and passing behind<span class="pagenum" id="Page_112">[Pg 112]</span> the charges without being affected
-or displaced by them. The Renaissance work shows the diaper more
-especially adapted to the occasion, as in a Florentine shield from the
-Palazzo Guadagni and now in the Victoria and Albert Museum, which is
-beautifully decorated in raised lines of gesso which follow the outline
-of the figure at a little<span class="pagenum" id="Page_114">[Pg 114]</span> distance from it, and the rest of the
-decoration accommodates itself to the shape of the spaces in a manner
-that is especially satisfactory, as conveying the impression of being
-carefully designed for its particular purpose, with each part in due
-relation to the others.</p>
-
-<div class="picpage">
-<div class="figcenter">
-<span id="fig141"><img src="images/fig141.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 141.</span>—Diapered Shield in Painted Gesso at
-Alloa House. The Arms of Henricus de Erskine. 1224. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p>The illuminations of the manuscripts were frequently diapered with
-designs drawn in lines of gold on the ground colour, and a lighter or
-darker tint of the ground colour was similarly employed, sometimes
-also in combination with gold. Indeed, the possibilities of diapering
-as surface decoration are almost without limit if it is reasonably
-handled. Its effect in enriching and adding interest to simple forms
-and spaces is shown in the treatment of the Arms of Henricus de
-Erskine (<abbr title="figure">Fig.</abbr> 141) and the shield of John, fifth Lord Erskine, and his
-wife, Lady Margaret Campbell (<abbr title="figure">Fig.</abbr> 142), two of the series of shields
-executed in painted gesso for the hall, Alloa House, Clackmannanshire.
-It is very useful in monochrome, as in engraving for instance, as a
-means of distinguishing contiguous spaces; in the way that line tints
-were employed to do before a colour value was ascribed to them. Being,
-of course, completely under control to be employed or omitted at will,
-it has none of the objections of the tincture lines.</p>
-
-<div class="picpage">
-<div class="figcenter">
-<span id="fig142"><img src="images/fig142.jpg" class="w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 142.</span>—Shield of John, Fifth Lord Erskine.
-Painted gesso. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p>The tone effect of diapering must be taken into account, and the
-consequent emphasis of the charges, unless their character is very
-elaborate and broken up, and in that case there may be a tendency to
-confuse their lights and thus obscure and spoil the whole effect.
-Discretion is therefore very necessary in applying that which properly
-handled is a very useful and decorative device. It has<span class="pagenum" id="Page_115">[Pg 115]</span> been said that
-diaper must have no design of heraldic significance, and this must be
-so wherever it is employed on the actual armorials. When, however, it
-is used as a background or other extra-armorial decoration the converse
-is the case, and badges and charges of an allusive<span class="pagenum" id="Page_116">[Pg 116]</span> character become
-the most suitable motives that can be employed.</p>
-
-<p>Diapers of complete arms occur on a box of champlevé enamel in the
-Victoria and Albert Museum, whose decorations consist of lozenge-shaped
-spaces filled with the arms of de Valence and others, and in the
-similar work on the table of the tomb of William de Valence in
-Westminster Abbey. In the portrait medals the background was often
-enriched with armorial diapers of distinctive charges, such as the
-fleur-de-lis background to the head of Louis XII and the ermine one
-of Anne de Bretagne, both of which are excellent examples (<abbr title="figure">Fig.</abbr> 143).
-Similar diapers applied to architectural features are alluded to at <abbr title="page">p.</abbr>
-205.</p>
-
-<div class="picpage">
-<div class="figcenter">
-<span id="fig143"><img src="images/fig143.jpg" class="w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 143.</span>—Medal of Louis XII and Anne of
-Brittany. Fifteenth Century.</div>
-</div>
-</div>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_117">[Pg 117]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_VI">CHAPTER VI<br>
-Helm, Crest and Mantling</h2>
-</div>
-
-<p>The treatment of the helm and mantling is a matter of especial interest
-both as a significant part of an achievement of arms and as that part
-of it which affords a great amount of freedom and variety in artistic
-arrangement, for the lines of the helm, the character of the mantling,
-its direction and flow, and to some extent its colour effect, are like
-the shape of the shield, at the disposal of the designer to do as he
-will or can with them.</p>
-
-<p>With regard to the shield, which in course of time developed into a
-merely ornamented surface on which to bear a device, the sense of
-personal allusion was always retained, even when the close association
-of armorials with a military idea became to a great extent weakened,
-but a more essentially warlike character was always ascribed to the
-helmet and crest, as is evidenced by their omission from the arms of
-ecclesiastics and, in many instances and with great propriety, from
-those of corporations. This feeling may also have influenced the
-small size of the helmets of the later sixteenth century onwards.
-The intention, however, was not strong enough to dispense with them
-altogether as the mediaeval men did, and the result was merely to
-weaken the design in<span class="pagenum" id="Page_118">[Pg 118]</span> including the helmet and crest in a somewhat
-shamefaced way.</p>
-
-<p>In the stately ceremonial of the tournament, helm and crest played no
-less distinguished a part than the shield, for those military sports
-which took so firm a hold on the vigorous tastes of mediaeval chivalry
-were accompanied by brilliant ceremonial, in which heraldry found its
-widest field of display in all kinds of sumptuous application to the
-dress and decoration of the scene.</p>
-
-<p>The lodgings of the knights and nobles were distinguished by paintings
-of their armorials, and banners and pennons projected from the windows.
-The tribunes of the Ladies and of the Judges of the Tournament were
-gay with badges brilliant in colour and of endless variety of form,
-while the combatants themselves in surcoats and shields of Arms and
-with crested helms and armorial horse trappings, exhausted the heraldic
-possibilities of personal adornment.</p>
-
-<p>On a day before that which was fixed for the combats the helms and
-crests of the tourneyers were brought together with much ceremony and
-were arranged in due order to the satisfaction of the Judges of the
-Tournament. Each had its owner’s banner suspended over it and, all
-being ready, the Ladies were conducted round the Hall, when if any one
-of them, by touching a crest, accused its owner of any fault or crime
-against chivalry he was seized, tried and punished, according to the
-magnitude of his offence and the custom of the Tournament.</p>
-
-<p>The helm and crest of the Chevalier d’honneur, the knight selected
-to attend the Lady of the Tournament and at her bidding to extend
-the “Merci des Dames”<span class="pagenum" id="Page_119">[Pg 119]</span> which forbade further attacks on a combatant
-unfortunate in the mêlée, were the objects of especial ceremonial, and
-(he being withdrawn by his office from active participation in the
-combat) were taken from his head with much courtesy by the Judges and
-the Herald and were solemnly given in charge of the Ladies until such
-time as his duties should cease at the close of the Tournament. Until
-that time an esquire or gentleman bore them aloft upon a lance staff
-near to the Lady of the Tournament.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig144"><img src="images/fig144.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 144.</span>—Thirteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>With regard to the helm, it will not be desirable to discuss its
-development as armour through the various forms which preceded those
-which were employed to support heraldic crests; and it will suffice to
-begin with the early form, which was <a id="cylindrical"></a>more or less cylindrical, as in
-Fig. 144, and afterwards developed into the more complex curves and
-projections of the tournament helm.</p>
-
-<p>At first, comparatively short and resting on the camail which covered
-the head, in time it was made longer, until the helm rested on the
-shoulders, and being buckled back and front to the body armour became,
-as it were, part of it, and besides being a better defence was able
-to support the additional pressure of a crest (which though fashioned
-of light material was still of considerable weight) with a minimum of
-fatigue to its wearer. The crest was attached to the crown plate of the
-helm<span class="pagenum" id="Page_120">[Pg 120]</span> by means of laces, or by small bolts or other fastenings which
-passed through holes made for the purpose. It appears improbable that
-crests were used to any general extent in actual battle, and for the
-best of all practical reasons, that a crest had been found to be a
-very dangerous ornament which, at close quarters, served as a handle,
-while the laces held, by which to pull down the wearer’s head, and
-King Stephen is said to have been among those that suffered in this
-way. That they were used in battle to some extent is evident, and
-Viollet-le-duc, in referring to the abuse of the Tournament, points out
-that the feudal nobility attempted to treat war itself like a grand
-tournament and appeared on the field extravagantly arrayed with long
-surcoats and lambrequins that encumbered their movements and gave them
-an easy prey to simple archers and similar workmanlike troops.</p>
-
-<p>The shape of the helm was naturally susceptible of much variety but
-its essential structural character remained the same throughout, and
-consisted principally of three parts, the crown plate and two others
-for the front and back of the helm respectively. Sight was provided for
-in one of two ways, either by leaving an opening between the crown and
-front plate or by piercing the latter with horizontal openings which
-were strengthened by an additional piece, generally in the form of a
-cross, and so splayed as to deflect a point that had struck near the
-opening. Both opening and reinforcing piece may be of value in design,
-the former from its strong line which must always be reckoned with, and
-the latter for the opportunity it affords of introducing<span class="pagenum" id="Page_121">[Pg 121]</span> decorative
-detail where it may be useful. It is interesting to observe that the
-back of the helm is of thinner plate than the front, thus dispensing
-with weight where it was possible to do so. In the later forms of helm,
-which were fastened by straps to the breast and back, the buckle and
-the methods of rivetting it to the plates afford other opportunities
-for utilizing structural details ornamentally. (<abbr title="figure">Fig.</abbr> 145.)</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig145"><img src="images/fig145.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 145.</span>—Fifteenth Century. Tilting Helm.</div>
-</div>
-</div>
-</div>
-
-<p>The perforations which facilitated breathing were generally on the
-right-hand side, and though there were instances of their being on
-both sides it was very unusual in view of the fact that the tournament
-attack was from the left, and that although the tilting spear had a
-coronal instead of a point, care would still be taken to give as little
-hold as possible to the weapon.</p>
-
-<p>This refers to breathing holes, spiracula, in the front plate, but
-there were also openings, sometimes of considerable size, in the
-backplate behind the vertical joint, through which the knight could
-hear and perhaps, by turning his head, see and speak to the squire who
-attended him.</p>
-
-<p>In the fifteenth century the demand for greater mobility and less
-weight in the armour that was used for actual battle had produced
-the Helmet or small helm, having a front which opened and a more or
-less flexible neck, the Bascinet, the Salade and other forms of<span class="pagenum" id="Page_122">[Pg 122]</span> head
-armour; and thenceforward the great helm was reserved for the uses of
-the tournament.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig146"><img src="images/fig146.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 146.</span>—Helmet. Fifteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>An example of helmet at <abbr title="figure">Fig.</abbr> 146, after Viollet-le-duc, will serve to
-explain its structure. The vizor, in two parts, opens upwards on a
-pivot, and the front opens sideways by means of a hinge to permit the
-helmet to be put on, and though there was a great variety in shape
-and construction they were all modifications of the methods of the
-example. The head was capable of movement, the laminated plates of the
-gorget giving a certain amount of flexibility from side to side as well
-as up and down, provision being also made for some amount of turning
-movement. As pieces of defensive mechanism helmets were very excellent,
-but were rarely associated with crests in the time of their actual
-use—though they were frequently so represented in the later times when
-heraldry had become out of touch with the armoured period and did not<span class="pagenum" id="Page_123">[Pg 123]</span>
-trouble to go farther back for its crest support than the most recent
-form of closed defence for the head.</p>
-
-<p>In all armour, and much besides helms is used in heraldry, it will be
-found useful to acquire a practical knowledge of its structure and
-method of working and also the practical reasons for the form of its
-various parts. By so doing it will become unnecessary to search for
-a model for every need, rather it will be possible in the case of a
-figure to draw the man and put the armour on him in the form that seems
-most suitable. Forms of greater or less simplicity can thus be designed
-as circumstances may dictate, as it may be desirable in the interests
-of light and shade to elaborate or minimize the details. Armour
-should be so designed that its principal lines help the composition
-and express the form in the most forcible, suitable and simple way.
-In an arm, for instance, which is of frequent occurrence as a crest,
-it should be observed how the gauntlet has its defence added to the
-glove, how its wrist fits over the arm piece, the arrangement of the
-elbow piece, the cubitiere, on its inner and outer sides with regard
-to the hollow of the arm, and so forth. By thus familiarizing oneself
-with the essential structure, it becomes possible to handle the subject
-with confidence in design, so that perspective, light and shade and the
-harmonious relationship of lines may be helped, while the structure
-appears convincingly right.</p>
-
-<p>Besides the closed helm which was used in the joust, the mimic duel
-with lances, a more open variety was used in the tourney, for in the
-latter, which was fought by opposing parties of men armed with blunted
-swords<span class="pagenum" id="Page_124">[Pg 124]</span> and with wooden maces, there was no attack with the point to
-be provided against, and it was therefore possible to lighten the
-armour by means of perforations and to open the face by substituting
-bars for plates. In the helm shown at <abbr title="figure">Fig.</abbr> 147 it will be noticed
-that not only is the face open, but there are numerous holes in the
-upper part of the gorget, and the breast-plate and other parts of the
-armour were also plentifully perforated. Such armour for tourneying was
-frequently modelled in leather instead of metal, the lighter material
-being a sufficient defence against sword and mace, though it would have
-fared badly against the more concentrated lance shock of the joust,
-and therefore when the lance was also permitted in the tourney more
-efficient armour was worn.</p>
-
-<div class="picpage">
-<div class="figcenter">
-<span id="fig147"><img src="images/fig147.jpg" class="w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 147.</span>—Tourney Helm, after Viollet-le-duc.
-Fifteenth Century.</div>
-</div>
-</div>
-
-<p>Fig. 147 shows a form of appliance for fixing the crest by means of
-a sort of skull cap, which was laced to the helm through the holes
-provided for the purpose.</p>
-
-<p><span class="pagenum" id="Page_125">[Pg 125]</span></p>
-
-<p>The earliest decoration of symbolic though still merely general
-significance on the helms of the Middle Ages was the reinforcing
-piece surrounding the two sight openings, that was made in one of the
-many forms of cross; and the coronets and decorative fillets which
-denote high rank. These latter were succeeded about the beginning of
-the fourteenth century by the actual crests, which were sometimes
-repetitions, modified or not, of the device on the shield, sometimes of
-a different nature altogether.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig148"><img src="images/fig148.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 148.</span>—Panache Crest. French. Fourteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>The first attempt to decorate the top of the helm appears to have
-been by panaches of feathers, perhaps also of horsehair, for which
-representations in gilded leather or other more permanent material were
-afterwards substituted. As early as the ninth century movable crests of
-coloured leather had decorated the head armour, being fastened back and
-front to the bronze or iron cap. These were purely ornamental, except
-so far as difference of colour may have made them personal to some
-extent. An example of the middle of the fourteenth century appears as
-Fig. 148. Some of the panache crests retained their feathery character
-and ultimately became crests that were in every way heraldic, while
-others were developed into a fan-like form which itself served as a
-field for the display of a device or even of the whole arms as in the
-case of Sir Geoffrey Louterelle’s crest that is quoted by Boutell.
-These ornaments appear to have been purely decorative<span class="pagenum" id="Page_126">[Pg 126]</span> additions to the
-helmet, and could have had no defensive value; on the contrary, the
-angle formed by the base with the crown of the helmet would, if rigid,
-have provided lodgment and purchase for a blow which might otherwise
-have slid off.</p>
-
-<p>Heraldic crests came into definite use about the beginning of the
-fourteenth century and soon became of very general application on seals
-and in other armorial ways.</p>
-
-<p>The Tournament crests were large and boldly designed and were
-constructed of various light materials such as leather, paper and
-canvas, worked over a wicker frame; the surface details were modelled
-in fine plaster, and the whole was painted and gilt. Few ancient
-examples exist in this country, the most notable being that of Edward
-the Black Prince which accompanies his shield at Canterbury. Abroad
-they are more numerous and <abbr title="figure">Fig.</abbr> 149 is an excellent example of them.</p>
-
-<p>This spirited dragon’s head, of Florentine work of the fifteenth
-century, is modelled in gesso over a wood core, and was painted and
-gilt. It is noteworthy that in this instance the torse is modelled with
-the crest.</p>
-
-<p>When a device became a crest it was generally modified to some extent
-in order to fit it practically for its position. Hence the frequency
-of the demi-animals, which, while admitting of more secure adjustment
-to the helm, retained all the vigorous and symbolic qualities of the
-whole figure. Animals’ heads were also largely used and are equally
-satisfactory from the point of view of design, because of the ease with
-which their lines may be made to harmonize with those of the supporting
-helmet.</p>
-
-<p><span class="pagenum" id="Page_127">[Pg 127]</span></p>
-
-<p>When a lion or other animal was used whole it was generally in a
-statant position, as it is in the Royal Crest of England, Percy and
-others, for that was the most stable posture in which such a modelled
-object could be fixed to a helm. In such cases the animal looked
-directly in front of it and faced as the helm did.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig149"><img src="images/fig149.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 149.</span>—Dragon’s Head Crest from the Bardini
-collection. Florentine. Fifteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>Flat objects, the sun in splendour for example, were placed edgeways
-to the front, so that they were best seen from the sides, but in some
-crests, the device, especially when a fleur-de-lis, was formed of
-two planes which intersected each other at right angles, so that the
-complete form was visible from every point of view.</p>
-
-<p>The mantling, or lambrequins, hung from the top of the helmet, being
-fastened to it by laces, and over it the torse, formed of twisted silk
-of two or sometimes more tinctures, encircled the crown of the helm
-below the crest.</p>
-
-<p><span class="pagenum" id="Page_128">[Pg 128]</span></p>
-
-<p>The artistic treatment of the crested and mantled helm was nearly
-always satisfactory during the whole period of the tournaments until
-they ceased in the sixteenth century, but about the middle of that
-century began the unfortunate increase of restrictive rules that were
-devised with so little regard to their practical artistic application.
-In place of the great helm which had previously been used in the way
-that was best suited to the display of the crest, that is to say in
-profile or nearly so, the lighter helmet was substituted, and it was
-also decreed that it should be varied in shape, twisted about and
-opened and shut, according to the rank of its owner, but with total
-disregard to the crest. So that we have a lion standing sideways on its
-helmet and even looking down the back of it. For in the worst cases a
-helmet may be seen turned completely round, while its crest remains
-in the original direction. This arose from the stupid application of
-the excellent rule that helms when more than one are employed should
-be posed with regard to some common centre of interest; an obviously
-proper and artistic method, but it should be equally obvious that when
-the helm turns the crest must turn too.</p>
-
-<p>Although it will in most instances be possible to ignore these rules,
-for the bearer’s rank will usually be sufficiently indicated in some
-other way, it is, of course, necessary to know them, and the present
-rules for helmets of rank are as follows:—An Esquire or gentleman
-has a helmet of steel with gold ornaments and it is posed in profile
-with the vizor closed. The position is not interpreted very strictly,
-however, and the helmet may be three-quarter<span class="pagenum" id="Page_129">[Pg 129]</span> face or may make an
-even nearer approach, in reason, to the full affrontée position. This
-fortunate latitude affords a way by which, when the use of the small
-helm is insisted upon, the crest and its support may be brought into
-intelligible relationship.</p>
-
-<p>A Knight’s or Baronet’s helmet is similar to that of an Esquire, but is
-borne full faced with the vizor open.</p>
-
-<p>It is difficult so see any reason for multiplying indications of rank
-which is already marked in other ways, though the difficulty certainly
-exists in the case of a Knight (with a Baronet there is of course
-none), but it would be easy to devise some distinguishing mark on or
-about the shield or on the helmet itself if the authorities would give
-a ruling in this sense.</p>
-
-<p>The helmet of a Peer is of steel or silver and gold, the front having
-bars or grilles instead of a movable vizor, and its pose is profile
-wise, similar to that of the Esquire’s helmet. Its bars are usually
-five in number, and attempts to signify exact rank by the number of
-bars have not resulted in any rules that are observed.</p>
-
-<p>The Sovereign and Princes of the Blood Royal have barred helmets of
-gold which are placed affrontée.</p>
-
-<p>The modern reversion to the tournament helm as a support for the crest
-was begun in the illustrations to Foster’s <i>Peerage</i> by Dom
-Anselm and Forbes Nixon in 1880 and with what advantage may be seen by
-inspection of that admirable work.</p>
-
-<p>There can be no question of the superior value of the great helm from
-an artistic point of view. Its strong simplicity makes it especially
-suitable as a support for a crest that is treated in a bold and
-expansive manner and<span class="pagenum" id="Page_130">[Pg 130]</span> its bold curves compose well with the lines of
-the mantling and shield.</p>
-
-<p>The central position which the helm occupies is necessarily an
-important one, and in order to avoid over-accentuation it should be
-so designed as to be a link between the shield and the crest, and not
-be permitted to concentrate attention on itself. The avoidance of
-such undue prominence is helped by the tilting forward of the helm, a
-position which tends to make the horizontal lines, of the “sight” for
-instance, curve upwards and so help the composition, with respect to
-the crest, while the strong line of the front ridge coming down in the
-direction of the shield is also valuable.</p>
-
-<p>The forward lean of the helm is always noticeable and probably points
-to its being carried on a staff as already mentioned, for its highest
-part, which would be the point of support, being usually behind the
-centre, would tend to throw it forward and so bring it into some
-approach to the degree of inclination that it would have when it was on
-the head of a charging knight.</p>
-
-<p>The difficulty of dealing with modern crests usually arises from
-their having been designed with regard only to their representation
-on flat surfaces, but the problem may be solved to some extent—it is
-frequently impossible to do so completely—by carefully adjusting the
-crest and helm to each other and by placing them in the aspect that
-produces the best effect and at the same time expresses their character
-most fully; and for this a sketch model in clay or other plastic
-material will be found very helpful.</p>
-
-<p>The leaving out of sight of all methods and materials<span class="pagenum" id="Page_131">[Pg 131]</span> other than
-those employed for the immediate purpose in hand has resulted in most
-unfortunate, and in some cases ridiculous, crests which could never
-have been used in the ancient way, and now if they have to be carved
-in relief or in the round, as mural decoration or as the newel of a
-stairway, show themselves wholly inadaptable to reasonable treatment.
-On the other hand the early crests are always “possible,” for the
-mediaeval herald was naturally familiar with the appearance of an
-actual crest modelled in the round, though he may never have modelled
-one himself, and so his design is always structurally right. But what
-can be said for some modern examples, a dove flying over water for
-instance? It seems to have been forgotten until recently that heraldry
-ever had a real existence or could possibly be carried out in more
-than one way, and the result was that anything that was suitable to a
-flat shield was thought equally appropriate for a crest so long as it
-was sufficiently differenced from other bearings. A few experiments
-with a lump of clay would have shown the fallacy of this idea, and
-incidentally might have saved many a family, often in spite of itself,
-from being labelled for ever with an absurd bearing.</p>
-
-<p>As, however, we cannot always choose the heraldic motives with which we
-have to deal we must make the best of the refractory ones, as well as
-of the rest, and the structural side of the subject may be regarded as
-the direction in which the solution of difficult problems may be found.
-As an example, let us take a rampant lion and pose it on a helm, and it
-becomes obvious that if it is taken from a shield without modification
-it will<span class="pagenum" id="Page_132">[Pg 132]</span> look ridiculously insecure on one leg as it is generally
-posed, <abbr title="figure">Fig.</abbr> 150, but that it is much improved if arranged in firmer
-relation to its base, the helm, as in <abbr title="figure">Fig.</abbr> 151.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig150"><img src="images/fig150.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig151"><img src="images/fig151.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 150.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 151.</span></div>
-</div>
-</div>
-</div>
-
-<p>Another difficult kind of crest is that which is differenced with a
-row of objects in front. For instance: In front of a tower between two
-wings three fleurs-de-lis; which is usually drawn as <abbr title="figure">Fig.</abbr> 152, although
-wings would never have been modelled fore and aft in that way. If the
-solidity of a crest is kept in mind the model would come out something
-like <abbr title="figure">Fig.</abbr> 153, and on similar lines the most unpromising material may
-with a little pains be made presentable by the use of sketch models in
-the round.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig152"><img src="images/fig152.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span id="fig153"><img src="images/fig153.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 152.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 153.</span></div>
-</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_133">[Pg 133]</span></p>
-
-<p>When two helmets and crests occur together they turn towards each other
-and so naturally help the unity of design, and when there are three,
-the outer ones turn similarly towards that in the centre. If, however,
-the crest be of such a nature that it cannot be turned about, it will
-of course be preferable for the crest to dictate the position of the
-helm rather than to repeat the senseless fault of the helm and crest
-facing different ways.</p>
-
-<p>The arrangement about the helmet of the Torse or Wreath is of
-considerable importance. It should always be treated as a silken favour
-wreathed round the helmet, and not as a support for the crest, to which
-it is merely a decorative accessory. An unfortunate phrase which has
-been used in blazoning crests, from as early as the sixteenth century,
-may be answerable for much ridiculous treatment of the wreath as a
-solid object, <abbr title="videlicet">viz.</abbr>, <i>On</i> a wreath, etc., which suggests a material
-connexion between it and the crest, and resulted in the stiff rods
-which were balanced on their centres, or, when two crests were used,
-were treated as platforms on which the crests stood on either side of,
-and away from, the helmet.</p>
-
-<p>That this method of blazoning a crest is not unavoidable is evident
-in a draft of the grant of a crest to the Grocers Company of London
-in which the formula is “<span lang="ang" xml:lang="ang">uppon the healme a camell golde bryded sable
-berynge two bagges of peper</span>,” etc.</p>
-
-<p>In early times the colours of the torse had no relation to those of the
-shield, being adopted in a purely fanciful way, but in the course of
-time the present custom was arrived at, namely, that the wreath should
-consist of<span class="pagenum" id="Page_134">[Pg 134]</span> the principal metal and colours of the arms, as shown by
-their priority, in the blazon.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig154"><img src="images/fig154.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 154.</span></div>
-</div>
-</div>
-</div>
-
-<p>As the torse was composed of pieces of silk of different colours
-twisted together, the colours appear alternately, six spaces being
-generally shown, their alternation beginning on the dexter side with
-the metal, as most heraldic alternations do, for the idea was that
-metal was more “worthy” than colour, but there is nothing essential in
-this. In some instances the torse resembles drapery cut into leaves, as
-in <abbr title="figure">Fig.</abbr> 154, a fifteenth century example from the Palazzo del Podesta,
-Florence. Its place is sometimes taken by a decorative circlet called a
-crest coronet, which, however, is no indication of rank, though it is
-probably derived from the practice at a time before coronets signified
-specific degrees of nobility, when it often appears encircling the
-helmets of personages of high rank. Later, when coronets were beginning
-to take the form that soon became regular, the crest of a Peer was made
-to issue from a coronet, as in that of Richard Earl of Warwick, on his
-tomb. An excellent practice, and one quite in harmony with heraldic
-feeling, that there has been some attempt to revive in modern times.
-Other coronets that occur in crests and are also used as charges are
-described at <abbr title="page">p.</abbr> 271.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig155"><img src="images/fig155.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 155.</span></div>
-</div>
-</div>
-</div>
-
-<p>The <span class="smcap">Mantling</span> or <span class="smcap">Lambrequin</span>, that depends from the
-helmet, and is a most valuable asset to the designer, was derived from
-some such protection to the helmet as the surcoat was to the body
-armour, and like it was soon made to serve decorative purposes. The
-surcoats, mantles and other garments of the fourteenth<span class="pagenum" id="Page_135">[Pg 135]</span> century, being
-ornamented with dagged edges cut into various tongue-shaped patterns,
-the mantling naturally followed their example and thence proceeded to
-other ornamental development, very simply at first, but continuing with
-ever-increasing elaboration until it became, in many instances, similar
-to the contemporary architectural tracery. Its early form is shown in
-Fig. 155, and the beginning of its decorative development in <abbr title="figure">Fig.</abbr> 156.
-An even earlier instance of dagged edges to drapery occurs on Trajan’s
-column, in the decoration of a tent.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig156"><img src="images/fig156.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 156.</span></div>
-</div>
-</div>
-</div>
-
-<p>Though the mantling probably remained comparatively simple in actual
-use its treatment in the illuminated MSS. and on monuments shows a very
-ready acceptance of its ornamental possibilities, both as a decorative
-adjunct to the armorials and also as a link between them and other
-decoration. During the Middle Ages it followed the method of the Gothic
-tracery in dividing and sub-dividing in groups of three, which curved
-and interlaced in infinite variety.</p>
-
-<p>In addition to being laced to the helm it was, in some cases, secured
-by two straps which were rivetted to the helm on either side and
-buckled at the back. It was also frequently decorated with badges, and
-in some cases the coat of arms was wholly repeated on it. It sometimes
-took the form of a cap which fitted over the<span class="pagenum" id="Page_136">[Pg 136]</span> helm, and was continued
-behind, and a curious example of a tourney helm with such an ornament
-is <abbr title="figure">Fig.</abbr> 157, after Viollet-le-duc, which is part of the equipment of a
-knight about to tourney, whose surcoat is charged with a double-headed
-eagle, and, he being about to encounter with swords and therefore
-having no shield, the charge is repeated on the helm in the bold and
-effective manner here shown. On the stall plate of Gaston de Foix as
-a Knight of the Garter, part of whose arms is Or three pallets Gules,
-the mantling has one side similarly striped with gold and red. Examples
-of mantling charged with badges are also to be found on the Garter
-stall-plates.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig157"><img src="images/fig157.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 157.</span></div>
-</div>
-</div>
-</div>
-
-<p>The practice of decorating the surface of mantling is still carried
-out to some extent in that of a Knight of the Garter, as it hangs over
-his stall in <abbr title="saint">St.</abbr> George’s Chapel, the coloured side being sewn with
-a twisted ornament in lace and spangles. The edges are jagged with
-cuts in accordance with the theory that that was the origin of the
-ornamental form. A far-fetched reason for what was after all a purely
-ornamental development.</p>
-
-<p>The office of mantling being a purely decorative one suggests that
-its treatment, as form, should be such as to support and supplement
-the lines of the shield and its contents, and to assist in linking
-together the whole composition. It will therefore avail itself of the
-well-known<span class="pagenum" id="Page_137">[Pg 137]</span> power of curves to emphasize what they enclose and will
-find endless variety of design in the way its lines may be made to help
-each other in direction and force.</p>
-
-<div class="picpage">
-<div class="figcenter">
-<span id="stabius"><img src="images/stabius.jpg" class="w60" alt=""></span>
-<div class="caption">Bookplate of John Stabius, Professor of Mathematics.
-Dürer.</div>
-</div>
-
-<div class="figcenter">
-<span id="kress"><img src="images/kress.jpg" class="w60" alt=""></span>
-<div class="caption">Arms of Kress of Kressenstein. School of Dürer.</div>
-</div>
-
-<div class="figcenter">
-<span id="donpero"><img src="images/donpero.jpg" class="w60" alt=""></span>
-<div class="caption">Arms of Don Pero Lasso di Castilla. German, 16th
-Century.</div>
-</div>
-
-<div class="figcenter">
-<span id="armorials"><img src="images/armorials.jpg" class="w60" alt=""></span>
-<div class="caption">Armorials by Dürer.</div>
-</div>
-</div>
-
-<p>The facility of folding over the edges will be found extremely useful
-in correcting balance as well in form as in tone and colour, and its
-use in this way is practically without limit. Such foldings should of
-course be designed in due relation to the general direction of the
-mantling, so as to assist its swing and flow, or else be obviously and
-intentionally opposed to it. In other words, there should be intention
-in every detail.</p>
-
-<p>It will also be noticed how valuable are straight lines, either in the
-Arms or as the top of the shield, to play against the curves.</p>
-
-<p>It has been indicated that the treatment as regards form is practically
-untrammelled, but as to colour there are certain rules that must be
-observed. In the Middle Ages there were no rules other than sumptuary
-laws, to which it is probably due that ermine came to be painted on
-mantlings and caps of maintenance in the same conventional way that it
-appeared on the shield. Otherwise, mantlings were merely governed by
-fancy until late in the sixteenth century, except that in the latter
-part of that period it had become customary for those of Peers to be
-doubled, i.e. lined, with Ermine. With the seventeenth century began
-a uniform mantling of Gules; doubled with Ermine for Peers and with
-Argent for those below that rank. Perhaps the colours were considered
-national as being taken from <abbr title="saint">St.</abbr> George’s cross on its argent field.
-The present rule is for the mantling to be of the colour and metal
-first<span class="pagenum" id="Page_138">[Pg 138]</span> mentioned in the blazon of the arms, as the torse does, and it
-dates from the end of the eighteenth century. The exceptions to this
-general rule are as follows:—The Sovereign’s and the Heir Apparent’s
-arms are mantled Or, and doubled ermine, as also are those of the other
-Princes of the Blood Royal. Peers formerly used the first colours of
-their blazon also doubled with ermine, as they still do in Scotland,
-but otherwise they now follow the general rule. However one may regret
-the older custom which produced variety of colour in the surroundings
-of the arms themselves and so gave scope for much beautiful
-arrangement, the established custom should certainly be observed,
-however reluctantly, and colour relief be obtained in other ways; such
-as by treatment of the background where such is practicable. Of course
-modification of tone still remains available.</p>
-
-<p>It is sometimes held that arms that were granted at the time when red
-and white mantlings were usual, and were mentioned in the blazon of the
-Grant, should now and henceforth be so accompanied, and this would seem
-to be a case when choice of method would be legitimate. The description
-in the blazon, usually so binding, is here of little force, for it was
-in such cases a mere routine phrase which conveyed no distinction of
-one case from another, and the change of official custom may be taken
-to have superseded the former rule. Certainly it is not permissible
-nowadays to colour the mantling without reference to the arms or
-without warrant from properly transmitted custom.</p>
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_139">[Pg 139]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_VII">CHAPTER VII<br>
-Armorial Accessories</h2>
-</div>
-
-<p>The armorial shield, and, in a rather less degree, the crest, are in
-an especial sense essential parts of an heraldic achievement, and have
-always been considered fully representative of their bearers. Therefore
-they may be used together, or singly, without the supporters or other
-accessories to which their owner may be entitled. On the other hand,
-supporters, though they may be employed without the arms to support
-badges or monograms, have, in that case, little more than the force of
-fanciful devices.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig158"><img src="images/fig158.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 158.</span>—Seal of John de Segrave (<i><abbr title="circa">c.</abbr></i>
-1300).</div>
-</div>
-</div>
-
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig159"><img src="images/fig159.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 159.</span>—Seal of Anne Countess of Devon.</div>
-</div>
-</div>
-
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig160"><img src="images/fig160.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 160.</span>—Seal of Ralph Neville, Earl of
-Westmoreland.</div>
-</div>
-</div>
-</div>
-
-<p>Supporters were in their origin badges which had acquired permanence by
-custom in the same way that the arms of the shield had acquired it at
-an earlier time. Thus, in addition to the regular armorials which so
-profusely adorned the Seals, certain badges were freely used which from
-association acquired in many cases a permanence by frequent recurrence
-equal to that of the arms with which they were associated. In this way
-lions appear in many of<span class="pagenum" id="Page_140">[Pg 140]</span> the Great Seals, notably in those of Edward
-III and in the beautiful seal of Henry IV. Such emblems were placed
-decoratively in any spaces that were suitable, and in the simpler
-seals the intervals between the circumscription and the more or less
-triangular shield within it invited their display, as in <abbr title="figure">Fig.</abbr> 158, the
-seal of John de Segrave (c. 1300), which has a garb on either side of
-the shield. In <abbr title="figure">Fig.</abbr> 159, the seal of Anne Countess of Devon, lions
-occupy similar spaces, but with their backs to the shields. The seal
-of Ralph Neville, Earl of Westmoreland, <abbr title="figure">Fig.</abbr> 160, shows greyhounds,
-which, though of subordinate proportion,<span class="pagenum" id="Page_141">[Pg 141]</span> have assumed the regular
-pose of supporters; while in the splendid seal of Edmond Beaufort,
-Duke of Somerset, <abbr title="figure">Fig.</abbr> 161, the finely designed supporting figures
-have complete heraldic force. Another fine example is that of William
-Lord Hastings, <abbr title="figure">Fig.</abbr> 162. The connexion between ancient Badges and the
-Supporters in present use is easily traced, and, as one instance of
-many, it will suffice to mention the white lion Badge of Mowbray, which
-has become one of the supporters of the Duke of Norfolk. The actual
-recognized use of these accessories appears to have begun at the end of
-the fourteenth century; and to have become firmly established in the
-following one.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig161"><img src="images/fig161.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 161.</span>—Seal of Edmond Beaufort, Duke of
-Somerset.</div>
-</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_142">[Pg 142]</span></p>
-
-<p>The idea that supporters originated in fantastically dressed pages at
-a tournament seems to have little or no foundation, and though there
-may have been some such representation of already established devices,
-later statements on the subject have probably been much over-valued.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig162"><img src="images/fig162.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 162.</span>—Seal of William Lord Hastings.
-Fifteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>Viollet-le-duc quotes an instance of a celebrated tournament, which was
-held on May Day, 1346, at Chambery, when Amedee VI of Savoy had his
-shield hung on a tree and guarded by two lions. The interesting fact is
-mentioned that the shields, helms and crests of the knights who figured
-at this tournament remained in the Church of <abbr title="saint">St.</abbr> Francis at Chambery,
-until 1660 or thereabouts. Then the church was redecorated, and in the
-disregard for antiquity, which we find so difficult to understand, the
-relics of chivalry disappeared.</p>
-
-<p>At first and for a considerable time the proportion of supporters to
-the arms was very satisfactory, being bold without over emphasis, but
-during the sixteenth and following centuries, a tendency to increase
-their size was felt, and it is in this respect that modern sculptured
-heraldry is lacking in balance, for to over-accentuate the supporters
-is necessarily to minimize the arms, and so divert interest from the
-central motive.</p>
-
-<p>When the space to be filled by the achievement demands it, the pose of
-the supporters may be varied to a considerable extent, but the rampant
-position should always be adhered to when it is possible. Where, for
-instance, the space is wide, as on a mantelpiece, there is no heraldic
-objection to placing the figures in a couchant position on either side
-of the shield, an<span class="pagenum" id="Page_143">[Pg 143]</span> arrangement that has been frequently resorted to in
-Friezes.</p>
-
-<p>Sanction is given to this freedom of treatment by the fact that it is
-not usual in blazoning supporters to specify the heraldic attitude,
-except in so far as it affects the pose of the head. That is to say,
-if the head is in the normal position, in profile, the figure is
-blazoned, for example, a lion Or. If it were guardant or regardant, the
-fact would likewise be mentioned but not the general pose, rampant or
-anything else.</p>
-
-<p>In the fifteenth and sixteenth centuries the supporters were sometimes
-employed in pairs, and sometimes singly, to hold up the banners of
-arms that were represented in heraldic manuscripts or sculptured on
-monuments, and they were then usually placed in a sejant position.
-In some instances, more frequent in Italy and Germany than in this
-country, supporters bear crested helms on their heads in a very
-curious way. An English instance is on the seal of Edmond Mortimer,
-<span class="allsmcap">A.D.</span> 1372, mentioned by Boutell.</p>
-
-<p>On the seals of the fifteenth century onwards, the supporters were
-freely adapted to the available spaces, without much, if any, regard
-for actual physical support to any other part of the achievement. It
-was heraldically sufficient that they were present, and the rest was
-left to the taste and skill of the designer.</p>
-
-<p>The variety of supporters has of course increased with the number of
-those entitled to bear them, and creatures are now used which, though
-perfectly suitable in an allusive way, are not equally adapted to the
-ordinary heraldic treatment, and the result of working in an outworn
-groove<span class="pagenum" id="Page_144">[Pg 144]</span> appears when Troop horses, Camels, Elephants, and so forth are
-seen climbing up the side of a shield, instead of standing beside it.
-Admit that the rampant attitude in an animal that does not ramp is not
-obligatory, and the difficulty is easily overcome with every advantage
-to the dignity of the composition.</p>
-
-<p>The idea of moral support would also be much to the advantage of
-symbolic human figures that are already burdened in a variety of
-ways, for the sight of a figure, with both hands full, trying to obey
-a non-existent law as to touching the shield that it “supports” is
-pathetically ridiculous. Nevertheless, the hold on the shield is of
-value in linking a design together, when it can be effected without
-violence to ease and probability.</p>
-
-<p>Too great freedom of natural treatment is not desirable, for it is
-out of harmony with the especial decorative quality of heraldry, so
-that one objects to the natural animal supporters that characterized
-the illustrations of the eighteenth century, prowling from behind the
-shields, not as heraldic error, but as wanting in dignity as decorative
-design.</p>
-
-<p>As a general rule, with some few special exceptions, the right
-to bear supporters is confined to Peers and Peeresses and to the
-highest classes, Knights Grand Cross or analogous ranks, of Orders of
-Knighthood. Knights of the Garter, of the Thistle, or of S. Patrick are
-entitled as such to bear Supporters, but as members of those orders are
-now invariably Peers, the question does not arise.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig163"><img src="images/fig163.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 163.</span>—Amorini Supporters from Venice.</div>
-</div>
-</div>
-
-<p>Figures of Angels and Amorini that are not considered to have the
-technical qualification of heraldic supporters<span class="pagenum" id="Page_146">[Pg 146]</span> are of constant
-occurrence in ornamental art, and symbolical figures holding the
-shields of arms are posed in the spandrels of arches with admirable
-effect and perfect propriety, and the fact that symbolic figures are
-sometimes adopted as actual heraldic supporters can hardly be allowed
-to cramp decorative art in so important a particular, nevertheless the
-distinction should be recognized.</p>
-
-<p>At Venice there is an admirably designed incised tablet in which
-Amorini stand beside the shield, each supporting on a pole one of the
-two large crests, <abbr title="figure">Fig.</abbr> 163; and the demi-angels which support the Royal
-Arms on the spandrels of the screen of Henry V. Chantry at Westminster,
-and the series of similar figures holding Badges in various parts of
-the Abbey should also be noted.</p>
-
-<p>Another admirable work in which Amorini figure is the fine panel of the
-Arms of Cardinal Wolsey, which faces the Crown Court at Hampton Court
-Palace, <abbr title="figure">Fig.</abbr> 164, a work that is no less remarkable for the strength
-and bold relief of its heraldry than for the grace and beautiful
-modelling of the figures.</p>
-
-<p>Under the head of supporters reference may also be made to the eagles,
-double or single-headed, on which in certain cases armorials are
-borne as a mark of special privilege. The arms of Princes and Peers
-of the Holy Roman Empire are borne on the double-headed Imperial
-Eagle, like those of the Duke of Marlborough as Prince of Mindelheim,
-as a privilege inherent in their rank. The single-headed eagle of
-the Kingdom of Prussia supports in a similar way the armorials of
-The Countess of Derby, to one of whose ancestors, Lord Carnarvon,
-Ambassador at Berlin at the end of the seventeenth century, the<span class="pagenum" id="Page_147">[Pg 147]</span>
-privilege was granted by Frederick William I. It therefore appears on
-her book plate, which I am permitted to reproduce here, <abbr title="figure">Fig.</abbr> 165.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig164"><img src="images/fig164.jpg" class="w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 164.</span>—Sculptured Arms of Cardinal Wolsey.
-Hampton Court Palace.</div>
-</div>
-</div>
-
-<p>Other accessories consist of Crowns, Coronets, Insignia of Order of
-Knighthood, Mottoes, Symbols of Office, Medals or any other emblem of
-personal dignity or ornament.</p>
-
-<p><span class="pagenum" id="Page_148">[Pg 148]</span></p>
-
-<p>The principal of these, the Imperial Crown, was, in its earliest form,
-a decorated circlet which was frequently of a most beautiful and
-elaborate character, but whose decoration, apart from its general form,
-had not acquired specific symbolic force, unless the fleur-de-lis that
-sometimes appeared as part of it may be so regarded. If so, it was
-probably introduced with the same idea of religious symbolism, as an
-emblem of the Resurrection, or of the Virgin Mary, or of the Trinity,
-which caused it to be used on sceptres and in other ways. The crowns
-of the early seals show traces of arches in some instances, but it was
-only in the time of Henry V that the crown, the one that succeeded the
-“golden care” of Shakespeare, finally became arched.</p>
-
-<p>The number of the arches, as of the fleurs-de-lis and the crosses
-pattée that were added, varied from time to time, but since the
-restoration of Charles II the essential details have remained constant,
-though the general shape has changed with the contemporary taste in
-other ornament. A considerable variety of form is also found in the
-same period, the arches in Tudor times having sometimes the Gothic
-pointed character, as it appears in <abbr title="figure">Fig.</abbr> 166, on the reverse of the
-beautiful golden Bulla with which Henry VIII sealed the treaty of the
-Field of the Cloth of Gold. In this instance it will be observed that
-the number of arches is doubled, and the fleurs-de-lis and crosses
-pattée proportionately increased. In a similar way the Scottish Royal
-Crown is represented with an unusually large number of crosses and
-fleurs-de-lis on the rim.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig165"><img src="images/fig165.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 165.</span>—The Countess of Derby’s Bookplate.<br>Geo. W. Eve.</div>
-</div>
-</div>
-
-<p>In other examples, notably those sculptured on <abbr title="saint">St.</abbr><span class="pagenum" id="Page_149">[Pg 149]</span> George’s
-Chapel in Windsor Castle, the arch is much flattened and the crosses
-and fleurs-de-lis stand high on the rim, thus producing a certain
-squareness which is very happily suggestive of strength. It was this
-type of crown that influenced the treatment of those on the present
-Royal bookplates. In the seventeenth century the arches were depressed
-where they cross, and in the Georgian period the extent of the
-depression was very considerable, as may be seen in the maces of that
-time.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig166"><img src="images/fig166.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 166.</span>—Golden Bulla with which the Treaty of the Field of the Cloth of Gold was Sealed. Sixteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>It seems to evidence the want of intention, and that ignoring of
-symbolic value that was characteristic of the time, for otherwise the
-idea would certainly<span class="pagenum" id="Page_150">[Pg 150]</span> have suggested itself that the orb, the emblem
-of sovereignty, should be held strongly up, and the crown be made to
-suggest its adequacy to its pre-eminent dignity.</p>
-
-<p>Doubtless this was in sympathy with the somewhat heavy curves of other
-ornament, but its effect is common-place, weak and unfortunate. The
-general character of the present day shape is a return to the more
-beautiful pointed arch, and <abbr title="figure">Fig.</abbr> 167 is the form approved by His
-Majesty for official use. It is to be understood that this does not
-refer to the actual crown, which has remained much as it was in the
-time of Charles II, but to its heraldic equivalent.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig167"><img src="images/fig167.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 167.</span>—The Royal Crown as sanctioned for
-official use.</div>
-</div>
-</div>
-</div>
-
-<p>The decoration of the arches may take many forms, sometimes consisting
-of large pearls, as in the usual way, sometimes of architectural
-crockets as in much of the carved decoration, or as jewelled running
-ornament composed of national Badges, or of oak-leaves and acorns as in
-that which is known as the Imperial State Crown. A fine example of the
-Tudor crown occurs in the stained glass roundel of the Arms of Queen
-Jane Seymour, in which the arches are crocketted, and the crosses have
-the cusped character that was prevalent at this period, <abbr title="figure">Fig.</abbr> 168.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig168"><img src="images/fig168.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 168.</span>—Arms of Queen Jane Seymour, Stained
-Glass Roundel. Sixteenth Century.</div>
-</div>
-</div>
-
-<p>In the jewels on the rim, no attempt is usually made to copy those of
-the actual crown and great variety of jewelled decoration is therefore
-possible. The gems are most often represented of antique form, that is
-to say, cut <i>en cabuchon</i>, instead of in facets, thus presenting<span class="pagenum" id="Page_151">[Pg 151]</span>
-a decorative simplicity that is very suitable to ornamental effect.</p>
-
-<p>With regard to the cross on the orb the former remarks concerning
-crosses pattée are especially applicable, and in addition it should be
-observed how much more satisfactory<span class="pagenum" id="Page_152">[Pg 152]</span> it is for the lines of the lower
-limb of the cross to be produced from the circumference of the orb than
-for the corners to be projected beyond it. In the latter case the cross
-has the unfortunate effect of being balanced on the orb instead of
-rising from and being part of it.</p>
-
-<p>The essential form of the crown, then, is a circlet heightened with
-crosses and fleurs-de-lis alternately, from which rise two arches that
-spring from behind the crosses pattée and uphold the orb, which is
-itself surmounted by a cross.</p>
-
-<p>Care is necessary in order that the curves of the arches may be kept
-sufficiently flat, for otherwise too much tendency to a half-circle may
-result.</p>
-
-<p>The crosses and fleurs-de-lis offer remarkable opportunities for
-strong, graceful, and varied treatment, and if they are kept fairly
-high, and well defined, the dignity of the design is much enhanced.</p>
-
-<p>The cap which is enclosed in the actual crown is of purple velvet, but
-is represented heraldically as of crimson, and is lined with ermine,
-which being turned up at the edge, appears round the lower rim.</p>
-
-<p>The Coronets of the sons and daughters of the Sovereign have similar
-circlets to that of the crown, but are not enarched, except in the case
-of the Prince of Wales, who has one arch supporting an orb. The latter
-coronet is usually drawn from a point of view from which the complete
-arch is seen spreading from side to side. <abbr title="figure">Fig.</abbr> 169.</p>
-
-<p>Other Princes and Princesses bear coronets that are varied according
-to nearness to the Throne, the grandchildren of the Sovereign having
-ducal leaves in place of two of the crosses, while nephews have similar
-leaves<span class="pagenum" id="Page_153">[Pg 153]</span> in place of all the fleurs-de-lis. This must not be taken as
-an invariable rule of heraldry but as an indication of the system that
-is observed in framing the Royal Warrants by which alone the right
-to these coronets, and also to the Royal marks of cadency (<abbr title="quod vide">q.v.</abbr>) is
-conferred.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig169"><img src="images/fig169.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 169.</span>—Coronet of the Prince of Wales.</div>
-</div>
-</div>
-</div>
-
-<p>Royal coronets, other than that of the Prince of Wales, do not change
-automatically as private marks of cadency do, but being arranged under
-the same Royal Warrant by which the arms are assigned, they remain as
-so designated until they are changed by the same authority.</p>
-
-<p>The Coronets of Peers were definitely assigned to the various ranks
-by warrant of Charles II, having by that time become developed into
-distinctive forms, as the Crown had been, from the circlets which in
-themselves were marks of high rank and were so used ceremonially in
-conferring a title.</p>
-
-<p>The coronet of a Duke is composed of eight ornamental leaves of
-equal height, wrongly called strawberry leaves, set on a rim which
-is ornamented with jewel-like tracery but not with actual gems.
-Eight being the full number of leaves, five of which are visible in
-representation.</p>
-
-<p>A Marquis’s coronet has four leaves alternately with an equal number
-of silver balls, called pearls, which are set on points to the height
-of the leaves, and the coronet is always represented as so posed that
-three leaves and two balls are visible. It is directed that in all<span class="pagenum" id="Page_154">[Pg 154]</span>
-coronets the balls shall be of silver and not counterfeit pearls.</p>
-
-<p>An Earl’s coronet has eight balls raised on high points and showing
-between them leaves which are set low down. Five balls and four
-alternate leaves are usually shown. This form is evidently derived
-from the beautiful coronet that is sculptured on the tomb of Thomas
-Fitzalan, Earl of Arundel, 1445, and in the same way that the coronet
-of another Earl of Arundel (<span class="allsmcap">A.D.</span> 1487) foreshadowed that of a
-duke. The former of these is very fine, having groups of three pearls
-on alternate points, and with the leaves also on points to the same
-height as the others.</p>
-
-<p>A Viscount’s coronet is a circle with surface decorations which, like
-all the preceding, is as in that of a Duke and has sixteen silver balls
-set close on the rim, and of them nine are shown.</p>
-
-<p>A Baron’s coronet has six silver balls, also set directly on the rim
-and not on points, the circlet in this instance being plain, i.e.,
-without indications of jewel forms.</p>
-
-<p>In the warrant of Charles II it is directed that all the coronets shall
-be worn over a cap of crimson velvet lined with ermine, and having a
-tassel of gold at the top. This cap, however, is not an essential part
-of the coronet, although a head covering of considerable distinction in
-itself. During the greater part of the Middle Ages the temporal peerage
-consisted principally of earls and barons, the former distinguished by
-the circlet of gold, which was variously decorated, and the latter by a
-cap of crimson lined with fur. For military purposes, the coronet was
-fixed to the helmet, and at other times it was placed, for practical
-reasons of comfort among others,<span class="pagenum" id="Page_155">[Pg 155]</span> round the cap which formed part of
-contemporary costume, as may be seen in many of the beautiful French
-and Italian medals of the fifteenth century, notably in one of Louis
-XII at the end of that period. <abbr title="figure">Fig.</abbr> 143. In another composition of
-about the same time, a head of King Herod has a crown which encircles
-a cap of the shape usually ascribed, in modern times, to a Cap of
-Maintenance. The last-named head covering is one of much interest as
-an early subject of privilege, although but little appears to be known
-about it. Its shape was obviously not its distinctive quality, and
-it must therefore have been the material or colour which constituted
-its especial value; and having regard to the sumptuary restrictions
-concerning the wearing of ermine, among other things, it seems probable
-that its lining of this fur was its distinctive quality, and that being
-prohibited to those of inferior rank, it would naturally be the cap
-that would be associated with a coronet when it was actually worn. Thus
-was formed the prototype of the coronets as described in the warrants
-of the end of the seventeenth century, when caps of this character had
-ceased to be part of the ordinary costume of people of position. The
-cap is therefore a means of wearing the coronet and no indication of
-definite rank and may certainly be omitted in heraldic design, since it
-adds nothing to what is signified by the coronet itself and is not an
-essential part of it.</p>
-
-<p>This view would appear to have been the contemporary official one, for
-many of the Garter plates subsequent to the warrant of Charles II have
-no caps to the coronets, and that of John, Duke of Argyle, 1700, may be
-cited as an example, among others.</p>
-
-<p><span class="pagenum" id="Page_156">[Pg 156]</span></p>
-
-<p>By the before-mentioned warrant, the use of the ermine-lined caps was
-extended to barons equally with other ranks of the peerage.</p>
-
-<p>The rank of Baronet, also hereditary, is of two classes, one of which
-was instituted in 1611 to encourage the plantation of Ulster, and the
-other in 1624 for the plantation of Nova Scotia. All new creations of
-the rank of baronet are of the former kind, and the Badge consists of
-the well-known red hand of Ulster on an argent field. This is borne on
-the coat of arms either on a canton or on a small escutcheon, whichever
-is most convenient, and if the latter it may be anywhere on the main
-shield in the same way that a mark of cadency is placed. The Badge of
-a Baronet of Nova Scotia is an actual jewel like that of an order and
-usually appears below the shield pendent from its ribbon of orange
-tawny silk. It is also worn round the neck like the insignia of an
-order, and consists of an oval medallion on which is the Cross of <abbr title="saint">St.</abbr>
-Andrew behind a shield ensigned with the Imperial crown and charged
-with the Arms of Scotland, and on the margin of the badge is the motto
-“Fax mentis honestæ gloria.”</p>
-
-<p>The Insignia of Orders of Knighthood are also among the most important
-and decorative accessories, either surrounding the shield, such as
-collars, the Garter, and the motto circle of other orders; or suspended
-below it as crosses and jewels.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig170"><img src="images/fig170.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 170.</span>—Arms of John second Earl of Mar,
- <abbr title="Knight of the Garter">K.G.</abbr>, 1634. Modelled gesso, afterwards painted. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p>Knights of the Garter surround the shields of their arms with
-representations of the Garter inscribed with the motto of the order,
-“Honi soit qui mal y pense,” in the well-known way. It was formerly
-light blue, but since the time of George I has been of the dark rich
-colour to which it<span class="pagenum" id="Page_157">[Pg 157]</span> has given the name of Garter Blue. The buckle,
-motto and other embellishments are of gold and it is now edged with
-the same. This last, however, is purely decorative, but has become
-usual from about the sixteenth century. The motto begins above the
-buckle, which is always<span class="pagenum" id="Page_158">[Pg 158]</span> placed in the dexter side, and may be in any
-character of lettering that seems fit. <abbr title="figure">Fig.</abbr> 170 shows a gartered shield
-from the series at Alloa House. The collar consists of twenty-six
-small garters (in allusion to the Sovereign and twenty-five Knight
-Companions), each enclosing a rose, alternately with an equal number
-of knots, the whole being joined together with links of gold. It is
-notable that the roses are Tudor ones, the collar having been added
-to the insignia of the great Order by Henry VII, and are a red rose
-within a white one and a white within a red alternately. Depending from
-the collar is the representation of <abbr title="saint">St.</abbr> George slaying the Dragon, the
-jewel which is known as the Great George. Composed of gold and enamel
-it was frequently richly jewelled, and otherwise treated as a splendid
-subject for artistic elaboration. When the collar is used with the arms
-it is placed outside the Garter. These constitute the insignia that are
-immediately associated with the shield, but there are in addition the
-Star, the Ribbon and the Lesser George. The Star is worn on the left
-breast, consists of groups of rays, in silver or diamonds, arranged
-in eight points, and bearing in the centre the enamelled Cross of <abbr title="saint">St.</abbr>
-George encircled with the Garter.</p>
-
-<p>The Lesser George, the jewel which is worn pendent at the side from
-the ribbon of the order which is worn over the left shoulder, consists
-of an oval badge of a similar group to that of the Great George, but
-placed within the Garter which forms a frame to the badge. It will be
-noticed that the Great George has no containing form.</p>
-
-<p>The Collar when it surrounds the shield is placed outside<span class="pagenum" id="Page_159">[Pg 159]</span> the Garter,
-and either one or both may be used to enclose a crest or other device.
-In thus using the collar of an order in a decorative way, it will
-not be necessary to represent the actual number of pieces in it, but
-only their nature and the proper order in which they occur, and a
-considerable latitude may be taken in treating the details so long as
-their essential character remains clear.</p>
-
-<p>The custom of encircling arms with the Garter has influenced the whole
-British practice with regard to orders of knighthood, other orders
-using in a similar way the motto circle which forms part of their badge.</p>
-
-<p>The foreign practice is to use the collar with its badge to surround
-the arms, or in other cases to suspend a badge from its riband below
-the shield.</p>
-
-<p>A knight of several orders uses principally that which is of superior
-rank either alone or in conjunction with others. In the latter case
-the emblem of the superior is innermost in surrounding the shield; and
-is the dexter of two, or the most central of a greater number, when
-dependent from it. When, however, some special allusion is intended the
-insignia of an inferior order may be used alone.</p>
-
-<p>Thus in the case of an achievement that was to be used in connexion
-with a specific order, the insignia of that order would be properly
-used to the exclusion of one of superior rank.</p>
-
-<p>It will be understood that the heraldic bearing of such insignia is a
-privilege that need not always be exercised, and when it is, may be
-used in a variety of ways. Thus the Garter may closely surround the
-shield in the familiar way or may encircle the whole achievement as in
-some<span class="pagenum" id="Page_160">[Pg 160]</span> coins and medals, or even be straightened out as in the design of
-some of the Tudor bookbindings.</p>
-
-<p>In view of cases that have actually occurred, it should be noted that
-stars of orders must not be suspended below a shield as a badge may
-be, though they may be embodied in accessory design in a suitable way.
-That is to say, that only those decorations should hang below the
-shield which actually have a pendent character and hang from collars,
-ribbons, and so forth, while stars may decorate panels, be enclosed
-in tracery, or be employed in any other way that is not unsuitable to
-their naturally <i lang="fr" xml:lang="fr">appliqué</i> character.</p>
-
-<p>The Order of the Thistle has a Collar composed of thistles alternating
-with a badge made of four sprigs of the ancient rue interlaced, the
-whole being enamelled in the proper colours. Depending from the centre
-thistle of the collar is the Badge, a star of eight points bearing the
-figure of <abbr title="saint">St.</abbr> Andrew supporting his white cross. His gown is green and
-the surcoat purple, and he stands on a mount of green. When not used
-with the collar the Jewel hangs from the dark green ribbon that is worn
-over the left shoulder. <abbr title="figure">Fig.</abbr> 171 from the series at Alloa House shows
-a method of treating the collar in gesso photographed before painting.
-The star of the order consists of a silver <abbr title="saint">St.</abbr> Andrew’s cross having
-rays issuing from its angles and bearing in the centre a thistle within
-a circle of green enamel, that is edged with gold and bears in golden
-letters the motto, “Nemo me impune lacessit.” It is this circle and
-motto that are placed round the shields of the knights of the order and
-sometimes with the collar in addition.</p>
-
-<p><span class="pagenum" id="Page_161">[Pg 161]</span></p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig171"><img src="images/fig171.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 171.</span>—Shield with Collar of the Order
-of the Thistle. Arms of John, sixth Earl of Mar, K.T. Gesso, before
-painting. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_162">[Pg 162]</span></p>
-
-<p>The Knights of the Order of <abbr title="saint">St.</abbr> Patrick surround their arms with
-the sky-blue circle of that order inscribed with the motto, “Quis
-separabit,” and the date MDCCLXXXIII. The Collar is composed of roses
-and harps alternately, tied together with knots of gold. The roses are
-double and are white within red, and red within white alternately,
-like those of the Garter collar. In the centre is an imperial crown
-ensigning a harp from which hangs the badge of gold, oval in shape,
-and surrounded with a wreath of shamrocks which encloses the circle of
-light blue enamel on which is the motto and the date MDCCLXXXIII in
-golden letters. Within the circle is the cross of <abbr title="saint">St.</abbr> Patrick, Gules on
-a field Argent, surmounted with a trefoil slipped and with each of its
-leaves charged with an imperial crown, Or. The star is of eight points,
-the perpendicular and horizontal rays being larger than the diagonal
-ones, and bears the device within a motto circle exactly similar to
-those of the badge, but without the shamrock wreath. These are the
-three principal orders which form a group that is somewhat apart from
-the rest.</p>
-
-<p>In the foregoing orders consisting, as was customary in earlier times,
-of a Grand Master and of Knight Companions ranking equally among
-themselves, the amount of insignia associated with their arms is
-unimportant as a mark of rank, the simplest being equally efficacious
-heraldically with the more elaborate. In the case, however, of orders
-which are divided into classes, the different parts of the insignia
-have acquired a special importance as indications of rank within the
-order which must be very carefully observed.</p>
-
-<p><span class="pagenum" id="Page_163">[Pg 163]</span></p>
-
-<p>Taking the Order of the Bath as typical, the lowest rank, that of
-Companion (C.B.), is shown by suspending the badge below the shield.
-The next grade, Knight Commander (K.C.B.), in addition to the suspended
-badge, encircles the shield with the motto of the order. And finally,
-a Knight Grand Cross (G.C.B.) adds to the preceding the collar of the
-order round his arms, outside the motto circle. It must be noted that
-the order has two divisions, civil and military, whose badges differ.
-The rest of their insignia is identical, except that a wreath of laurel
-accompanies the motto circle of the Military Division.</p>
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_164">[Pg 164]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_VIII">CHAPTER VIII<br>Methods and Materials</h2>
-</div>
-
-<p>The methods of painting heraldry have changed very little from those
-that were employed in the early MSS. In the unfinished Bible at
-Winchester Cathedral, of which the illuminations are in every stage of
-progress from the sketch to the finished work, the sequence is clearly
-shown. First, the design lightly sketched in with fine charcoal or a
-leaden stylus, then carefully gone over with a black line. The gold
-masses put in and burnished and then the colour. Shading and correction
-of the outline followed, and finally the high lights put a finish to
-the work.</p>
-
-<p>Vellum, a fine parchment made of calf skin, is the most suitable
-surface for heraldic painting in water-colour, although paper,
-which includes various “boards,” is useful for students’ work and
-for preliminary drawings. The colours bear up, and gold acquires an
-appearance of solidity on vellum which cannot be obtained on paper.
-No doubt the surface is somewhat difficult to deal with at first and
-painting on it has a technique of its own, but there is nothing that
-cannot be overcome if it is approached in a practical way. The colour
-of vellum varies from a yellowish white to darkish<span class="pagenum" id="Page_165">[Pg 165]</span> ivory colour, a
-variety that is due to the natural colour of the skin. It can also be
-obtained in positive colours, the kind that is used in book-binding. It
-is somewhat thickly coated on one side with a chalky preparation, and
-if this side, the front, is used it requires delicate handling, for it
-is easily injured by the scraping that may be necessary for erasure,
-so that a rough spot of skin appears through the preparation and the
-surface can only be restored with great difficulty. Unless, therefore,
-it is necessary to use both sides as for a leaf of a book, the back of
-the skin will be found preferable. It is a little darker in tone and
-not quite so smooth, is tolerably hard and bears erasure well, but the
-knife requires deft handling, and then small corrections can be made
-with it successfully, for colours do not penetrate vellum very far,
-though when properly prepared they adhere to the surface with ample
-tenacity. It will be found very desirable to keep vellum clean rather
-than to trust to subsequent cleaning.</p>
-
-<p>As it is difficult to properly remove pencil marks except with the
-knife, the design should first be made as fully as necessary on paper
-or other surface, and transferred to the vellum by tracing or rubbing
-down or by pouncing. The best way of transferring a design is to go
-carefully over the back of a tracing of it with a sharp pencil and
-having carefully placed it in position on the vellum to rub it down
-with a knife held slanting, a palette knife will do very well, and
-in that way the lines are clearly transferred to the vellum without
-the depression on the surface that a point is likely to make. Tracing
-down the design with a style and coloured transfer paper is<span class="pagenum" id="Page_166">[Pg 166]</span> less
-satisfactory owing to the blurring of the line, unless the point used
-is very sharp and then it is likely to cut through. In making the
-preliminary design the colour composition with regard to such parts
-as are susceptible of free treatment (such as the mantling) should
-be carefully noted so that nothing experimental need be tried on the
-vellum. Unless both sides of the skin are to be used it is well to
-strain the vellum over an ordinary frame by means of glue or with small
-tacks at frequent intervals, first well damping it on the reverse side
-to that which is to be used. A piece of cardboard should be placed
-between the vellum and the frame to give support to the surface and
-help to throw up the colour, care being taken, however, that the vellum
-though damp is not actually wet or it will stick to the cardboard in
-patches with disastrous effect. Having the design traced on the vellum
-the next step is to lay in the gold. This is provided in shells or
-cakes and is painted on very evenly with a sable brush and when dry is
-burnished with an agate burnisher, or a tusk does very well.</p>
-
-<p>Burnishing is facilitated by first gently passing the finger tip over
-the gold, and a piece of card or other firm substance should be placed
-behind the work during the whole process, or, when a high degree of
-polish is desired, a piece of plate glass may take the place of the
-card. But it must be remembered that over-burnishing deprives the gold
-of its beautiful colour and tends to blackness.</p>
-
-<p>The principal colours are then laid in their places and their quality
-will depend of course on the taste and intention of the artist, but
-in the absence of necessity for modification, the traditional strong
-brilliance will probably<span class="pagenum" id="Page_167">[Pg 167]</span> be sought after and the colours will be
-used in their fullest strength and purity. For red, Vermilion is
-unapproachable in its place, has great body and is therefore easy to
-use. For blue, Cobalt is very beautiful but is somewhat difficult
-to lay from its want of opacity, a quality which is not improved by
-the glycerine which is used in “moist” colours. French ultramarine
-or French Blue (it is known under various names) forms when mixed
-with white a fairly efficient substitute for cobalt and presents no
-difficulties in laying.</p>
-
-<p>Green. The most brilliant is of course Emerald Green, but as it is
-extremely difficult to lay and easily works up it is much feared and
-avoided. It is very useful in combination with greens of lower tone
-mixed with white to lighten them. Green oxide of chromium (not chrome
-green) is excellent in this way and possesses good body.</p>
-
-<p>The white will be Chinese White, made from oxide of zinc, which does
-not change colour as the lead whites do. The latter, however, are
-extremely useful for temporary work, such as for design that is to
-be carried out in other materials, when the drawing is no longer of
-consequence after it has served its purpose.</p>
-
-<p>The difficult colours Cobalt and Emerald Green can nevertheless be
-laid satisfactorily by means of patient trial, the result depending
-on that skill of manipulation which can only come by much practice
-as well as on the exact degree of moisture with which the colours
-are used. Indeed, it may be well to point out, especially for the
-benefit of those who are familiar with water-colour sketching, how
-comparatively dry all the colours<span class="pagenum" id="Page_168">[Pg 168]</span> are worked in illumination. Tints,
-even, are best put on with a sparely filled brush in a manner that
-approaches a scumble much more nearly than a wash. This will be found
-most troublesome in tints that are painted on the vellum itself, as
-in white mantling, for instance, or in objects that are “proper,” and
-anything like a wash with a full brush being impossible, a certain
-amount of stippling will probably become inevitable. The work is
-certainly somewhat difficult, and too much disappointment, therefore,
-should not be felt at the failure of first efforts. Shortly, the effort
-should be directed to getting the colour on with as little moisture as
-will suffice, so that the surface of the vellum may not become wet and
-disturbed.</p>
-
-<p>The principal masses of colour being in, such dividing or other strong
-lines as occur will be drawn with black. A drawing pen will probably
-be used for straight ones and in this also care must be taken that
-the black, lamp black or ivory black, is not too diluted, or it will
-probably spread, especially when in contact with colours that contain
-glycerine or waxy constituents.</p>
-
-<p>This done, the next stage of the work, if it is to have the elaboration
-of the real illuminated MSS. rather than of the diagrammatic Rolls of
-Arms, will be to model up the forms with shadow colour, using carmine
-or crimson lake to shade vermilion with the addition of a little sepia
-when stronger colour is required. Blue will be shaded with French blue
-to the required tone, and green with darker green.</p>
-
-<p>The lights may then be put in with light tones of their respective
-colours. Gold is shaded with a low tone of<span class="pagenum" id="Page_169">[Pg 169]</span> yellow as a general shadow
-colour and with umber, and is sometimes high lighted with Naples yellow
-and white. In accessory decoration gold may be shaded with green and
-finished with a darker tint of the same colour.</p>
-
-<p>In the colour treatment of mantling the tone may well be kept low in
-relation to that of the shield to which it will thus lead up and give
-value.</p>
-
-<p>Instead of lighting with tones of their own colour the parts in which
-modelling is suggested, a very beautiful and decorative effect is
-produced by the mediaeval practice of heightening the whole design with
-gold in lines which coalesce into masses on the high lights and trail
-off into the shadows where also they help to define the form in a very
-effective way. This use of gold throughout the work serves at the same
-time to harmonize and pull the whole thing together into unity. It is
-a method which requires considerable skill of hand and clearness of
-intention, for the lines must be drawn with firm certainty, but when
-successful is most effectively beautiful.</p>
-
-<p>In the treatment of the helmet its relative importance in the
-composition must not be forgotten, nor its brilliancy in combination
-with its central position be allowed to attract undue attention. The
-broad shadow which its body takes in its forward tilted position is
-very useful in keeping down the general tone, in colour work as well
-as in black and white. Also it may be remembered that helmets were
-themselves painted and their rivets gilt.</p>
-
-<p>In painting on paper, where yellow is substituted for gold, Cadmium
-will be found to be the most useful kind of that colour.</p>
-
-<p>Until the invention of moist colour the pigments were<span class="pagenum" id="Page_170">[Pg 170]</span> obtained in
-powder and mixed with gum water, a great deal of small knowledge being
-required in order that the colours should not rub off the surface on
-the one hand, or crack or otherwise misbehave on the other. Gold was
-mixed in the same way, but if with too little gum it rubbed off and if
-with too much it refused to burnish. Nevertheless, the colours when
-so mixed have a certain advantage in having more body, and a better
-because less waxy surface. However, the greater convenience of moist
-colour is undoubted and in some of them the surface is very good.
-So-named luminous body colour made by Newman of Soho Square has been
-recently tried with very satisfactory results, the cobalt among the
-“difficult colours” being particularly good.</p>
-
-<p>The notable revival of Enamelling has restored to heraldry a very
-beautiful means of expression, one which has proved from the twelfth
-century downwards to be especially suitable to its subject, as well
-from its broad simplicity of treatment as from its permanence and
-beauty. In this connexion one’s thoughts inevitably turn to the
-stall-plates of the Knights of that Most Noble Order of the Garter in
-its Chapel in Windsor Castle, and one is led to hope that they may once
-again be done in a way not unworthy of their splendid and monumental
-predecessors of the old days.</p>
-
-<p>Enamel entered to an enormous extent into the decorative metal work of
-the Middle Ages. Altars, Church vessels, and crosiers, caskets, nefs
-and other domestic objects, the girdles and clasps for ladies’ use, as
-well as the details of military trappings were among the many things
-that were adorned in this manner. The<span class="pagenum" id="Page_171">[Pg 171]</span> massive military belts that were
-worn below the hips and were indicative of high rank were especially
-rich in goldsmiths’ work and enamels, infinite pains and enormous sums
-being spent on their execution.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig172"><img src="images/fig172.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 172.</span>—Queen Eleanor’s Cloak Clasp.
-Champlevé Enamel. Thirteenth century.</div>
-</div>
-</div>
-
-<p>Of the various methods of enamelling that which is known as Champlevé
-is especially associated with Gothic art. Among the most interesting
-of the personal ornaments is the cloak clasp of Queen Eleanor, wife of
-the warrior King Edward I (<abbr title="figure">Fig.</abbr> 172). Here the arms of her husband,
-England, with those of her own blood, Castile and Leon, unite to make
-a unique fastening to the Royal mantle of that Queen “of Good Memory.”
-This clasp was probably made at Limoges, where Champlevé enamel was
-certainly produced as early as the latter half of the twelfth century
-and probably<span class="pagenum" id="Page_172">[Pg 172]</span> earlier, the art having been imported, it is said, from
-Venice, whither it had come from the East.</p>
-
-<p>At this same time heraldry was coming into systematic form, and enamel
-was soon employed to display it on the Royal and other monuments,
-beginning perhaps with the memorial slab to Geoffrey Plantagenet, Count
-of Anjou (father of Henry II), who died in 1151, which is now in the
-Museum at Le Mans.</p>
-
-<p>The succeeding centuries are increasingly rich in heraldic enamels,
-the shields in the monuments of Edward III and his Queen, Philippa of
-Hainault, and on the magnificent tomb of William de Valence, Earl of
-Pembroke, in Westminster Abbey, may be taken as examples. The shield
-on the latter monument is reproduced by Boutell and others and will
-well repay study, especially when it is rendered in the colour which is
-necessary to a full appreciation of its beauty (<abbr title="figure">Fig.</abbr> 174).</p>
-
-<p>Towards the end of the mediaeval period began the Garter stall-plates
-already alluded to as still to be seen on the panels of <abbr title="saint">St.</abbr> George’s
-Chapel, which date from the early fifteenth century, though some of
-them relate to personages of an earlier time.</p>
-
-<p>These have most fortunately been brought within reach of study in the
-valuable facsimile reproductions in the work by <abbr title="mister">Mr.</abbr> <abbr title="saint">St.</abbr> John Hope,
-which includes in its scope the plates which were executed down to
-nearly the end of the fifteenth century. As examples of heraldic
-composition they are invaluable, for although the deterioration of the
-Gothic was already begun, they possess to a remarkable extent those
-decorative qualities that their modern successors so unfortunately
-lack.</p>
-
-<p><span class="pagenum" id="Page_173">[Pg 173]</span></p>
-
-<p>Enamel itself consists of a rather dense glass coloured with metallic
-oxides, and must not be confused with the enamel colours which are
-employed in painting on porcelain. The latter are vitrifiable but not
-vitrified material; that is to say, in them the metallic colours in
-powder are mixed with powdered glass, and the whole becomes fluxed
-together when the work is fired in the kiln or muffle, while in true
-enamel the glass and its colouring are intimately combined from
-the first. By way of definition it may be said that enamel work is
-therefore an arrangement of one or more layers of coloured glass on
-fused metal.</p>
-
-<p>In Champlevé work the design is first outlined on a metal plate,
-usually copper, and then, by means of gravers and chisel-like tools
-called scorpers, the space which is to receive the enamel is cut out
-to the necessary depth, from ¹⁄₃₂ to ¹⁄₂₀ of an inch, the rather rough
-surface that is left by the scorper serving as an additional key to
-the enamel (see <abbr title="figure">Fig.</abbr> 173), which having been ground to a powder and
-moistened with water, is then placed in the cavities prepared for it,
-and, after being carefully dried, is put into a muffle raised to a
-red heat, and thus fired until the enamel is fluxed. The work is then
-allowed to cool, is smoothed and polished, and the metal parts may then
-be gilt. <a id="champleve"></a>Champlevé is usually executed in opaque enamel; that is, in
-glass made opaque by an admixture of oxide of tin.</p>
-
-<p>In very early specimens two or more colours are found in contact in one
-space, but this is extremely difficult to do, and the resulting line
-is a somewhat ragged one in European work, though wonderful effects
-of opaque colours are produced by the Japanese. Since the thirteenth<span class="pagenum" id="Page_174">[Pg 174]</span>
-century each colour, in Western work, fills its own space.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig173"><img src="images/fig173.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 173.</span>—Plate prepared for Champlevé Enamel.</div>
-</div>
-</div>
-
-<p>The design, must, from the nature of the work, be kept very simple
-without too much subtlety of line that might be lost in the cutting,
-and the laying of the enamel will be facilitated if the angles of small
-spaces are not made too pointed. The principal qualities of form will
-consist in good distribution and well-balanced masses rather than in
-expression of detail. The outlines of charges<span class="pagenum" id="Page_175">[Pg 175]</span> which are in colour
-on metal, or vice versa, are formed by the edges of the sunk spaces
-and such further definition that maybe required, such as the marking
-of the junction of the further legs with a lion’s body, is effected
-with a line of the ground colour laid in a groove cut for the purpose.
-This perfectly natural method of drawing with the materials that are
-immediately concerned has resulted in some singularly inept modern
-examples of heraldry, where the limbs are deliberately represented as
-detached from the bodies, as though there were something mysteriously
-mediaeval in such an unreasoning travesty of a perfectly simple
-expedient.</p>
-
-<p>Where one colour approaches another, as in the de Valence shield
-(<abbr title="figure">Fig.</abbr> 174), it will be necessary to leave a narrow rim of metal as an
-outline, and where the work is sufficiently large other details of form
-will be shown in a similar way. Diaper also may be thus drawn in lines
-of metal among colour, as is shown here in the running ornament, or by
-lines of colour in metal, as the case may be.</p>
-
-<p>The gilt outlines of the de Valence Champlevé shield somewhat suggest
-the effect of Cloisonné work, the way in which the Byzantine enamels
-were executed; but this method has been little, if at all, employed
-heraldically. In it the spaces to be filled are made of flat wires that
-are bent to the requisite form and soldered into their places on a
-metal plate, and the work then proceeds as in Champlevé.</p>
-
-<span class="pagenum" id="Page_176">[Pg 176]</span>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig174"><img src="images/fig174.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 174.</span>—Shield on Champlevé Enamel from the
-Monument to William de Valence, Earl of Pembroke, in Westminster Abbey.</div>
-</div>
-</div>
-
-<p>In the fifteenth century, when Renaissance art was beginning to look at
-things in a new way and was discovering new methods by which to express
-itself, a new kind of enamel work took the place of the more formal<span class="pagenum" id="Page_177">[Pg 177]</span>
-Champlevé, just as a freer kind of heraldry was about to supersede the
-decadent Gothic. This became known in time as “Limoges Enamel,” though,
-as we know, that place had been celebrated for enamel in another form
-for hundreds of years. This painted enamel did not, however, take the
-place of Champlevé on monuments, rather the use of enamel in that way
-died out. Probably the painted plaques were too tender for the purpose,
-and in any case the treatment would have had to be much modified to
-bring them into harmony with monumental conditions. Although the
-method was new the treatment of the subjects was largely that of the
-missal paintings, and figure compositions, both sacred and secular,
-were accompanied by decorative borders into which heraldry naturally
-entered. <abbr title="figure">Fig.</abbr> 175 is an heraldic example of this method as it was
-practised by the celebrated Nardon Penicaud.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig175"><img src="images/fig175.jpg" class="p2 w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 175.</span>—Arms in Limoges Enamel. Part of a
-Triptych by Nardon Penicaud.</div>
-</div>
-</div>
-
-<p>This kind of enamel is done on a smooth plaque of<span class="pagenum" id="Page_178">[Pg 178]</span> thin copper or other
-metal which has been slightly domed for the purpose. It is covered with
-a coat of enamel which forms the ground, the back also being enamelled
-in order to equalize the contractile strains, and fired. The design is
-then painted in white of suitable thicknesses, which on being fired
-form tones with the ground colour according to their relative opacity,
-and the result is called grisaille. This is a very charming form of
-decoration in itself, and is frequently done with that intention.
-Usually, however, coloured enamel is painted over it, the work being
-carefully fired at each stage, a very anxious process, and finally it
-may be heightened with gold after the manner of the illuminations. An
-additional method of obtaining decorative effects, in diapers, etc.,
-presents itself in the power of scratching the painted gold with a
-needle before firing. <abbr title="figure">Fig.</abbr> 176, executed in this manner, is a plaque
-that is the property of W. H. Weldon, <abbr title="esquire">Esq.</abbr></p>
-
-<p>From the capacity of painted enamel to imitate the effects of the
-illuminations it presents few technical difficulties as design. Its
-practice, however, is another matter, as may be imagined when the risk
-of the numerous firings is taken into account.</p>
-
-<p>A form of enamel that is occasionally used for badges and similar
-heraldic subjects is that which is called bassetaille. In this method
-the subject, usually in the form of a medallion, is carved in low
-relief and the transparent enamel fluxed completely over it, the
-surface being afterwards ground and polished. The varying thickness of
-the enamel, from the deepest part of the relief to the highest, gives a
-quality of gradated colour that is extremely beautiful. In a badge or
-jewel of this kind<span class="pagenum" id="Page_180">[Pg 180]</span> there is, of course, a rim raised to the height
-necessary to contain the enamel and extending above the highest point
-of the carved subject.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig176"><img src="images/fig176.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 176.</span>—Enamelled Plaque. Crest of W. H.
-Weldon, <abbr title="esquire">Esq.</abbr>,  <abbr title="Commander of the Royal Victorian Order">C.V.O.</abbr>, Norroy King of Arms. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p>Still another method is that which came into use in the fifteenth
-century for jewels, and is known as plique-a-jour, a kind of
-transparent Cloisonné which is said to have been produced by Cellini,
-who certainly knew of it. It is an extremely difficult process, but
-the effect is remarkably precious and jewel-like, the enamel being
-fired into a design which has been built up of bent wire and soldered
-together like Cloisonné without the bedplate, so that the work looks
-like a miniature piece of stained glass (as indeed it is) and of great
-beauty. In a similar way a design may be cut out or saw pierced through
-a plate of metal and filled with enamel <i lang="fr" xml:lang="fr">à jour</i>.</p>
-
-<p>In all methods of enamelling, a drawing of the design must of necessity
-be first made, and it is of course essential that the designer should
-have a practical knowledge of the methods that are concerned, the
-design and the finished work being necessarily interdependent, and
-though written descriptions are useful to indicate the nature of the
-processes nothing can supply the place of actual experiment under
-competent instruction. Familiarity with the practical side of art
-craftsmanship need not imply an intention to produce the work itself,
-but is absolutely necessary to adequately designing for it.</p>
-
-<p>Enamel is increasingly employed in commemorative tablets and in objects
-of ceremonial use, and is also used with equally charming effect on
-the decoration of cabinets, jewel caskets, and other boxes to which as
-wedding gifts or other presentations, heraldry, properly<span class="pagenum" id="Page_181">[Pg 181]</span> marshalled
-and well executed, is peculiarly appropriate. To such purposes the
-“Limoges” painted method readily lends itself, especially when the
-general design is of somewhat ornate character. With regard to the
-mounting of enamels, metal as framework seems especially suitable to
-their perfect display, as the setting to the gem, and so when a plaque
-is used to decorate a wooden panel it is well to introduce metal as
-an intermediary. But, nevertheless, I have found a well-cut ebony
-frame very satisfactory in itself, and the matter is clearly one for
-experiment.</p>
-
-<p>Champlevé and Cloisonné go well with the more severe styles of design,
-both ornamental and heraldic, in fact, enamel goes best with styles
-similar to those with which it was associated in the early practice.
-The one with the freedom of the Renaissance, the others with the
-greater severity and strength of the Gothic.</p>
-
-<p>For salvers, inkstands, lamps and other utensils heraldry in Champlevé
-enamel is very suitable and it is somewhat remarkable that it is
-not more often employed in place of the engraving which is usually
-inappropriate because of its lack of decorative quality.</p>
-
-<p><span class="smcap">Metal.</span>—Although heraldry in metal work has so wide a range,
-from the massive bronze gate to the badge worked on a buckle, that it
-can only be partially dealt with in a general work, it is desirable to
-touch upon such parts of so large a subject as may help the student to
-find in early work good examples for present application. The value of
-the beautiful metal coffret, the jewel case of the Middle Ages, for
-instance, to the designing of the modern box, whether it be intended
-for a<span class="pagenum" id="Page_182">[Pg 182]</span> similar use or as the repository of a city’s thanks to a hero,
-is obvious. Even the obsolete weapons of early times may be made useful
-for their decoration, as admirable models for the making of trowels
-and other ceremonial implements whose after character as souvenirs of
-interesting occasions renders them suitable to, if indeed it does not
-demand, heraldic or symbolic decoration.</p>
-
-<p>Of the large work the stately bronze doors of Henry VII’s Chapel in
-Westminster Abbey are among the most distinguished examples in their
-perforated design of work whose duty is rather that of a gate than a
-door. The panels are filled with badges in pierced work, the Beaufort
-Portcullis, Henry’s favourite badge, the Falcon and Fetterlock of York,
-the entwined roses of York and Lancaster, and the Royal Monogram, all
-telling their story in terms of beautiful metal work. Within is the
-monument with the effigies of the King and Queen recumbent on the tomb,
-while at the foot amorini support a shield of arms and at the corners
-are placed angels who once held crowns. Designed by Torregiano and
-executed by him or under his direction, it is without doubt the most
-splendid and complete heraldic metal work of its time and style in this
-country. Over the gates in the grille which surrounds the tomb are the
-Royal Arms, France and England quarterly with the dragon and greyhound
-supporters. The latter was the badge of the Nevilles, but the former,
-the Dragon of Cadwallader, was of especial value in the King’s eyes.
-It denoted his descent from Llewellyn and King Arthur, and perhaps he
-liked to feel that his greatness was not wholly dependent upon York
-and Lancaster. It had<span class="pagenum" id="Page_183">[Pg 183]</span> been flown, on a flag of the Tudor colours,
-argent and vert, on the field of Bosworth when the “White Boar” was
-slain and his crown was plucked from the hawthorn bush into which it
-had fallen and placed on the head of the victor. As badges, the dragon
-and the greyhound are repeated on the upper part all round the grill
-and in its parapet portcullises and roses alternate in the cuspings
-of the tracery. One of these dragons is shown in <abbr title="figure">Fig.</abbr> 173. Even the
-great candle sconces are Tudor roses placed horizontally, which support
-crowns whose crosses and fleur-de-lis form a decorative rim. As
-heraldic design the proportion of the parts, the vigour of the animals
-and the excellence of the spacing (and this may be especially seen in
-the supporters over the gates) leave nothing to be desired, while the
-general arrangement of the repeated heraldic motives in a decorative
-and yet reticent way is as admirable an example as can be found.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig177"><img src="images/fig177.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 177.</span>—Dragon from the Grills in Henry
-VII’s Chapel, Westminster Abbey. Sixteenth Century.</div>
-</div>
-</div>
-
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig178"><img src="images/fig178.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 178.</span>—Memorial Brass to Sir J. de Brewys,
-Wiston Church, Sussex.</div>
-</div>
-</div>
-</div>
-
-<p>Relief in metal work, cast or wrought, was very fully employed in
-the Renaissance monuments in place of the flatter treatment which
-preceded it. The mediaeval<span class="pagenum" id="Page_184">[Pg 184]</span> memorials more frequently employed the
-flat decoration done in Champlevé enamel fixed into the spaces of
-sculptured stone, or else the incised metal slab, somewhat similar in
-its method of production, which is known as a Monumental Brass. These
-are so comparatively numerous and of such admirable workmanship as to
-form one of the most interesting and instructive means of studying most
-that pertains to good heraldry. They were executed with great care,
-and afford examples of almost every kind of application of<span class="pagenum" id="Page_185">[Pg 185]</span> arms and
-badges to costume. Their wealth of heraldic lore is ably set forth in
-the works of Creeny, Waller, and others, and a single illustration
-must suffice here. <abbr title="figure">Fig.</abbr> 178 is the interesting brass to the memory of
-Sir John de Brewys, which is in many respects typical. The figure of
-the knight in his armour, his hands in an attitude of prayer, his head
-resting on his great helm, which bears his crest, and his feet on a
-couchant lion. Around him are shields of his arms six times repeated,
-and between them on little scrolls the words “Jesus” and “Mercy” many
-times occur.</p>
-
-<p>The method of work is very similar to that of the Champlevé enamels,
-allowing for the difference in scale, the lines being boldly incised
-in the metal with chisel-like tools and then filled in with black or
-colour much after the way of the niello and enamel of the smaller and
-more precious work, a hard waxy composition being used as the colouring
-material.</p>
-
-<p>Among the smaller metal work of domestic use, the firedogs, firebacks,
-hinges, locks and other parts of furniture, there is no lack of
-examples. The slabs of cast iron that are known as firebacks were
-very generally used as spaces for heraldry, the emphatic central
-position which they shared with the chimney-piece making them similarly
-appropriate. With the revival of dog-grates the accompanying fireback
-has also returned to favour, and a study of old castings therefore
-becomes additionally necessary. The Tudor examples are usually very
-excellent and bold in design, as in that illustrated here (<abbr title="figure">Fig.</abbr> 179),
-which displays the Royal Arms, probably of Henry VIII. In a form of<span class="pagenum" id="Page_186">[Pg 186]</span>
-work which is to be subjected to the action of fire, and even to be
-seen for the most part through lighted fuel, a design is obviously
-fitting in proportion to the degree of elimination of unessential
-detail that is effected, and in the case in point this has been most
-efficiently done. The arms, and the lower part of the centre generally,
-are much fireworn, but anything of this nature simpler and finer in
-pose and modelling than are the supporters it would be difficult to
-find, while the proportion and spacing of the whole composition leave
-nothing to be desired. <abbr title="figure">Fig.</abbr> 180 is another well-designed Tudor example,
-the arms being those of Queen Elizabeth, who sometimes used the
-greyhound for a supporter as her father had done, instead of the dragon.</p>
-
-<div class="picpage b2 p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig179"><img src="images/fig179.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 179.</span>—Armorial Fireback. English.
-Sixteenth Century.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_187">[Pg 187]</span></p>
-
-<div class="figcenter">
-<span id="fig180"><img src="images/fig180.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 180.</span>—Armorial Fireback. English.
-Sixteenth Century.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_188">[Pg 188]</span></p>
-
-<p>It must be remembered, in designing firebacks, that the work is
-to be carried out by casting and should therefore be of suitable
-character. Casting is necessary because every time that wrought iron
-becomes red-hot and cools again it scales, and so loses a considerable
-thickness of material in a comparatively short time, a disadvantage
-that does not exist in the cast metal. The design in most cases is
-treated panel-wise within a raised border, but in the later backs the
-outline of the design, of the mantling and crest, sometimes formed the
-edge of the fireback without a containing rim. A space at the bottom,
-the part that was most embedded in the fire, is frequently left plain,
-or simply fluted.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig181"><img src="images/fig181.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 181.</span>—Mortar in Cast Bronze.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_189">[Pg 189]</span></p>
-
-<p>Fig. 181 is also interesting as heraldry in cast metal, which in
-this case is bronze; and an Italian example is found in the arms of
-the Martelli, cast in bronze by Donatello (<abbr title="figure">Fig.</abbr> 182), which has much
-spirit, but lacks the excellent distribution of the same creature on
-the decorative shield for the Palazzo Guadagni now in the Museum at
-South Kensington.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig182"><img src="images/fig182.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 182.</span>—Arms of the Martelli, by Donatello.</div>
-</div>
-</div>
-</div>
-
-<p>The elaborate hinges, clasps, and locks of doors and coffers that were
-often enriched still further with coats of arms are also of great
-interest and appear to have been made subjects of lavish decoration
-before the larger domestic belongings were so treated. Of the
-decorations of lock-plates the German example of the Imperial Eagle
-from the Town Hall, Nuremberg (<abbr title="figure">Fig.</abbr> 183), is interesting as an instance
-of great simplification of form to suit the material in which it<span class="pagenum" id="Page_192">[Pg 192]</span> is
-expressed. <abbr title="figure">Fig.</abbr> 184 is another but more ornate example of the treatment
-of pierced and chased metal.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig183">
-<img src="images/fig183.jpg" class="w75" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 183.</span>—Lock-plate. German. From the Town
-Hall, Nuremberg.</div>
-</div>
-</div>
-
-<div class="figcenter">
-<span id="fig184"><img src="images/fig184.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 184.</span>—Decorated Hinge in Pierced and
-Chiselled Metal. German. Seventeenth Century.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig185"><img src="images/fig185.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 185.</span>—Lock-plate.
-Chiselled Iron. French. Fifteenth Century.</div>
-</div>
-
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig186">
-<img src="images/fig186.jpg" class="w35" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 186.</span>—Bolt-plate.<br>French.<br>
-Sixteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>The French lock-plate in chiselled iron (<abbr title="figure">Fig.</abbr> 185) was in the Spitzer
-Collection, and is decorated with the crowned Arms of France, and
-with Navarre, Aragon, Bearn and Bourbon quarterly and with a coat at
-top repeated on either side, consisting of three pommes de pin, or
-pine cones. The fleur-de-lis in Gothic tracery on the hasp is also
-notable. <abbr title="figure">Fig.</abbr> 186 bears the crowned Arms of France surrounded by the
-beautiful collar of <abbr title="saint">St.</abbr> Michael. Below is the well-known monogram
-which combines the initials of Henry II and of Diana de Poitiers,
-and her badge of crescents forms a circular device interlaced within
-the guilloche border, and a further allusion to her goddess namesake
-occurs in the bows and arrows at the sides. A fellow bolt-plate in the
-same collection has the Arms of France dimidiating those of Medici
-and Dauphiny on the shield at top, and in place of the crescent badge
-below, is a rainbow in clouds and surrounded by laurel; and the
-monogram, a double K for Queen Katherine, is several times repeated.</p>
-
-<div class="picpage p2 b2">
-<div class="img table figcenter">
-<div class="row">
-<div class="cell"><span id="fig187"><img src="images/fig187.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 187.</span>—Panel in Chiselled Iron. Sixteenth
-Century.</div>
-</div>
-</div>
-</div>
-
-<p>A very beautiful work, also in chiselled iron, is the panel of the
-armorial insignia of the Emperor Charles V, the Arms with the Columns
-the latter rising from waves of<span class="pagenum" id="Page_194">[Pg 194]</span> the sea, being the device that
-represented the Pillars of Hercules and the motto “plus oultre” (<abbr title="figure">Fig.</abbr>
-187). The arms are encircled with the collar of the Toison d’Or very
-boldly treated. The work is Spanish of the early sixteenth century,
-and is notable for its exquisite finish as well as for its general
-excellence of design and drawing.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig188"><img src="images/fig188.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig189"><img src="images/fig189.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 188.</span>—Key with the Arms of an Archbishop.<br>Eighteenth Century.</div>
-<div class="cell caption"><span class="smcap">Fig. 189.</span>—Key. Eighteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>Examples of keys, also from the Spitzer Collection, are given in Figs.
-188 and 189. The former bears the arms of a Cardinal Archbishop, and
-the latter, which is excellently pierced and chiselled, has two lions
-supporting a badge, a crowned castle. Each is of good design, its<span class="pagenum" id="Page_195">[Pg 195]</span> use
-and material having been well considered so that it is of a decorative
-shape that does not impede its usefulness. The latter is full of minute
-and exquisite detail, indistinguishable in the illustration. Besides
-the decoration of the barrel with a spiral band, there are eagles’
-heads on its wards and the words “vive le roi” are twice inscribed on
-it in letters of gold.</p>
-
-<p>The beautiful and elaborate repoussé and engraved work that was very
-largely employed in the decoration of metal in the Middle Ages and
-the Renaissance, found full scope in the magnificent armour in which
-the greatest artists and the most skilful craftsmen combined their
-forces to make a gift that should be worthy of a princely hand.
-Repoussé decoration consisted for the most part of the allegorical
-and mythological subjects that were so fashionable at the period, and
-comparatively little heraldry was done in that way. Engraving and
-etching, on the other hand, were extensively used to decorate metal
-with arms and badges.</p>
-
-<p>In the execution of repoussé work a metal plate is fixed down to a bed
-of pitch, a material which affords an efficient support while being
-soft enough to yield to the shaping metal as it is hammered and punched
-into<span class="pagenum" id="Page_196">[Pg 196]</span> the designed form. The work is afterwards chased and finished
-on the face, but the essential quality is, of course, that of being
-modelled into relief from behind. A very beautiful piece of repoussé
-work is the quadrangular buckler, of late sixteenth century work, in
-the Royal Armoury at Stockholm, which was bought in Holland by Charles
-XV of Sweden (<abbr title="figure">Fig.</abbr> 190). The design is a fine bold treatment of the
-Arms of the Visconti, and the workmanship is probably Italian. There is
-a backplate with repoussé arms in the same collection.</p>
-
-<div class="picpage">
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig190">
-<img src="images/fig190.jpg" class="w50" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 190.</span>—Repoussé Buckler in the Royal
-Armoury, Stockholm.</div>
-</div>
-</div>
-
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig191">
-<img src="images/fig191.jpg" class="w50" alt="">
-</span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 191.</span>—Powder-horn with Armorials.<br>
-The Royal Armoury, Dresden.<br>Sixteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p>The powder horn (<abbr title="figure">Fig.</abbr> 191) in the Royal Armoury at Dresden is a very
-good example of the treatment of heraldry on a small object, and
-incidentally shows the practice of placing helms on the heads of
-supporters in order to display some of the crests.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig192"><img src="images/fig192.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 192.</span>—Bill or Glaive, German (1620).</div>
-</div>
-</div>
-</div>
-
-<p>Engraving being extensively used to cut decorative<span class="pagenum" id="Page_197">[Pg 197]</span> bands of ornament
-on the armour, was naturally the method adopted for ornamenting
-the blades of weapons and other flat surfaces. Indeed, it was from
-the engraving for ornament’s sake that engraving for the purpose
-of reproduction by printing was evolved by Finiguerra, the famous
-Florentine goldsmith, in the middle of the fifteenth century. This
-interesting experiment, if it were an experiment and not a practice
-whose application had been before unnoticed, is said to have been made
-on a piece of plate, a pix, of which the only impression is said to be
-in the Bibliothèque Nationale, Paris. Engraving was also preliminary
-to niello work and to damascening, two somewhat analogous methods of
-decoration, that are peculiarly suitable to the ornamentation<span class="pagenum" id="Page_198">[Pg 198]</span> of
-metal. In the former the lines of the engraving are filled with a
-sort of black enamel which is fixed in its place by heat, while in
-damascening the design, drawn with boldly cut lines on the steel, is
-filled in with gold or other metal hammered in with mallets, and the
-whole surface is then polished.</p>
-
-<p>The halberds and partisans that were of the nature of ceremonial
-weapons, the arms of body guards, for example, were usually decorated
-in some such way. The bill or glaive (<abbr title="figure">Fig.</abbr> 192) is a good example
-of German work of its period, and the halberd (<abbr title="figure">Fig.</abbr> 193) is a very
-interesting specimen of French work of a little earlier date.</p>
-
-<p>These examples will be found valuable in their bearing on the
-decoration of ceremonial tools such as the trowels with which
-foundation-stones are laid.</p>
-
-<p>In engraving a surface for subsequent treatment with another metal or
-with enamel the process itself will dictate the use of a strong and
-suitable method of cutting. When, however, the engraving is to stand
-on its own qualities it is important to bear in mind the difference
-between engraving that is employed as decoration and that intended for
-printing. This distinction has frequently been lost sight of, with the
-result that there is much engraving of the sort that, however well it
-might print, and in some cases this is more than doubtful, it certainly
-does not decorate; while fine bold cutting that is done in the right
-way will realize the value of the play of light on the incised line,
-and the consequent ornamental effect. In this connexion it may perhaps
-be permitted to define shortly the technical distinction between
-etching and engraving. In etched work, then, the design is bitten<span class="pagenum" id="Page_200">[Pg 200]</span>
-into metal with an acid mordant, while engraving is done with a cutting
-tool.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig193"><img src="images/fig193.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 193.</span>—Halberd, Damascened. French (1596).</div>
-</div>
-</div>
-</div>
-
-<p>Etching is largely evident in the decoration of metal, frequently
-taking the form of lowering the background by biting-in with acid, and
-thus leaving the design to appear in masses of polished surface in
-contrast with the darkened colour of the bitten metal, and the details
-are put in with lines that are etched or engraved, as may be most
-convenient.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig194"><img src="images/fig194.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 194.</span>—Cistern in Cast Lead.</div>
-</div>
-</div>
-
-<p>An important quality of this kind of treatment is<span class="pagenum" id="Page_201">[Pg 201]</span> that while the
-objects are enriched and very expressively decorated their practical
-efficiency for work is in no way impaired, and this may fairly be taken
-to be a conclusive test of right decorative treatment.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig195"><img src="images/fig195.jpg" class="p2 w35" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 195.</span>—Fountain in Cast Lead. Dutch.
-Seventeenth Century.</div>
-</div>
-</div>
-
-<p>Interesting features of Renaissance dwellings were the rainwater heads,
-cisterns, fountains, statues and other garden accessories that were
-cast in lead; architectural fashions which are again coming into vogue
-with the returning regard for the style of the Renaissance. The cistern
-(<abbr title="figure">Fig.</abbr> 194) is an heraldic example in cast lead, and <abbr title="figure">Fig.</abbr> 195 is a
-fountain in the same material. The latter is Dutch work of the early<span class="pagenum" id="Page_203">[Pg 203]</span>
-seventeenth century, and was brought from Bois-le-duc. The motives,
-eagles displayed, lions’ heads and the lion rampant of Holland which
-holds in its paws a sword and a sheaf of arrows, are thrice repeated
-round the central pipe, which is surmounted by a crown.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig196"><img src="images/fig196.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 196.</span>—Arms of Oxford University. Panel,
-Copper, silvered and oxidized. G. W. Eve.</div>
-</div>
-</div>
-
-<p>Yet another method of metallic production is shown in electro deposited
-replicas of modelled designs such as <abbr title="figure">Fig.</abbr> 196, a panel treatment of the
-Arms of Oxford University, which may be considered in connexion with
-its fellow of Cambridge, <abbr title="figure">Fig.</abbr> 89.</p>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_204">[Pg 204]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_IX">CHAPTER IX<br>Architectural Decoration</h2>
-</div>
-
-<p>In its application to architectural decoration heraldry put forth
-some of its finest work as became one of the family of the “mother
-of the arts,” and it was in architecture too that the modern revival
-of heraldic art began, much in the same way that the Renaissance had
-first made its influence felt in the decoration of the monuments of an
-earlier time.</p>
-
-<p>The sculptured heraldry of the Middle Ages was confined to the
-monuments and chantries, such as those of Westminster Abbey,
-Peterborough, Kings Langley, Canterbury, Beverley and many other places
-whose sculptured shields are memorials no less of the personages whose
-arms they bear than of the vigorous art of their time. Certain it is
-that even in the worst periods the heraldic decoration of architectural
-objects continued to show a greater degree of excellence than was
-generally evident in other forms of heraldic expression.</p>
-
-<p>With the growth of the Renaissance, domestic architecture and its
-attendant decoration, in which armorials were displayed, increased
-enormously in extent and beauty, and the colleges which were founded or
-rebuilt<span class="pagenum" id="Page_205">[Pg 205]</span> in the early sixteenth century followed in the decoration of
-the chapels and halls the excellent examples of their predecessors, but
-in the new and adaptable style that had come into fashion.</p>
-
-<p>Henry VIII patronized art with enthusiasm as a part of his general
-rivalry with the magnificent Francis I, and his example was followed
-by the new families who were taking the place of the old nobility that
-civil war and the scaffold had nearly exterminated, in building stately
-mansions, many of which stand as present examples of the skill and
-thoroughness with which the work was done.</p>
-
-<p>In France the beautiful châteaux which still remain as store-houses of
-heraldic and other artistic wealth were built during the same period
-under Charles VIII, Louis XII and Francis I, and it is difficult to
-describe in adequate language how perfectly they displayed their
-characteristic devices with a dignity that was without one touch of
-obtrusiveness.</p>
-
-<p>Fontainebleau, Blois, Chambord and many another stately building
-testify to the taste and magnificence of their owners as well as to
-the skill that was lavished on their making. <abbr title="figure">Fig.</abbr> 197, the Gateway of
-the Château de Blois, is especially interesting for the employment of
-badges and heraldic diapers. The porcupine badge of Louis XII appears
-over the doorways as it does within, while the main archway is flanked
-by columns ornamented with a diaper which encloses in its reticulations
-the fleur-de-lis of France and the ermine spot of Brittany. A range
-of similar columns is in one of the interior courts. <abbr title="figure">Fig.</abbr> 202 is an
-example<span class="pagenum" id="Page_207">[Pg 207]</span> of the badge-adorned fireplaces in the château. The whole is
-a restoration, very little indeed of the original work having remained.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig197"><img src="images/fig197.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 197.</span>—Gateway of the Château de Blois.
-(Restored.) Fifteenth Century.</div>
-</div>
-</div>
-
-<p>In Spain extremely bold and vigorous heraldic sculpture was placed over
-doorways and under windows, but it was often executed with magnificent
-effect in large rectangular panels at the sides of the principal
-entrance. Fine examples are at the doorway of the Hospital at Santiago
-and at that of the University Library at Salamanca.</p>
-
-<p>Italian examples are found in the Florentine wall decoration in the
-Palazzo Vecchio and Palazzo del Podesta, in the composition of which
-small shields bearing the symbols of Saints and the arms of cities were
-usually associated with the principal device.</p>
-
-<p>Heraldic groups were also employed with excellent effect on angles of
-buildings, breaking the straight line in profile in a very satisfactory
-way.</p>
-
-<p>In the scheme of heraldry for a house the principal position on the
-exterior was over the main entrance, and there the armorials of the
-owner were boldly displayed, arms of alliance and genealogical trees
-being reserved for the more intimate surroundings of the interior.</p>
-
-<p>Other parts of the exterior were ornamented with less elaborate
-insignia such as seemed to fit the spaces that offered themselves,
-badges being freely used in this way as well inside as out. Chimney
-stacks and other flat spaces were relieved with panels, and ridges
-and pinnacles were adorned with figures of heraldic significance in
-relation to the family of the house.</p>
-
-<p><span class="pagenum" id="Page_208">[Pg 208]</span></p>
-
-<p>In arms in relief, whether in large mural decorations or in the minute
-workmanship of a seal, contiguous spaces, which in flat painting would
-be considered divisions of the same plane, are distinguished from each
-other by sinking the surface in parts or by means of diapering. The
-quarterly shield of Henry IV on his great seal (<abbr title="figure">Fig.</abbr> 2, <abbr title="page">p.</abbr> 18) has
-the field of the English quarter sunk so that the edge of the French
-quarter being higher takes light or throws a shadow which defines the
-space. Additional emphasis is given to ordinaries by strongly bevelling
-their edges which then reflect light in the same way. And diapering,
-which has been already referred to, may have the effect of raising or
-lowering the tone of the decorated surface, according to the amount of
-light it reflects or of shadow that it includes.</p>
-
-<p>The mantling that occurs in sculpture, especially when done in wood,
-does not hesitate to go to the fullest extent in the direction of
-free ornamental treatment, and in thus seizing upon the decorative
-possibilities of its so lightly fettered character it may form a
-connecting decoration between the constituents of an heraldic scheme
-which might otherwise have a certain effect of spottiness.</p>
-
-<p>The pose of the heraldic elements of the design may also be made to
-help materially the general unity of effect. Thus the helmets of a
-series of armorials may be faced towards a central point, such as the
-altar in a church, or the hearth or the daïs of a secular apartment.
-Shields may be inclined in a common direction with similar intention
-and all the heraldry have definite relation to its surroundings. It
-should be remembered, however, that in thus posing the elements of a
-series,<span class="pagenum" id="Page_209">[Pg 209]</span> a shield must be treated as a whole, and the contents must not
-be altered in sympathy with the direction of its regard.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig198"><img src="images/fig198.jpg" class="p2 w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 198.</span>—Frieze in Sgraffito.</div>
-</div>
-</div>
-
-<p>A form of external decoration which has been but little used for
-heraldry, though it is one which is readily adapted to the purpose, is
-that kind of cement work in layers that is known as Sgraffito. Examples
-of this method of work are shown in the friezes, Figs. 198 and 199, in
-which the heraldry adds interest to very graceful design, and in the
-panel of the Armorials of Pope Paul III (<abbr title="figure">Fig.</abbr> 200).</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig199"><img src="images/fig199.jpg" class="p2 w75" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 199.</span>—Frieze in Sgraffito.</div>
-</div>
-</div>
-
-<p>In Sgraffito work the design is drawn through a coat of<span class="pagenum" id="Page_210">[Pg 210]</span> moist plaster
-on to a lower one of another colour, much as etching is drawn through
-the ground on to the copper, and like it is, in its simplest form, a
-line art.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig200"><img src="images/fig200.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 200.</span>—Arms of Pope Paul III (Farnese).
-Panel in Sgraffito.</div>
-</div>
-</div>
-
-<p>Heraldry in interior decoration found its first application in the
-actual shields, which were hung on the walls of the great Halls of
-mediaeval strongholds, was closely followed by the similar use of
-the more ornate ceremonial ones and continued in the tapestries and
-embroidered hallings which were the wall coverings of<span class="pagenum" id="Page_212">[Pg 212]</span> the halls and
-chambers. Some of these are still extant, and many others are mentioned
-in the wills of great personages and in the household accounts of the
-time.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig201"><img src="images/fig201.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 201.</span>—Armorial carving in the Gallery of
-the Vyne, Hampshire.</div>
-</div>
-</div>
-
-<p>At the end of the fifteenth century panelling was superseding the
-decorative draperies and sculpture was taking the place in domestic
-buildings that it had long held in ecclesiastical ones, the heraldry
-which had been displayed in beautiful needlework being executed in
-carving that was no less beautiful in another way. Plaster work also
-came largely into use for interior decoration.</p>
-
-<p>Many instances of beautifully applied heraldry are given in <abbr title="mister">Mr.</abbr> Gotch’s
-admirable work<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> and notably the doorway and panelling of the Gallery
-of the Vyne, Hampshire, <abbr title="figure">Fig.</abbr> 201, which I am permitted to reproduce
-here. The doorway is adorned by arms supported by amorini and the
-panelling is full of shields and badges; the appropriateness of the
-work is immediately felt, and there is nothing obtrusive, everything
-“occurs” with an inevitableness that is delightful.</p>
-
-<p>In the decoration of a room the fireplace is naturally the central
-feature, to which in some cases the heraldry is confined; in others,
-and the larger number, it covers the panel above, the decoration
-varying in amount from a carving in the centre of the frieze of the
-chimney-piece, or on comparatively small centres of panelling, to the
-whole armorials fully displayed. <abbr title="figure">Fig.</abbr> 202 is an example of badges
-employed in this way, and is another of the many representations of the
-devices of Louis XII and his Queen, Anne of Brittany.</p>
-
-<p>These large chimney-piece achievements are produced<span class="pagenum" id="Page_213">[Pg 213]</span> in a variety of
-ways, being sometimes sculptured in stone or wood, but they are also
-cast in plaster or modelled <i lang="la" xml:lang="la">in situ</i> in the same material.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig202"><img src="images/fig202.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 202.</span>—Fireplace in the Salon Louis XII
-Château de Blois. (Restoration in the style of the Fifteenth Century.)</div>
-</div>
-</div>
-
-<p>In the decoration of ceilings complete armorials and even shields of
-arms are by no means so much used as are badges and other fanciful
-devices, the intersections of ribs and the centres of panels being
-naturally selected for the purpose. Two examples of ceiling bosses
-consisting of wreaths enclosing a shield of the Royal Arms<span class="pagenum" id="Page_214">[Pg 214]</span> and a
-fleur-de-lis badge respectively are from ceilings at Hampton Court
-(<abbr title="figure">Fig.</abbr> 203), for which also I am indebted to <abbr title="mister">Mr.</abbr> Gotch’s work.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig203"><img src="images/fig203.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 203.</span>—Ceiling Bosses from Hampton Court
-Palace. Sixteenth Century.</div>
-</div>
-</div>
-
-<p>The upper divisions of wall panelling are especially suitable for a
-series of shields and badges when they are at a sufficient height to
-bring the heraldry above the line of the eye. This will probably be in
-carved work, the most direct and natural way of decorating wood, but
-shields in colour, flat or in relief, may occupy the panels with very
-satisfactory effect. A frieze is also an obviously suitable space for
-such a purpose, whether the decoration be modelled or painted, or both.</p>
-
-<p>Among the materials suitable for interior decoration gesso is an
-excellent means of obtaining relief in work that is to be painted,
-and it is more readily handled than<span class="pagenum" id="Page_215">[Pg 215]</span> modelled plaster, from the ease
-with which it can be kept moist. In early work the smaller details
-of monuments were frequently modelled in this material, as were the
-arms on some of the stone shields in Westminster Abbey; and on the
-decorative panelling, on which jewels and enamels were also modelled
-and painted.</p>
-
-<p>Gesso is simply the Italian name for Plaster of Paris, burnt gypsum,
-but is technically understood to mean a preparation of plaster or other
-material which depends for its hardening on the solidifying of some
-cohesive medium, usually a form of glue, and not on chemical action in
-the material.</p>
-
-<p>Methods of making gesso are described by Cennino Cennini in the <abbr title="manuscript">MS.</abbr>,
-written in 1437, in which he describes minutely the technical practices
-of his time. First the plaster is to be “well washed and kept moist
-in a tub for at least a month” and is to be stirred up well every day
-until “it almost rots and is completely slaked and it will become soft
-as silk.” It was then made into cakes, dried and kept for use. By this
-process it became what was called gesso sottile, though the term is
-also applied to the similar preparation of whiting, to be mentioned
-presently. As to its use, it is directed to “Put some cakes of gesso
-sottile into a pipkin of water and let them absorb as much as they
-will. Grind it fine, mix it with fine glue in a pipkin, put the pipkin
-in water so that it becomes hot but does not boil, for if it did it
-would be spoiled.”</p>
-
-<p>A very important point is the thorough slaking and tempering of the
-plaster, which continues to improve the longer it is kept. The glue
-that was used was made from hides, size being made from the fine kinds<span class="pagenum" id="Page_216">[Pg 216]</span>
-of skin, vellum and parchment, as the finest kind is made now. Fish
-glue was also used from very early times.</p>
-
-<p>Very useful gesso is made with whiting (calcined chalk) instead of the
-plaster. The latter is said to be tougher, but whiting is certainly
-easier in working. The whiting should be soaked in water for at least
-twenty-four hours (like the preceding preparation this kind of gesso
-is all the better the more thoroughly it is prepared), and mixed in a
-vessel, with the fine thin glue, the whole being placed in a saucepan
-of water and kept hot. By keeping the pot of gesso in the water while
-it is being used it will be kept liquid for some time (though the top
-will skin over rather soon) and it may be remelted by again heating it
-from time to time. I find ordinary gelatine a good adhesive and melt it
-into the consistency of a not too strong size before adding it to the
-whiting, together with a few drops of oil or glycerine as a preventive
-from cracking. The gesso is best used with a long-haired brush, such
-as those called riggers, from which it is allowed to flow in a blobby
-way, the lights being first loaded on and afterwards joined down by
-subsequent painting. It may at this stage be modelled to some extent,
-and for this a stiffish brush moistened with warm water is an efficient
-tool. When it is dry the gesso may be carved and shaped with knives and
-riffles with the same facility as plaster. It may then have a coat of
-gelatine (which should be very thin, as otherwise it will form a skin
-that is likely to blur detail), and the work is ready for painting or
-other treatment.</p>
-
-<p>In the treatment of wooden shields <a id="care"></a>in this way care<span class="pagenum" id="Page_217">[Pg 217]</span> should be taken
-that they are well seasoned, and unless they are sufficiently thick
-they should have transverse pieces at the back to prevent warping;
-a coat of gesso on the back is also useful for the same purpose. If
-the wood is well stopped by being sized several times and is slightly
-roughened the layers of linen or other keying material may be dispensed
-with.</p>
-
-<p>Gesso work is well adapted for treatment in colour, and of this the
-quality may be much improved by the use of underlying metal, gold under
-red, and silver under blue. These metals are applied by the ordinary
-gilders’ methods and are then painted over. Very beautiful effects may
-also be obtained in monochrome on modelled gesso, when the gradations
-of tone may be made to help the relief and vary the colour.</p>
-
-<p>Pyrography, or burnt word etching, is also employed in heraldic
-decoration, a notable instance being the series of shields on the
-fireplace of Lord Leven and Melville at Glenferness. An example of this
-method of work is shown in <abbr title="figure">Fig.</abbr> 204, a fanciful composition designed
-for the door of a cabinet.</p>
-
-<p>In arranging a scheme of heraldic decoration, the field of choice is
-a very large and varied one, from the simplest shield or badge on the
-frieze of a mantelpiece to the carefully planned series decoration of a
-whole building.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig204"><img src="images/fig204.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 204.</span>—Burnt Wood Panel, “Love’s
-Armorials,” executed by <abbr title="missus">Mrs.</abbr> Geo. W. Eve after design by Geo. W. Eve.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig205"><img src="images/fig205.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 205.</span>—Arms of the Earl and Countess of Mar
-and Kellie. Painted Gesso. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p>As an example of one form of genealogical scheme maybe instanced the
-series of arms and devices in painted gesso now in the hall of Alloa
-House, Alloa, which were done to fill a range of panels in a dado,
-and beginning with the simplest shield of Henricus de Erskine in 1224
-(<abbr title="figure">Fig.</abbr> 141),<span class="pagenum" id="Page_219">[Pg 219]</span> extend round the apartment and end, on the opposite side
-of the fireplace, with the quartered and impaled arms of the present
-Earl and Countess of Mar and Kellie (<abbr title="figure">Fig.</abbr> 205). Alternating with the
-arms of each generation are repetitions of three devices, designed
-for the purpose and<span class="pagenum" id="Page_220">[Pg 220]</span> consisting of the crest and motto of the Earldom
-of Mar, those of Kellie (<abbr title="figure">Fig.</abbr> 206) and the monogram and motto with
-the supporters (<abbr title="figure">Fig.</abbr> 207) respectively. These devices were of course
-capable of any necessary amount of repetition, and when a knighthood of
-an order necessitated a group of two or more shields the devices serve
-to mark the grouping, and as it were to punctuate the whole scheme. The
-gesso was made of whiting and gelatine as already described, and the
-surface was varied by the<span class="pagenum" id="Page_221">[Pg 221]</span> use of different textures. The colour was
-applied over metal which was allowed to show through on the ridges of
-the diaper that was also introduced to give variety and interest to the
-simpler forms. Others of this series are illustrated in Figs. 141 and
-142.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig206"><img src="images/fig206.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 206.</span>—Device. Crest of the Earldom of
-Kellie. Gesso, before painting. Geo. W. Eve.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig207"><img src="images/fig207.jpg" class="p2 w60" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 207.</span>—Device. Monogram and Supporters of
-the Earl of Mar and Kellie. Gesso, before painting. Geo. W. Eve.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_222">[Pg 222]</span></p>
-
-<p>Another method of arranging a scheme of decoration is that which traces
-the advent of quarterings into the shield of a family, by picking
-from the pedigree the matches by which the various coats of arms came
-in, and making them the motives of the work, to the exclusion of
-intermediate matches, proceeding in regular order from the simple arms
-to the final shield of complete quarterings.</p>
-
-<p>Many other schemes will readily suggest themselves. The visits of
-guests of distinction may be marked by panels of their arms in the
-chambers they occupied, perhaps by an enamel plaque in the centre of a
-panel.</p>
-
-<p>The arms of Schools, Colleges and Universities, and of other
-corporations and institutions, motives that are allusive rather than
-personal, are yet of the keenest interest to those concerned, an
-interest that is too often tempered by the unworthiness of the heraldic
-treatment. The practice of hanging on the wall shields of arms of the
-stationers’ shop type may be necessary for commercial reasons, but is
-much to be deplored. It seems impossible to get them improved, the
-feeling that they are “good enough” (and perhaps they are!) appears
-to be sufficient recommendation. Even when the arms are well treated,
-as is rarely the case, and I am not now referring only to the kind
-which satisfies the aesthetic perception of the casual schoolboy, the
-effect of the hanging shield in an ordinary room suggests at best a
-kind of Strawberry Hill Gothic that is out of keeping with any probable
-surroundings. When heraldry that can be treated as a movable picture is
-needed, and something of this kind is made necessary by the want<span class="pagenum" id="Page_223">[Pg 223]</span> of
-permanence in our dwelling-places, a framed panel of arms is probably
-the most suitable form that modern heraldic wall decoration can take.
-It may be in wood or metal, in colour or monochrome, of any quality and
-interest that may be found most pleasing, and being framed, it will
-take its place in the adornment of an ordinary room in the same way
-that a picture does.</p>
-
-<p><span class="smcap">Stained Glass.</span>—Of all methods of heraldic expression stained
-glass is perhaps the most appropriate as purely decorative treatment
-of the subject, for not only is the splendour of colour peculiarly
-fitting, but even the commemorative quality of heraldry assimilates
-in feeling with the memorial character which is rarely absent from a
-stained window.</p>
-
-<p>The temptation which it naturally offered to partisan fury has left
-comparatively little of the early work, but sufficient has remained to
-show how perfectly it could be made to serve its purpose.</p>
-
-<p>In a form of design which is carried out with pieces of coloured glass
-cut to the necessary shapes and held together by strips of grooved
-lead, which is soldered into position, this structural lead-work
-presents considerable difficulty. It follows the lines of the
-composition wherever possible, but when the shape of the glass makes
-another course desirable, it does not hesitate to go across a space,
-and in that case, being frankly used for structural reasons, it must
-not clash with those lines that help to define form. In short, design
-in this, perhaps more than in other arts, must conform to the dictation
-of the material. Thus it is important that the pieces of glass should
-be designed of cutable shape<span class="pagenum" id="Page_224">[Pg 224]</span> without too small re-entering angles,
-and the limits of bending in the lead must also be recognized. Its
-passing across objects is vindicated by structural necessity, and by
-that alone, and narrow places are leaded across, not only because of
-any difficulty that there may be in the cutting, but because the glass
-would probably break there when being fired in a kiln, or when under
-the strains that are set up in a window by wind pressure.</p>
-
-<p>The tendency of outline to lose itself in the darker of the colours
-that it divides has already been referred to, and is very notable in
-this connexion. When therefore the objects are light on dark, the
-lead-work will sink into the background, and although it may leave
-small space for the glass, it is sometimes surprising how efficiently
-that little lights up and expresses the colour. If the charges are
-inconveniently small for the leading, resort is had to what is
-called flash glass, which consists of two layers, of which one only
-is coloured, and is made by dipping a piece of molten white into a
-coloured glass, when the mass is about to be blown into the bulb which,
-shaped and expanded, ultimately becomes a sheet of glass. The desired
-shapes are pierced through the coloured layer of the composite sheet by
-means of grinding, or by etching with hydrofluoric acid, and are left
-white, or stained yellow with a solution of silver, as the case may be.</p>
-
-<p>In addition to the lead-work, which defines the general forms with
-more or less accuracy, details are depicted by means of a brown enamel
-colour, which serves also as a general shadow tint, being painted on
-the glass, and then fired. The brown enamel<span class="pagenum" id="Page_225">[Pg 225]</span> is also used for the
-diapering which is so especially valuable in glass decoration, and for
-this purpose it may express the design in lines drawn with the colour
-or, being applied as a broad wash; the diaper pattern may be scratched
-out of it with a point. As a general rule over-painting should be used
-as sparingly as possible for the purpose of defining or emphasizing
-form.</p>
-
-<p>The silver stain can be similarly put on, either in lines or in washes,
-these materials, either alone or in combination, serving to express
-surface decorations of all degrees of elaboration.</p>
-
-<p>In addition to the accurate and expressive drawing which goes to make
-good heraldry, the principal feature of glass design is obviously its
-colour effect, the grouping of the colour masses in such a way as will
-best express the subject in beautiful coloured light. In view of the
-obligatory nature of heraldic tinctures, though not of their exact
-quality, the harmony of colour may be helped by suitable treatment of
-the background (which is susceptible of variation that is only limited
-by the nature of the materials) in combination with the prescribed
-colours of the heraldry. And here occurs that temptation to alter the
-tinctures of mantlings which has proved too much for the correctness of
-some heraldic compositions.</p>
-
-<p>The design is usually made on a small scale, showing the colour scheme
-and the general composition, and a full-size drawing in black and white
-is then prepared, in which the arrangement of the leading and the
-character of other details are carefully indicated. On this the various
-coloured glass is laid and cut into the required shapes, which are
-then arranged in due order with the<span class="pagenum" id="Page_226">[Pg 226]</span> lead, and the whole is securely
-soldered together. The lead having a double groove is in section like
-the letter H, the inside surfaces being milled, to afford a better key
-for the glass and for the cement which is added for additional security.</p>
-
-<p>Pugin, whose influence on architecture was so impressive, had no less
-strong an effect on the heraldry which accompanies it so appropriately,
-and the beautiful armorial decoration of the Houses of Parliament, for
-which he is answerable, is a wonderful mass of fine work in glass and
-stone and other materials. No less remarkable in that it succeeded a
-long period of such extreme weakness, and was itself but the firstfruits
-of the revived interest in the subject.</p>
-
-<p>In this work Pugin was fortunate in the efficient assistance that was
-at his command, and the drawings by his son-in-law and pupil, John
-Powell, by Burgess and others, show how admirably the master mind was
-served. The drawings reproduced here were probably designed by Pugin,
-but the actual work is that of John Powell.</p>
-
-<p>However imbued with the mediaeval spirit Pugin was, the Renaissance
-feeling unmistakably asserts itself in these designs, and in spite of
-the Gothic detail of the tracery they seem to associate themselves
-naturally with the Tudor heraldry rather than with that of an earlier
-time. Indeed, it is possible that Pugin was not unmindful of this, for
-there is little doubt that he had studied the Renaissance work that is
-to be found, as well as that of the Middle Ages, in the neighbouring
-Abbey.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig208"><img src="images/fig208.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 208.</span>—Cartoon for Stained Glass. (Upper
-Part) Royal Gallery, Houses of Parliament.</div>
-</div>
-</div>
-
-<p>Tudor heraldry marked the close of the Middle Ages. In character it was
-a combination of the mediaeval<span class="pagenum" id="Page_228">[Pg 228]</span> style with that of the Renaissance;
-that is to say, it was the expression of what remained of mediaeval
-regard for its subject, in a form that was strongly influenced by the
-new feeling in Art.</p>
-
-<p>Besides the technical knowledge and the power of draughtsmanship
-there is ample evidence of individual design working through various
-influences, handling and assimilating them, a further proof that no
-one possessing real artistic power, in whatever degree, is content
-merely to reproduce the dry bones of any period. However that may
-be, they are very beautiful drawings, serving admirably as models of
-working drawings, in which is set forth all that is necessary to the
-carrying out of the work, and I am much indebted to Messrs. Hardman for
-permission to reproduce them.</p>
-
-<p>The disposition of the lead is very carefully shown throughout, and the
-smaller details are drawn just so far as is necessary for the direction
-of the painter. Repetitions of figures being similarly finished only
-when they differ in some important respect from the initial shape, as
-in the case of the lion in the base of the shield of the Royal Arms
-(<abbr title="figure">Fig.</abbr> 208), when the pose is sufficiently varied from the upper ones,
-by the field space, as to warrant its separate treatment. These arms
-occupy the upper part of the light in the Royal Gallery, <abbr title="figure">Fig.</abbr> 209
-being the lower part of the same window. Perhaps the most remarkable
-for vigour is the little white horse which so admirably occupies its
-space, a quatrefoil opening (<abbr title="figure">Fig.</abbr> 210). All the animals are full of
-vitality, but none have quite so much as this. In this respect it may
-well be contrasted with the much inferior Dragon of Cadwallader <span class="pagenum" id="Page_230">[Pg 230]</span>in
-Fig. 209. The character of the unicorn (<abbr title="figure">Fig.</abbr> 211) is altogether unusual
-in English heraldry, and follows the foreign type which derives its
-form from that of a goat with one horn, instead of that which is the
-combination  of a horse’s body with the legs of a stag and the tail<span class="pagenum" id="Page_234">[Pg 234]</span>
-of a lion, a form with which other examples have made us familiar. The
-wild boar of Richard III (<abbr title="figure">Fig.</abbr> 212), for all his enormous tusks, seems
-not unworthy of the irreverent way in which he is referred to, in a
-working note pencilled on the cartoon, as “the pig.”</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig209"><img src="images/fig209.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 209.</span>—Cartoon for Stained Glass. (Lower
-Part) Royal Gallery, Houses of Parliament.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig210"><img src="images/fig210.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 210.</span>—Design for Stained Glass in the
-Houses of Parliament. Drawn by John Powell.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig211"><img src="images/fig211.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 211.</span>—Unicorn. Cartoon for Stained Glass,
-Royal Gallery, Houses of Parliament.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig212"><img src="images/fig212.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 212.</span>—The White Boar of Richard III.
-Cartoon for Stained Glass. Royal Gallery, Houses of Parliament.</div>
-</div>
-
-<div class="figcenter">
-<span id="fig213"><img src="images/fig213.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 213.</span>—The Royal Crest. Cartoon for Stained
-Glass. Royal Gallery, Houses of Parliament.</div>
-</div>
-</div>
-
-<p>The comparative smallness of the Royal Crest in <abbr title="figure">Fig.</abbr> 213 is due to the
-designer’s intention to bring the head into the central line of the
-composition with a view to upstanding effect, and in this respect is of
-course a reasonable problem to have solved. Whether, however, it was
-worth while so to sacrifice the larger proportion which the lion would
-have had to the crown in mediaeval design is another matter.</p>
-
-<p>Nevertheless, the whole series of work is finely designed and
-beautifully drawn with clearly thought-out intentions as a whole, and
-with much delightful fancy in the variation of the decorated detail,
-and to conclude this very interesting series <abbr title="figure">Fig.</abbr> 214 is from a
-coloured drawing of the white swan of the de Bohuns that was one of the
-badges of Henry IV.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig214"><img src="images/fig214.jpg" class="p2 w50" alt=""></span>
-<div class="caption"><span class="smcap">Fig. 214.</span>—Cartoon for Stained Glass. Coloured.
-Royal Gallery, Houses of Parliament.</div>
-</div>
-</div>
-
-<p>In domestic stained glass conditions that were different from those
-that were involved in church windows had to be considered, and
-especially excessive obscuration of the light was to be avoided, this
-being effected by the use of plain, or slightly decorated, quarries,
-the stronger colour being confined to a centre roundel or medallion, a
-very suitable space for heraldic treatment, and to decorated borders.
-In addition, from the time of the Middle Ages such stained windows
-had been made movable by being enclosed in frames which could be
-temporarily fastened into window spaces, as is still done, and<span class="pagenum" id="Page_236">[Pg 236]</span> for a
-similar reason armorial roundels may remain detached from the window
-and be suspended by wires (see <abbr title="figure">Fig.</abbr> 168).</p>
-
-<p>Of such roundels there are many excellent examples, that were
-originally in Netley Abbey, in the Hartley Museum at Southampton.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig215"><img src="images/fig215.jpg" class="h800" alt=""></span></div>
-<div class="cell"><span id="fig216"><img src="images/fig216.jpg" class="h800" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 215.</span>—Arms of Henry VI,<br>Ockwells Manor,
-Berks.</div>
-<div class="cell caption"><span class="smcap">Fig. 216.</span>—Arms of the Earl of Warwick,<br><abbr title="Knight of the Garter">K.G.</abbr>
-Ockwells Manor.</div>
-</div>
-</div>
-</div>
-
-<p>From the second half of the fifteenth century onwards armorial stained
-glass increased greatly in extent and freedom. The shields became
-square and in many instances have the form (derived from the tournament
-shield à bouche) which became associated later with the name of the
-Tudors. Probably the finest examples of domestic stained glass that we
-have are the splendid heraldic windows at Ockwells Manor, Berks. In
-these the shields are much curved, the helmets and mantlings are very
-elaborate, and the figures are drawn with great vitality and beauty.
-Each light has an achievement, consisting of arms with mantled helm and
-crest, in the middle, upon a background of quarries placed diamondwise
-and bearing the Norreys Badge, three distaffs, in yellow stain. In
-diagonal lines, the motto in text letters, “Feyth = fully serve,” is
-several times repeated in all but two of the lights, the exceptions
-being the Royal ones, where “Dieu et mon droit” accompanies the Arms
-of Henry VI (<abbr title="figure">Fig.</abbr> 215) and “Humble et Loiall,” the motto of his Queen,
-Margaret of Anjou, is with her armorials. In both these lights the
-Norreys Badge appears as in the others. Below the King’s Arms are
-his two supporters, heraldic antelopes Argent, which are spotted, as
-well as armed, crined and unguled (i.e. horned, haired and hoofed)
-Or. The series, which included twelve lights that are now vacant, was
-erected by Sir John Norreys, the builder of Ockwells<span class="pagenum" id="Page_238">[Pg 238]</span> Manor House, and
-consists of his arms and those, to quote <abbr title="mister">Mr.</abbr> Everard Green, “of his
-sovereign, patrons and kinsfolk. In short a liber amicorum in glass, a
-not unpleasant way for light to come to us.” The arms here illustrated
-are those of Sir Edmund Beaumont, <abbr title="Knight of the Garter">K.G.</abbr>, and Sir James Butler, <abbr title="Knight of the Garter">K.G.</abbr>
-(Figs. 217 and 218), of Sir Henry Beauchamp, Earl of Warwick (<abbr title="figure">Fig.</abbr>
-216), and the Royal Arms, to which reference has already been made.
-The heraldic particulars of those and others that remain will be found
-amply set forth in <i>Archaeologia</i>, <abbr title="volume">vol.</abbr> lvi., 1899. It will be
-observed that the arms of such as were <abbr title="Knight of the Garter">K.G.</abbr> are not encircled with
-the Garter, that practice not having as yet come into full general
-use. Some attention should be given to the badges on these windows as
-being good examples of the practice in domestic glass of decorating
-transparent quarries with devices, badges and monograms, floral and
-other running patterns, in stain and grisaille, as admirably serving
-its purpose without too much sacrifice of light, and therefore as
-affording suggestions for modern work which has to comply with similar
-conditions. The lights herein illustrated are from the excellent
-drawings by <abbr title="mister">Mr.</abbr> W. T. Cleobury, in the Victoria and Albert Museum.</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig217"><img src="images/fig217.jpg" class="h800" alt=""></span></div>
-<div class="cell"><span id="fig218"><img src="images/fig218.jpg" class="h800" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 217.</span>—Arms of Sir Edmund Beaumont,<br><abbr title="Knight of the Garter">K.G.</abbr>,
-Ockwells Manor.</div>
-<div class="cell caption"><span class="smcap">Fig. 218.</span>—Arms of Sir James Butler,<br><abbr title="Knight of the Garter">K.G.</abbr>,
-Ockwells Manor.</div>
-</div>
-</div>
-</div>
-
-<p>The glass that has been hitherto mentioned is that which, like the true
-enamels, is coloured in the making with metallic oxides, the painting
-on it being confined to the use of the brown shadow colour, and the
-yellow silver stain. Windows made wholly in that way can be described
-as painted glass because though the silver is a true stain, it is used
-as paint and fired, instead of being<span class="pagenum" id="Page_240">[Pg 240]</span> incorporated with the glass
-in the pot. About the middle of the sixteenth century, the practice
-came into vogue of using panes of transparent glass as surfaces for
-decorative design in painted colours or in grisaille, and large windows
-of square panes of white glass with elaborate designs of arabesque
-ornament were done in verifiable enamel colours and with a minimum of
-leading, such as those in the Laurentian Library, Florence (<abbr title="figure">Fig.</abbr> 219).
-The medallion in the centre contains the arms of the Medici, the family
-of Pope Clement VII, whose tiara and keys accompany the arms in another
-of the same series of windows that has been reproduced in <abbr title="mister">Mr.</abbr> Lewis
-Day’s admirable book, <i>Windows</i>.</p>
-
-<p>A very remarkable school of enamelled glass painting that largely
-concerned itself with heraldry existed in Switzerland, encouraged by
-the custom which had grown up of persons and guilds presenting painted
-windows to each other. These largely consisted of portrait subjects
-accompanied by armorial bearings.</p>
-
-<p>Into this work the use of the point entered to a surprising extent, the
-washes of colour being frequently covered with the scratched lines with
-which details were drawn or textures indicated with the minuteness of
-fine engraving. Indeed the process of obtaining effects by drawing with
-a needle in lines of light through a dark medium inevitably suggests
-the art of etching on metal.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig219"><img src="images/fig219.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 219.</span>—Painted Window in the Laurentian
-Library, Florence. Sixteenth Century.</div>
-</div>
-</div>
-
-<p>Marvellous as were the effects produced by the needle in the hands of a
-master the method was a dangerous one under less capable control, and
-in any case the effect is altogether different and less glass-like than
-that<span class="pagenum" id="Page_242">[Pg 242]</span> of the earlier method, being characterized by a sharp glittering
-brilliancy in place of the deep effulgence of pot metal.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig220"><img src="images/fig220.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 220.</span>—Drawing for Stained Glass, Victoria
-and Albert Museum.</div>
-</div>
-</div>
-
-<p>This painted glass of the sixteenth century contains much fine vigorous
-heraldic drawing, as may be seen in the working drawings that are
-extant, as well as in the windows themselves, Burgmair and many others,
-whose power in heraldic art is well-known in other directions, having
-also made designs for the glass painters.</p>
-
-<p>Fig. 215 is a characteristic sketch of lions supporting banners and
-shields, a favourite method of grouping in compositions of this kind.
-The vigour and “go” of these animals is very remarkable, and it is
-unfortunate that the artist’s name is not on the drawing.</p>
-
-<p><span class="pagenum" id="Page_243">[Pg 243]</span></p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig221"><img src="images/fig221.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 221.</span>—Drawing by Holbein, Victoria and
-Albert Museum.</div>
-</div>
-
-<p><span class="pagenum" id="Page_244">[Pg 244]</span></p>
-
-<div class="figcenter">
-<span id="fig222"><img src="images/fig222.jpg" class="w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 222.</span>—Drawing for Stained Glass, Victoria
-and Albert Museum. A. Renten. Sixteenth Century.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_245">[Pg 245]</span></p>
-
-<p>The drawing by Holbein, <abbr title="figure">Fig.</abbr> 221, is very characteristic of his work,
-and of the style of continental heraldry in the sixteenth century when
-the early simplicity was giving way to great elaboration of design.</p>
-
-<p>The helmets in the glass work of this period are useful indications
-of how structural facts, reinforcing pieces for example, and surface
-ornament may be made available as decorative detail, and <abbr title="figure">Fig.</abbr> 222, by
-A. Renten, is one of many good examples that are found among drawings
-of this kind. The mantlings by this artist are particularly well drawn,
-as is evident in the illustration.</p>
-
-
-<div class="footnotes"><h3>FOOTNOTES:</h3>
-
-<div class="footnote">
-
-<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> <i>Early Renaissance Architecture in England.</i></p>
-
-</div>
-</div>
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_246">[Pg 246]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_X">CHAPTER X<br>
-Embroidered Heraldry</h2>
-</div>
-
-<p>The romantic associations that embroidered heraldry call to mind,
-of fair fingers working the devices on battle flags and on knightly
-surcoats, render it a subject of the utmost fascination, and although
-its adequate treatment would demand more space than can be devoted to
-it here, it will still be possible to refer in some measure to an art
-that, like the heraldry it embodied, touched in one way or another all
-the life of the Middle Ages and has transmitted no little of its beauty
-and charm to the work of our own time.</p>
-
-<p>Long before heraldry was formulated noble ladies practised the art
-and found in it a delightful occupation. Embroidered heraldry is even
-alluded to in that dim time where myth and history meet, as when the
-Raven banner of the Vikings, the dread Landeyda, desolation of the
-land, was woven and embroidered in one noontide by the daughters of
-Reyner Lodbrock, son of Sigurd.</p>
-
-<p>In England in the sixth century Aldelswitha, a noble Saxon lady,
-taught the art to some young girls and so formed the first school
-of art needlework of which we<span class="pagenum" id="Page_247">[Pg 247]</span> have any record. The four daughters
-of Edward the Elder were celebrated embroiderers, and there was a
-constant succession of skilled needleworkers whose names and even many
-of their notable works were handed down as worthy of remembrance;
-the altar cloths and vestments, covered with golden eagles, that had
-been worked by Queen Aelgitha the wife of Canute among many others.
-And the reputation was not merely a local one, but throughout Europe
-the praises are recorded of the Opus Anglicum, whose name, from being
-at first a general one, afterwards acquired a particular technical
-meaning. The excellence that called forth such universal appreciation
-continued throughout the mediaeval period, as when in the thirteenth
-century Pope Innocent III was enthusiastic in its praise. In the
-development of heraldry embroidery found a congenial subject, and
-ladies busied themselves in depicting with the needle their husbands’
-armorials, as their predecessors had pictured the incidents of their
-own times, on hallings and banners and emblazoned garments, such
-employment being a frequent subject of the beautiful illuminations of
-the painted MSS. which had so much affinity with fine needlework, from
-which it copied and was itself copied in return.</p>
-
-<p>Ecclesiastical vestments and altar frontals contain much heraldry, and
-the Syon Cope, that most interesting work of the thirteenth century,
-contains on its orphreys and borders some sixty coats of arms on round
-or diamond shaped shields. One of those on the orphreys is shown at
-Fig. 223, although it is perhaps more curious than beautiful.</p>
-
-<p><span class="pagenum" id="Page_248">[Pg 248]</span></p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig223"><img src="images/fig223.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 223.</span>—Arms of Geneville from the Syon
-Cope.</div>
-</div>
-</div>
-
-<p>Among the earliest examples of heraldic embroidery that survive is the
-surcoat of Edward the Black Prince, no less admirable in its way than
-the already mentioned shield, and on account of its unique character it
-is necessarily reproduced again and again. It consists of the arms of
-the shield translated into terms of embroidery, and if it were but in
-better preservation a finer model for heraldic work it would be hardly
-possible to conceive. This is but one of the many splendid heraldic
-garments of which<span class="pagenum" id="Page_249">[Pg 249]</span> so little remains, but which are depicted on the
-monumental effigies with absolute fidelity. Of the latter fact this
-surcoat is one of the proofs, for its copy on the effigies was made
-with such accuracy that even the faults of the needlework are there.<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a>
-The embroidery of badges on garments instead of the regular arms was
-also common, as witness the effigies of Richard II and his Queen, Anne
-of Bohemia, in Westminster Abbey.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig224"><img src="images/fig224.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 224.</span>—Embroidered Cap with badges,
-Victoria and Albert Museum. Sixteenth Century.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_250">[Pg 250]</span></p>
-
-<p>A sixteenth century example of embroidered badges, a cap of fine linen
-beautifully worked with fleurs-de-lis and roses as the principal
-motives, is in the Victoria and Albert Museum, and is reproduced in
-Fig. 224.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig225"><img src="images/fig225.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 225.</span>—Altar Frontal in Embroidered Linen,
-Victoria and Albert Museum.</div>
-</div>
-</div>
-
-<p>Another example of embroidered linen (<abbr title="figure">Fig.</abbr> 225) in the Victoria and
-Albert Museum, is an altar frontal which is decorated with heraldic
-motives in appliqué work.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig226"><img src="images/fig226.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 226.</span>—Embroidered Badge. Part of the
-Insignia of Charles the Bold, Duke of Burgundy. Fifteenth Century.</div>
-</div>
-</div>
-
-<p>Some interesting and instructive fragments of embroidery exist in the
-Museum at Berne, part of the spoil taken from the tent of Charles
-the Bold, Duke<span class="pagenum" id="Page_251">[Pg 251]</span> of Burgundy, after the disastrous Battle of Grandson
-in 1476. <abbr title="figure">Fig.</abbr> 226 is the badge, the flint and steel, of the Great
-Burgundian Order of the Golden Fleece, whose insignia are conspicuous
-in the decoration of the next century in association with the Emperors<span class="pagenum" id="Page_252">[Pg 252]</span>
-Maximilian and Charles V. In this instance the steel striker serves as
-a space for the quartered arms of Burgundy, Limbourg and Flanders. <abbr title="figure">Fig.</abbr>
-227 shows the same arms on what was perhaps part of the bardings, the
-tournament or other ceremonial drapery of a charger.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig227"><img src="images/fig227.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 227.</span>—Heraldic Embroidery. Part of the
-Insignia of Charles the Bold, Duke of Burgundy. Fifteenth Century.</div>
-</div>
-</div>
-
-<p>Both show admirably how heraldic embroidery should be done, namely, in
-flat applique strongly designed and simply executed. The sable lions of
-Flanders are conclusive proofs of how heraldic vigour and decorative
-distribution may be attained in embroidery.</p>
-
-<p>Towards the end of the sixteenth century embroidery began to be padded
-into relief, a practice which afterwards developed to a remarkable
-extent in spite of its inartistic unsuitability to the material
-and work. It was naturally<span class="pagenum" id="Page_253">[Pg 253]</span> least offensive in its beginnings, and
-the shield of Eric XIV, King of Sweden (<abbr title="figure">Fig.</abbr> 228), is a somewhat
-exceptionally good example of the heraldry of its time (about 1560).
-The arms are well-designed, the lions of the fourth quarter, Denmark,
-being particularly spirited, while the execution is very excellent of
-its kind.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig228"><img src="images/fig228.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 228.</span>—Arms of Eric XIV, King of Sweden.
-Berne Museum. About 1560.</div>
-</div>
-</div>
-
-<p>An instance of domestic embroidery occurs in <abbr title="figure">Fig.</abbr> 229, where the arms
-of James I are used as a centre to a design that is, in the main,
-floral.</p>
-
-<p><span class="pagenum" id="Page_254">[Pg 254]</span></p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig229"><img src="images/fig229.jpg" class="p2 w60" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 229.</span>—Arms of James I. Victoria and Albert
-Museum. Early Seventeenth Century.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_255">[Pg 255]</span></p>
-
-<p>Work of the highest heraldic importance must always have been that
-of the banners, as the very concentration of battle heraldry, but of
-these, alas! there are no very early examples.</p>
-
-<p>The banners of the Knights of the Garter in <abbr title="saint">St.</abbr> George’s Chapel were
-doubtless all embroidered formerly, as that of the Sovereign still
-is, but they have for long been done in an inferior way, even as the
-painted stall plates superseded their enamelled predecessors.</p>
-
-<p>Of the various forms of flag that were in use in the day of
-the tournament and even survived, at funeral ceremonies, until
-comparatively modern times, the principal were the Banner, the Pennon
-and the Standard. The Banner, sometimes called the Great Banner, was
-square in shape and bore the arms of its lord exactly as they were
-borne on his shield, i.e., occupying the whole surface. Its use was
-confined to such knights as were especially privileged, and who were
-therefore called Knights Bannerets, and to nobles of higher rank.
-Although the banner as such bore the whole arms of the shield, other
-large and square flags, even when charged with badges, were sometimes
-called by the same name when employed for a special purpose, as, for
-instance, the banner of the Red Dragon of Cadwallader that was borne at
-Bosworth Field.</p>
-
-<p>The Pennon was a long pointed flag, which was borne by a knight and
-was charged with his arms or device. The cutting off of the tail of
-the pennon, leaving the flag square, conferred on its owner the right
-to have a banner thenceforward, which ceremony of creating a Banneret
-always took place on the field of battle and<span class="pagenum" id="Page_256">[Pg 256]</span> under the royal banner
-displayed. The Standard, properly so-called, was also a pointed flag,
-though banners were sometimes called standards when they were flown
-from a mast that was either fixed in the ground or was supported on
-a solid platform or wagon. From this comes the inaccurate custom of
-describing the Royal Banner as the Royal Standard. The Standard always,
-in England, had the national emblem, the Cross of <abbr title="saint">St.</abbr> George, next the
-staff, and the remainder of the flag was of the owner’s colours, and
-was charged with his badges and motto (<abbr title="figure">Fig.</abbr> 230).</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig230"><img src="images/fig230.jpg" class="p2 w60" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 230.</span>—A Standard. Sixteenth Century.</div>
-</div>
-</div>
-
-<p>The early form of the banner was higher than it was long, that is
-to say, the hoist, that part of a flag that is next the staff, was
-greater than the fly or the length from the staff to the further edge
-of the flag, and that shape continued throughout the Tudor period;
-later, however, the form became more square and finally extended in
-the other direction until at the present time the<span class="pagenum" id="Page_257">[Pg 257]</span> Admiralty pattern
-is greater in length than in height in the proportion of two to one.
-This has, no doubt, been arranged as the best suited to naval use, and
-for the Union Flag and for the Ensigns it appears satisfactory, but
-when a more armorial sort of flag is in question the naval proportion
-becomes more or less objectionable according to the nature of the
-bearings. In the Royal Banner, as so proportioned, the difficulty of
-designing the rampant lion of the Scottish quarter, so that it may be
-well distributed in its space and still vigorous, or of the Irish harp
-so that it may properly balance with the other quarterings, is nearly
-insuperable.</p>
-
-<p>When we remember that the whole plan on which armorial bearings are
-devised is based on filling an upright space, the shield shape, it is
-not difficult to understand how it is that the attempt to adapt such
-emblems to a horizontal space so frequently suggests the ludicrous
-effect of a distorting mirror. There is of course no reason why the
-proportion of flags should be the same whether they are flown on land
-or sea, and this is very properly recognized in regimental colours and
-in the banners of the Knights of the Garter at Windsor, all of which
-are more nearly square.</p>
-
-<p>Animals on flags, and also on the bardings of horses, always faced
-towards the staff in the one case and towards the head of the horse
-in the other, and this for a very natural reason. The flag flowing
-backward would cause the figure that turned towards its staff to face
-in the direction of advance and the figures on the bardings would, of
-course, have the same direction under the similar circumstances, while
-it is evident that if they<span class="pagenum" id="Page_258">[Pg 258]</span> faced in the opposite direction they would
-inevitably have given rise to the offensive gibe that they were running
-away.</p>
-
-<p>The banner that concerns us more especially, the Union Jack, may have
-its essential construction explained by reference to the diagrams in
-Fig. 231. First we have two of the three national emblems (1) and (2),
-the cross of <abbr title="saint">St.</abbr> George and the saltire of <abbr title="saint">St.</abbr> Andrew, as they had long
-been used by England and Scotland respectively. Soon after King James
-succeeded to the English Crown a banner was made (3) which combined
-the two by placing the red cross of <abbr title="saint">St.</abbr> George (with a narrow line,
-taken from its white field, left round it) over that of <abbr title="saint">St.</abbr> Andrew, and
-thence was formed the first Union Jack, under which the great naval
-actions of the eighteenth century were fought.</p>
-
-<p>At the Union with Ireland, in 1801, a fresh element, a red saltire on
-a white field for <abbr title="saint">St.</abbr> Patrick (4), was introduced, and the red of <abbr title="saint">St.</abbr>
-Patrick and the white of <abbr title="saint">St.</abbr> Andrew were united in equal proportions in
-this manner—(5), the red being made to retain a little of its white
-field as <abbr title="saint">St.</abbr> George had done formerly, and the result so far appears
-in—(6). The cross of <abbr title="saint">St.</abbr> George, with its white edge, was then placed
-over all, to complete the Union Jack as we know it. This will be found
-quite easy to follow if care is taken to remember the construction,
-and that the lines from corner to corner of the flag divide equally
-the broad white and the red of the saltires. Also that in the upper
-quarter, next the staff, the broad white must be uppermost, and for
-this reason: it is heraldically usual to begin a counter-change of two<span class="pagenum" id="Page_259">[Pg 259]</span>
-tinctures, a metal (silver or white) and a colour (red), by naming the
-metal first. Further, the tincture that is mentioned first is always
-placed next above the line of diagonal division. Therefore, as the
-blazon in the warrant is a “saltire per saltire quarterly argent and
-gules,” the white must be where it is. And so any possible question of
-precedence was automatically avoided.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig231"><img src="images/fig231.jpg" class="p2 w50" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 231.</span></div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_260">[Pg 260]</span></p>
-
-<p>The form of the flag as shown on the Royal Warrant of 1801 is seen in
-(7), and is that which has been followed in regimental colours. In this
-it will be observed that in consequence of the narrow white of the
-saltire being a fimbriation that is added to the red the outline of the
-saltire does not register across. The Admiralty pattern, however, in
-what one cannot but feel was an unnecessary effort to avoid this, seems
-to place narrow red strips on top of the white saltire, so that the
-outside diagonal lines manage to register, but the result is to reduce
-<abbr title="saint">St.</abbr> Patrick’s half of the joint saltire by the width of the narrow
-white.</p>
-
-<p>Now, the evident intention in devising the flag was to effect equal
-representation of Scotland and Ireland in order to lessen the
-probability of quarrels such as had occurred between the Scotch and
-English seamen before the first Union Jack was made in the early
-seventeenth century; and this is perfectly effected by the pattern of
-the Royal Warrant.</p>
-
-<p>The intention of equality is also evidenced in the warrant by similar
-care in designing the Union badge of Rose, Thistle, and Shamrock, for
-after the badge has been described as a rose with a thistle on one side
-and a trefoil on the other, the description is carefully repeated, but
-with the positions of the shamrock and thistle reversed, the obvious
-intention being to remove any ground for a claim to priority that might
-have arisen by assigning the dexter side to one emblem in preference
-to the other. Indeed I have known exception to be taken to a perfectly
-correct rendering of this Union Badge, under the impression that such
-precedence did in fact exist.</p>
-
-<p><span class="pagenum" id="Page_261">[Pg 261]</span></p>
-
-<p>Another form of banner which survives is that which was, from a very
-early period, used to decorate trumpets and is still so employed by
-the trumpeters of the Household Cavalry and by those of the Sheriffs
-of counties for use on occasions of ceremony. Such decorations usually
-contain the arms alone, as a great banner does, but there are also
-instances of badges being borne on them and also complete armorial
-insignia. They are tied to the instruments by ribbons or laces, and
-hang squarely down. The bearings, whether simple or complex, are made
-to read upright, when the trumpet is held horizontally, as though they
-were on a hanging shield. This is, of course, the natural way, though
-there are instances to the contrary.</p>
-
-<p>As we have seen, flags were generally embroidered and with more or
-less elaboration according to the circumstances which influenced other
-heraldic treatment. Frequently they were done in cutwork, sewn down and
-done over with beautiful needlework and even adorned with gems. The
-greatest artists were employed to design them, Sandro Botticelli among
-many others.</p>
-
-<p>The methods of the missal painter in his use of gold lines for lights
-and other definitions and decorations were employed in the needlework,
-indeed all the arts of illuminated decoration, taking the term in its
-widest sense, copied from each other, but each adapted the method to
-its own needs and materials; and that is the gist of the whole matter.
-At the beginning, in the seventeenth century, of the period that was
-so fatal to all decorative art, when embroidery took what was probably
-thought to be a wonderful new departure, its subjects<span class="pagenum" id="Page_262">[Pg 262]</span> were raised to
-an increasing height from the ground where before it had been flatly
-treated. Thenceforward the embroidery became lumpy as the heraldry
-became weak, and both were alike inartistic until comparatively
-recently, until in fact it began to be again recognized that the
-mediaeval artists were right, that the right way to use a material was
-the natural way and not in attempting to make it resemble something
-else. At the time referred to it seems to have been thought that the
-more embroidery was made to look like a coloured relief and the less
-like embroidery the better embroidery it was, and therefore the lions,
-for example, were stuffed up and raised as high as possible and the
-whole effect became coarse and clumsy, an effect that was largely
-contributed to by the inferior design.</p>
-
-<p>The costliness of embroidery helped the introduction of painted
-banners, which in time, assisted by the decay of embroidered as
-of other decorative arts, superseded the needlework. However, the
-inferiority of the painted banner was always recognized, and although
-even the banners of the Knights of the Garter had come to be done in
-the cheaper method, that which hung over the stall of the Sovereign
-continued to be embroidered, as it is to this day. The present banner
-is beautifully worked, and is on the correct lines of flat design.</p>
-
-<p>In painted banners, usually of silk, the material is strained in a
-frame, by means of laces passed through tapes sewn to the edges, and
-the design being drawn or pounced on it, is carefully gone over with
-size, which fills the interstices of the silk, and when dry forms an<span class="pagenum" id="Page_263">[Pg 263]</span>
-excellent surface for the subsequent gilding and painting in oils.</p>
-
-<p>There can be no doubt, however, that embroidery, now that it has so
-brilliantly revived, is the method of all others in which modern
-banners should be executed, and if this were recognized there need
-be no lack of opportunity. Among others the trumpet banners of the
-Sheriffs who every year are appointed to the respective counties, are
-used to display their arms during the year of office, and afterwards,
-their official life being ended, are frequently made into screens for
-domestic use. It is in this connexion that their method of production
-becomes of especial importance. Their somewhat tawdry and incongruous
-appearance is quickly felt, and they soon disappear into the retirement
-that they merit.</p>
-
-<p>The banners of the City Companies would better decorate their venerable
-halls if fashioned in beautiful needlework, and when they were carried
-in the procession on Lord Mayor’s Day would impart a gleam of real
-splendour into that properties-in-daylight pageant. The painted banners
-could still serve for bad weather flags.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig232"><img src="images/fig232.jpg" class="p2 w75" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 232.</span>—Bed Cover, Flemish Work. Victoria
-and Albert Museum.</div>
-</div>
-</div>
-
-<p>In modern heraldic embroidery the design is the weak point, but
-improvement would certainly follow the study of good early work
-and also of good examples of other decorative methods if they were
-intelligently adapted to the materials employed. The purpose and
-character of the object must influence the work, and considerations of
-weight and substance affect the making of a banner, which is to wave
-and flow, at least to some extent that would not need to be insisted on
-in a framed panel. Not that the treatment need be wholly flat, like<span class="pagenum" id="Page_265">[Pg 265]</span>
-the diagrammatic shield of an early roll of arms, for it may well
-have such definition of the charges as are seen on the Black Prince’s
-surcoat; also the complete form of an object may be sufficiently
-suggested without the employment of methods more suitable to another
-material. Thus, it is not particularly difficult to indicate that a
-thing is round without making it as round as possible.</p>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig233"><img src="images/fig233.jpg" class="p2 w60" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 233.</span>—Design for Lace. Arms of Frederick
-II, King of Denmark. From the pattern-book of the Duchess of Brunswick.</div>
-</div>
-</div>
-
-<p><span class="smcap">Lace.</span>—Although heraldry does not appear to have<span class="pagenum" id="Page_266">[Pg 266]</span> been so
-extensively practised in lace as in other forms of needlework, it is
-still used to a considerable extent, and generally as a device that is
-introduced as a personal detail in a large pattern.</p>
-
-<p>Among the few examples of heraldic lace at South Kensington are a piece
-of English needlepoint and the bedcover of Flemish work in which the
-double-headed eagle is well done (<abbr title="figure">Fig.</abbr> 232), which will repay study,
-and serve to explain the method of this kind of work.</p>
-
-<p>The method of making the preliminary designs for lace is set forth in
-the pattern-books which began to be produced in the sixteenth century,
-and of which very interesting examples are extant. The lace design,
-Fig. 233, is from a book of patterns which belonged to the Duchess
-of Brunswick and is now in the National Art Library of the Victoria
-and Albert Museum, and represents the arms of Frederick II, King of
-Denmark. It has the usual characteristics of the German heraldry of its
-time.</p>
-
-
-<div class="footnotes"><h3>FOOTNOTES:</h3>
-
-<div class="footnote">
-
-<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> <i>Needlework as Art</i>, Lady Marion Alford.</p>
-
-</div>
-</div>
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_267">[Pg 267]</span></p>
-
-<h2 class="nobreak" id="CHAPTER_XI">CHAPTER XI<br>
-Some Miscellaneous Charges</h2>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Annulet.</span>—A simple ring, as in the mark of cadency of a fifth
-son, <abbr title="figure">Fig.</abbr> 295, <abbr title="page">p.</abbr> 288. A ring in which a precious stone is mounted
-is called a gem-ring, and an interesting example occurs in one of
-the badges of the Medici, Fig 234; another Medici badge has three
-gem-rings interlaced.</p>
-</div>
-
-<div class="picpage p2 b2">
-<div class="figcenter">
-<span id="fig234"><img src="images/fig234.jpg" class="p2 w60" alt=""></span>
-<div class="caption b2"><span class="smcap">Fig. 234.</span>—Badge of Medici from Dialogo dell’
-imprese, 1559.</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_268">[Pg 268]</span></p>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Barnacles or Breys.</span>—An instrument that was used to control
-a restive horse by exerting pressure on his nostrils. They are
-represented as in <abbr title="figure">Fig.</abbr> 235, or open as in <abbr title="figure">Fig.</abbr> 236. (<i>See also</i>
-Geneville, <abbr title="figure">Fig.</abbr> 223, <abbr title="page">p.</abbr> 248.)</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig235"><img src="images/fig235.jpg" class="w35" alt=""></span></div>
-<div class="cell"><span id="fig236"><img src="images/fig236.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 235.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 236.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Battering-ram.</span>—A siege weapon consisting of a heavy beam
-headed like a ram and having hooks or other means of fastening the
-chains by which it was supported and swung. Figs. 237 to 239 are some
-of its forms. When difference of tincture requires it is said to be
-headed, or armed, and garnished of these appliances. Sometimes the
-term purfled is used for garnished. One of the best known examples is
-the coat of Bertie: <i><abbr title="azure">Az.</abbr></i> three battering rams barways in pale
-ppr. headed and garnished, <abbr title="azure">az.</abbr></p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell30"><span id="fig237"><img src="images/fig237.jpg" class="w75" alt=""></span></div>
-<div class="cell30"><span id="fig238"><img src="images/fig238.jpg" class="w75" alt=""></span></div>
-<div class="cell30"><span id="fig239"><img src="images/fig239.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell30 caption"><span class="smcap">Fig. 237.</span></div>
-<div class="cell30 caption"><span class="smcap">Fig. 238.</span></div>
-<div class="cell30 caption"><span class="smcap">Fig. 239.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Buckles.</span>—Being important part of military equipment were
-frequently employed as charges or as badges in allusion to battle
-occurrences or other notable events. Thus the Badge of the Pelhams
-commemorates the capture of King John of France at the Battle of
-Poictiers. Buckles afford some scope<span class="pagenum" id="Page_269">[Pg 269]</span> for decoration, as in <abbr title="figure">Fig.</abbr> 240, a
-fifteenth century example from Westminster Abbey.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig240"><img src="images/fig240.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig241"><img src="images/fig241.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 240.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 241.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Bugle Horn.</span>—This, the most frequent of the charges derived
-from the Chase, forms an interesting subject for decorative treatment,
-in its possible grace of line and in the ornamental character of its
-details. It is usually shown as if suspended from a knotted or twisted
-cord, of which it is <i>stringed</i>, though it is occasionally hung
-from a flatter form of baldric. Its garnishings, mouth-piece, rim
-rings, etc., are usually gold (<abbr title="figure">Fig.</abbr> 241).</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig242"><img src="images/fig242.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig243"><img src="images/fig243.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig244"><img src="images/fig244.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 242.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 243.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 244.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Chaplet.</span>—A wreath of leaves or of flowers and leaves. In
-the latter the flowers are usually four in number (<abbr title="figure">Fig.</abbr> 242). When
-a “chaplet” without further qualification is mentioned, a severely
-conventionalized form is sometimes employed, consisting of<span class="pagenum" id="Page_270">[Pg 270]</span> a ring
-with four flower bosses, as <abbr title="figure">Fig.</abbr> 243. <i>See</i> Garland. A chaplet of
-oak is called a civic crown (<abbr title="figure">Fig.</abbr> 244), and one of laurel a triumphal
-crown.</p>
-
-<p class="pxi"><span class="smcap">Chess-rook</span> (<abbr title="figure">Fig.</abbr> 245).—This is probably the result of a
-mis-reading of roc, the coronal of a tilting spear. It is always
-represented with the cleft shape of the latter and never as a castle,
-the usual form of chess-rook.</p>
-
-<p class="pxi"><span class="smcap">Cinque-Foil</span> (<abbr title="figure">Fig.</abbr> 246).—A five membered leaf, or
-conventional flower of five petals.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig245"><img src="images/fig245.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig246"><img src="images/fig246.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig247"><img src="images/fig247.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 245.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 246.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 247.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Clarion.</span>—A combination of musical pipes in a hand case,
-the Syrinx or Pan-pipe. It is of frequent occurrence in the heraldry
-of the Middle Ages and in a large variety of more or less elaborate
-forms, one of which is here represented (<abbr title="figure">Fig.</abbr> 247). It is sometimes
-called a rest, with the suggestion that it represents the piece fixed
-on a breast-plate as a support for the tilting spear, but this appears
-to be extremely improbable.</p>
-
-<p class="pxi"><span class="smcap">Clouds</span> occur as bordures and other ordinaries in various
-interesting conventional forms and also as points from which emerge
-arms and other objects. Ordinaries composed of clouds in this way
-are<span class="pagenum" id="Page_271">[Pg 271]</span> blazoned nebuly equally with the more simplified nebuly line.
-There are many examples of this treatment of which <abbr title="figure">Fig.</abbr> 72, <abbr title="page">p.</abbr> 57,
-will give an idea of a bordure nebuly, as it appears in one of the
-representations at the Heralds College of the arms of the Mercers
-Company.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig248"><img src="images/fig248.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 248.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Cockatrice.</span>—A wyvern-like monster with a cock’s head, as in
-the many sixteenth century drawings of the arms of the City of Basle,
-to which it was a supporter under its other name of Basilisk, as in
-Fig. 248, part of a drawing by Holbein.</p>
-
-<p class="pxi"><span class="smcap">Coronets.</span>—Crown and coronets other than those of rank,
-already described, may be considered as of two kinds, and are of
-purely symbolic import.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig249"><img src="images/fig249.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 249.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p>Crowns (including coronets) used as charges, are generally those that
-are more accurately described as heraldic crowns, that is, those which
-have no allusion to specific rank, but are emblematic in various other
-ways. The coronet of decorative leaves set on a rim and sometimes
-called a crest coronet (<abbr title="figure">Fig.</abbr> 249) is thus borne as a charge in the
-arms of some of the Companies of London in allusion to events in which
-kings have been concerned. When, however, a specifically Royal Crown
-appears it is usually as an Augmentation<span class="pagenum" id="Page_272">[Pg 272]</span> by special grant from the
-Sovereign. A fine example of crowns and their distribution as charges
-on a shield is <abbr title="figure">Fig.</abbr> 250, from the tomb of Prince Edmund of Langley, at
-Kings Langley, Herts. The arms are those ascribed to <abbr title="saint">St.</abbr> Edmund.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig250"><img src="images/fig250.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 250.</span>—Shield from the tomb of Prince
-Edmund of Langley. Early Fifteenth Century.</div>
-</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_273">[Pg 273]</span></p>
-
-<div class="blockquot">
-
-<p>Other heraldic crowns are the mural crown, representing a fortified
-wall (<abbr title="figure">Fig.</abbr> 251), and the naval crown, composed of sails and sterns of
-ships (<abbr title="figure">Fig.</abbr> 252), and both are at the present time restricted with
-care, in the cases of new grants or augmentations, to circumstances in
-which their obvious symbolism applies.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig251"><img src="images/fig251.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig252"><img src="images/fig252.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig253"><img src="images/fig253.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 251.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 252.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 253.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p>The mural crown is usually composed in our heraldry of the simple
-crenellations shown in the example. Abroad, however, a more elaborate
-and picturesque form occurs in the form of a castellated wall showing
-three towers at intervals.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig254"><img src="images/fig254.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig255"><img src="images/fig255.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 254.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 255.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p>The crown vallery is intended to represent palisades, as in <abbr title="figure">Fig.</abbr> 253,
-and when the palisades are more definite and are fastened to the rim
-instead of rising out of it, the crown is palisado instead of vallery
-(<abbr title="figure">Fig.</abbr> 254).</p>
-
-<p>The Eastern crown, sometimes called an antique crown, is formed of
-five straight rays (<abbr title="figure">Fig.</abbr> 255),<span class="pagenum" id="Page_274">[Pg 274]</span> and when in addition there is a star
-on each point it becomes a celestial crown.</p>
-
-<p class="pxi"><span class="smcap">Crescent.</span>—This charge, beautiful as it appears in the badges
-connected with Henry II of France and Diana of Poitiers, has come
-to be drawn clumsily as to look more like a biscuit with a bite out
-of it than a graceful shape derived from the crescent moon. When it
-is simply described as a crescent it always has its points upwards,
-and it becomes a decrescent if they point to the sinister, and an
-increscent when they are pointed to the dexter. Still rarer as a
-charge than these latter is the full moon, and when she thus occurs
-she is blazoned a Moon in her Plenitude. It is understood that the
-proportionate thickness of a crescent may be any that is felt to be in
-harmony with the general character of the design that accompanies it.</p>
-
-<p class="pxi"><span class="smcap">Escallop Shell.</span>—This beautiful charge, with its radiating
-lines within its outline, appears to have been specially connected
-with the Crusades as the pilgrim’s badge, as such being sewn on
-to the cloak or hat. Later the shells so worn were sometimes
-elaborately painted in the manner of the illuminators, in memory of
-the pilgrimage. The escallop is especially associated with <abbr title="saint">St.</abbr> James,
-and so frequently occurs in Spanish decoration such as that of the
-House of the Shells, Saragossa, the whole front of which is semée of
-escallops in high relief.</p>
-
-<p>Also, an old writer says: “The shell thereof is the fairest instrument
-that can be, being of nature’s<span class="pagenum" id="Page_275">[Pg 275]</span> making, which for the beauties sake is
-put in the collars of Saint Michael’s Order.”</p>
-
-<p class="pxi"><span class="smcap">Estoile.</span>—A star of six wavy points.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig256"><img src="images/fig256.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 256.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Escarbuncle</span> (<abbr title="figure">Fig.</abbr> 256).—Is derived from the strengthening
-bands of the shield which the mediaeval metal worker’s decorative
-instinct made into beautiful ornament even as it did the hinges of a
-door. The metal plates radiating from the central boss of the shield
-terminated in foliated forms of great beauty, the fleurs-de-lis of the
-present charge, while the hollow ring in the centre enabled it to fit
-over the boss. Many beautiful examples exist of this piece of armour
-become the Badge of Anjou, worn by Henry II.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig257"><img src="images/fig257.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 257.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Fountain</span> (<abbr title="figure">Fig.</abbr> 257).—The symbol of a spring of water,
-is a roundle barry, wavy argent and azure, wavy lines having been
-emblematic of water from time immemorial. Its occurrence in the arms
-of Lord Stourton (Sable a bend or between six fountains) is very
-interesting as an example of heraldry of which the meaning is well
-understood. In the admirable account given by <abbr title="mister">Mr.</abbr> Fox Davies in <i>The
-Art of Heraldry</i> he points out that the manor of Stourton on the
-borders of Wilts and Somerset obtained its name from the river Stour
-which rises within the manor. The sources of that river are six wells
-which exist in a tiny valley in Stourton Park, which is still called
-Six Wells Bottom. When Leland wrote in 1540 to 1542 the<span class="pagenum" id="Page_276">[Pg 276]</span> whole six
-were in existence (some have since disappeared), for he wrote: “The
-ryver of Stoure risith ther of six fountaynes or springes, whereof 3
-be on the northe side of the Parke, harde withyn the Pale, and other 3
-be northe also but withoute the Parke. The Lorde Stourton giveth these
-6 fountaynes yn his Armes.” In addition, not only were three springs
-inside the park and three outside, but also three were in Wiltshire
-and three in Somerset. The appropriateness of three fountains on
-either side of the ordinary is therefore manifest. Would that all
-heraldic origins were equally clear!</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig258"><img src="images/fig258.jpg" class="w25" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 258.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Fylfot</span> (<abbr title="figure">Fig.</abbr> 258).—A symbolic figure which appears to have
-been used from the remotest antiquity and round which much literature
-has been written in common with its Indian form, the Swastica. Its
-presence in heraldry is probably to be ascribed to mere copying from
-some eastern example, though even thus a symbolic meaning may have
-been ascribed to its cross-like form, or perhaps some one of the
-transmitted meanings may even have been known.</p>
-
-<p>It occurs in the arms of Sir Wm. Kellaway in a “Copy of an antient
-roll of Arms,” in the Heralds’ College.</p>
-
-<p>In Japan it is well-known as the Mon or badge of the Matsudaira family.</p>
-
-<p class="pxi"><span class="smcap">Hammer.</span>—In heraldry both the workman’s hammer, emblematic
-of industry, if it have no more definite symbolism, occurs as well
-as the military <i>martel-de-fer</i>. Examples of both are given in
-Figs. 259<span class="pagenum" id="Page_277">[Pg 277]</span> and 260. Another instance of the first is in the Arms of
-the Blacksmiths Company of London, Sa a chev. Or between three hammers
-Arg. handled and ensigned with crowns gold; and with this is their
-swinging motto, “By hammer and hand all arts do stand.”</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span class="figcenter" id="fig259"><img src="images/fig259.jpg" class="w60" alt=""></span></div>
-<div class="cell"><span class="figcenter" id="fig260"><img src="images/fig260.jpg" class="w60" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 259.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 260.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Hawk’s Bells and Jesses.</span>—The bells are of the globular kind
-(<abbr title="figure">Fig.</abbr> 261), and jesses are the leather straps by which they were
-secured to the falcons’ legs. Also attached to the jesses were pieces
-of metal, called vervels, that were stamped with the owner’s monogram
-or badge.</p>
-
-<p class="pxi"><span class="smcap">Hawk’s Lure.</span>—A bird’s wing that was attached to a cord
-by means of which it was thrown in the air in order to attract the
-falcons to hand. Its usual shape as a charge is as in <abbr title="figure">Fig.</abbr> 262.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig261"><img src="images/fig261.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig262"><img src="images/fig262.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig263"><img src="images/fig263.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 261.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 262.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 263.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Hemp-brake or Hackle.</span>—An instrument for bruising hemp. Its
-best known heraldic example is as the badge of Sir Reginald Bray (<abbr title="figure">Fig.</abbr>
-263), the architect<span class="pagenum" id="Page_278">[Pg 278]</span> to Henry VII, for whom he built the magnificent
-Chapel in Westminster Abbey and completed <abbr title="saint">St.</abbr> George’s Chapel at
-Windsor. The badge is now used by Lord Bray, who is descended from Sir
-Reginald’s brother.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig264"><img src="images/fig264.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig265"><img src="images/fig265.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig266"><img src="images/fig266.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig267"><img src="images/fig267.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 264.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 265.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 266.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 267.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Knots.</span>—A form of badge that is composed of one or more cords
-or straps twisted into open knots and used to symbolize the bond of a
-vow. The best known, perhaps, is the Stafford knot (<abbr title="figure">Fig.</abbr> 264), which
-from being the badge of the Earls of Stafford has been appropriated by
-many institutions connected with that county. The Heneage knot, also
-on a single line, is <abbr title="figure">Fig.</abbr> 265, and is sometimes accompanied by the
-motto, “Fast though untied,” and <abbr title="figure">Fig.</abbr> 266 is the Bowen knot of four
-bows. <abbr title="figure">Fig.</abbr> 267 is<span class="pagenum" id="Page_279">[Pg 279]</span> from among the devices on the robe of the effigy
-of Anne of Bohemia on her tomb at Westminster Abbey, and is thought
-by Boutell to convey the idea of a monogram. He also sees in the Wake
-and Ormond knot (<abbr title="figure">Fig.</abbr> 268) the initials W and O entwined. A modern
-attempt was made to form a monogram of the silken tags represented as
-depending from the seal shape of the bookplate (by C. W. Sherborn,
-R.E.) of the celebrated <a id="planche"></a>J. Robinson Planché, Dramatist and Somerset
-Herald.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig268"><img src="images/fig268.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig269"><img src="images/fig269.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig270"><img src="images/fig270.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig271"><img src="images/fig271.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 268.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 269.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 270.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 271.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p>The Bouchier knot is <abbr title="figure">Fig.</abbr> 269, and Boutell mentions a Bouchier badge
-formed of the knot tied to a coudiere or elbow piece, as from a
-monument in Westminster Abbey.</p>
-
-<p>The Dacre knot is less a knot than a badge, consisting of an escallop
-shell linked by a cord with a ragged staff or a billet (<abbr title="figure">Fig.</abbr> 270). In
-the same way a sickle and a garb are tied together in the badge of
-Lord Hastings, and are suggestive of the way in which initial letters
-of names were linked with each other and with badges in the splendid
-pageants of the sixteenth century.</p>
-
-<p>The Lacey knot is shown at <abbr title="figure">Fig.</abbr> 271.</p>
-
-<p><span class="pagenum" id="Page_280">[Pg 280]</span></p>
-
-<p class="pxi"><span class="smcap">Lozenge.</span>—Fig. 272.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig272"><img src="images/fig272.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig273"><img src="images/fig273.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig274"><img src="images/fig274.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 272.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 273.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 274.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Manche or Maunche.</span>—A severely conventionalized form of a
-sleeve, derived from the actual sleeve which was worn at a tournament,
-as a ladies’ favour, floating from the shoulder of a favoured knight.
-The illustrations are from the fifteenth century seal of Lord Hastings
-(<abbr title="figure">Fig.</abbr> 273), and from a <abbr title="manuscript">MS.</abbr> of the following century relating to the
-same family (<abbr title="figure">Fig.</abbr> 274).</p>
-
-<p class="pxi"><span class="smcap">Mullet.</span>—A five-pointed star-like figure whose name is
-derived from Mollette, the rowel of a spur (<abbr title="figure">Fig.</abbr> 293).</p>
-
-<p class="pxi"><span class="smcap">Pall.</span>—An heraldic figure which occurs in the arms of certain
-Archbishoprics, being indeed a representation of the Pallium, which is
-an especial vestment of an Archbishop. <abbr title="mister">Mr.</abbr> Everard Green, Rouge Dragon
-Pursuivant, has fully dealt with this in an admirable monograph which
-is among the Archaeologia of the Society of Antiquaries, from which it
-appears certain that the pall is not the arms of a particular see, but
-is an ensign of the ecclesiastical rank of an archbishop.</p>
-
-<p class="pxi"><span class="smcap">Pheon.</span>—The head of a dart, the so-called broad arrow of
-Government stores. It usually has its inner<span class="pagenum" id="Page_281">[Pg 281]</span> edges engrailed, but
-this is not essential any more than are the rigidly straight lines
-with which it is generally drawn. There are many other forms in early
-use that are much more satisfactory, such as <abbr title="figure">Fig.</abbr> 275, which is from
-an early sixteenth century <abbr title="manuscript">MS.</abbr> The pheon is understood to be point
-downwards as in the example, unless it is otherwise described.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig275"><img src="images/fig275.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 275.</span>
-</div></div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Roundels.</span>—Circular charges whose names differ according
-to their tincture. Thus a roundel or is supposed to be a flat piece
-of gold and is called a Bezant after Byzantium. A roundel <abbr title="argent">arg.</abbr> is a
-Plate; a roundel gules is a Torteau; the Hurt is azure; the Pellet or
-Ogress is sable; the Pomme is vert. Ancient armorists also mention
-Golpes, which are purpure; Guzes, sanguine; and Oranges, tenné; but
-these are not actually used in English heraldry. Another roundel,
-called a Fountain, is barry-wavey <abbr title="argent">arg.</abbr> and <abbr title="azure">az.</abbr>, and is further
-alluded to under its name (<abbr title="figure">Fig.</abbr> 250). The use of the heraldic names
-of the various roundels is not obligatory, however, their description
-by tinctures, like other charges, being equally correct. They are
-frequently themselves charged and may be of ermine or other fur,
-and be treated in every way as other flat spaces. Their treatment
-in relief or otherwise is largely a matter of taste, and whether a
-roundel be treated as flat or globular must depend on the character of
-the surrounding work. The frequently made suggestion that bezants and
-plates, being derived<span class="pagenum" id="Page_282">[Pg 282]</span> from flat objects, should always be flat, while
-others should always be globular, would often be awkward if carried
-out in practice, especially in sculpture; and even if the derivations
-be correct, a roundel as a circular object without other qualification
-is just as conceivable as a roundel derived from a coin. Suitability
-to the general design seems to be the governing factor here as
-elsewhere.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span class="figcenter" id="fig276"><img src="images/fig276.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span class="figcenter" id="fig277"><img src="images/fig277.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 276.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 277.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Portcullis</span>.—A strong grille for the protection of a fortified
-gateway. It was made of heavy beams securely clamped together and
-shod with iron, and is represented with the chains on either side by
-which it was suspended. The example (<abbr title="figure">Fig.</abbr> 276) is from the Chartulary
-of Westminster Abbey, where it forms part of the painted decoration of
-the <abbr title="manuscript">MS.</abbr> as one of the favourite badges of Henry VII. It has given a
-name to one of the pursuivants of arms, and as part of the armorials
-of the city of Westminster is one of the most familiar charges.</p>
-
-<p class="pxi"><span class="smcap">Quatrefoil</span> (<abbr title="figure">Fig.</abbr> 277).—A four-leaved charge, derived from
-clover or from a four-petalled flower.</p>
-
-<p class="pxi"><span class="smcap">Shakefork</span> (<abbr title="figure">Fig.</abbr> 278).—An unusual charge which occurs in the
-Arms of Cunningham.</p>
-
-<p><span class="pagenum" id="Page_283">[Pg 283]</span></p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig278"><img src="images/fig278.jpg" class="w35" alt=""></span></div>
-<div class="cell"><span id="fig279"><img src="images/fig279.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig280"><img src="images/fig280.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 278.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 279.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 280.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Spade.</span>—Emblematic of agriculture and industry. It is of
-great variety of form. Figs. 279 and 280 are fifteenth and sixteenth
-century forms of these implements, which were usually of wood shod
-with iron, as in the examples.</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig281"><img src="images/fig281.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig282"><img src="images/fig282.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 281.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 282.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Spear.</span>—Is usually described as a tilting spear, and when
-its shaft is without swell as a javelin. It is regarded as the emblem
-of manhood, as the distaff is the symbol of womanhood. As usually
-depicted, without the vamplate, it appears as in <abbr title="figure">Fig.</abbr> 281; but there
-is no reason against representing the plate in addition if it is
-thought desirable. Although the tilting spear was most frequently
-used with the blunted head, the coronel or roc, it is almost always
-represented heraldically with a sharp spear point. The shaft is
-sometimes parti-coloured, or else grooved into flutings as it was in
-actual use. In some cases these grooves were so large and deep<span class="pagenum" id="Page_284">[Pg 284]</span> as to
-result in a form of the girder principle by which great lightness and
-strength were obtained. The Arms of Shakespeare, granted in 1546, are:
-Or on a bend Sable a spear Gold.</p>
-
-<p class="pxi"><span class="smcap">Spurs.</span>—As the peculiar symbol of knighthood are naturally
-of frequent occurrence as charges. They are given star-shaped rowels
-unless the more ancient form with a single point is intended, and it
-is then blazoned a Prick Spur.</p>
-
-<p>“The Spurs ben given to a knight to signify diligence and swiftness.”</p>
-
-<p class="pxi"><span class="smcap">Sruttle.</span>—Another name for winnowing fan (<abbr title="figure">Fig.</abbr> 282).</p>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig283"><img src="images/fig283.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig284"><img src="images/fig284.jpg" class="w50" alt=""></span></div>
-<div class="cell"><span id="fig285"><img src="images/fig285.jpg" class="w50" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 283.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 284.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 285.</span></div>
-</div>
-</div>
-</div>
-
-<div class="blockquot">
-
-<p class="pxi"><span class="smcap">Sword.</span>—Is sometimes borne in allusion to <abbr title="saint">St.</abbr> Paul, as it
-is in the Arms of the City of London. Unless otherwise described, a
-straight sword with a cross hilt, an arming sword as it was sometimes
-called, is understood. Its position—that is to say, the direction of
-the blade—whether pale, wise or fesswise, and where there are more
-swords than one, their relative positions and the direction of their
-points are duly stated.</p>
-
-<p class="pxi"><span class="smcap">Trefoil</span> (<abbr title="figure">Fig.</abbr> 283).—Is always represented with a stalk, as
-in the example, but the term slipped is always<span class="pagenum" id="Page_285">[Pg 285]</span> included in the blazon
-nevertheless. The form of the charge is usually as given, but in rare
-instances it appears as in <abbr title="figure">Fig.</abbr> 284, which is from a fifteenth century
-MS. in the Heralds’ College.</p>
-
-<p class="pxi"><span class="smcap">Water Bouget.</span>—This, like the maunche, is an instance of the
-conventionalization of an actual thing into a shape that bears but
-remote likeness to the original form. Although there are instances
-in which its derivation from water carriers, its undoubted origin,
-is more nearly suggested, its heraldic form was clearly established
-in the fourteenth century, chiefly in connexion with the family of
-Bourchier, which furnished so many persons of note to mediaeval
-history.</p>
-</div>
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_286">[Pg 286]</span></p>
-<h2 class="nobreak" id="CHAPTER_XII">CHAPTER XII<br>
-Marks of Cadency</h2>
-</div>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig286"><img src="images/fig286.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig287"><img src="images/fig287.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 286.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 287.</span></div>
-</div>
-</div>
-
-<div class="img table figcenter p2 b2">
-<div class="row">
-<div class="cell"><span id="fig288"><img src="images/fig288.jpg" class="w35" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 288.</span></div>
-</div>
-</div>
-</div>
-
-<p>In order to distinguish the various members of a family among
-themselves certain additions to the shield called marks of cadency are
-employed; and in the earliest days of the heraldic system a son charged
-the arms that he derived from his father with such a mark of difference
-as he thought fit and effectual, but by the middle of the fourteenth
-century some amount of regularity was arrived at, and by the end of the
-sixteenth century the present method had become usual. In this system
-the eldest son is distinguished by a file or label of three points,
-which consists of a horizontal part from which depend the lambeaux
-(<abbr title="figure">Fig.</abbr> 286 <i lang="la" xml:lang="la">et seq.</i>). Its origin is extremely obscure, and whether
-it represents the points of garments, or tongues or labels threaded on
-a cord, no one can say with certainty. It seems probable that it may
-have originally been a favour or distinction whose history and original
-significance have<span class="pagenum" id="Page_287">[Pg 287]</span> been lost. The effigy at Artois of Charles Count
-d’Eu has a label which passes round the shoulders, exactly as other
-collars did, and consists of large labels charged with castles and
-suspended from what appears to be a narrow cord (<abbr title="figure">Fig.</abbr> 288).</p>
-
-<p>On a shield the label is borne in chief and passes over any charges
-that may be in that part of the arms. In early examples the pendant
-parts are wider than the rest, in some cases much wider, as in the
-Garter Plate of Gaston de Foix, Comte de Longueville and Captal de
-Buch, whose label is charged with a complete coat of arms repeated
-on each point, a cross charged with five escallop shells, which are
-the arms of John de Grielly, a previous Captal de Buch who married
-Blanche de Foix. In later times the points of labels were widened at
-the ends as in <abbr title="figure">Fig.</abbr> 289, a form which in the eighteenth and nineteenth
-centuries had become as squat and ugly as the still common type (<abbr title="figure">Fig.</abbr>
-290). In ordinary cadency the label which extends from side to side
-of the shield is no longer used, being reserved for members of the
-Blood Royal, and a shortened form takes its place<span class="pagenum" id="Page_288">[Pg 288]</span> in ordinary coats
-of arms. Distinctions of cadency are provided to the number of nine,
-and no regular provision is made beyond the ninth son; not because
-others are to go undifferenced, but because in old heraldic treatises
-great importance is ascribed to that mystic figure 9. There were
-nine tinctures (including the rare colours tenné and sanguine), nine
-ordinaries, nine partitions, or methods of displaying charges with
-ordinaries, and so forth. The differences are as follows:—</p>
-
-<div class="picpage p2">
-<div class="img table figcenter b2">
-<div class="row">
-<div class="cell"><span id="fig289"><img src="images/fig289.jpg" class="w75" alt=""></span></div>
-<div class="cell"><span id="fig290"><img src="images/fig290.jpg" class="w75" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell caption"><span class="smcap">Fig. 289.</span></div>
-<div class="cell caption"><span class="smcap">Fig. 290.</span></div>
-</div>
-</div>
-</div>
-
-<div class="picpage">
-<div class="table p2 b2">
-<div class="row">
-<div class="cell15r">The eldest</div>
-<div class="cell15c">son</div>
-<div class="cell20l">a label.</div>
-<div class="cell50"><span id="fig291"><img src="images/fig291.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">second</div>
-<div class="cell15c">”</div>
-<div class="cell20l">a crescent.</div>
-<div class="cell50"><span id="fig292"><img src="images/fig292.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">third</div>
-<div class="cell15c">”</div>
-<div class="cell20l">a mullet.</div>
-<div class="cell50"><span id="fig293"><img src="images/fig293.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">fourth</div>
-<div class="cell15c">”</div>
-<div class="cell20l">a martlet.</div>
-<div class="cell50"><span id="fig294"><img src="images/fig294.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">fifth</div>
-<div class="cell15c">”</div>
-<div class="cell20l">an amulet.</div>
-<div class="cell50"><span id="fig295"><img src="images/fig295.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">sixth</div>
-<div class="cell15c">”</div>
-<div class="cell20l">a fleur-de-lis.</div>
-<div class="cell50"><span id="fig296"><img src="images/fig296.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">seventh</div>
-<div class="cell15c">”</div>
-<div class="cell20l">a rose.</div>
-<div class="cell50"><span id="fig297"><img src="images/fig297.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">eighth</div>
-<div class="cell15c">”</div>
-<div class="cell20l">a cross moline.</div>
-<div class="cell50"><span id="fig298"><img src="images/fig298.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r">ninth</div>
-<div class="cell15c">”</div>
-<div class="cell20l">a double quatrefoil.</div>
-<div class="cell50"><span id="fig299"><img src="images/fig299.jpg" class="w15" alt=""></span></div>
-</div>
-<div class="row">
-<div class="cell15r"></div>
-<div class="cell15c"></div>
-<div class="cell20l"></div>
-<div class="cell50"><span class="smcap caption">Figs. 291-299.</span></div>
-</div>
-</div>
-</div>
-
-<p><span class="pagenum" id="Page_289">[Pg 289]</span></p>
-
-<p>A mark of cadency is borne on any part of a coat that may be found
-most suitable for its conspicuous display, but always in such a manner
-that it may not be mistaken for a charge. It is generally placed
-somewhere in chief or sometimes in the centre of the shield, and its
-colour may be any that is well seen. Bossewell says (1572): “Every
-difference ought to be placed in the moste evidente part of the coat
-armour, videlicit, in the place where the same maie soonest be scene or
-perceived.” And another early writer indicates the distance at which
-a difference should be easily perceived on a banner or other flag as
-eighteen yards.</p>
-
-<p>The sons of the eldest son bear each his own difference charged upon
-the label of his father, and in similar manner the sons of the second
-son of the head of the family charge their differences on their
-father’s crescent, and so forth. As marking the degree of nearness to
-the headship of the family such distinctions are disused or changed
-as circumstances dictate, but in some cases a second or other junior
-son continues to use his difference after his father’s death in order
-to prevent confusion with his elder brother who has in due course
-succeeded to the undifferenced coat, and in spite of the inevitable
-clashing with the second son of that elder brother, who would also
-bear a crescent for difference. Such a method of distinguishing
-“Houses” as well as sons would, of course, become impossible in a very
-few generations, and this points to the superiority of the mediaeval
-method of differencing as well as to what is the principal weakness of
-modern heraldry in England as a system, namely, the want of distinction
-between the branches<span class="pagenum" id="Page_290">[Pg 290]</span> of a family. That, however, is more a matter for
-the scientific herald. The mark of cadency may be placed on the crest
-as well as on the arms, but it is not commonly done, except when the
-crest is used alone.</p>
-
-<p>It should be noted here that though daughters (other than Princesses
-of the Blood) do not difference their arms personally, for they rank
-equally among themselves, they do bear their father’s difference so
-long as he bears it.</p>
-
-<p>When by impalement or other means the individuality of the bearer is
-sufficiently pointed out, marks of cadency are frequently considered
-to be redundant, and are therefore omitted; but their inclusion is
-preferable.</p>
-
-<p>Royal cadency follows a method apart, and when arms are assigned by
-the Sovereign to the various members of the Royal Family, as is done
-by warrant on their arrival at full age, the proper individual mark
-of cadency is assigned at the same time. At the present day it always
-takes the form of a label; which is plain for the Prince of Wales, and
-charged in some distinctive manner for other members of the Blood Royal.</p>
-
-<p>The labels of the other living Princes and Princesses to whom arms have
-been assigned are as follows: and it should be noted that all these
-various labels are Argent. The Princess Royal (Duchess of Fife) bears
-over the Royal Arms a label of five points charged with three crosses
-gules alternating with two thistles <abbr title="purpure">ppr.</abbr></p>
-
-<p>The Princess Victoria differences her arms with a label of five points
-charged with three roses alternately with two crosses gules.</p>
-
-<p>The Princess Maud (Queen of Norway) bears a label<span class="pagenum" id="Page_291">[Pg 291]</span> of five points
-charged with three hearts and two crosses gules.</p>
-
-<p>The Duke of Connaught has a label of three points, charged on the
-centre point with <abbr title="saint">St.</abbr> George’s Cross and on each of the others with a
-fleur-de-lis Azure.</p>
-
-<p>The Princess Christian, of Schleswig-Holstein, bears a label of three
-points, the centre of which is charged with <abbr title="saint">St.</abbr> George’s Cross and each
-of the others with a rose gules.</p>
-
-<p>The Princess Louise (Duchess of Argyll) bears a label of three points,
-the centre point charged with a rose, each of the others with a canton
-gules.</p>
-
-<p>The Princess Beatrice (Princess Henry of Battenberg) bears a label
-of three points, the centre one charged with a heart and each of the
-others with a rose.</p>
-
-<p>In Royal Achievements the labels are charged on the crest and
-supporters as well as the arms, and in these positions are usually
-couped at the ends, though there is no reason why they should be so;
-on the contrary, remembering that these figures are “in the round” it
-would be preferable to follow the ancient usage.</p>
-
-<p>A further distinction from the arms of the Sovereign is made by
-substituting for the Imperial Crown, which is borne on the heads of the
-lion crest and supporter and also encircles the throat of the unicorn,
-the coronet which is proper to the personage concerned.</p>
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_293">[Pg 293]</span></p>
-
-<h2 class="nobreak" id="INDEX">INDEX</h2>
-</div>
-
-<p class="l15">PAGE</p>
-<ul class="index">
-
-<li class="indx">  <span class="smcap">Accessories</span>, <a href="#Page_139">139</a></li>
-
-<li class="indx">  <span class="smcap">Achievements</span>, <a href="#Page_16">16</a>, <a href="#Page_19">19</a></li>
-
-<li class="indx">  <span class="smcap">Aldegrever</span>, <a href="#Page_34">34</a></li>
-
-<li class="indx">  <span class="smcap">Alexander First, seal of</span>, <a href="#Page_66">66</a></li>
-
-<li class="indx">  <span class="smcap">Alloa House, shields at</span>, <a href="#fig141">113</a>, <a href="#Page_114">114</a>, <a href="#fig142">115</a>, <a href="#fig170">157</a>, <a href="#Page_161">161</a>, <a href="#Page_217">217</a>, <a href="#fig205">219</a></li>
-
-<li class="indx">  <span class="smcap">Altar frontal</span>, <a href="#Page_250">250</a></li>
-
-<li class="indx">  <span class="smcap">Amman, Jost</span>, <a href="#Page_35">35</a>, <a href="#Page_108">108</a></li>
-
-<li class="indx">  <span class="smcap">Amorini</span>, <a href="#Page_144">144</a></li>
-
-<li class="indx">  <span class="smcap">Angels</span>, <a href="#Page_144">144</a></li>
-
-<li class="indx">  <span class="smcap">Animals</span> as crests, <a href="#Page_127">127</a>;</li>
-<li class="isub2">and monsters, <a href="#Page_66">66</a>;</li>
-<li class="isub2">on flags, <a href="#Page_257">257</a>;</li>
-<li class="isub2">on the bardings of horses, <a href="#Page_257">257</a></li>
-
-<li class="indx">  <span class="smcap">Anne of Bohemia, device knot of</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  ” <span class="smcap">of Brittany</span>, <a href="#Page_116">116</a>, <a href="#Page_212">212</a></li>
-
-<li class="indx">  ” <span class="smcap">Countess of Devon, seal of</span>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  ” <span class="smcap">Queen</span>, <a href="#Page_108">108</a></li>
-
-<li class="indx">  <span class="smcap">Annulet</span>, <a href="#Page_267">267</a>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Anselm, Dom</span>, <a href="#Page_40">40</a></li>
-
-<li class="indx">  <span class="smcap">Anthony de Bec, seal of</span>, <a href="#Page_98">98</a></li>
-
-<li class="indx">  <span class="smcap">Architectural heraldry</span>, <a href="#Page_204">204</a></li>
-
-<li class="indx">  <span class="smcap">Argent</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Argyll, Duke of</span>, <a href="#Page_155">155</a></li>
-
-<li class="indx">  <span class="smcap">Armorial accessories</span>, <a href="#Page_139">139</a></li>
-
-<li class="indx">  ” <span class="allsmcap">GARMENTS</span>, <a href="#Page_3">3</a></li>
-
-<li class="indx">  <span class="smcap">Armour</span>, <a href="#Page_123">123</a></li>
-
-<li class="indx">  <span class="smcap">Arundel, coronet of the Earl of</span>, <a href="#Page_154">154</a></li>
-
-<li class="indx">  <span class="smcap">Assyrian lion</span>, <a href="#Page_80">80</a></li>
-
-<li class="indx">  <span class="smcap">Attenuation</span>, <a href="#Page_67">67</a></li>
-
-<li class="indx">  <span class="smcap">Augmentations</span>, <a href="#Page_6">6</a></li>
-
-<li class="indx">  <span class="smcap">Azure</span>, <a href="#Page_44">44</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Badges</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Banners</span>, <a href="#Page_28">28</a>, <a href="#Page_69">69</a>;</li>
-<li class="isub2">of the Garter, <a href="#Page_255">255</a>;</li>
-<li class="isub2">painted, <a href="#Page_262">262</a></li>
-
-<li class="indx">  <span class="smcap">Bar</span>, <a href="#Page_50">50</a></li>
-
-<li class="indx">  <span class="smcap">Barnacles</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Baronet</span>, <a href="#Page_156">156</a>;</li>
-<li class="isub2">of Nova Scotia, <a href="#Page_156">156</a></li>
-
-<li class="indx">  <span class="smcap">Baronet’s helmet</span>, <a href="#Page_129">129</a></li>
-
-<li class="indx">  <span class="smcap">Baron’s</span> cap, <a href="#Page_154">154</a>;</li>
-<li class="isub2">coronet, <a href="#Page_154">154</a></li>
-
-<li class="indx">  <span class="smcap">Barry</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  <span class="smcap">Bars-gemelle</span>, <a href="#Page_50">50</a></li>
-
-<li class="indx">  <span class="smcap">Basle, arms of</span>, <a href="#Page_271">271</a></li>
-
-<li class="indx">  <span class="smcap">Basset, Lord, of Drayton</span>, <a href="#Page_20">20</a></li>
-
-<li class="indx">  <span class="smcap">Bassetaille enamel</span>, <a href="#Page_178">178</a></li>
-
-<li class="indx">  <span class="smcap">Bath</span>, the Order of the, <a href="#Page_16">16</a>;</li>
-<li class="isub2">insignia of various ranks, <a href="#Page_163">163</a></li>
-
-<li class="indx">  <span class="smcap">Baton</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Battering-ram</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Beaumont, Sir Edmund, arms of</span>, <a href="#Page_238">238</a></li>
-
-<li class="indx">  <span class="smcap">Bedcover, lace</span>, <a href="#fig232">264</a></li>
-
-<li class="indx">  <span class="smcap">Bedford, Duke of</span>, <a href="#Page_85">85</a></li>
-
-<li class="indx">  <span class="smcap">Beham, Hans Sebald</span>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  <span class="smcap">Bells</span>, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">Bend</span>, <a href="#Page_51">51</a></li>
-
-<li class="indx">  <span class="smcap">Bendlet</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Bend-sinister</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Bendy</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Berkeley, arms of</span>, <a href="#Page_64">64</a></li>
-
-<li class="indx">  <span class="smcap">Bertie, arms of</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Bezant</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Bible</span>, <a href="#Page_70">70</a></li>
-
-<li class="indx">  ” <span class="smcap">Winchester Cathedral</span>, <a href="#Page_164">164</a></li>
-
-<li class="indx">  <span class="smcap">Bill</span>, <a href="#Page_197">197</a></li>
-
-<li class="indx">  <span class="smcap">Birds</span>, <a href="#Page_89">89</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_294">[Pg 294]</span>  <span class="smcap">Birmingham, city of</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Black Prince, the</span>, <a href="#Page_8">8</a>, <a href="#Page_75">75</a>;</li>
-<li class="isub2">surcoat, <a href="#Page_102">102</a>, <a href="#Page_248">248</a></li>
-
-<li class="indx">  <span class="smcap">Blacksmiths’ Company, arms of</span>, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">Blazon</span>, <a href="#Page_15">15</a>, <a href="#Page_38">38</a>, <a href="#Page_54">54</a>, <a href="#Page_75">75</a></li>
-
-<li class="indx">  <span class="smcap">Blois, badges at</span>, <a href="#Page_205">205</a></li>
-
-<li class="indx">  <span class="smcap">Boar</span>, <a href="#fig212">232</a></li>
-
-<li class="indx">  <span class="smcap">Bolt-plate</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  <span class="smcap">Bordure</span>, <a href="#Page_59">59</a></li>
-
-<li class="indx">  <span class="smcap">Botticelli, Sandro</span>, <a href="#Page_261">261</a></li>
-
-<li class="indx">  <span class="smcap">Bourchier, Louis Robsart, Lord</span>, <a href="#Page_17">17</a></li>
-
-<li class="indx">  ” <span class="allsmcap">KNOT</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Bowen knot</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Brass, monumental</span>, <a href="#Page_184">184</a></li>
-
-<li class="indx">  <span class="smcap">Bray, Sir Reginald, badge of</span>, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">Brewys, Sir John de, brass of</span>, <a href="#Page_184">184</a></li>
-
-<li class="indx">  <span class="smcap">Brittany, badge of</span>, <a href="#Page_205">205</a></li>
-
-<li class="indx">  <span class="smcap">Bronze mortar</span>, <a href="#Page_188">188</a></li>
-
-<li class="indx">  <span class="smcap">Brunswick, Duchess of</span>, <a href="#Page_265">265</a></li>
-
-<li class="indx">  <span class="smcap">Buckles</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Bugle horn</span>, <a href="#Page_269">269</a></li>
-
-<li class="indx">  <span class="smcap">Bulla of gold of Henry VIII.</span>, <a href="#Page_149">149</a></li>
-
-<li class="indx">  <span class="smcap">Buonamici</span>, <a href="#Page_31">31</a></li>
-
-<li class="indx">  <span class="smcap">Burges</span>, <a href="#Page_13">13</a>, <a href="#Page_226">226</a></li>
-
-<li class="indx">  <span class="smcap">Burgundy, Charles, Duke of</span>, <a href="#Page_251">251</a></li>
-
-<li class="indx">  <span class="smcap">Butler, Sir James, arms of</span>, <a href="#Page_238">238</a></li>
-
-<li class="indx">  <span class="smcap">Byron, arms of</span>, <a href="#Page_52">52</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Cadency</span>, <a href="#Page_286">286</a></li>
-
-<li class="indx">  <span class="smcap">Cambridge University, arms of</span>, <a href="#Page_70">70</a></li>
-
-<li class="indx">  <span class="smcap">Canton</span>, <a href="#Page_58">58</a></li>
-
-<li class="indx">  <span class="smcap">Cap of Maintenance</span>, <a href="#Page_155">155</a></li>
-
-<li class="indx">  <span class="smcap">Carnarvon, Lord</span>, <a href="#Page_146">146</a></li>
-
-<li class="indx">  <span class="smcap">Cast iron</span>, <a href="#Page_185">185</a></li>
-
-<li class="indx">  <span class="smcap">Caxton</span>, <a href="#Page_4">4</a></li>
-
-<li class="indx">  <span class="smcap">Ceilings</span>, <a href="#Page_213">213</a></li>
-
-<li class="indx">  <span class="smcap">Cellini</span>, <a href="#Page_180">180</a></li>
-
-<li class="indx">  <span class="smcap">Centaur</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Ceremonial shields</span>, <a href="#Page_9">9</a>, <a href="#Page_29">29</a>;</li>
-<li class="isub2">structure of, <a href="#Page_30">30</a></li>
-
-<li class="indx">  <span class="smcap">Champlevé enamel</span>, <a href="#Page_171">171</a></li>
-
-<li class="indx">  <span class="smcap">Chaplet</span>, <a href="#Page_269">269</a></li>
-
-<li class="indx">  <span class="smcap">Charges</span>, <a href="#Page_50">50</a>;</li>
-<li class="isub2">flat and in relief, <a href="#Page_29">29</a>;</li>
-<li class="isub2">their arrangement, <a href="#Page_61">61</a></li>
-
-<li class="indx">  <span class="smcap">Charles I., great seal of</span>, <a href="#Page_74">74</a></li>
-
-<li class="indx">  ” <span class="smcap">II., great seal of</span>, <a href="#Page_110">110</a></li>
-
-<li class="indx">  ” <span class="smcap">V., Emperor, arms of</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  ” <span class="smcap">Count d’Eu, effigy with label</span>, <a href="#Page_287">287</a></li>
-
-<li class="indx">  ” <span class="smcap">the Bold</span>, <a href="#Page_251">251</a></li>
-
-<li class="indx">  <span class="smcap">Chequey</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Chess-rook</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Chester, city of</span>, <a href="#Page_83">83</a></li>
-
-<li class="indx">  <span class="smcap">Chevron</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Chief</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Chimney pieces</span>, <a href="#Page_212">212</a></li>
-
-<li class="indx">  <span class="smcap">Chivalry, the Order of</span>, <a href="#Page_4">4</a></li>
-
-<li class="indx">  <span class="smcap">Choice of treatment</span>, <a href="#Page_7">7</a>, <a href="#Page_19">19</a></li>
-
-<li class="indx">  <span class="smcap">Cinque Ports</span>, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Cinquefoil</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Cistern, lead</span>, <a href="#Page_200">200</a></li>
-
-<li class="indx">  <span class="smcap">Civic crown</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Clarence, Duke of</span>, <a href="#Page_109">109</a></li>
-
-<li class="indx">  <span class="smcap">Clarion</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Clement VII, Pope</span>, <a href="#Page_240">240</a></li>
-
-<li class="indx">  <span class="smcap">Cleobury, W. T.</span>, <a href="#Page_238">238</a></li>
-
-<li class="indx">  <span class="smcap">Cloisonné enamel</span>, <a href="#Page_181">181</a></li>
-
-<li class="indx">  <span class="smcap">Clouds</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Cock</span>, <a href="#fig99">79</a>, <a href="#Page_92">92</a></li>
-
-<li class="indx">  <span class="smcap">Cockatrice</span>, <a href="#Page_271">271</a></li>
-
-<li class="indx">  <span class="smcap">Collar</span>, of the Order of the Garter, <a href="#Page_158">158</a>;</li>
-<li class="isub2">of <abbr title="saint">St.</abbr> Patrick, <a href="#Page_162">162</a>;</li>
-<li class="isub2">of the Thistle, <a href="#Page_160">160</a>;</li>
-<li class="isub2">of the Bath, <a href="#Page_162">162</a>;</li>
-<li class="isub2">of Toison d’Or, <a href="#fig187">193</a></li>
-
-<li class="indx">  <span class="smcap">Colours of mantling</span>, <a href="#Page_137">137</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_295">[Pg 295]</span>  <span class="smcap">Compony</span>, <a href="#Page_49">49</a></li>
-
-<li class="indx">  <span class="smcap">Coronets</span>, <a href="#Page_271">271</a>;</li>
-<li class="isub2">crest coronet, <a href="#Page_271">271</a>;</li>
-<li class="isub2">mural crown, <a href="#Page_273">273</a>;</li>
-<li class="isub2">naval crown, <a href="#Page_273">273</a>;</li>
-<li class="isub2">crown vallery, <a href="#Page_273">273</a>;</li>
-<li class="isub2">crown palisado, <a href="#Page_273">273</a>;</li>
-<li class="isub2">eastern crown, <a href="#Page_273">273</a>;</li>
-<li class="isub2">celestial crown, <a href="#Page_274">274</a></li>
-
-<li class="indx">  <span class="smcap">Coronets, Royal</span>, <a href="#Page_152">152</a></li>
-
-<li class="indx">  ” <span class="allsmcap">OF PEERS</span>, <a href="#Page_153">153</a></li>
-
-<li class="indx">  <span class="smcap">Cotise</span>, <a href="#Page_51">51</a></li>
-
-<li class="indx">  <span class="smcap">Counterchange</span>, <a href="#Page_49">49</a></li>
-
-<li class="indx">  <span class="smcap">Counter-Compony</span>, <a href="#Page_49">49</a></li>
-
-<li class="indx">  <span class="smcap">Counter-potent</span>, <a href="#Page_46">46</a></li>
-
-<li class="indx">  <span class="smcap">Counter-vair</span>, <a href="#Page_46">46</a></li>
-
-<li class="indx">  <span class="smcap">Couped</span>, <a href="#Page_54">54</a>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Crosses</span>, <a href="#Page_96">96</a></li>
-
-<li class="indx">  <span class="smcap">Cross</span>, <a href="#Page_5">5</a>, <a href="#Page_53">53</a>;</li>
-<li class="isub2"><a id="bottonee"></a>bottonée, <a href="#Page_100">100</a>;</li>
-<li class="isub2">couped, <a href="#Page_54">54</a>;</li>
-<li class="isub2">calvary, <a href="#Page_97">97</a>;</li>
-<li class="isub2">crosslet, <a href="#Page_99">99</a>;</li>
-<li class="isub2">crosslet-fitchy, <a href="#Page_99">99</a>;</li>
-<li class="isub2">fleuretté, <a href="#Page_97">97</a>;</li>
-<li class="isub2">flory, <a href="#Page_97">97</a>;</li>
-<li class="isub2"><a id="furchee"></a>furchée, <a href="#Page_101">101</a>;</li>
-<li class="isub2">interlaced, <a href="#Page_53">53</a>;</li>
-<li class="isub2">moline, <a href="#Page_97">97</a>;</li>
-<li class="isub2">nowy, <a href="#Page_54">54</a>;</li>
-<li class="isub2">parted and fretty, <a href="#Page_53">53</a>;</li>
-<li class="isub2"><a id="patonee"></a>patonee, <a href="#Page_97">97</a>;</li>
-<li class="isub2">patée, <a href="#Page_99">99</a>;</li>
-<li class="isub2">pomell, <a href="#Page_100">100</a>;</li>
-<li class="isub2">potent, <a href="#Page_101">101</a>;</li>
-<li class="isub2">quadrate, <a href="#Page_54">54</a>;</li>
-<li class="isub2">quarter pierced, <a href="#Page_54">54</a>;</li>
-<li class="isub2">recercelée, <a href="#Page_99">99</a>;</li>
-<li class="isub2">tau, <a href="#Page_101">101</a>;</li>
-<li class="isub2">urdée, <a href="#Page_100">100</a>;</li>
-<li class="isub2">voided, <a href="#Page_53">53</a></li>
-
-<li class="indx">  <span class="smcap">Crest</span>, <a href="#Page_37">37</a>, <a href="#Page_118">118</a>;</li>
-<li class="isub2">ceremonial use, <a href="#Page_118">118</a>;</li>
-<li class="isub2">difficulties in treatment, <a href="#Page_130">130</a>;</li>
-<li class="isub2">dragon’s head, <a href="#Page_127">127</a>;</li>
-<li class="isub2">of the Black Prince, <a href="#Page_126">126</a>;</li>
-<li class="isub2">panache, <a href="#Page_125">125</a>;</li>
-<li class="isub2">tourney crest, <a href="#Page_136">136</a></li>
-
-<li class="indx">  <span class="smcap">Crests of Queens Regnant</span>, <a href="#Page_37">37</a></li>
-
-<li class="indx">  <span class="smcap">Crescent</span>, <a href="#Page_192">192</a>, <a href="#Page_274">274</a>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Crown</span>, Imperial, <a href="#Page_148">148</a>;</li>
-<li class="isub2">of Henry V., of Henry VIII., of Charles II., <a href="#Page_148">148</a>;</li>
-<li class="isub2">Georgian, <a href="#Page_149">149</a></li>
-
-<li class="indx">  <span class="smcap">Crusades</span>, <a href="#Page_2">2</a></li>
-
-<li class="indx">  <span class="smcap">Cutwork</span>, <a href="#Page_261">261</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Dacre knot</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Damascening</span>, <a href="#Page_198">198</a></li>
-
-<li class="indx">  <span class="smcap">Dancettée</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Day, Lewis F.</span>, <a href="#Page_240">240</a></li>
-
-<li class="indx">  <span class="smcap">Demi-lions</span>, <a href="#Page_83">83</a></li>
-
-<li class="indx">  <span class="smcap">Derby, Countess of</span>, <a href="#Page_146">146</a></li>
-
-<li class="indx">  <span class="smcap">Devices at Alloa House</span>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a></li>
-
-<li class="indx">  <span class="smcap">Diana de Poitiers, badge of</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  <span class="smcap">Diapering</span>, <a href="#Page_110">110</a></li>
-
-<li class="indx">  <span class="smcap">Dimidiation</span>, <a href="#Page_83">83</a></li>
-
-<li class="indx">  <span class="smcap">Distribution, plans for</span>, <a href="#Page_82">82</a>, <a href="#Page_91">91</a></li>
-
-<li class="indx">  <span class="smcap">Division of the field</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  <span class="smcap">Dolphin</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Donatello</span>, <a href="#Page_189">189</a></li>
-
-<li class="indx">  <span class="smcap">Dovetailed</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Dragon of Cadwallader</span>, <a href="#Page_182">182</a>, <a href="#Page_183">183</a></li>
-
-<li class="indx">  <span class="smcap">Dragon’s head crest</span>, <a href="#Page_127">127</a></li>
-
-<li class="indx">  <span class="smcap">Duke’s coronet</span>, <a href="#Page_153">153</a></li>
-
-<li class="indx">  <span class="smcap"><a id="durer"></a>Dürer</span>, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_34">34</a>, <a href="#fig99">79</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Eagles</span>, <a href="#Page_89">89</a>;</li>
-<li class="isub2">plan for distribution, <a href="#Page_91">91</a></li>
-
-<li class="indx">  <span class="smcap">Eagle</span> of the Emperor, <a href="#Page_90">90</a>;</li>
-<li class="isub2">of the Holy Roman Empire, <a href="#Page_146">146</a>;</li>
-<li class="isub2">of Prussia, <a href="#Page_146">146</a>;</li>
-<li class="isub2">on lock-plate, <a href="#fig183">190</a></li>
-
-<li class="indx">  <span class="smcap">Earl’s coronet</span>, <a href="#Page_154">154</a></li>
-
-<li class="indx">  <span class="smcap">Eastern influence on heraldry</span>, <a href="#Page_6">6</a></li>
-
-<li class="indx">  <span class="smcap">Edmond Beaufort, Duke of Somerset, seal of</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Edmund, Prince, of Langley</span>, <a href="#Page_60">60</a>, <a href="#Page_90">90</a>, <a href="#Page_272">272</a></li>
-
-<li class="indx">  <span class="smcap">Edward the Black Prince</span>, <a href="#Page_8">8</a>, <a href="#Page_75">75</a></li>
-
-<li class="indx">  ” <span class="smcap">the Confessor</span>, <a href="#Page_92">92</a></li>
-
-<li class="indx">  ” I, <a href="#Page_3">3</a></li>
-
-<li class="indx">  ” II, <a href="#Page_59">59</a></li>
-
-<li class="indx">  ” III, <a href="#Page_29">29</a>, <a href="#Page_62">62</a>, <a href="#Page_68">68</a>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  ” IV, <a href="#Page_29">29</a></li>
-
-<li class="indx">  <span class="smcap">Eleanor, Queen</span>, <a href="#Page_3">3</a></li>
-
-<li class="indx">  <span class="smcap">Electrotype</span>, <a href="#fig196">202</a></li>
-
-<li class="indx">  <span class="smcap">Elizabeth, Queen</span>, <a href="#Page_107">107</a>, <a href="#Page_109">109</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_296">[Pg 296]</span>  <span class="smcap">Elizabethan decoration</span>, <a href="#Page_36">36</a></li>
-
-<li class="indx">  <span class="smcap">Embattled</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Embroidery</span>, <a href="#Page_246">246</a></li>
-
-<li class="indx">  <span class="smcap">Embroidered arms</span>, <a href="#Page_252">252</a></li>
-
-<li class="indx">  ” <span class="allsmcap">BADGES</span>, <a href="#Page_250">250</a></li>
-
-<li class="indx">  <span class="smcap">Enamel</span>, <a href="#Page_170">170</a>;</li>
-<li class="isub2">Bassetaille, <a href="#Page_178">178</a>;</li>
-<li class="isub2">Champlevé, <a href="#Page_171">171</a>;</li>
-<li class="isub2">Cloisonné, <a href="#Page_181">181</a>;</li>
-<li class="isub2">designs and drawings, <a href="#Page_180">180</a>;</li>
-<li class="isub2">“Limoges enamel,” <a href="#Page_177">177</a>;</li>
-<li class="isub2">plique-a-jour, <a href="#Page_180">180</a></li>
-
-<li class="indx">  <span class="smcap">England, arms of</span>, <a href="#Page_8">8</a>, <a href="#Page_69">69</a>, <a href="#Page_75">75</a>, <a href="#Page_83">83</a></li>
-
-<li class="indx">  <span class="smcap">Engrailed</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Engraving, decorative</span>, <a href="#Page_196">196</a></li>
-
-<li class="indx">  <span class="smcap">Enhanced</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Erased</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Eric, King of Sweden, arms of</span>, <a href="#Page_253">253</a></li>
-
-<li class="indx">  <span class="smcap">Ermines</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Erminois</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Erskine, Henricus de</span>, <a href="#fig141">113</a></li>
-
-<li class="indx">  <span class="smcap">Escallop shell</span>, <a href="#Page_274">274</a></li>
-
-<li class="indx">  <span class="smcap">Escarbuncle</span>, <a href="#Page_275">275</a></li>
-
-<li class="indx">  <span class="smcap">Estoile</span>, <a href="#Page_275">275</a></li>
-
-<li class="indx">  <span class="smcap">Esquire’s helmet</span>, <a href="#Page_129">129</a></li>
-
-<li class="indx">  <span class="smcap">Etched decoration</span>, <a href="#Page_200">200</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Falcon</span>, <a href="#Page_91">91</a></li>
-
-<li class="indx">  <span class="smcap">Fess</span>, <a href="#Page_50">50</a></li>
-
-<li class="indx">  <span class="smcap">Field, the</span>, <a href="#Page_41">41</a></li>
-
-<li class="indx">  ” <span class="smcap">of the Cloth of Gold, gold seal of treaty</span>, <a href="#Page_149">149</a></li>
-
-<li class="indx">  <span class="smcap">Firebacks</span>, <a href="#Page_185">185</a></li>
-
-<li class="indx">  <span class="smcap">Fish</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Fishmongers’ Company</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Fitzalan, Earl of Arundel</span>, <a href="#Page_154">154</a></li>
-
-<li class="indx">  <span class="smcap">Fitzjames</span>, <a href="#Page_37">37</a></li>
-
-<li class="indx">  <span class="smcap">Flanches</span>, <a href="#Page_61">61</a></li>
-
-<li class="indx">  <span class="smcap">Flanders, arms of</span>, <a href="#Page_252">252</a></li>
-
-<li class="indx">  <span class="smcap">Flasques</span>, <a href="#Page_61">61</a></li>
-
-<li class="indx">  <span class="smcap">Fleurs-de-lis</span>, <a href="#Page_101">101</a></li>
-
-<li class="indx">  <span class="smcap">Florence, arms of</span>, <a href="#Page_103">103</a></li>
-
-<li class="indx">  <span class="smcap">Florentine heraldry</span>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHIELD</span>, <a href="#Page_112">112</a></li>
-
-<li class="indx">  <span class="smcap">Flowers</span>, <a href="#Page_5">5</a></li>
-
-<li class="indx">  <span class="smcap">Foreign influence</span>, <a href="#Page_11">11</a></li>
-
-<li class="indx">  <span class="smcap">Foster’s Peerage</span>, <a href="#Page_40">40</a></li>
-
-<li class="indx">  <span class="smcap">Fountain</span>, <a href="#Page_275">275</a>;</li>
-<li class="isub2">lead, <a href="#Page_201">201</a></li>
-
-<li class="indx">  <span class="smcap">France, arms of</span>, <a href="#Page_8">8</a>, <a href="#Page_62">62</a></li>
-
-<li class="indx">  <span class="smcap">Frederick II, arms of</span>, <a href="#Page_265">265</a></li>
-
-<li class="indx">  <span class="smcap"><a id="chateaux"></a>French châteaux</span>, <a href="#Page_205">205</a></li>
-
-<li class="indx">  <span class="smcap">Friezes</span>, <a href="#Page_209">209</a></li>
-
-<li class="indx">  <span class="smcap">Froissart</span>, <a href="#Page_27">27</a></li>
-
-<li class="indx">  <span class="smcap">Fusil</span>, <a href="#Page_58">58</a></li>
-
-<li class="indx">  <span class="smcap">Fylfot</span>, <a href="#Page_276">276</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Gallery of the Vyne</span>, <a href="#Page_212">212</a></li>
-
-<li class="indx">  <span class="smcap">Garbs</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Garlands</span>, <a href="#Page_5">5</a></li>
-
-<li class="indx">  <span class="smcap">Garter</span>, the, <a href="#Page_156">156</a>, <a href="#Page_158">158</a>;</li>
-<li class="isub2">collar of the, <a href="#Page_107">107</a>;</li>
-<li class="isub2">Knight of the, <a href="#Page_20">20</a>;</li>
-<li class="isub2">order of the, <a href="#Page_136">136</a>, <a href="#Page_158">158</a></li>
-
-<li class="indx">  <span class="smcap">Garter plates</span>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  <span class="smcap">Gaston de Foix</span>, <a href="#Page_136">136</a>, <a href="#Page_287">287</a></li>
-
-<li class="indx">  <span class="smcap">Geneville, arms of</span>, <a href="#Page_248">248</a></li>
-
-<li class="indx">  <span class="smcap">George the Lesser, Order of the</span>, <a href="#Page_158">158</a></li>
-
-<li class="indx">  <span class="smcap">Geratting</span>, <a href="#Page_62">62</a></li>
-
-<li class="indx">  <span class="smcap">German heraldry</span>, <a href="#Page_78">78</a>;</li>
-<li class="isub2">Gothic influence in, <a href="#Page_78">78</a></li>
-
-<li class="indx">  <span class="smcap">Gesso</span>, <a href="#Page_18">18</a>, <a href="#Page_214">214</a>;</li>
-<li class="isub2">its preparations, <a href="#Page_215">215</a>;</li>
-<li class="isub2">use, <a href="#Page_116">116</a>;</li>
-<li class="isub2">Cennino Cennini, <a href="#Page_215">215</a></li>
-
-<li class="indx">  <span class="smcap">Gilbert, Alfred</span>, <a href="#Page_109">109</a></li>
-
-<li class="indx">  <span class="smcap">Glaive</span>, <a href="#Page_197">197</a></li>
-
-<li class="indx">  <span class="smcap">Gloucester, Duke of</span>, <a href="#Page_29">29</a></li>
-
-<li class="indx">  <span class="smcap">Goat</span>, <a href="#Page_85">85</a></li>
-
-<li class="indx">  <span class="smcap">Gobony</span>, <a href="#Page_49">49</a></li>
-
-<li class="indx">  <span class="smcap">Godmanchester, seal of</span>, <a href="#Page_103">103</a></li>
-
-<li class="indx">  <span class="smcap">Golden Fleece</span>, <a href="#fig187">193</a>, <a href="#Page_251">251</a></li>
-
-<li class="indx">  <span class="smcap">Goldsmiths’ Company, arms of</span>, <a href="#Page_85">85</a></li>
-
-<li class="indx">  <span class="smcap">Golpes</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Gothic lions</span>, <a href="#Page_76">76</a></li>
-
-<li class="indx">  ” <span class="allsmcap">REVIVAL</span>, <a href="#Page_12">12</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_297">[Pg 297]</span>  ” <span class="allsmcap">WORK</span>, <a href="#Page_17">17</a></li>
-
-<li class="indx">  <span class="smcap">Goutté d’Or, etc.</span>, <a href="#Page_62">62</a></li>
-
-<li class="indx">  <span class="smcap">Great George, the</span>, <a href="#Page_158">158</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SEALS</span>, <a href="#Page_17">17</a>, <a href="#Page_110">110</a>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Greek symbolic figures</span>, <a href="#Page_21">21</a></li>
-
-<li class="indx">  <span class="smcap">Green, Everard</span>, <a href="#Page_238">238</a>, <a href="#Page_280">280</a></li>
-
-<li class="indx">  <span class="smcap">Greyhounds</span>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Grielly, arms of</span>, <a href="#Page_287">287</a></li>
-
-<li class="indx">  <span class="smcap">Griffin or Gryphon</span>, <a href="#Page_87">87</a></li>
-
-<li class="indx">  <span class="smcap">Grocers’ Company</span>, <a href="#Page_133">133</a>;</li>
-<li class="isub2">arms of, <a href="#Page_64">64</a></li>
-
-<li class="indx">  <span class="smcap">Gules</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Guttée</span>, <a href="#Page_62">62</a></li>
-
-<li class="indx">  <span class="smcap">Guzes</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Gyron</span>, <a href="#Page_58">58</a></li>
-
-<li class="indx">  <a id="gyron"></a><span class="smcap">Gyronny</span>, <a href="#Page_47">47</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Halberd</span>, <a href="#Page_198">198</a></li>
-
-<li class="indx">  <span class="smcap">Hammer</span>, <a href="#Page_276">276</a></li>
-
-<li class="indx">  <span class="smcap">Hampton Court</span>, <a href="#Page_147">147</a>, <a href="#Page_214">214</a></li>
-
-<li class="indx">  <span class="smcap">Harps</span>, <a href="#Page_108">108</a></li>
-
-<li class="indx">  <span class="smcap">Harpy</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Hawk’s</span> bells and jesses, <a href="#Page_277">277</a>;</li>
-<li class="isub2">lure, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">Helm</span>, <a href="#Page_117">117</a>;</li>
-<li class="isub2">ceremonial use, <a href="#Page_118">118</a>;</li>
-<li class="isub2">development of form, <a href="#Page_119">119</a>;</li>
-<li class="isub2">its structure, <a href="#Page_120">120</a></li>
-
-<li class="indx">  <span class="smcap">Helmet</span>, <a href="#Page_122">122</a>;</li>
-<li class="isub2">as a sign of rank, <a href="#Page_128">128</a></li>
-
-<li class="indx">  <span class="smcap">Hemp-brake</span>, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">Heneage knot</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Henry V</span>, <a href="#Page_106">106</a>, <a href="#Page_140">140</a>;</li>
-<li class="isub2">Great Seal of, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_20">20</a></li>
-
-<li class="indx">  ” V, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_29">29</a>, <a href="#Page_35">35</a>;</li>
-<li class="isub2">chantry, <a href="#Page_146">146</a></li>
-
-<li class="indx">  ” <span class="smcap">VI, arms of</span>, <a href="#Page_236">236</a></li>
-
-<li class="indx">  ” VII, <a href="#Page_11">11</a>, <a href="#Page_106">106</a>, <a href="#Page_158">158</a>;</li>
-<li class="isub2">badge of, <a href="#Page_282">282</a>;</li>
-<li class="isub2">tomb, <a href="#Page_182">182</a></li>
-
-<li class="indx">  ” <span class="smcap">II of France, arms of</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  ” <span class="smcap">Prince of Wales</span>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  ” <span class="smcap">son of Swanus, seal of</span>, <a href="#Page_66">66</a></li>
-
-<li class="indx">  <span class="smcap">Heraldry</span>, origin of, <a href="#Page_1">1</a>;</li>
-<li class="isub2">eastern influence, <a href="#Page_6">6</a>;</li>
-<li class="isub2">foreign influence on, <a href="#Page_11">11</a>;</li>
-<li class="isub2">Gothic influence, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>;</li>
-<li class="isub2">Italian influence, <a href="#Page_12">12</a></li>
-
-<li class="indx">  <span class="smcap">Heraldic qualities</span>, <a href="#Page_20">20</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHORTHAND</span>, <a href="#Page_55">55</a></li>
-
-<li class="indx">  ” <span class="allsmcap">ANTELOPE</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  ” <span class="allsmcap">TIGER</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Hinge with lions</span>, <a href="#fig184">191</a></li>
-
-<li class="indx">  <span class="smcap">Holbein</span>, <a href="#Page_12">12</a>, <a href="#Page_243">243</a></li>
-
-<li class="indx">  <span class="smcap">Holy Roman Empire, eagle of</span>, <a href="#Page_146">146</a></li>
-
-<li class="indx">  <span class="smcap">Horse</span>, <a href="#Page_85">85</a>, <a href="#Page_230">230</a></li>
-
-<li class="indx">  <span class="smcap">Human figures</span>, <a href="#Page_94">94</a>;</li>
-<li class="isub2">arms, <a href="#Page_95">95</a>;</li>
-<li class="isub2">hands, <a href="#Page_95">95</a>;</li>
-<li class="isub2">heads, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Hurt</span>, <a href="#Page_281">281</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Illuminations</span>, <a href="#Page_164">164</a>;</li>
-<li class="isub2">methods, materials, <a href="#Page_164">164</a></li>
-
-<li class="indx">  <span class="smcap">Impaling</span>, <a href="#Page_61">61</a></li>
-
-<li class="indx">  <span class="smcap">In fess, etc.</span>, <a href="#Page_63">63</a></li>
-
-<li class="indx">  <span class="smcap">In orle</span>, <a href="#Page_62">62</a></li>
-
-<li class="indx">  <span class="smcap">Indented</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Inescutcheon</span>, <a href="#Page_58">58</a></li>
-
-<li class="indx">  <span class="smcap">Insignia of orders</span>, <a href="#Page_156">156</a></li>
-
-<li class="indx">  <span class="smcap">Interior decoration</span>, <a href="#Page_210">210</a></li>
-
-<li class="indx">  <span class="smcap">Invected</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Ireland</span>, arms of, <a href="#Page_110">110</a>;</li>
-<li class="isub2">Great Seal for, <a href="#Page_110">110</a></li>
-
-<li class="indx">  <span class="smcap">Irish harp</span>, <a href="#Page_108">108</a></li>
-
-<li class="indx">  <span class="smcap">Isabella of France</span>, <a href="#Page_59">59</a></li>
-
-<li class="indx">  <span class="smcap">Italian glass painting</span>, <a href="#Page_240">240</a></li>
-
-<li class="indx">  ” <span class="allsmcap">INFLUENCE</span>, <a href="#Page_78">78</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHIELDS</span>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_35">35</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Jacobean decoration</span>, <a href="#Page_36">36</a></li>
-
-<li class="indx">  <span class="smcap">Jamb</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">James I</span>, <a href="#Page_107">107</a>, <a href="#Page_109">109</a>;</li>
-<li class="isub2">arms of, <a href="#Page_254">254</a></li>
-
-<li class="indx">  <span class="smcap">Jane Seymour, Queen</span>, <a href="#Page_150">150</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_298">[Pg 298]</span>  <span class="smcap">Javelin</span>, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Jesses</span>, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">John, Duke of Argyll</span>, <a href="#Page_155">155</a></li>
-
-<li class="indx">  ” <span class="smcap">Earl of Mar, K.T.</span>, <a href="#Page_161">161</a></li>
-
-<li class="indx">  ” <span class="smcap">King of France</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  ” <span class="smcap">Lord Erskine</span>, <a href="#Page_114">114</a></li>
-
-<li class="indx">  ” <span class="smcap">Prince, of Eltham</span>, <a href="#Page_50">50</a>, <a href="#Page_176">176</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Katherine, Queen of France</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  <span class="smcap">Kellie, device for earldom of</span>, <a href="#Page_220">220</a></li>
-
-<li class="indx">  <span class="smcap">Keys</span>, <a href="#Page_194">194</a></li>
-
-<li class="indx">  <span class="smcap">Knights</span> helmet, <a href="#Page_129">129</a>;</li>
-<li class="isub2">of orders, <a href="#Page_144">144</a>;</li>
-<li class="isub2">supporters of, <a href="#Page_144">144</a>;</li>
-<li class="isub2">other insignia, <a href="#Page_156">156</a></li>
-
-<li class="indx">  <span class="smcap">Knots</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Kress</span>, <a href="#Page_34">34</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Label</span>, <a href="#Page_286">286</a></li>
-
-<li class="indx">  <span class="smcap">Laborde, Comte de</span>, <a href="#Page_105">105</a></li>
-
-<li class="indx">  <span class="smcap">Lace</span>, <a href="#Page_265">265</a></li>
-
-<li class="indx">  <span class="smcap">Lacey knot</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Ladies, arms of</span>, <a href="#Page_36">36</a></li>
-
-<li class="indx">  <span class="smcap"><a id="lambre"></a>Lambrequins</span>, <a href="#Page_127">127</a></li>
-
-<li class="indx">  <span class="smcap">Lancaster rose</span>, <a href="#Page_106">106</a></li>
-
-<li class="indx">  <span class="smcap">Leeds University, crest of</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Leigh, Gerard</span>, <a href="#Page_87">87</a></li>
-
-<li class="indx">  <span class="smcap">Leland</span>, <a href="#Page_275">275</a></li>
-
-<li class="indx">  <span class="smcap">Leven and Melville, Lord</span>, <a href="#Page_217">217</a></li>
-
-<li class="indx">  <span class="smcap">“Limoges” enamel</span>, <a href="#Page_177">177</a></li>
-
-<li class="indx">  <span class="smcap">Lines, various</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Lions</span>, <a href="#Page_66">66</a>;</li>
-<li class="isub2">Assyrian <a href="#Page_80">80</a>;</li>
-<li class="isub2">head, <a href="#Page_84">84</a>;</li>
-<li class="isub2">leg, <a href="#Page_84">84</a>;</li>
-<li class="isub2">Renaissance, <a href="#Page_78">78</a></li>
-
-<li class="indx">  <span class="smcap">Lock-plates</span>, <a href="#Page_189">189</a></li>
-
-<li class="indx">  <span class="smcap">Louis VII</span>, <a href="#Page_102">102</a></li>
-
-<li class="indx">  ” XII, <a href="#Page_155">155</a>, <a href="#Page_205">205</a>;</li>
-<li class="isub2">badge of, <a href="#Page_212">212</a>;</li>
-<li class="isub2">medal of, <a href="#Page_116">116</a></li>
-
-<li class="indx">  <span class="smcap">Lozenge</span>, <a href="#Page_58">58</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHIELD</span>, <a href="#Page_36">36</a></li>
-
-<li class="indx">  <span class="smcap">Lozengy</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Luroques, arms of</span>, <a href="#Page_30">30</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Malatesta</span>, <a href="#Page_106">106</a></li>
-
-<li class="indx">  <span class="smcap">Male-griffin</span>, <a href="#Page_88">88</a></li>
-
-<li class="indx">  <span class="smcap">Mantling</span>, <a href="#Page_127">127</a>, <a href="#Page_134">134</a>, <a href="#Page_208">208</a>;</li>
-<li class="isub2">colour treatment of, <a href="#Page_137">137</a>;</li>
-<li class="isub2">rules for various ranks, <a href="#Page_137">137</a></li>
-
-<li class="indx">  <span class="smcap">Mar and Kellie, Earl of</span>, <a href="#Page_219">219</a></li>
-
-<li class="indx">  <span class="smcap">Margaret Campbell, Lady</span>, <a href="#Page_114">114</a></li>
-
-<li class="indx">  ” <span class="smcap">of Anjou</span>, <a href="#Page_236">236</a></li>
-
-<li class="indx">  <span class="smcap">Marks of cadency</span>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Marquis’s coronet</span>, <a href="#Page_153">153</a></li>
-
-<li class="indx">  <span class="smcap">Martel-de-fer</span>, <a href="#Page_276">276</a></li>
-
-<li class="indx">  <span class="smcap">Martelli, arms of</span>, <a href="#Page_189">189</a></li>
-
-<li class="indx">  <span class="smcap">Martlet</span>, <a href="#Page_92">92</a></li>
-
-<li class="indx">  <span class="smcap">Mary, Queen</span>, <a href="#Page_107">107</a></li>
-
-<li class="indx">  <span class="smcap">Maunche</span>, <a href="#Page_280">280</a></li>
-
-<li class="indx">  <span class="smcap">Meckenen, Israel van</span>, <a href="#Page_31">31</a></li>
-
-<li class="indx">  <span class="smcap">Medal with diapering</span>, <a href="#Page_116">116</a></li>
-
-<li class="indx">  <span class="smcap">Mediaeval treatment</span>, <a href="#Page_6">6</a></li>
-
-<li class="indx">  <span class="smcap">Medici, badge of</span>, <a href="#Page_267">267</a></li>
-
-<li class="indx">  <span class="smcap">Mermaid</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Metal work</span>, <a href="#Page_181">181</a></li>
-
-<li class="indx">  <span class="smcap">Modelled arms</span>, <a href="#Page_157">157</a></li>
-
-<li class="indx">  <span class="smcap">Mon of Matsudaira family</span>, <a href="#Page_276">276</a></li>
-
-<li class="indx">  <span class="smcap">Monsters</span>, <a href="#Page_66">66</a></li>
-
-<li class="indx">  <span class="smcap">Monumental brasses</span>, <a href="#Page_184">184</a></li>
-
-<li class="indx">  <span class="smcap">Moon</span>, <a href="#Page_274">274</a></li>
-
-<li class="indx">  <span class="smcap">Mortar, bronze</span>, <a href="#Page_188">188</a></li>
-
-<li class="indx">  <span class="smcap">Motto shield</span>, <a href="#Page_30">30</a></li>
-
-<li class="indx">  <span class="smcap">Mowbray</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Mullet</span>, <a href="#Page_280">280</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Nebulée</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Neptune</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Niello</span>, <a href="#Page_198">198</a></li>
-
-<li class="indx">  <span class="smcap">Nixon, Forbes</span>, <a href="#Page_40">40</a></li>
-
-<li class="indx">  <span class="smcap">Norfolk, Duke of</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Norreys, badge of Sir John</span>, <a href="#Page_236">236</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Ockwells Manor, stained glass at</span>, <a href="#Page_236">236</a></li>
-
-<li class="indx">  <span class="smcap"><a id="ogress"></a>Ogress</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_299">[Pg 299]</span>  <span class="smcap">Or</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Oranges</span>, <a href="#Page_28">28</a></li>
-
-<li class="indx">  <span class="smcap">Ordinaries</span>, <a href="#Page_51">51</a>;</li>
-<li class="isub2">proportion of, <a href="#Page_51">51</a></li>
-
-<li class="indx">  <span class="smcap">Origin of heraldry</span>, <a href="#Page_1">1</a></li>
-
-<li class="indx">  <span class="smcap">Originality</span>, <a href="#Page_13">13</a></li>
-
-<li class="indx">  <span class="smcap">Orle</span>, <a href="#Page_59">59</a></li>
-
-<li class="indx">  <span class="smcap">Ormonde, Marquis of</span>, <a href="#Page_87">87</a></li>
-
-<li class="indx">  <span class="smcap">Oxford University, arms of</span>, <a href="#fig196">202</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Painted banners</span>, <a href="#Page_262">262</a></li>
-
-<li class="indx">  <span class="smcap">Pale</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Pall</span>, <a href="#Page_280">280</a></li>
-
-<li class="indx">  <span class="smcap">Paly</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Panache crest</span>, <a href="#Page_125">125</a></li>
-
-<li class="indx">  <span class="smcap">Pan-pipe</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Party lines</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  ” <span class="allsmcap">PER PALE, ETC.</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  <span class="smcap">Pavoise</span>, <a href="#Page_26">26</a></li>
-
-<li class="indx">  <span class="smcap">Peacock</span>, <a href="#Page_4">4</a>, <a href="#Page_92">92</a></li>
-
-<li class="indx">  <span class="smcap">Pean</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Peer’s helmet</span>, <a href="#Page_129">129</a></li>
-
-<li class="indx">  <span class="smcap">Pelham</span>, <a href="#Page_5">5</a></li>
-
-<li class="indx">  ” <span class="allsmcap">BADGE</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Pelican</span>, <a href="#Page_92">92</a></li>
-
-<li class="indx">  <span class="smcap">Pellet</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Penicaud, Nardon, enamel by</span>, <a href="#Page_177">177</a></li>
-
-<li class="indx">  <span class="smcap">Pennon</span>, <a href="#Page_255">255</a></li>
-
-<li class="indx">  <span class="smcap">Per pale, etc.</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  <span class="smcap">Percy, Henry de</span>, <a href="#Page_68">68</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHRINE</span>, <a href="#Page_111">111</a></li>
-
-<li class="indx">  <span class="smcap">Pheon</span>, <a href="#Page_280">280</a></li>
-
-<li class="indx">  <span class="smcap">Philip II</span>, <a href="#Page_102">102</a></li>
-
-<li class="indx">  <span class="smcap">Phœnix</span>, <a href="#Page_73">73</a></li>
-
-<li class="indx">  <span class="smcap">Pile</span>, <a href="#Page_54">54</a></li>
-
-<li class="indx">  <span class="smcap">Pirckheimer</span>, <a href="#Page_34">34</a></li>
-
-<li class="indx">  <span class="smcap">Planché, J. Robinson</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Plants</span>, <a href="#Page_5">5</a></li>
-
-<li class="indx">  <span class="smcap">Plate</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Plique-a-jour enamel</span>, <a href="#Page_180">180</a></li>
-
-<li class="indx">  <span class="smcap">Points of the field</span>, <a href="#Page_41">41</a></li>
-
-<li class="indx">  <span class="smcap">Poitiers, Battle of</span>, <a href="#Page_5">5</a></li>
-
-<li class="indx">  <span class="smcap">Poker work</span>, <a href="#Page_37">37</a>, <a href="#Page_217">217</a></li>
-
-<li class="indx">  <span class="smcap">Pomme</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Portcullis</span>, <a href="#Page_282">282</a></li>
-
-<li class="indx">  <span class="smcap">Pose of animals</span>, <a href="#Page_70">70</a></li>
-
-<li class="indx">  <span class="smcap">Potent</span>, <a href="#Page_46">46</a></li>
-
-<li class="indx">  <span class="smcap">Potenty</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Powder-horn</span>, <a href="#Page_196">196</a></li>
-
-<li class="indx">  <span class="smcap">Powell, John</span>, <a href="#Page_13">13</a>, <a href="#Page_226">226</a></li>
-
-<li class="indx">  <span class="smcap">Prick spur</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Proportion</span>, <a href="#Page_16">16</a>, <a href="#Page_19">19</a>;</li>
-<li class="isub2">of ordinaries, <a href="#Page_51">51</a></li>
-
-<li class="indx">  <span class="smcap">Pugin</span>, <a href="#Page_13">13</a>, <a href="#Page_226">226</a></li>
-
-<li class="indx">  <span class="smcap">Purpure</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Pyrography</span>, <a href="#Page_37">37</a>, <a href="#Page_217">217</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Raguly</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <a id="west1"></a><span class="smcap">Ralph Neville, Earl of Westmoreland, seal of</span>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Renaissance heraldry</span>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHIELDS</span>, <a href="#Page_27">27</a></li>
-
-<li class="indx">  ” <span class="allsmcap">WORK</span>, <a href="#Page_17">17</a></li>
-
-<li class="indx">  <span class="smcap">Repoussé buckler</span>, <a href="#Page_195">195</a></li>
-
-<li class="indx">  <span class="smcap">Ribbon</span>, <a href="#Page_52">52</a></li>
-
-<li class="indx">  <span class="smcap">Richard, Earl of Connaught</span>, <a href="#Page_91">91</a></li>
-
-<li class="indx">  <span class="smcap">Robert, King of Naples</span>, <a href="#Page_105">105</a></li>
-
-<li class="indx">  <span class="smcap">Robsart</span>, <a href="#Page_17">17</a></li>
-
-<li class="indx">  <span class="smcap">Rolls of arms</span>, <a href="#Page_2">2</a></li>
-
-<li class="indx">  <span class="smcap">Roman sculpture</span>, <a href="#Page_21">21</a></li>
-
-<li class="indx">  <span class="smcap">Roman shields</span>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  <span class="smcap">Rompu</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Roses</span>, <a href="#Page_106">106</a></li>
-
-<li class="indx">  <span class="smcap">Roundel, stained glass</span>, <a href="#Page_151">151</a>;</li>
-<li class="isub2">from Netley Abbey, <a href="#Page_236">236</a></li>
-
-<li class="indx">  <span class="smcap">Roundels</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Royal arms</span>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_146">146</a>, <a href="#fig208">227</a>, <a href="#Page_236">236</a></li>
-
-<li class="indx">  ” <span class="allsmcap">BANNER</span>, <a href="#Page_69">69</a></li>
-
-<li class="indx">  ” <span class="allsmcap">CADENCY</span>, <a href="#Page_153">153</a>, <a href="#Page_290">290</a></li>
-
-<li class="indx">  ” <span class="allsmcap">CORONETS</span>, <a href="#Page_152">152</a></li>
-
-<li class="indx">  ” <span class="allsmcap">CREST</span>, <a href="#fig213">233</a></li>
-
-<li class="indx">  ” <span class="allsmcap">CROWNS</span>, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>, <a href="#Page_150">150</a>;</li>
-<li class="isub2"><span class="pagenum" id="Page_300">[Pg 300]</span>official type, <a href="#Page_150">150</a></li>
-
-<li class="indx">  <span class="smcap">Royal helmets</span>, <a href="#Page_129">129</a></li>
-
-<li class="indx">  ” <span class="allsmcap">MANTLING</span>, <a href="#Page_138">138</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Sable</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Sagittarius</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap"><abbr title="saint">St.</abbr> Alban’s Abbey, shields from</span>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  <span class="smcap"><abbr title="saint">St.</abbr> Edmund, arms ascribed to</span>, <a href="#Page_272">272</a></li>
-
-<li class="indx">  <span class="smcap"><abbr title="saint">St.</abbr> Gatien Cathedral, shield in</span>, <a href="#Page_33">33</a></li>
-
-<li class="indx">  <span class="smcap"><abbr title="saint">St.</abbr> George’s Chapel, crowns on</span>, <a href="#Page_148">148</a></li>
-
-<li class="indx">  <span class="smcap"><abbr title="saint">St.</abbr> James</span>, <a href="#Page_274">274</a></li>
-
-<li class="indx">  <span class="smcap"><abbr title="saint">St.</abbr> Patrick, the order of</span>, <a href="#Page_162">162</a></li>
-
-<li class="indx">  <span class="smcap">Saltire</span>, <a href="#Page_53">53</a></li>
-
-<li class="indx">  <span class="smcap">Sandwich, seal of</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Savage men</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Schemes of decoration</span>, <a href="#Page_217">217</a></li>
-
-<li class="indx">  <span class="smcap">Schongauer, Martin</span>, <a href="#Page_28">28</a>, <a href="#Page_31">31</a></li>
-
-<li class="indx">  <span class="smcap">Scotland, royal arms of</span>, <a href="#Page_38">38</a></li>
-
-<li class="indx">  <span class="smcap">Scottish Royal Crown</span>, <a href="#Page_148">148</a></li>
-
-<li class="indx">  <span class="smcap">Sculpture</span>, <a href="#Page_147">147</a>, <a href="#Page_208">208</a></li>
-
-<li class="indx">  <span class="smcap">Seal</span>, <a href="#Page_84">84</a>, <a href="#Page_98">98</a>, <a href="#Page_103">103</a>, <a href="#Page_109">109</a>, <a href="#Page_139">139</a>, <a href="#Page_149">149</a></li>
-
-<li class="indx">  <span class="smcap">Seals</span>, <a href="#Page_67">67</a>, <a href="#Page_140">140</a>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Segrave, John de, seal of</span>, <a href="#Page_139">139</a></li>
-
-<li class="indx">  <span class="smcap">Semée</span>, <a href="#Page_62">62</a></li>
-
-<li class="indx">  <span class="smcap">Sgraffito</span>, <a href="#Page_209">209</a></li>
-
-<li class="indx">  <span class="smcap">Shakespeare, arms of</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Sherborn, C. W.</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Shield bearing motto</span>, <a href="#Page_30">30</a>;</li>
-<li class="isub2">construction, <a href="#Page_23">23</a>;</li>
-<li class="isub2">foliated, <a href="#Page_33">33</a>, <a href="#Page_36">36</a>;</li>
-<li class="isub2">shapes, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_36">36</a></li>
-
-<li class="indx">  <span class="smcap">Shields</span>, <a href="#Page_21">21</a>, <a href="#Page_28">28</a>;</li>
-<li class="isub2">ceremonial use of, <a href="#Page_28">28</a>;</li>
-<li class="isub2">“for Peace,” <a href="#Page_28">28</a>, <a href="#Page_29">29</a>;</li>
-<li class="isub2">Norman, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>;</li>
-<li class="isub2">ridged, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>;</li>
-<li class="isub2">square, <a href="#Page_25">25</a>;</li>
-<li class="isub2">triangular, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  <span class="smcap">Ships</span>, <a href="#Page_83">83</a></li>
-
-<li class="indx">  <span class="smcap">Shovel, Adm. Sir Cloudesley</span>, <a href="#Page_5">5</a></li>
-
-<li class="indx">  <span class="smcap">Solis, Virgil</span>, <a href="#Page_35">35</a></li>
-
-<li class="indx">  <span class="smcap">Somerset, seal of the Duke of</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Spade</span>, <a href="#Page_282">282</a></li>
-
-<li class="indx">  <span class="smcap">Spear</span>, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Sphinx</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Spurs</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Sruttle</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Stafford knot</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Stag</span>, <a href="#Page_85">85</a></li>
-
-<li class="indx">  <span class="smcap">Stained glass</span>, <a href="#Page_151">151</a>, <a href="#Page_223">223</a></li>
-
-<li class="indx">  ” <span class="allsmcap">DESIGNS AND DRAWINGS</span>, <a href="#Page_225">225</a></li>
-
-<li class="indx">  <span class="smcap">Standard</span>, <a href="#Page_255">255</a></li>
-
-<li class="indx">  <span class="smcap">Stars of orders</span>, <a href="#Page_160">160</a></li>
-
-<li class="indx">  <span class="smcap">Stephen, King</span>, <a href="#Page_95">95</a>, <a href="#Page_120">120</a></li>
-
-<li class="indx">  <span class="smcap">Stourton, Lord</span>, <a href="#Page_275">275</a></li>
-
-<li class="indx">  <span class="smcap">Sub-ordinaries</span>, <a href="#Page_58">58</a></li>
-
-<li class="indx">  <span class="smcap">Supporters</span>, <a href="#Page_139">139</a></li>
-
-<li class="indx">  <span class="smcap">Swan</span>, <a href="#Page_4">4</a></li>
-
-<li class="indx">  <span class="smcap">Swiss painted glass</span>, <a href="#Page_240">240</a></li>
-
-<li class="indx">  <span class="smcap">Sword</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Symbolism</span>, <a href="#Page_4">4</a></li>
-
-<li class="indx">  <span class="smcap">Syon cope</span>, <a href="#Page_247">247</a></li>
-
-<li class="indx">  <span class="smcap">Syrena</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Syrinx</span>, <a href="#Page_270">270</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Thistle, the order of the</span>, <a href="#Page_160">160</a></li>
-
-<li class="indx">  <span class="smcap">Tilting Spear</span>, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Tinctures</span>, <a href="#Page_42">42</a></li>
-
-<li class="indx">  <span class="smcap">Toison d’Or, badge of</span>, <a href="#Page_251">251</a></li>
-
-<li class="indx">  <span class="smcap">Torregiano</span>, <a href="#Page_11">11</a>, <a href="#Page_182">182</a></li>
-
-<li class="indx">  <span class="smcap">Torse</span>, <a href="#Page_127">127</a></li>
-
-<li class="indx">  <span class="smcap">Torteau</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Tournaments</span>, <a href="#Page_2">2</a>, <a href="#Page_27">27</a>, <a href="#Page_118">118</a></li>
-
-<li class="indx">  <span class="smcap">Tourney helm</span>, <a href="#Page_123">123</a></li>
-
-<li class="indx">  <span class="smcap">Treasure</span>, <a href="#Page_59">59</a></li>
-
-<li class="indx">  <span class="smcap">Trefoil</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Trick, sketches in</span>, <a href="#Page_55">55</a></li>
-
-<li class="indx">  <span class="smcap">Triton</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Trumpet banners</span>, <a href="#Page_261">261</a></li>
-
-<li class="indx">  <span class="smcap">Tudor heraldry</span>, <a href="#Page_10">10</a>, <a href="#Page_226">226</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_301">[Pg 301]</span>  ” <span class="allsmcap">ROSE</span>, <a href="#Page_107">107</a></li>
-
-<li class="ifrst">  <span class="smcap">Ulster badge</span>, <a href="#Page_96">96</a></li>
-
-<li class="indx">  <span class="smcap">Unicorn</span>, <a href="#Page_230">230</a></li>
-
-<li class="indx">  <span class="smcap">Union badge</span>, <a href="#Page_260">260</a></li>
-
-<li class="indx">  ” <span class="smcap">Jack</span>, <a href="#Page_258">258</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Vair</span>, <a href="#Page_45">45</a></li>
-
-<li class="indx">  <span class="smcap">Valence, William de</span>, <a href="#Page_63">63</a>, <a href="#Page_126">126</a></li>
-
-<li class="indx">  <span class="smcap">Vellum</span>, <a href="#Page_164">164</a></li>
-
-<li class="indx">  <span class="smcap">Vert</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Vervels</span>, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">Victoria, Queen</span>, <a href="#Page_37">37</a></li>
-
-<li class="indx">  <span class="smcap">Visconti, arms of</span>, <a href="#Page_195">195</a></li>
-
-<li class="indx">  <span class="smcap">Viscount’s coronet</span>, <a href="#Page_154">154</a></li>
-
-<li class="indx">  <span class="smcap">Voiders</span>, <a href="#Page_61">61</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Wake and Ormond knot</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Wales, coronet of the Prince of</span>, <a href="#Page_153">153</a></li>
-
-<li class="indx">  <span class="smcap">Warwick, Earl of, arms of</span>, <a href="#fig216">237</a></li>
-
-<li class="indx">  <span class="smcap">Water bouget</span>, <a href="#Page_285">285</a></li>
-
-<li class="indx">  <span class="smcap">Wavy</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Weldon, W. H., <abbr title="esquire">Esq.</abbr>,  <abbr title="Commander of the Royal Victorian Order">C.V.O.</abbr></span>, <a href="#Page_178">178</a></li>
-
-<li class="indx">  <span class="smcap">Westmoreland, Earl of, seal</span>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Wheatsheaves</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Widows, arms of</span>, <a href="#Page_36">36</a></li>
-
-<li class="indx">  <span class="smcap">William de Valence</span>, <a href="#Page_63">63</a>, <a href="#Page_126">126</a></li>
-
-<li class="indx">  ” <span class="smcap">Lord Hastings, seal of</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  ” <span class="smcap">of Sens</span>, <a href="#Page_11">11</a></li>
-
-<li class="indx">  <span class="smcap">Williment, J.</span>, <a href="#Page_12">12</a></li>
-
-<li class="indx">  <span class="smcap">Winchester Cathedral, Bible</span>, <a href="#Page_164">164</a></li>
-
-<li class="indx">  <span class="smcap">Winnowing fan</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Wolsey, Arms of Cardinal</span>, <a href="#Page_147">147</a></li>
-
-<li class="indx">  <span class="smcap">Wood-carving</span>, <a href="#fig201">211</a></li>
-
-<li class="indx">  <span class="smcap">Wreath</span>, <a href="#Page_269">269</a></li>
-
-<li class="indx">  <span class="smcap">Wyvern</span>, <a href="#Page_88">88</a></li>
-
-
-<li class="ifrst">  <span class="smcap">York Rose</span>, <a href="#Page_106">106</a></li>
-</ul>
-
-<span class="pagenum" id="Page_303">[Pg 303]</span>
-
-<h2 class="center">INDEX TO ILLUSTRATIONS</h2>
-
-<p class="l15">PAGE</p>
-
-<ul class="index">
-
-<li class="indx">  <span class="smcap">Altar frontal</span>, <a href="#Page_250">250</a></li>
-
-<li class="indx">  <span class="smcap">Amorini</span>, <a href="#fig163">145</a>, <a href="#Page_147">147</a>, <a href="#Page_209">209</a>, <a href="#fig201">211</a>, <a href="#fig204">218</a></li>
-
-<li class="indx">  <span class="smcap">Angel</span>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Anne of Bohemia, knot</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  ” <span class="smcap">of Brittany, medal</span>, <a href="#Page_116">116</a></li>
-
-<li class="indx">  <span class="smcap">Annulet</span>, <a href="#Page_267">267</a>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Antelopes, “Heraldic”</span>, <a href="#fig215">237</a></li>
-
-<li class="indx">  <span class="smcap">Archbishop’s hat</span>, <a href="#Page_194">194</a></li>
-
-<li class="indx">  <span class="smcap">Armour</span>, <a href="#Page_184">184</a></li>
-
-<li class="indx">  <span class="smcap">Arms</span>, imaginary, <a href="#fig204">218</a>;</li>
-<li class="isub2">in trick, <a href="#Page_55">55</a></li>
-
-<li class="indx">  ” of Cambridge University, <a href="#fig89">71</a>;</li>
-<li class="isub2">of City of London, <a href="#Page_88">88</a>;</li>
-<li class="isub2">of Edward the Confessor, <a href="#fig209">229</a>;</li>
-<li class="isub2">of Erskine, <a href="#fig141">113</a>, <a href="#Page_115">115</a>, <a href="#Page_157">157</a>;</li>
-<li class="isub2">of Goldsmiths’ Company, <a href="#fig104">86</a>;</li>
-<li class="isub2">of Grocers’ Company, <a href="#Page_64">64</a>;</li>
-<li class="isub2">of Prince John of Eltham, <a href="#Page_60">60</a>, <a href="#fig98">77</a>;</li>
-<li class="isub2">of Kress (German), <a href="#Page_136">136</a>;</li>
-<li class="isub2">of Oxford University, <a href="#fig196">202</a>;</li>
-<li class="isub2">of Pope Paul III, <a href="#Page_210">210</a></li>
-
-<li class="indx">  <span class="smcap">Assyrian bas-relief</span>, <a href="#Page_81">81</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Badge, embroidered</span>, <a href="#Page_251">251</a></li>
-
-<li class="indx">  ” of Diane de Poitiers, <a href="#Page_192">192</a>;</li>
-<li class="isub2">of Louis XII, <a href="#fig197">206</a>;</li>
-<li class="isub2">of Medici, <a href="#Page_267">267</a>;</li>
-<li class="isub2">of Toison d’Or, <a href="#fig104">86</a>, <a href="#Page_87">87</a>;</li>
-
-<li class="indx">  <span class="smcap">Badges</span>, <a href="#Page_29">29</a>, <a href="#Page_136">136</a>, <a href="#Page_213">213</a></li>
-
-<li class="indx">  <span class="smcap">Balances</span>, <a href="#fig104">86</a></li>
-
-<li class="indx">  <span class="smcap">Banners</span>, <a href="#Page_242">242</a></li>
-
-<li class="indx">  <span class="smcap">Bardings</span>, <a href="#Page_18">18</a></li>
-
-<li class="indx">  <span class="smcap">Barnacles</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Barry</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  <span class="smcap">Basilisk</span>, <a href="#Page_271">271</a></li>
-
-<li class="indx">  <span class="smcap">Basle, arms of</span>, <a href="#Page_271">271</a></li>
-
-<li class="indx">  <span class="smcap">Battering-ram</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Beaumont, arms of Sir E.</span>, <a href="#fig217">239</a></li>
-
-<li class="indx">  <span class="smcap">Bend</span>, <a href="#Page_51">51</a>, <a href="#Page_137">137</a></li>
-
-<li class="indx">  <span class="smcap">Bendy</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Bill, engraved</span>, <a href="#Page_197">197</a></li>
-
-<li class="indx">  <span class="smcap">Billet</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Boar</span>, <a href="#fig212">232</a></li>
-
-<li class="indx">  <span class="smcap">Book</span>, <a href="#fig89">71</a>, <a href="#fig196">202</a></li>
-
-<li class="indx">  <span class="smcap">Bookplate</span>, by Dürer, <a href="#bookplate">95</a>, <a href="#stabius">136</a>;</li>
-<li class="isub2">German, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Bordure</span>, <a href="#Page_57">57</a>, <a href="#Page_59">59</a>, <a href="#Page_60">60</a></li>
-
-<li class="indx">  <span class="smcap">Bouchier knot</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Bowen knot</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Bows</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  <span class="smcap">Breys</span>, <a href="#Page_268">268</a></li>
-
-<li class="indx">  <span class="smcap">Bronze mortar</span>, <a href="#Page_188">188</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHIELD</span>, <a href="#Page_189">189</a></li>
-
-<li class="indx">  <span class="smcap">Buckle</span>, <a href="#Page_269">269</a></li>
-
-<li class="indx">  <span class="smcap">Buckles</span>, <a href="#fig104">86</a>, <a href="#Page_174">174</a></li>
-
-<li class="indx">  <span class="smcap">Bugle horn</span>, <a href="#Page_95">95</a>, <a href="#Page_269">269</a></li>
-
-<li class="indx">  <span class="smcap">Bulls</span>, <a href="#Page_219">219</a></li>
-
-<li class="indx">  ” <span class="allsmcap">HEAD</span>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Burgundy, arms of</span>, <a href="#Page_251">251</a>, <a href="#Page_252">252</a></li>
-
-<li class="indx">  <span class="smcap">Burnt wood panel</span>, <a href="#fig204">218</a></li>
-
-<li class="indx">  <span class="smcap">Butler, arms of Sir James</span>, <a href="#fig218">239</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Cadency marks</span>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Cambridge University, arms of</span>, <a href="#fig89">71</a></li>
-
-<li class="indx">  <span class="smcap">Canting coat of arms</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Canton</span>, <a href="#Page_59">59</a></li>
-
-<li class="indx">  <span class="smcap">Cap, embroidered</span>, <a href="#Page_249">249</a></li>
-
-<li class="indx">  <span class="smcap">Car, pageant</span>, <a href="#pagcar">86</a></li>
-
-<li class="indx">  <span class="smcap">Cardinal’s hat</span>, <a href="#Page_147">147</a></li>
-
-<li class="indx">  <span class="smcap">Castle</span>, <a href="#Page_137">137</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_304">[Pg 304]</span>  <span class="smcap">Castles</span>, <a href="#Page_171">171</a></li>
-
-<li class="indx">  <span class="smcap">Ceiling bosses, Hampton Court</span>, <a href="#Page_214">214</a></li>
-
-<li class="indx">  <span class="smcap">Champlevé Enamel</span>, <a href="#Page_171">171</a>, <a href="#Page_174">174</a>, <a href="#Page_176">176</a></li>
-
-<li class="indx">  <span class="smcap">Chaplet</span>, <a href="#Page_269">269</a></li>
-
-<li class="indx">  <span class="smcap">Charles, Count d’Eu, effigy</span>, <a href="#Page_287">287</a></li>
-
-<li class="indx">  <span class="smcap">Charles II, great seal</span>, <a href="#Page_110">110</a></li>
-
-<li class="indx">  ” <span class="smcap">IV, seal as Emperor</span>, <a href="#Page_92">92</a></li>
-
-<li class="indx">  <span class="smcap">Chequey</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Chess-rook</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Chevron</span>, <a href="#Page_53">53</a></li>
-
-<li class="indx">  <span class="smcap">Chief</span>, <a href="#Page_51">51</a></li>
-
-<li class="indx">  <span class="smcap">Cinquefoil</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Cistern</span>, <a href="#Page_200">200</a></li>
-
-<li class="indx">  <span class="smcap">City of London, arms of</span>, <a href="#Page_88">88</a></li>
-
-<li class="indx">  <span class="smcap">Civic crown</span>, <a href="#Page_269">269</a></li>
-
-<li class="indx">  <span class="smcap">Clarion</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Clement VII, arms of Pope</span>, <a href="#fig219">241</a></li>
-
-<li class="indx">  <span class="smcap">Cock</span>, <a href="#fig99">79</a></li>
-
-<li class="indx">  <span class="smcap">Cockatrice</span>, <a href="#Page_271">271</a></li>
-
-<li class="indx">  <span class="smcap">Collar</span> of the Garter, <a href="#Page_149">149</a>;</li>
-<li class="isub2">of the Thistle, <a href="#Page_161">161</a>;</li>
-<li class="isub2">of the Toison d’Or, <a href="#fig187">193</a></li>
-
-<li class="indx">  <span class="smcap">Columbine</span>, <a href="#fig216">237</a></li>
-
-<li class="indx">  <span class="smcap">Columns</span>, <a href="#fig187">193</a></li>
-
-<li class="indx">  <span class="smcap">Copper panel, silvered</span>, <a href="#fig196">202</a></li>
-
-<li class="indx">  <span class="smcap">Cornish chough</span>, <a href="#Page_147">147</a></li>
-
-<li class="indx">  <span class="smcap">Coronet</span>, <a href="#Page_195">195</a>;</li>
-<li class="isub2">crest, <a href="#Page_271">271</a>;</li>
-<li class="isub2">of an earl, <a href="#Page_219">219</a>;</li>
-<li class="isub2">of the Prince of Wales, <a href="#Page_153">153</a></li>
-
-<li class="indx">  <span class="smcap">Coronets</span>, <a href="#fig196">202</a></li>
-
-<li class="indx">  <span class="smcap">Counter-vair</span>, <a href="#Page_46">46</a></li>
-
-<li class="indx">  <span class="smcap">Crescent</span>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Crescents</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  <span class="smcap">Crest</span>, <a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_136">136</a>, <a href="#Page_184">184</a>, <a href="#Page_220">220</a>, <a href="#fig215">237</a>, <a href="#fig217">239</a>, <a href="#Page_244">244</a>;</li>
-<li class="isub2">enamelled, of W. H. Weldon, <abbr title="esquire">Esq.</abbr>, <a href="#fig176">179</a>;</li>
-<li class="isub2">panache, <a href="#Page_125">125</a>, <a href="#Page_135">135</a>;</li>
-<li class="isub2">various treatments, <a href="#Page_132">132</a></li>
-
-<li class="indx">  <span class="smcap">Crests</span>, <a href="#fig163">145</a>, <a href="#Page_196">196</a></li>
-
-<li class="indx">  <span class="smcap">Cross</span>, <a href="#Page_53">53</a>, <a href="#Page_88">88</a>, <a href="#Page_265">265</a></li>
-
-<li class="indx">  ” calvary, <a href="#Page_97">97</a>;</li>
-<li class="isub2">couped, <a href="#Page_54">54</a>;</li>
-<li class="isub2">crosslet, <a href="#Page_99">99</a>;</li>
-<li class="isub2"><a id="fitchee"></a>crosslet fitchée, <a href="#Page_99">99</a>, <a href="#Page_115">115</a>, <a href="#Page_157">157</a>, <a href="#Page_161">161</a>, <a href="#Page_219">219</a>;</li>
-<li class="isub2">engrailed, <a href="#Page_147">147</a>;</li>
-<li class="isub2">fleuretté <a href="#Page_97">97</a>;</li>
-<li class="isub2">flory, <a href="#Page_97">97</a>, <a href="#fig209">229</a>;</li>
-<li class="isub2">formée, <a href="#Page_99">99</a>;</li>
-<li class="isub2">Maltese, <a href="#Page_99">99</a>;</li>
-<li class="isub2">moline, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>, <a href="#Page_288">288</a>;</li>
-<li class="isub2">nowy, <a href="#Page_54">54</a>;</li>
-<li class="isub2">patée, <a href="#Page_99">99</a>;</li>
-<li class="isub2">patonee, <a href="#Page_97">97</a>;</li>
-<li class="isub2">quadrate, <a href="#Page_54">54</a>;</li>
-<li class="isub2">quarter pierced, <a href="#Page_54">54</a>;</li>
-<li class="isub2">voided, <a href="#Page_53">53</a>;</li>
-<li class="isub2">voided and interlaced, <a href="#Page_53">53</a></li>
-
-<li class="indx">  <span class="smcap">Crown</span>, <a href="#Page_89">89</a>, <a href="#Page_136">136</a>, <a href="#Page_137">137</a>, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>, <a href="#Page_192">192</a>, <a href="#fig187">193</a>, <a href="#Page_194">194</a>, <a href="#Page_201">201</a>, <a href="#fig201">211</a>, <a href="#fig204">218</a>, <a href="#fig208">227</a>, <a href="#fig213">233</a>, <a href="#Page_242">242</a>;</li>
-<li class="isub2">official type, <a href="#fig168">151</a>;</li>
-<li class="isub2">of a King of Arms, <a href="#fig176">179</a>;</li>
-<li class="isub2">palisado, <a href="#Page_273">273</a>;</li>
-<li class="isub2">Tudor, <a href="#Page_149">149</a>, <a href="#fig168">151</a>;</li>
-<li class="isub2">vallery, <a href="#Page_273">273</a></li>
-
-<li class="indx">  <span class="smcap">Crowns</span>, <a href="#Page_272">272</a>, <a href="#Page_273">273</a>;</li>
-<li class="isub2">embroidered, <a href="#Page_253">253</a>, <a href="#Page_254">254</a></li>
-
-<li class="indx">  <span class="smcap">Cupid</span>, <a href="#fig204">218</a></li>
-
-<li class="indx">  <span class="smcap">Cups</span>, <a href="#fig104">86</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Dacre knot</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Dauphiny, seal of</span>, <a href="#dauphiny">93</a></li>
-
-<li class="indx">  <span class="smcap">Decoration shield, Italian</span>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a></li>
-
-<li class="indx">  <span class="smcap">Device shields</span>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a></li>
-
-<li class="indx">  <span class="smcap">Diane de Poitiers, badge</span>, <a href="#Page_192">192</a></li>
-
-<li class="indx">  <span class="smcap">Diaper</span>, <a href="#Page_115">115</a>, <a href="#fig170">157</a>, <a href="#Page_161">161</a>, <a href="#fig204">218</a>, <a href="#fig197">206</a></li>
-
-<li class="indx">  <span class="smcap">Diapered</span> medal, <a href="#Page_116">116</a>;</li>
-<li class="isub2">shield, <a href="#Page_112">112</a>, <a href="#fig141">113</a>, <a href="#Page_115">115</a></li>
-
-<li class="indx">  <span class="smcap">Dogs</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Dolphin</span>, <a href="#Page_200">200</a></li>
-
-<li class="indx">  <span class="smcap">Dolphins</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Donatello, shield by</span>, <a href="#Page_189">189</a></li>
-
-<li class="indx">  <span class="smcap">Double</span> quatrefoil, <a href="#Page_288">288</a>;</li>
-<li class="isub2">badge, <a href="#fig209">229</a></li>
-
-<li class="indx">  <span class="smcap">Dragon</span>, <a href="#pagcar">86</a>, <a href="#Page_89">89</a>, <a href="#Page_183">183</a>, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>, <a href="#fig209">229</a></li>
-
-<li class="indx">  <span class="smcap">Dragons</span>, <a href="#Page_88">88</a></li>
-
-<li class="indx">  <span class="smcap">Dürer, Albrecht</span>, <a href="#fig99">79</a>, <a href="#pagcar">86</a>, <a href="#Page_87">87</a>, <a href="#Page_95">95</a>, <a href="#Page_136">136</a>, <a href="#Page_137">137</a></li>
-
-<li class="indx">  ” pageant car by, <a href="#pagcar">86</a>;</li>
-<li class="isub2">school of, <a href="#Page_136">136</a></li>
-
-<li class="ifrst">  <span class="smcap">Eagle</span>, <a href="#pagcar">86</a>, <a href="#Page_136">136</a>, <a href="#Page_141">141</a>, <a href="#fig218">239</a></li>
-
-<li class="indx">  ” double-headed, <a href="#Page_90">90</a>, <a href="#fig183">190</a>, <a href="#fig187">193</a>, <a href="#Page_197">197</a>;</li>
-<li class="isub2">lace, <a href="#fig232">264</a>;</li>
-<li class="isub2">of the Emperor, <a href="#Page_90">90</a>;</li>
-<li class="isub2">plan for distribution on shield, <a href="#Page_91">91</a></li>
-
-<li class="indx">  <span class="smcap">Eagles</span>, <a href="#Page_92">92</a>, <a href="#Page_201">201</a></li>
-
-<li class="indx">  <span class="smcap">Earl’s coronet</span>, <a href="#Page_219">219</a>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a></li>
-
-<li class="indx">  <span class="smcap">Eastern crown</span>, <a href="#Page_273">273</a></li>
-
-<li class="indx">  <span class="smcap">Edward the Confessor, arms of</span>, <a href="#fig209">229</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_305">[Pg 305]</span>  <span class="smcap">Eleanor, Queen, cloak clasp</span>, <a href="#Page_171">171</a></li>
-
-<li class="indx">  <span class="smcap">Embroidered badge</span>, <a href="#Page_251">251</a></li>
-
-<li class="indx">  ” <span class="allsmcap">LINEN</span>, <a href="#Page_250">250</a></li>
-
-<li class="indx">  <span class="smcap">Embroidery</span>, <a href="#Page_248">248</a>, <a href="#Page_254">254</a></li>
-
-<li class="indx">  <span class="smcap">Enamel by Nardon Penicaud</span>, <a href="#Page_177">177</a></li>
-
-<li class="indx">  ” <span class="smcap">Champlevé</span>, <a href="#Page_171">171</a>, <a href="#Page_174">174</a>, <a href="#Page_176">176</a></li>
-
-<li class="indx">  ” <span class="smcap">Limoges</span>, <a href="#Page_177">177</a>, <a href="#fig176">179</a>;</li>
-<li class="isub2">plate for, <a href="#Page_174">174</a></li>
-
-<li class="indx">  <span class="smcap">Enamelled cloak clasp</span>, <a href="#Page_171">171</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHIELD</span>, <a href="#Page_176">176</a></li>
-
-<li class="indx">  <span class="smcap">England, arms of</span>, <a href="#Page_9">9</a></li>
-
-<li class="indx">  <span class="smcap">Engraved decoration</span>, <a href="#Page_8">8</a>, <a href="#Page_197">197</a>, <a href="#fig193">199</a></li>
-
-<li class="indx">  <span class="smcap">Equestrian figure</span>, <a href="#fig197">206</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SEAL</span>, <a href="#Page_18">18</a></li>
-
-<li class="indx">  <span class="smcap">Eric XIV, King of Sweden, arms of</span>, <a href="#Page_253">253</a></li>
-
-<li class="indx">  <span class="smcap">Ermine</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  ” <span class="allsmcap">BADGE</span>, <a href="#Page_213">213</a></li>
-
-<li class="indx">  <span class="smcap">Erskine, arms of</span>, <a href="#fig141">113</a>, <a href="#Page_115">115</a>, <a href="#Page_157">157</a>, <a href="#Page_161">161</a></li>
-
-<li class="indx">  <span class="smcap">Escallop</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Escarbuncle</span>, <a href="#Page_275">275</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Feathers</span>, <a href="#Page_29">29</a>, <a href="#Page_267">267</a>;</li>
-<li class="isub2">peacocks’, <a href="#Page_136">136</a></li>
-
-<li class="indx">  <span class="smcap">Fess</span>, <a href="#Page_51">51</a>, <a href="#Page_137">137</a></li>
-
-<li class="indx">  <span class="smcap">Fireback</span>, <a href="#Page_186">186</a>, <a href="#Page_187">187</a></li>
-
-<li class="indx">  <span class="smcap">Fireplace, Château de Blois</span>, <a href="#Page_213">213</a></li>
-
-<li class="indx">  <span class="smcap">Flags</span>, <a href="#Page_259">259</a></li>
-
-<li class="indx">  <span class="smcap">Flanches</span>, <a href="#Page_61">61</a></li>
-
-<li class="indx">  <span class="smcap">Fleurs-de-lis</span>, <a href="#Page_9">9</a>, <a href="#Page_60">60</a>, <a href="#fig98">77</a>, <a href="#Page_89">89</a>, <a href="#Page_93">93</a>, <a href="#Page_102">102-5</a>, <a href="#Page_141">141</a>, <a href="#Page_151">151</a>, <a href="#fig185">191</a>, <a href="#Page_192">192</a>, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>, <a href="#Page_214">214</a>, <a href="#fig215">237</a>, <a href="#fig217">239</a>, <a href="#Page_288">288</a>;</li>
-<li class="isub2">embroidered, <a href="#Page_249">249</a>, <a href="#Page_251">251</a>, <a href="#Page_252">252</a></li>
-
-<li class="indx">  <span class="smcap">Florentine Glass decoration</span>, <a href="#fig219">241</a></li>
-
-<li class="indx">  <span class="smcap">Fountain</span>, <a href="#Page_275">275</a></li>
-
-<li class="indx">  <span class="smcap">France, arms of</span>, <a href="#Page_9">9</a></li>
-
-<li class="indx">  <span class="smcap">Frederick II of Denmark, arms of</span>, <a href="#Page_265">265</a></li>
-
-<li class="indx">  <span class="smcap">Frieze in Sgraffito</span>, <a href="#Page_209">209</a></li>
-
-<li class="indx">  <span class="smcap">Fylfot</span>, <a href="#Page_276">276</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Garbs</span>, <a href="#Page_139">139</a></li>
-
-<li class="indx">  <span class="smcap">Garter</span>, <a href="#fig208">227</a></li>
-
-<li class="indx">  ” <span class="allsmcap">COLLAR</span>, <a href="#Page_149">149</a></li>
-
-<li class="indx">  <span class="smcap">Gartered shield</span>, <a href="#Page_157">157</a></li>
-
-<li class="indx">  <span class="smcap">Gateway, <a id="blois"></a>Château de Blois</span>, <a href="#fig197">206</a></li>
-
-<li class="indx">  <span class="smcap">Gesso</span>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SHIELDS</span>, <a href="#Page_161">161</a>, <a href="#Page_219">219</a></li>
-
-<li class="indx">  <span class="smcap">Glaive</span>, <a href="#Page_197">197</a></li>
-
-<li class="indx">  <span class="smcap">Godmanchester, seal of</span>, <a href="#Page_103">103</a></li>
-
-<li class="indx">  <span class="smcap">Gouttee</span>, <a href="#Page_62">62</a></li>
-
-<li class="indx">  <span class="smcap">Great seal of Charles II</span>, <a href="#Page_110">110</a></li>
-
-<li class="indx">  <span class="smcap">Greyhound</span>, <a href="#Page_187">187</a></li>
-
-<li class="indx">  <span class="smcap">Greyhounds</span>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Griffin</span>, <a href="#Page_189">189</a>, <a href="#Page_221">221</a>;</li>
-<li class="isub2">seated, <a href="#Page_87">87</a></li>
-
-<li class="indx">  <span class="smcap">Griffins</span>, <a href="#pagcar">86</a></li>
-
-<li class="indx">  <span class="smcap">Grille of Henry VII’s Chapel, Westminster</span>, <a href="#Page_183">183</a></li>
-
-<li class="indx">  <span class="smcap">Grimm, arms of</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Grocers’ Company, arms of</span>, <a href="#Page_64">64</a></li>
-
-<li class="indx">  <span class="smcap"><a id="gyronny"></a>Gyronny</span>, <a href="#Page_47">47</a>, <a href="#Page_115">115</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Halberd, engraved</span>, <a href="#fig193">199</a></li>
-
-<li class="indx">  <span class="smcap">Hammer</span>, <a href="#Page_277">277</a></li>
-
-<li class="indx">  <span class="smcap">Harp</span>, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>, <a href="#fig208">227</a></li>
-
-<li class="indx">  <span class="smcap">Hawk’s bells and jesses</span>, <a href="#Page_278">278</a>;</li>
-<li class="isub2">lure, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Heart, enflamed</span>, <a href="#fig204">218</a></li>
-
-<li class="indx">  <span class="smcap">Helm</span>, <a href="#Page_119">119</a>;</li>
-<li class="isub2">tilting, <a href="#Page_121">121</a>;</li>
-<li class="isub2">tourney, <a href="#Page_124">124</a>;</li>
-<li class="isub2">crest for tourney, <a href="#Page_136">136</a></li>
-
-<li class="indx">  <span class="smcap">Helmet</span>, <a href="#Page_18">18</a>, <a href="#Page_31">31</a>, <a href="#fig99">79</a>, <a href="#fig104">86</a>, <a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_119">119</a>, <a href="#Page_121">121-5</a>, <a href="#Page_135">135</a>, <a href="#Page_136">136</a>, <a href="#Page_137">137</a>, <a href="#Page_140">140</a>, <a href="#Page_141">141</a>, <a href="#fig163">145</a>, <a href="#fig176">179</a>, <a href="#Page_184">184</a>, <a href="#Page_196">196</a>, <a href="#fig204">218</a>, <a href="#Page_220">220</a>, <a href="#fig216">237</a>, <a href="#fig217">239</a>, <a href="#Page_244">244</a></li>
-
-<li class="indx">  <span class="smcap">Hemp-brake</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Heneage knot</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Henry VI, arms of</span>, <a href="#fig215">237</a></li>
-
-<li class="indx">  ” <span class="smcap">VII badge</span>, <a href="#Page_183">183</a></li>
-
-<li class="indx">  ” <span class="smcap">VIII privy seal of</span>, <a href="#Page_89">89</a></li>
-
-<li class="indx">  <span class="smcap">Heraldic antelopes</span>, <a href="#fig215">237</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SLAB</span>, <a href="#fig163">145</a></li>
-
-<li class="indx">  ” <span class="allsmcap">TIGER</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Hinge with lions</span>, <a href="#fig184">191</a></li>
-
-<li class="indx">  <span class="smcap">Holbein</span>, <a href="#Page_271">271</a></li>
-
-<li class="indx">  <span class="smcap">Holy Ghost</span>, <a href="#Page_242">242</a></li>
-
-<li class="indx">  <span class="smcap">Horns</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Horse</span>, <a href="#fig210">229</a></li>
-
-<li class="indx">  <span class="smcap">Hounds</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Human figure</span>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_184">184</a>, <a href="#Page_189">189</a>, <a href="#Page_195">195</a>, <a href="#Page_196">196</a>, <a href="#Page_244">244</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_306">[Pg 306]</span>  <span class="smcap">Human figures</span>, <a href="#fig104">86</a>, <a href="#fig163">145</a>, <a href="#Page_209">209</a>, <a href="#fig201">211</a>, <a href="#fig204">218</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Imaginary arms</span>, <a href="#fig204">218</a></li>
-
-<li class="indx">  <span class="smcap">Iron work</span>, <a href="#fig183">190</a>, <a href="#fig185">191</a>, <a href="#Page_192">192</a>, <a href="#fig187">193</a></li>
-
-
-<li class="ifrst">  <span class="smcap">James I, arms of, embroidered</span>, <a href="#Page_254">254</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Keys</span>, <a href="#Page_194">194</a>;</li>
-<li class="isub2">papal, <a href="#Page_210">210</a></li>
-
-<li class="indx">  <span class="smcap">Knots</span>, <a href="#Page_278">278</a>, <a href="#Page_279">279</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Label</span>, <a href="#Page_286">286</a>, <a href="#Page_287">287</a>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Lace</span>, <a href="#fig232">264</a>, <a href="#Page_265">265</a></li>
-
-<li class="indx">  <span class="smcap">Lacey knot</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Lasso de Castilla, Arms of Don Pero</span>, <a href="#Page_137">137</a></li>
-
-<li class="indx">  <span class="smcap">Lead cistern</span>, <a href="#Page_200">200</a></li>
-
-<li class="indx">  ” <span class="allsmcap">FOUNTAIN</span>, <a href="#Page_201">201</a></li>
-
-<li class="indx">  <span class="smcap">Leopard’s face</span>, <a href="#Page_147">147</a></li>
-
-<li class="indx">  ” <span class="allsmcap">FACES</span>, <a href="#fig104">86</a></li>
-
-<li class="indx">  <span class="smcap">Lettering</span>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a></li>
-
-<li class="indx">  <span class="smcap">Letters</span>, <a href="#Page_256">256</a></li>
-
-<li class="indx">  <span class="smcap">“Limoges” enamel</span>, <a href="#Page_177">177</a>, <a href="#fig176">179</a></li>
-
-<li class="indx">  <span class="smcap">Lines, various</span>, <a href="#Page_56">56</a></li>
-
-<li class="indx">  <span class="smcap">Lion</span>, <a href="#Page_89">89</a>, <a href="#Page_137">137</a>, <a href="#Page_186">186</a>, <a href="#Page_188">188</a>, <a href="#Page_220">220</a>, <a href="#fig213">233</a></li>
-
-<li class="indx">  ” Assyrian, <a href="#Page_81">81</a>;</li>
-<li class="isub2">passant, <a href="#Page_67">67</a>, <a href="#Page_75">75</a>, <a href="#Page_147">147</a>;</li>
-<li class="isub2">passant guardant, <a href="#Page_9">9</a>, <a href="#Page_18">18</a>, <a href="#Page_60">60</a>, <a href="#Page_68">68</a>, <a href="#fig89">71</a>, <a href="#fig98">77</a>, <a href="#Page_141">141</a>;</li>
-<li class="isub2">rampant, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>, <a href="#Page_72">72</a>, <a href="#fig99">79</a>, <a href="#Page_137">137</a>, <a href="#Page_139">139</a>, <a href="#Page_140">140</a>;</li>
-<li class="isub2">rampant guardant, <a href="#Page_72">72</a>;</li>
-<li class="isub2">rampant regardant, <a href="#Page_72">72</a>, <a href="#Page_89">89</a>;</li>
-<li class="isub2"><a id="salient"></a>salient, <a href="#Page_72">72</a>;</li>
-<li class="isub2">sejant, <a href="#Page_76">76</a></li>
-
-<li class="indx">  <span class="smcap">Lions</span>, <a href="#Page_9">9</a>, <a href="#Page_18">18</a>, <a href="#Page_60">60</a>, <a href="#Page_89">89</a>, <a href="#Page_151">151</a>, <a href="#Page_184">184</a>, <a href="#fig208">227</a>, <a href="#fig215">237</a>, <a href="#fig217">239</a>, <a href="#Page_242">242</a>, <a href="#Page_243">243</a>;</li>
-<li class="isub2">conjoined with ships, <a href="#Page_84">84</a>;</li>
-<li class="isub2">embroidered, <a href="#Page_248">248-54</a>;</li>
-<li class="isub2">faces of, <a href="#Page_137">137</a>;</li>
-<li class="isub2">heads of, <a href="#Page_137">137</a>;</li>
-<li class="isub2">in enamel, <a href="#Page_171">171</a>, <a href="#Page_174">174</a>;</li>
-<li class="isub2">lace, <a href="#Page_265">265</a>;</li>
-<li class="isub2">on hinge, <a href="#fig184">191</a>;</li>
-<li class="isub2">plans for distribution on shields, <a href="#Page_83">83</a>, <a href="#Page_89">89</a>, <a href="#Page_137">137</a></li>
-
-<li class="indx">  <span class="smcap">Lock-plate</span>, <a href="#fig185">191</a>;</li>
-<li class="isub2">with eagle, <a href="#fig183">190</a></li>
-
-<li class="indx">  <span class="smcap">London, City of, arms</span>, <a href="#Page_88">88</a></li>
-
-<li class="indx">  <span class="smcap">Louis XII medal</span>, <a href="#Page_116">116</a></li>
-
-<li class="indx">  <span class="smcap">Lozenge</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Lozenges</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Lymphad</span>, <a href="#Page_115">115</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Man, savage</span>, <a href="#bookplate">94</a>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Mantling</span>, <a href="#fig99">79</a>, <a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_135">135</a>, <a href="#Page_136">136</a>, <a href="#Page_137">137</a>, <a href="#fig176">179</a>, <a href="#Page_220">220</a>, <a href="#fig215">237</a>, <a href="#Page_244">244</a></li>
-
-<li class="indx">  <span class="smcap">Mar and Kellie, arms of the Earl and Countess of</span>, <a href="#Page_219">219</a></li>
-
-<li class="indx">  <span class="smcap">Martlet</span>, <a href="#fig209">229</a>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Maunche</span>, <a href="#Page_141">141</a>, <a href="#Page_280">280</a></li>
-
-<li class="indx">  <span class="smcap">Maximilian I, Emperor</span>, <a href="#griffin">86</a>, <a href="#Page_87">87</a></li>
-
-<li class="indx">  <span class="smcap">Medal with diaper</span>, <a href="#Page_116">116</a></li>
-
-<li class="indx">  <span class="smcap">Medals, Italian</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Medici badge</span>, <a href="#Page_267">267</a></li>
-
-<li class="indx">  <span class="smcap">Memorial brass</span>, <a href="#Page_184">184</a></li>
-
-<li class="indx">  <span class="smcap">Mitre</span>, <a href="#Page_243">243</a></li>
-
-<li class="indx">  <span class="smcap">Monogram</span>, <a href="#Page_221">221</a></li>
-
-<li class="indx">  <span class="smcap">Mortar, bronze</span>, <a href="#Page_188">188</a></li>
-
-<li class="indx">  <span class="smcap">Mottoes</span>, <a href="#Page_30">30</a>, <a href="#Page_64">64</a>, <a href="#fig104">86</a>, <a href="#Page_88">88</a>, <a href="#Page_184">184</a>, <a href="#fig196">202</a>, <a href="#fig204">218</a>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>, <a href="#fig213">233</a>, <a href="#fig215">237</a>, <a href="#fig217">239</a>, <a href="#Page_256">256</a>, <a href="#Page_267">267</a></li>
-
-<li class="indx">  <span class="smcap">Mullet</span>, <a href="#Page_288">288</a></li>
-
-<li class="indx">  <span class="smcap">Mural crown</span>, <a href="#Page_273">273</a>;</li>
-<li class="isub2">decoration, <a href="#Page_64">64</a>, <a href="#fig104">86</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Naval crown</span>, <a href="#Page_273">273</a></li>
-
-<li class="indx">  <span class="smcap"><a id="nebulee"></a>Nebulée</span>, <a href="#Page_57">57</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Ockwells Glass</span>, <a href="#fig215">237</a>, <a href="#fig217">239</a></li>
-
-<li class="indx">  <span class="smcap">Orle</span>, <a href="#Page_59">59</a></li>
-
-<li class="indx">  <span class="smcap">Ostrich feathers</span>, <a href="#Page_267">267</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Pageant car</span>, part of, <a href="#pagcar">86</a></li>
-
-<li class="indx">  <span class="smcap">Pale</span>, <a href="#Page_51">51</a>, <a href="#Page_115">115</a>, <a href="#Page_157">157</a>, <a href="#Page_161">161</a>, <a href="#Page_219">219</a></li>
-
-<li class="indx">  <span class="smcap">Pale, diapered</span>, <a href="#fig141">113</a></li>
-
-<li class="indx">  <span class="smcap">Pallets on a chevron</span>, <a href="#Page_69">69</a></li>
-
-<li class="indx">  <span class="smcap">Paly</span>, <a href="#Page_48">48</a></li>
-
-<li class="indx">  <span class="smcap">Panache crest</span>, <a href="#Page_125">125</a>, <a href="#Page_135">135</a></li>
-
-<li class="indx">  <span class="smcap">Panel by Donatello</span>, <a href="#fig130">104</a></li>
-
-<li class="indx">  ” <span class="allsmcap">IN CHISELLED IRON</span>, <a href="#fig187">193</a></li>
-
-<li class="indx">  ” <span class="allsmcap">IN COPPER</span>, <a href="#fig89">71</a></li>
-
-<li class="indx">  <span class="smcap">Pan-pipe</span>, <a href="#Page_270">270</a></li>
-
-<li class="indx">  <span class="smcap">Papal</span> keys, <a href="#Page_210">210</a>;</li>
-<li class="isub2">tiara, <a href="#Page_210">210</a></li>
-
-<li class="indx">  <span class="smcap">Parted and fretty</span>, <a href="#Page_53">53</a></li>
-
-<li class="indx">  <span class="smcap">Paul III, arms of Pope</span>, <a href="#Page_210">210</a></li>
-
-<li class="indx">  <span class="smcap">Pavoise</span>, <a href="#Page_26">26</a></li>
-
-<li class="indx">  <span class="smcap">Pelican</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Per bend</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  ” <span class="allsmcap">CHEVRON</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  ” <span class="allsmcap">FESS</span>, <a href="#Page_47">47</a>;</li>
-<li class="isub2">indented, <a href="#fig217">239</a></li>
-
-<li class="indx">  ” <span class="allsmcap">PALE</span>, <a href="#Page_47">47</a>, <a href="#Page_49">49</a></li>
-
-<li class="indx">  ” <span class="allsmcap">SALTIRE</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  <span class="smcap">Pheon</span>, <a href="#Page_281">281</a></li>
-
-<li class="indx">  <span class="smcap">Phœnix</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Pile</span>, <a href="#Page_54">54</a></li>
-
-<li class="indx">  <span class="smcap">Pisano, medal by</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_307">[Pg 307]</span>  <span class="smcap">Plate prepared for enamel</span>, <a href="#Page_174">174</a></li>
-
-<li class="indx">  <span class="smcap">Points of the shield</span>, <a href="#Page_41">41</a></li>
-
-<li class="indx">  <span class="smcap">Poker work</span>, <a href="#fig204">218</a></li>
-
-<li class="indx">  <span class="smcap">Porcupine</span>, <a href="#fig197">206</a>, <a href="#Page_213">213</a></li>
-
-<li class="indx">  <span class="smcap">Portcullis</span>, <a href="#Page_282">282</a></li>
-
-<li class="indx">  <span class="smcap">Potent</span>, <a href="#Page_46">46</a></li>
-
-<li class="indx">  <span class="smcap">Powder-horn</span>, <a href="#Page_196">196</a></li>
-
-<li class="indx">  <span class="smcap">Prince of Wales’ coronet</span>, <a href="#Page_153">153</a></li>
-
-<li class="indx">  <span class="smcap">Printer’s mark, heraldic</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Pyrography</span>, <a href="#fig204">218</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Quarterly</span>, <a href="#Page_47">47</a></li>
-
-<li class="indx">  <span class="smcap">Quatrefoil</span>, <a href="#Page_282">282</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Repoussé shield</span>, <a href="#Page_195">195</a></li>
-
-<li class="indx">  <span class="smcap">Rose</span>, <a href="#Page_107">107</a>, <a href="#Page_147">147</a>, <a href="#Page_288">288</a>;</li>
-<li class="isub2">irradiated, <a href="#Page_107">107</a></li>
-
-<li class="indx">  <span class="smcap">Roses</span>, <a href="#Page_49">49</a></li>
-
-<li class="indx">  <span class="smcap">Roundles</span>, <a href="#fig219">241</a></li>
-
-<li class="indx">  <span class="smcap">Royal arms</span>, <a href="#Page_9">9</a>, <a href="#Page_18">18</a>, <a href="#Page_60">60</a>, <a href="#fig98">77</a>, <a href="#Page_89">89</a>, <a href="#Page_149">149</a>, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>, <a href="#fig201">211</a>, <a href="#Page_214">214</a>, <a href="#fig208">227</a>, <a href="#fig215">237</a></li>
-
-<li class="indx">  ” <span class="allsmcap">CREST</span>, <a href="#fig213">233</a></li>
-
-
-<li class="ifrst">  <span class="smcap"><abbr title="saint">St.</abbr> Edmund, arms of</span>, <a href="#Page_272">272</a></li>
-
-<li class="indx">  <span class="smcap">Saltire</span>, <a href="#Page_53">53</a>, <a href="#Page_140">140</a></li>
-
-<li class="indx">  <span class="smcap">Savage man</span>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Scales</span>, <a href="#fig104">86</a></li>
-
-<li class="indx">  <span class="smcap">Sculptured arms</span>, <a href="#Page_147">147</a></li>
-
-<li class="indx">  <span class="smcap">Seal</span>, Gold Bulla of Henry VIII, <a href="#Page_149">149</a>;</li>
-<li class="isub2">of Anne, Countess of Devon, <a href="#Page_140">140</a>;</li>
-<li class="isub2">of Anthony de Bec, Bishop of Durham, <a href="#Page_98">98</a>;</li>
-<li class="isub2">of Charles IV, <a href="#Page_92">92</a>;</li>
-<li class="isub2">of Dauphin, <a href="#Page_93">93</a>;</li>
-<li class="isub2">of Edmond Beaufort, Duke of Somerset, <a href="#Page_141">141</a>;</li>
-<li class="isub2">of Henry IV, <a href="#Page_18">18</a>;</li>
-<li class="isub2">of John de Segrave, <a href="#Page_139">139</a>;</li>
-<li class="isub2">Privy, of Henry VIII, <a href="#Page_89">89</a>;</li>
-<li class="isub2">of Ralph Neville, <a id="west2"></a>Earl of Westmoreland, <a href="#Page_140">140</a>;</li>
-<li class="isub2">of Sandwich, <a href="#Page_84">84</a>;</li>
-<li class="isub2">of Sigismund, <a href="#Page_92">92</a>;</li>
-<li class="isub2">of William Lord Hastings, <a href="#Page_141">141</a>;</li>
-<li class="isub2">Segrave Seal, <a href="#Page_149">149</a></li>
-
-<li class="indx">  <span class="smcap">Serpent</span>, <a href="#Page_89">89</a>, <a href="#Page_195">195</a>;</li>
-<li class="isub2">nowed, <a href="#Page_256">256</a></li>
-
-<li class="indx">  <span class="smcap">Sgraffito frieze</span>, <a href="#Page_209">209</a></li>
-
-<li class="indx">  ” <span class="allsmcap">PANEL</span>, <a href="#Page_210">210</a></li>
-
-<li class="indx">  <span class="smcap">Shield</span>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_136">136</a>, <a href="#Page_137">137</a>, <a href="#fig215">237</a>, <a href="#fig217">239</a>, <a href="#Page_244">244</a>;</li>
-<li class="isub2">bronze, by Donatello, <a href="#Page_189">189</a>;</li>
-<li class="isub2">cusped, fifteenth and sixteenth century, <a href="#Page_32">32</a>;</li>
-<li class="isub2">decoration, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>;</li>
-<li class="isub2">diapered, <a href="#Page_112">112</a>, <a href="#fig141">113</a>, <a href="#Page_115">115</a>;</li>
-<li class="isub2">embroidered, <a href="#Page_253">253</a>;</li>
-<li class="isub2">from the tomb of Prince Edmund of Langley, <a href="#Page_90">90</a>;</li>
-<li class="isub2">in enamel, <a href="#Page_176">176</a>;</li>
-<li class="isub2">in gesso, <a href="#Page_161">161</a>, <a href="#Page_219">219</a>;</li>
-<li class="isub2">Italian, <a href="#fig163">145</a>, <a href="#Page_210">210</a>;</li>
-<li class="isub2">of the Black Prince, <a href="#Page_9">9</a>;</li>
-<li class="isub2">points of, <a href="#Page_41">41</a></li>
-
-<li class="indx">  <span class="smcap">Shields at Alloa House</span>, <a href="#fig141">113</a>, <a href="#Page_115">115</a>, <a href="#Page_157">157</a>;</li>
-<li class="isub2">decorated, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_36">36</a>;</li>
-<li class="isub2">derived from the tournament form, <a href="#Page_33">33</a>;</li>
-<li class="isub2">fourteenth century, <a href="#Page_24">24</a>;</li>
-<li class="isub2">heater shape, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>;</li>
-<li class="isub2">in gesso, <a href="#fig141">113</a>, <a href="#Page_115">115</a>, <a href="#Page_157">157</a>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>;</li>
-<li class="isub2">Norman, <a href="#Page_22">22</a>;</li>
-<li class="isub2">ridged, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>;</li>
-<li class="isub2">square, <a href="#Page_25">25</a>;</li>
-<li class="isub2">tournament, <a href="#Page_26">26</a>, <a href="#Page_33">33</a></li>
-
-<li class="indx">  <span class="smcap">Ship</span>, <a href="#Page_115">115</a></li>
-
-<li class="indx">  <span class="smcap">Ships, conjoined with lions</span>, <a href="#Page_84">84</a></li>
-
-<li class="indx">  <span class="smcap">Snake</span>, <a href="#Page_89">89</a>, <a href="#Page_195">195</a></li>
-
-<li class="indx">  <span class="smcap">Spade</span>, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Spear, tilting</span>, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Sruttle</span>, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Stabius, arms of</span>, <a href="#Page_136">136</a></li>
-
-<li class="indx">  <span class="smcap">Stafford knot</span>, <a href="#Page_278">278</a></li>
-
-<li class="indx">  <span class="smcap">Stained glass</span>, <a href="#fig208">227</a>, <a href="#fig209">229</a>, <a href="#Page_230">230</a>, <a href="#fig211">231</a>, <a href="#fig212">232</a>, <a href="#fig213">233</a>, <a href="#fig214">235</a>, <a href="#fig215">237</a>, <a href="#fig217">239</a>, <a href="#fig219">241</a>, <a href="#fig219">242</a>, <a href="#Page_243">243</a>, <a href="#Page_244">244</a></li>
-
-<li class="indx">  <span class="smcap">Standard</span>, <a href="#Page_256">256</a></li>
-
-<li class="indx">  <span class="smcap">Supporters</span>, <a href="#fig104">86</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>, <a href="#Page_140">140</a>, <a href="#Page_141">141</a>, <a href="#fig163">145</a>, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>, <a href="#Page_196">196</a>, <a href="#fig201">211</a>, <a href="#Page_209">209</a>, <a href="#fig201">211</a>;</li>
-<li class="isub2">royal, <a href="#fig215">237</a></li>
-
-<li class="indx">  <span class="smcap">Swan</span>, <a href="#fig214">234</a></li>
-
-<li class="indx">  <span class="smcap">Sword</span>, <a href="#Page_88">88</a>, <a href="#Page_136">136</a></li>
-
-<li class="indx">  <span class="smcap">Syon cope, arms from</span>, <a href="#Page_248">248</a></li>
-
-<li class="indx">  <span class="smcap">Syrinx</span>, <a href="#Page_270">270</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Talpas, medal by</span>, <a href="#Page_93">93</a></li>
-
-<li class="indx">  <span class="smcap">Thistle collar</span>, <a href="#Page_161">161</a></li>
-
-<li class="indx">  <span class="smcap">Tiara, papal</span>, <a href="#Page_210">210</a></li>
-
-<li class="indx">  <span class="smcap">Tiger, heraldic</span>, <a href="#Page_141">141</a></li>
-
-<li class="indx">  <span class="smcap">Tilting helm</span>, <a href="#Page_121">121</a>;</li>
-<li class="isub2">spear, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Tinctures</span>, <a href="#Page_44">44</a></li>
-
-<li class="indx">  <span class="smcap">Toison d’Or badge</span>, <a href="#fig104">86</a>, <a href="#Page_87">87</a>, <a href="#Page_251">251</a>;</li>
-<li class="isub2">collar, <a href="#fig187">193</a></li>
-
-<li class="indx">  <span class="smcap">Torse, Florentine</span>, <a href="#Page_134">134</a></li>
-
-<li class="indx">  <span class="smcap">Tournament collar</span>, <a href="#Page_287">287</a></li>
-
-<li class="indx">  <span class="smcap">Tourney helm</span>, <a href="#Page_124">124</a></li>
-
-<li class="indx"><span class="pagenum" id="Page_308">[Pg 308]</span>  ” <span class="allsmcap">HELM AND CREST</span>, <a href="#Page_136">136</a></li>
-
-<li class="indx">  <span class="smcap">Trefoil</span>, <a href="#Page_256">256</a>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Tressure</span>, <a href="#Page_59">59</a>, <a href="#Page_219">219</a></li>
-
-<li class="indx">  <span class="smcap">Tricked arms</span>, <a href="#Page_55">55</a></li>
-
-<li class="indx">  <span class="smcap">Tschertts, arms of</span>, <a href="#Page_95">95</a></li>
-
-<li class="indx">  <span class="smcap">Tudor crown</span>, <a href="#Page_140">140</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Unicorn</span>, <a href="#fig104">86</a>, <a href="#fig211">231</a></li>
-
-<li class="indx">  <span class="smcap">Union Jack</span>, <a href="#Page_259">259</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Vair</span>, <a href="#Page_45">45</a>, <a href="#Page_151">151</a>;</li>
-<li class="isub2">ancient form of, <a href="#Page_46">46</a></li>
-
-<li class="indx">  <span class="smcap">Various lines</span>, <a href="#Page_56">56</a></li>
-
-
-<li class="ifrst">  <span class="smcap">Wake and Ormond knot</span>, <a href="#Page_279">279</a></li>
-
-<li class="indx">  <span class="smcap">Warwick, arms of the Earl of</span>, <a href="#Page_236">236</a></li>
-
-<li class="indx">  <span class="smcap">Water bouget</span>, <a href="#Page_284">284</a></li>
-
-<li class="indx">  <span class="smcap">Weidlitz, Hans</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Weldon, W. H., crest of</span>, <a href="#fig176">179</a></li>
-
-<li class="indx">  <span class="smcap">William de Valence shield</span>, <a href="#Page_176">176</a></li>
-
-<li class="indx">  <span class="smcap">Wings</span>, <a href="#Page_94">94</a>;</li>
-<li class="isub2">dragons’, <a href="#Page_88">88</a></li>
-
-<li class="indx">  <span class="smcap">Wings conjoined in lure</span>, <a href="#Page_151">151</a></li>
-
-<li class="indx">  <span class="smcap">Winnowing fan</span>, <a href="#Page_283">283</a></li>
-
-<li class="indx">  <span class="smcap">Wirsung, arms of</span>, <a href="#Page_94">94</a></li>
-
-<li class="indx">  <span class="smcap">Wolsey, Cardinal, arms of</span>, <a href="#Page_147">147</a></li>
-
-<li class="indx">  <span class="smcap">Wood-carving</span>, <a href="#fig201">211</a></li>
-
-<li class="indx">  <span class="smcap">Wyvern</span>, <a href="#Page_94">94</a></li>
-</ul>
-
-
-
-
-<hr class="chap x-ebookmaker-drop">
-
-<div class="chapter transnote">
-<h2 class="nobreak" id="Transcribers_Note">Transcriber’s Note:</h2>
-
-<p>Minor errors and omissions in punctuation, hyphenation, and
-capitalization have been fixed.</p>
-
-<p>Illustrations have been moved to avoid breaking paragraphs, so it may be necessary to scroll up or down to find their locations.</p>
-
-<p>Some words with potential alternative spellings were left as in the text, including
-jowlopped, marygold, spandrils, Poictiers, applique, and gouttee.</p>
-
-<p>Page 55: <a href="#shapes">Three instances of non-Unicode shapes</a> have been designated by [Shape].
-[Shape 1] is similar to an Greek lambda (Λ), but obtuse. [Shape 2] is a circle with a
-dot in the middle and five lines radiating from it. [Shape 3] is a cross with three arcs
-on the top.</p>
-
-<p>Page 58: “displaying an augumentation” changed to “<a href="#augmentation">displaying an
-augmentation</a>”.</p>
-
-<p>Page 62: “known as guttee or goutee” changed to “<a href="#goutee">known as guttée or gouttee</a>”.</p>
-
-<p>Page 99: “patée or formee” changed to “<a href="#formee">patée or formée</a>”.</p>
-
-<p>Page 100: “Cross Pomell” changed to “<a href="#pommel">Cross Pommel</a>” in the <abbr title="figure">Fig.</abbr> 118 caption.</p>
-
-<p>Page 106: “Maltesta in Italy” changed to “<a href="#malatesta">Malatesta in Italy</a>”.</p>
-
-<p>Page 111: “like the semé” changed to “<a href="#semee">like the semée</a>”.</p>
-
-<p>Page 119: “more or less cylindical” changed to “<a href="#cylindrical">more or less
-cylindrical</a>”.</p>
-
-<p>Page 173: “Champlévé is usually” changed to “<a href="#champleve">Champlevé is usually</a>”.</p>
-
-<p>Page 216: “in this way car” changed to “<a href="#care">in this way care</a>”.</p>
-
-<p>Page 279: “J. Robinson Planche” changed to “<a href="#planche">J. Robinson Planché</a>”.</p>
-
-<p>Index entry spellings were changed to match the spelling in the text:</p>
-
-<p>Page 295: “furchee” in the index changed to “<a href="#furchee">furchée</a>”.</p>
-
-<p>Page 295: “botonée” in the index changed to “<a href="#bottonee">bottonée</a>”.</p>
-
-<p>Page 295: “Durer” in the index changed to “<a href="#durer">Dürer</a>”.</p>
-
-<p>Page 296: “French chateaux” in the index changed to “<a href="#chateaux">French châteaux</a>”.</p>
-
-<p>Page 298: “Lambriquins” in the index changed to “<a href="#lambre">Lambrequins</a>”.</p>
-
-<p>Page 298: “Nebulee” in the index changed to “<a href="#nebulee">Nebulée</a>”.</p>
-
-<p>Page 298: “Ogresse” in the index changed to “<a href="#ogress">Ogress</a>”.</p>
-
-<p>Pages <a href="#west1">299</a>, <a href="#west2">307</a>: “Earl of Westmorland” in the index changed to “Earl of
-Westmoreland”.</p>
-
-<p>Page 304: “crosslet fitché” in the index changed to “<a href="#fitchee">crosslet fitchée</a>”.</p>
-
-<p>Page 304: “patonce” in the index changed to “<a href="#patonee">patonee</a>”.</p>
-
-<p>Page 305: “Chateau de Blois” in the index changed to “<a href="#blois">Château de Blois</a>”
-in two places.</p>
-
-<p>Page <a href="#gyron">297</a>, <a href="#gyronny">305</a>: “Gyrony” in the index changed to “Gyronny”.</p>
-
-<p>Page 306: “saliant” in the index changed to “<a href="#salient">salient</a>”.</p>
-</div>
-
-<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK HERALDRY AS ART ***</div>
-<div style='text-align:left'>
-
-<div style='display:block; margin:1em 0'>
-Updated editions will replace the previous one&#8212;the old editions will
-be renamed.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away&#8212;you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-</div>
-
-<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div>
-<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div>
-<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div>
-
-<div style='display:block; margin:1em 0'>
-To protect the Project Gutenberg&#8482; mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase &#8220;Project
-Gutenberg&#8221;), you agree to comply with all the terms of the Full
-Project Gutenberg&#8482; License available with this file or online at
-www.gutenberg.org/license.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 1. General Terms of Use and Redistributing Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.A. By reading or using any part of this Project Gutenberg&#8482;
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg&#8482; electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg&#8482; electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the person
-or entity to whom you paid the fee as set forth in paragraph 1.E.8.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.B. &#8220;Project Gutenberg&#8221; is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg&#8482; electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg&#8482; electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg&#8482;
-electronic works. See paragraph 1.E below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the
-Foundation&#8221; or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg&#8482; electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg&#8482; mission of promoting
-free access to electronic works by freely sharing Project Gutenberg&#8482;
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg&#8482; name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg&#8482; License when
-you share it without charge with others.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg&#8482; work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E. Unless you have removed all references to Project Gutenberg:
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg&#8482; License must appear
-prominently whenever any copy of a Project Gutenberg&#8482; work (any work
-on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the
-phrase &#8220;Project Gutenberg&#8221; is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-</div>
-
-<blockquote>
-  <div style='display:block; margin:1em 0'>
-    This eBook is for the use of anyone anywhere in the United States and most
-    other parts of the world at no cost and with almost no restrictions
-    whatsoever. You may copy it, give it away or re-use it under the terms
-    of the Project Gutenberg License included with this eBook or online
-    at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-    are not located in the United States, you will have to check the laws
-    of the country where you are located before using this eBook.
-  </div>
-</blockquote>
-
-<div style='display:block; margin:1em 0'>
-1.E.2. If an individual Project Gutenberg&#8482; electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase &#8220;Project
-Gutenberg&#8221; associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg&#8482;
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.3. If an individual Project Gutenberg&#8482; electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg&#8482; License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg&#8482;
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg&#8482;.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg&#8482; License.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg&#8482; work in a format
-other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official
-version posted on the official Project Gutenberg&#8482; website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original &#8220;Plain
-Vanilla ASCII&#8221; or other form. Any alternate format must include the
-full Project Gutenberg&#8482; License as specified in paragraph 1.E.1.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg&#8482; works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg&#8482; electronic works
-provided that:
-</div>
-
-<div style='margin-left:0.7em;'>
-    <div style='text-indent:-0.7em'>
-        &#8226; You pay a royalty fee of 20% of the gross profits you derive from
-        the use of Project Gutenberg&#8482; works calculated using the method
-        you already use to calculate your applicable taxes. The fee is owed
-        to the owner of the Project Gutenberg&#8482; trademark, but he has
-        agreed to donate royalties under this paragraph to the Project
-        Gutenberg Literary Archive Foundation. Royalty payments must be paid
-        within 60 days following each date on which you prepare (or are
-        legally required to prepare) your periodic tax returns. Royalty
-        payments should be clearly marked as such and sent to the Project
-        Gutenberg Literary Archive Foundation at the address specified in
-        Section 4, &#8220;Information about donations to the Project Gutenberg
-        Literary Archive Foundation.&#8221;
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &#8226; You provide a full refund of any money paid by a user who notifies
-        you in writing (or by e-mail) within 30 days of receipt that s/he
-        does not agree to the terms of the full Project Gutenberg&#8482;
-        License. You must require such a user to return or destroy all
-        copies of the works possessed in a physical medium and discontinue
-        all use of and all access to other copies of Project Gutenberg&#8482;
-        works.
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &#8226; You provide, in accordance with paragraph 1.F.3, a full refund of
-        any money paid for a work or a replacement copy, if a defect in the
-        electronic work is discovered and reported to you within 90 days of
-        receipt of the work.
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &#8226; You comply with all other terms of this agreement for free
-        distribution of Project Gutenberg&#8482; works.
-    </div>
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg&#8482; electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg&#8482; trademark. Contact the Foundation as set
-forth in Section 3 below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg&#8482; collection. Despite these efforts, Project Gutenberg&#8482;
-electronic works, and the medium on which they may be stored, may
-contain &#8220;Defects,&#8221; such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &#8220;Right
-of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg&#8482; trademark, and any other party distributing a Project
-Gutenberg&#8482; electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you &#8216;AS-IS&#8217;, WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg&#8482; electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg&#8482;
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg&#8482; work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg&#8482; work, and (c) any
-Defect you cause.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 2. Information about the Mission of Project Gutenberg&#8482;
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg&#8482;&#8217;s
-goals and ensuring that the Project Gutenberg&#8482; collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg&#8482; and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation&#8217;s EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state&#8217;s laws.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation&#8217;s business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation&#8217;s website
-and official page at www.gutenberg.org/contact
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; depends upon and cannot survive without widespread
-public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular state
-visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-</div>
-
-<div style='display:block; margin:1em 0'>
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 5. General Information About Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-Professor Michael S. Hart was the originator of the Project
-Gutenberg&#8482; concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg&#8482; eBooks with only a loose network of
-volunteer support.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Most people start at our website which has the main PG search
-facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-This website includes information about Project Gutenberg&#8482;,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-</div>
-
-</div>
-</body>
-</html>
diff --git a/old/69298-h/images/armorials.jpg b/old/69298-h/images/armorials.jpg
deleted file mode 100644
index 9a4178c..0000000
--- a/old/69298-h/images/armorials.jpg
+++ /dev/null
diff --git a/old/69298-h/images/bookplate.jpg b/old/69298-h/images/bookplate.jpg
deleted file mode 100644
index ba93120..0000000
--- a/old/69298-h/images/bookplate.jpg
+++ /dev/null
diff --git a/old/69298-h/images/cover.jpg b/old/69298-h/images/cover.jpg
deleted file mode 100644
index 94c0295..0000000
--- a/old/69298-h/images/cover.jpg
+++ /dev/null
diff --git a/old/69298-h/images/dauphiny.jpg b/old/69298-h/images/dauphiny.jpg
deleted file mode 100644
index 3b850c5..0000000
--- a/old/69298-h/images/dauphiny.jpg
+++ /dev/null
diff --git a/old/69298-h/images/donpero.jpg b/old/69298-h/images/donpero.jpg
deleted file mode 100644
index e8db409..0000000
--- a/old/69298-h/images/donpero.jpg
+++ /dev/null
diff --git a/old/69298-h/images/emperor.jpg b/old/69298-h/images/emperor.jpg
deleted file mode 100644
index b69409e..0000000
--- a/old/69298-h/images/emperor.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig1.jpg b/old/69298-h/images/fig1.jpg
deleted file mode 100644
index 5c86f9f..0000000
--- a/old/69298-h/images/fig1.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig10.jpg b/old/69298-h/images/fig10.jpg
deleted file mode 100644
index 0426d5c..0000000
--- a/old/69298-h/images/fig10.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig100.jpg b/old/69298-h/images/fig100.jpg
deleted file mode 100644
index 8d01d6b..0000000
--- a/old/69298-h/images/fig100.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig101.jpg b/old/69298-h/images/fig101.jpg
deleted file mode 100644
index 59fc478..0000000
--- a/old/69298-h/images/fig101.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig102.jpg b/old/69298-h/images/fig102.jpg
deleted file mode 100644
index b43a489..0000000
--- a/old/69298-h/images/fig102.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig103.jpg b/old/69298-h/images/fig103.jpg
deleted file mode 100644
index ddbf3af..0000000
--- a/old/69298-h/images/fig103.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig104.jpg b/old/69298-h/images/fig104.jpg
deleted file mode 100644
index 787021f..0000000
--- a/old/69298-h/images/fig104.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig105.jpg b/old/69298-h/images/fig105.jpg
deleted file mode 100644
index f5ea037..0000000
--- a/old/69298-h/images/fig105.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig106.jpg b/old/69298-h/images/fig106.jpg
deleted file mode 100644
index eeb519b..0000000
--- a/old/69298-h/images/fig106.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig107.jpg b/old/69298-h/images/fig107.jpg
deleted file mode 100644
index 4e9ceae..0000000
--- a/old/69298-h/images/fig107.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig108.jpg b/old/69298-h/images/fig108.jpg
deleted file mode 100644
index 6283573..0000000
--- a/old/69298-h/images/fig108.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig109.jpg b/old/69298-h/images/fig109.jpg
deleted file mode 100644
index a0df1b8..0000000
--- a/old/69298-h/images/fig109.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig11.jpg b/old/69298-h/images/fig11.jpg
deleted file mode 100644
index 121919d..0000000
--- a/old/69298-h/images/fig11.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig110.jpg b/old/69298-h/images/fig110.jpg
deleted file mode 100644
index 313ec40..0000000
--- a/old/69298-h/images/fig110.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig111.jpg b/old/69298-h/images/fig111.jpg
deleted file mode 100644
index be3f4bf..0000000
--- a/old/69298-h/images/fig111.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig112.jpg b/old/69298-h/images/fig112.jpg
deleted file mode 100644
index a67a3bc..0000000
--- a/old/69298-h/images/fig112.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig113.jpg b/old/69298-h/images/fig113.jpg
deleted file mode 100644
index 3300eb6..0000000
--- a/old/69298-h/images/fig113.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig114.jpg b/old/69298-h/images/fig114.jpg
deleted file mode 100644
index 827e8d2..0000000
--- a/old/69298-h/images/fig114.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig115.jpg b/old/69298-h/images/fig115.jpg
deleted file mode 100644
index 48e1c32..0000000
--- a/old/69298-h/images/fig115.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig116.jpg b/old/69298-h/images/fig116.jpg
deleted file mode 100644
index 0f3a8d3..0000000
--- a/old/69298-h/images/fig116.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig117.jpg b/old/69298-h/images/fig117.jpg
deleted file mode 100644
index 14be972..0000000
--- a/old/69298-h/images/fig117.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig118.jpg b/old/69298-h/images/fig118.jpg
deleted file mode 100644
index 3b576f6..0000000
--- a/old/69298-h/images/fig118.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig119.jpg b/old/69298-h/images/fig119.jpg
deleted file mode 100644
index 3c56d69..0000000
--- a/old/69298-h/images/fig119.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig12.jpg b/old/69298-h/images/fig12.jpg
deleted file mode 100644
index 1b722ba..0000000
--- a/old/69298-h/images/fig12.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig120.jpg b/old/69298-h/images/fig120.jpg
deleted file mode 100644
index b236cde..0000000
--- a/old/69298-h/images/fig120.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig121.jpg b/old/69298-h/images/fig121.jpg
deleted file mode 100644
index 1abcb3a..0000000
--- a/old/69298-h/images/fig121.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig122.jpg b/old/69298-h/images/fig122.jpg
deleted file mode 100644
index b3b5159..0000000
--- a/old/69298-h/images/fig122.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig123.jpg b/old/69298-h/images/fig123.jpg
deleted file mode 100644
index 9849281..0000000
--- a/old/69298-h/images/fig123.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig124.jpg b/old/69298-h/images/fig124.jpg
deleted file mode 100644
index 061c755..0000000
--- a/old/69298-h/images/fig124.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig125.jpg b/old/69298-h/images/fig125.jpg
deleted file mode 100644
index 24e78d8..0000000
--- a/old/69298-h/images/fig125.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig126.jpg b/old/69298-h/images/fig126.jpg
deleted file mode 100644
index 19fa750..0000000
--- a/old/69298-h/images/fig126.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig127.jpg b/old/69298-h/images/fig127.jpg
deleted file mode 100644
index 3e2a209..0000000
--- a/old/69298-h/images/fig127.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig128.jpg b/old/69298-h/images/fig128.jpg
deleted file mode 100644
index d967d82..0000000
--- a/old/69298-h/images/fig128.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig129.jpg b/old/69298-h/images/fig129.jpg
deleted file mode 100644
index a3d3d0b..0000000
--- a/old/69298-h/images/fig129.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig13.jpg b/old/69298-h/images/fig13.jpg
deleted file mode 100644
index e1eff76..0000000
--- a/old/69298-h/images/fig13.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig130.jpg b/old/69298-h/images/fig130.jpg
deleted file mode 100644
index 754a7db..0000000
--- a/old/69298-h/images/fig130.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig131.jpg b/old/69298-h/images/fig131.jpg
deleted file mode 100644
index 74767eb..0000000
--- a/old/69298-h/images/fig131.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig132.jpg b/old/69298-h/images/fig132.jpg
deleted file mode 100644
index 9df19be..0000000
--- a/old/69298-h/images/fig132.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig133.jpg b/old/69298-h/images/fig133.jpg
deleted file mode 100644
index e71d21b..0000000
--- a/old/69298-h/images/fig133.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig134.jpg b/old/69298-h/images/fig134.jpg
deleted file mode 100644
index 9a39a39..0000000
--- a/old/69298-h/images/fig134.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig135.jpg b/old/69298-h/images/fig135.jpg
deleted file mode 100644
index d542a99..0000000
--- a/old/69298-h/images/fig135.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig136.jpg b/old/69298-h/images/fig136.jpg
deleted file mode 100644
index d1d4e0e..0000000
--- a/old/69298-h/images/fig136.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig137.jpg b/old/69298-h/images/fig137.jpg
deleted file mode 100644
index 3aa7a31..0000000
--- a/old/69298-h/images/fig137.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig138.jpg b/old/69298-h/images/fig138.jpg
deleted file mode 100644
index 172312e..0000000
--- a/old/69298-h/images/fig138.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig139.jpg b/old/69298-h/images/fig139.jpg
deleted file mode 100644
index 9e6b253..0000000
--- a/old/69298-h/images/fig139.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig14.jpg b/old/69298-h/images/fig14.jpg
deleted file mode 100644
index 27d85dc..0000000
--- a/old/69298-h/images/fig14.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig140.jpg b/old/69298-h/images/fig140.jpg
deleted file mode 100644
index 97f67bf..0000000
--- a/old/69298-h/images/fig140.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig141.jpg b/old/69298-h/images/fig141.jpg
deleted file mode 100644
index adbf2dc..0000000
--- a/old/69298-h/images/fig141.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig142.jpg b/old/69298-h/images/fig142.jpg
deleted file mode 100644
index 7eeddec..0000000
--- a/old/69298-h/images/fig142.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig143.jpg b/old/69298-h/images/fig143.jpg
deleted file mode 100644
index 067da67..0000000
--- a/old/69298-h/images/fig143.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig144.jpg b/old/69298-h/images/fig144.jpg
deleted file mode 100644
index e3f3ed0..0000000
--- a/old/69298-h/images/fig144.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig145.jpg b/old/69298-h/images/fig145.jpg
deleted file mode 100644
index fcbc60c..0000000
--- a/old/69298-h/images/fig145.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig146.jpg b/old/69298-h/images/fig146.jpg
deleted file mode 100644
index 18c8b3e..0000000
--- a/old/69298-h/images/fig146.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig147.jpg b/old/69298-h/images/fig147.jpg
deleted file mode 100644
index ba446a1..0000000
--- a/old/69298-h/images/fig147.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig148.jpg b/old/69298-h/images/fig148.jpg
deleted file mode 100644
index 870b71a..0000000
--- a/old/69298-h/images/fig148.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig149.jpg b/old/69298-h/images/fig149.jpg
deleted file mode 100644
index 9f4556e..0000000
--- a/old/69298-h/images/fig149.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig15.jpg b/old/69298-h/images/fig15.jpg
deleted file mode 100644
index 05609b2..0000000
--- a/old/69298-h/images/fig15.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig150.jpg b/old/69298-h/images/fig150.jpg
deleted file mode 100644
index f45f1dd..0000000
--- a/old/69298-h/images/fig150.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig151.jpg b/old/69298-h/images/fig151.jpg
deleted file mode 100644
index f409d27..0000000
--- a/old/69298-h/images/fig151.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig152.jpg b/old/69298-h/images/fig152.jpg
deleted file mode 100644
index 301bd1d..0000000
--- a/old/69298-h/images/fig152.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig153.jpg b/old/69298-h/images/fig153.jpg
deleted file mode 100644
index dce19fb..0000000
--- a/old/69298-h/images/fig153.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig154.jpg b/old/69298-h/images/fig154.jpg
deleted file mode 100644
index b2e7661..0000000
--- a/old/69298-h/images/fig154.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig155.jpg b/old/69298-h/images/fig155.jpg
deleted file mode 100644
index 63475ab..0000000
--- a/old/69298-h/images/fig155.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig156.jpg b/old/69298-h/images/fig156.jpg
deleted file mode 100644
index b33299c..0000000
--- a/old/69298-h/images/fig156.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig157.jpg b/old/69298-h/images/fig157.jpg
deleted file mode 100644
index 0d4bc84..0000000
--- a/old/69298-h/images/fig157.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig158.jpg b/old/69298-h/images/fig158.jpg
deleted file mode 100644
index 6c2dd15..0000000
--- a/old/69298-h/images/fig158.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig159.jpg b/old/69298-h/images/fig159.jpg
deleted file mode 100644
index 1fb8e3a..0000000
--- a/old/69298-h/images/fig159.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig16.jpg b/old/69298-h/images/fig16.jpg
deleted file mode 100644
index 50ddfcd..0000000
--- a/old/69298-h/images/fig16.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig160.jpg b/old/69298-h/images/fig160.jpg
deleted file mode 100644
index 22d3dbc..0000000
--- a/old/69298-h/images/fig160.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig161.jpg b/old/69298-h/images/fig161.jpg
deleted file mode 100644
index 5d4e031..0000000
--- a/old/69298-h/images/fig161.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig162.jpg b/old/69298-h/images/fig162.jpg
deleted file mode 100644
index b053cdd..0000000
--- a/old/69298-h/images/fig162.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig163.jpg b/old/69298-h/images/fig163.jpg
deleted file mode 100644
index 8850189..0000000
--- a/old/69298-h/images/fig163.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig164.jpg b/old/69298-h/images/fig164.jpg
deleted file mode 100644
index 0098944..0000000
--- a/old/69298-h/images/fig164.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig165.jpg b/old/69298-h/images/fig165.jpg
deleted file mode 100644
index 3b935d8..0000000
--- a/old/69298-h/images/fig165.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig166.jpg b/old/69298-h/images/fig166.jpg
deleted file mode 100644
index 1886c30..0000000
--- a/old/69298-h/images/fig166.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig167.jpg b/old/69298-h/images/fig167.jpg
deleted file mode 100644
index 1cb9f89..0000000
--- a/old/69298-h/images/fig167.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig168.jpg b/old/69298-h/images/fig168.jpg
deleted file mode 100644
index ae71bcb..0000000
--- a/old/69298-h/images/fig168.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig169.jpg b/old/69298-h/images/fig169.jpg
deleted file mode 100644
index 4beaf62..0000000
--- a/old/69298-h/images/fig169.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig16a.jpg b/old/69298-h/images/fig16a.jpg
deleted file mode 100644
index 619eb7c..0000000
--- a/old/69298-h/images/fig16a.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig17.jpg b/old/69298-h/images/fig17.jpg
deleted file mode 100644
index 4a91bfb..0000000
--- a/old/69298-h/images/fig17.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig170.jpg b/old/69298-h/images/fig170.jpg
deleted file mode 100644
index 664b674..0000000
--- a/old/69298-h/images/fig170.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig171.jpg b/old/69298-h/images/fig171.jpg
deleted file mode 100644
index ae329c5..0000000
--- a/old/69298-h/images/fig171.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig172.jpg b/old/69298-h/images/fig172.jpg
deleted file mode 100644
index 9ab9f0a..0000000
--- a/old/69298-h/images/fig172.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig173.jpg b/old/69298-h/images/fig173.jpg
deleted file mode 100644
index 785ffa1..0000000
--- a/old/69298-h/images/fig173.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig174.jpg b/old/69298-h/images/fig174.jpg
deleted file mode 100644
index f19345e..0000000
--- a/old/69298-h/images/fig174.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig175.jpg b/old/69298-h/images/fig175.jpg
deleted file mode 100644
index c973b4d..0000000
--- a/old/69298-h/images/fig175.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig176.jpg b/old/69298-h/images/fig176.jpg
deleted file mode 100644
index 2c52585..0000000
--- a/old/69298-h/images/fig176.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig177.jpg b/old/69298-h/images/fig177.jpg
deleted file mode 100644
index 19b4453..0000000
--- a/old/69298-h/images/fig177.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig178.jpg b/old/69298-h/images/fig178.jpg
deleted file mode 100644
index 3b7ad3c..0000000
--- a/old/69298-h/images/fig178.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig179.jpg b/old/69298-h/images/fig179.jpg
deleted file mode 100644
index 3aa4462..0000000
--- a/old/69298-h/images/fig179.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig18.jpg b/old/69298-h/images/fig18.jpg
deleted file mode 100644
index d7773db..0000000
--- a/old/69298-h/images/fig18.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig180.jpg b/old/69298-h/images/fig180.jpg
deleted file mode 100644
index fd1e633..0000000
--- a/old/69298-h/images/fig180.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig181.jpg b/old/69298-h/images/fig181.jpg
deleted file mode 100644
index 199727a..0000000
--- a/old/69298-h/images/fig181.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig182.jpg b/old/69298-h/images/fig182.jpg
deleted file mode 100644
index 50b741a..0000000
--- a/old/69298-h/images/fig182.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig183.jpg b/old/69298-h/images/fig183.jpg
deleted file mode 100644
index 2981175..0000000
--- a/old/69298-h/images/fig183.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig184.jpg b/old/69298-h/images/fig184.jpg
deleted file mode 100644
index 0186667..0000000
--- a/old/69298-h/images/fig184.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig185.jpg b/old/69298-h/images/fig185.jpg
deleted file mode 100644
index a88bad3..0000000
--- a/old/69298-h/images/fig185.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig186.jpg b/old/69298-h/images/fig186.jpg
deleted file mode 100644
index 05d4b5a..0000000
--- a/old/69298-h/images/fig186.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig187.jpg b/old/69298-h/images/fig187.jpg
deleted file mode 100644
index d8a5c1f..0000000
--- a/old/69298-h/images/fig187.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig188.jpg b/old/69298-h/images/fig188.jpg
deleted file mode 100644
index 4898de3..0000000
--- a/old/69298-h/images/fig188.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig189.jpg b/old/69298-h/images/fig189.jpg
deleted file mode 100644
index 09596db..0000000
--- a/old/69298-h/images/fig189.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig19.jpg b/old/69298-h/images/fig19.jpg
deleted file mode 100644
index 2b20ee5..0000000
--- a/old/69298-h/images/fig19.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig190.jpg b/old/69298-h/images/fig190.jpg
deleted file mode 100644
index 95318a5..0000000
--- a/old/69298-h/images/fig190.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig191.jpg b/old/69298-h/images/fig191.jpg
deleted file mode 100644
index 0d357bb..0000000
--- a/old/69298-h/images/fig191.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig192.jpg b/old/69298-h/images/fig192.jpg
deleted file mode 100644
index 234cab2..0000000
--- a/old/69298-h/images/fig192.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig193.jpg b/old/69298-h/images/fig193.jpg
deleted file mode 100644
index 172353a..0000000
--- a/old/69298-h/images/fig193.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig194.jpg b/old/69298-h/images/fig194.jpg
deleted file mode 100644
index 559e5fd..0000000
--- a/old/69298-h/images/fig194.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig195.jpg b/old/69298-h/images/fig195.jpg
deleted file mode 100644
index 81ae244..0000000
--- a/old/69298-h/images/fig195.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig196.jpg b/old/69298-h/images/fig196.jpg
deleted file mode 100644
index 9a2d735..0000000
--- a/old/69298-h/images/fig196.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig197.jpg b/old/69298-h/images/fig197.jpg
deleted file mode 100644
index b8a94be..0000000
--- a/old/69298-h/images/fig197.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig198.jpg b/old/69298-h/images/fig198.jpg
deleted file mode 100644
index f7ee33d..0000000
--- a/old/69298-h/images/fig198.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig199.jpg b/old/69298-h/images/fig199.jpg
deleted file mode 100644
index a68a95f..0000000
--- a/old/69298-h/images/fig199.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig2.jpg b/old/69298-h/images/fig2.jpg
deleted file mode 100644
index d4985a6..0000000
--- a/old/69298-h/images/fig2.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig20.jpg b/old/69298-h/images/fig20.jpg
deleted file mode 100644
index b4a25b6..0000000
--- a/old/69298-h/images/fig20.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig200.jpg b/old/69298-h/images/fig200.jpg
deleted file mode 100644
index 8279ecf..0000000
--- a/old/69298-h/images/fig200.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig201.jpg b/old/69298-h/images/fig201.jpg
deleted file mode 100644
index 2581f03..0000000
--- a/old/69298-h/images/fig201.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig202.jpg b/old/69298-h/images/fig202.jpg
deleted file mode 100644
index a09e7cb..0000000
--- a/old/69298-h/images/fig202.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig203.jpg b/old/69298-h/images/fig203.jpg
deleted file mode 100644
index f2ec103..0000000
--- a/old/69298-h/images/fig203.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig204.jpg b/old/69298-h/images/fig204.jpg
deleted file mode 100644
index 6cf1462..0000000
--- a/old/69298-h/images/fig204.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig205.jpg b/old/69298-h/images/fig205.jpg
deleted file mode 100644
index c7fcd21..0000000
--- a/old/69298-h/images/fig205.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig206.jpg b/old/69298-h/images/fig206.jpg
deleted file mode 100644
index 3039890..0000000
--- a/old/69298-h/images/fig206.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig207.jpg b/old/69298-h/images/fig207.jpg
deleted file mode 100644
index a2a983c..0000000
--- a/old/69298-h/images/fig207.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig208.jpg b/old/69298-h/images/fig208.jpg
deleted file mode 100644
index 045af7c..0000000
--- a/old/69298-h/images/fig208.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig209.jpg b/old/69298-h/images/fig209.jpg
deleted file mode 100644
index c14d9c7..0000000
--- a/old/69298-h/images/fig209.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig21.jpg b/old/69298-h/images/fig21.jpg
deleted file mode 100644
index 4371cf0..0000000
--- a/old/69298-h/images/fig21.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig210.jpg b/old/69298-h/images/fig210.jpg
deleted file mode 100644
index 6ec1163..0000000
--- a/old/69298-h/images/fig210.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig211.jpg b/old/69298-h/images/fig211.jpg
deleted file mode 100644
index 81a5cde..0000000
--- a/old/69298-h/images/fig211.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig212.jpg b/old/69298-h/images/fig212.jpg
deleted file mode 100644
index 260e30a..0000000
--- a/old/69298-h/images/fig212.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig213.jpg b/old/69298-h/images/fig213.jpg
deleted file mode 100644
index 76090a6..0000000
--- a/old/69298-h/images/fig213.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig214.jpg b/old/69298-h/images/fig214.jpg
deleted file mode 100644
index 6487071..0000000
--- a/old/69298-h/images/fig214.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig215.jpg b/old/69298-h/images/fig215.jpg
deleted file mode 100644
index d106cb4..0000000
--- a/old/69298-h/images/fig215.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig216.jpg b/old/69298-h/images/fig216.jpg
deleted file mode 100644
index b33201d..0000000
--- a/old/69298-h/images/fig216.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig217.jpg b/old/69298-h/images/fig217.jpg
deleted file mode 100644
index 0cffb10..0000000
--- a/old/69298-h/images/fig217.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig218.jpg b/old/69298-h/images/fig218.jpg
deleted file mode 100644
index 13b66b8..0000000
--- a/old/69298-h/images/fig218.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig219.jpg b/old/69298-h/images/fig219.jpg
deleted file mode 100644
index 10cf522..0000000
--- a/old/69298-h/images/fig219.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig22.jpg b/old/69298-h/images/fig22.jpg
deleted file mode 100644
index ae387e3..0000000
--- a/old/69298-h/images/fig22.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig220.jpg b/old/69298-h/images/fig220.jpg
deleted file mode 100644
index 6e424e1..0000000
--- a/old/69298-h/images/fig220.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig221.jpg b/old/69298-h/images/fig221.jpg
deleted file mode 100644
index 6ef3b68..0000000
--- a/old/69298-h/images/fig221.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig222.jpg b/old/69298-h/images/fig222.jpg
deleted file mode 100644
index 95f2370..0000000
--- a/old/69298-h/images/fig222.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig223.jpg b/old/69298-h/images/fig223.jpg
deleted file mode 100644
index 0197983..0000000
--- a/old/69298-h/images/fig223.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig224.jpg b/old/69298-h/images/fig224.jpg
deleted file mode 100644
index 38ec0f6..0000000
--- a/old/69298-h/images/fig224.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig225.jpg b/old/69298-h/images/fig225.jpg
deleted file mode 100644
index 4962ee5..0000000
--- a/old/69298-h/images/fig225.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig226.jpg b/old/69298-h/images/fig226.jpg
deleted file mode 100644
index 8815495..0000000
--- a/old/69298-h/images/fig226.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig227.jpg b/old/69298-h/images/fig227.jpg
deleted file mode 100644
index 865fad2..0000000
--- a/old/69298-h/images/fig227.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig228.jpg b/old/69298-h/images/fig228.jpg
deleted file mode 100644
index 50d6401..0000000
--- a/old/69298-h/images/fig228.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig229.jpg b/old/69298-h/images/fig229.jpg
deleted file mode 100644
index 4b3b35f..0000000
--- a/old/69298-h/images/fig229.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig23.jpg b/old/69298-h/images/fig23.jpg
deleted file mode 100644
index 2e4011c..0000000
--- a/old/69298-h/images/fig23.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig230.jpg b/old/69298-h/images/fig230.jpg
deleted file mode 100644
index 9399b05..0000000
--- a/old/69298-h/images/fig230.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig231.jpg b/old/69298-h/images/fig231.jpg
deleted file mode 100644
index 0af67ee..0000000
--- a/old/69298-h/images/fig231.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig232.jpg b/old/69298-h/images/fig232.jpg
deleted file mode 100644
index 1a0616b..0000000
--- a/old/69298-h/images/fig232.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig233.jpg b/old/69298-h/images/fig233.jpg
deleted file mode 100644
index f4ce42c..0000000
--- a/old/69298-h/images/fig233.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig234.jpg b/old/69298-h/images/fig234.jpg
deleted file mode 100644
index 160569d..0000000
--- a/old/69298-h/images/fig234.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig235.jpg b/old/69298-h/images/fig235.jpg
deleted file mode 100644
index 3a78ce8..0000000
--- a/old/69298-h/images/fig235.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig236.jpg b/old/69298-h/images/fig236.jpg
deleted file mode 100644
index 01b6fe6..0000000
--- a/old/69298-h/images/fig236.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig237.jpg b/old/69298-h/images/fig237.jpg
deleted file mode 100644
index e9282ca..0000000
--- a/old/69298-h/images/fig237.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig238.jpg b/old/69298-h/images/fig238.jpg
deleted file mode 100644
index dcfba71..0000000
--- a/old/69298-h/images/fig238.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig239.jpg b/old/69298-h/images/fig239.jpg
deleted file mode 100644
index 74e369d..0000000
--- a/old/69298-h/images/fig239.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig24.jpg b/old/69298-h/images/fig24.jpg
deleted file mode 100644
index 85ca079..0000000
--- a/old/69298-h/images/fig24.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig240.jpg b/old/69298-h/images/fig240.jpg
deleted file mode 100644
index f2b473b..0000000
--- a/old/69298-h/images/fig240.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig241.jpg b/old/69298-h/images/fig241.jpg
deleted file mode 100644
index 9f40f13..0000000
--- a/old/69298-h/images/fig241.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig242.jpg b/old/69298-h/images/fig242.jpg
deleted file mode 100644
index 1c0d9a6..0000000
--- a/old/69298-h/images/fig242.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig243.jpg b/old/69298-h/images/fig243.jpg
deleted file mode 100644
index 42139ae..0000000
--- a/old/69298-h/images/fig243.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig244.jpg b/old/69298-h/images/fig244.jpg
deleted file mode 100644
index 14ad48d..0000000
--- a/old/69298-h/images/fig244.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig245.jpg b/old/69298-h/images/fig245.jpg
deleted file mode 100644
index c752ca1..0000000
--- a/old/69298-h/images/fig245.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig246.jpg b/old/69298-h/images/fig246.jpg
deleted file mode 100644
index 1a251fc..0000000
--- a/old/69298-h/images/fig246.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig247.jpg b/old/69298-h/images/fig247.jpg
deleted file mode 100644
index 7c0c008..0000000
--- a/old/69298-h/images/fig247.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig248.jpg b/old/69298-h/images/fig248.jpg
deleted file mode 100644
index 3cb54b9..0000000
--- a/old/69298-h/images/fig248.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig249.jpg b/old/69298-h/images/fig249.jpg
deleted file mode 100644
index 2df684d..0000000
--- a/old/69298-h/images/fig249.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig25.jpg b/old/69298-h/images/fig25.jpg
deleted file mode 100644
index cc0d9b7..0000000
--- a/old/69298-h/images/fig25.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig250.jpg b/old/69298-h/images/fig250.jpg
deleted file mode 100644
index e5eca9a..0000000
--- a/old/69298-h/images/fig250.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig251.jpg b/old/69298-h/images/fig251.jpg
deleted file mode 100644
index 2d541d9..0000000
--- a/old/69298-h/images/fig251.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig252.jpg b/old/69298-h/images/fig252.jpg
deleted file mode 100644
index ab25e43..0000000
--- a/old/69298-h/images/fig252.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig253.jpg b/old/69298-h/images/fig253.jpg
deleted file mode 100644
index 14ab97f..0000000
--- a/old/69298-h/images/fig253.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig254.jpg b/old/69298-h/images/fig254.jpg
deleted file mode 100644
index b6c1014..0000000
--- a/old/69298-h/images/fig254.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig255.jpg b/old/69298-h/images/fig255.jpg
deleted file mode 100644
index 3deb46b..0000000
--- a/old/69298-h/images/fig255.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig256.jpg b/old/69298-h/images/fig256.jpg
deleted file mode 100644
index 3a2413a..0000000
--- a/old/69298-h/images/fig256.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig257.jpg b/old/69298-h/images/fig257.jpg
deleted file mode 100644
index 25160b2..0000000
--- a/old/69298-h/images/fig257.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig258.jpg b/old/69298-h/images/fig258.jpg
deleted file mode 100644
index 2940f9e..0000000
--- a/old/69298-h/images/fig258.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig259.jpg b/old/69298-h/images/fig259.jpg
deleted file mode 100644
index 5ac99b5..0000000
--- a/old/69298-h/images/fig259.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig26.jpg b/old/69298-h/images/fig26.jpg
deleted file mode 100644
index 93e3d54..0000000
--- a/old/69298-h/images/fig26.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig260.jpg b/old/69298-h/images/fig260.jpg
deleted file mode 100644
index 72f69e9..0000000
--- a/old/69298-h/images/fig260.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig261.jpg b/old/69298-h/images/fig261.jpg
deleted file mode 100644
index f32f7c5..0000000
--- a/old/69298-h/images/fig261.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig262.jpg b/old/69298-h/images/fig262.jpg
deleted file mode 100644
index 1001eed..0000000
--- a/old/69298-h/images/fig262.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig263.jpg b/old/69298-h/images/fig263.jpg
deleted file mode 100644
index e2a40c4..0000000
--- a/old/69298-h/images/fig263.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig264.jpg b/old/69298-h/images/fig264.jpg
deleted file mode 100644
index 40f2024..0000000
--- a/old/69298-h/images/fig264.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig265.jpg b/old/69298-h/images/fig265.jpg
deleted file mode 100644
index 43aa6a2..0000000
--- a/old/69298-h/images/fig265.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig266.jpg b/old/69298-h/images/fig266.jpg
deleted file mode 100644
index d083227..0000000
--- a/old/69298-h/images/fig266.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig267.jpg b/old/69298-h/images/fig267.jpg
deleted file mode 100644
index ee71859..0000000
--- a/old/69298-h/images/fig267.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig268.jpg b/old/69298-h/images/fig268.jpg
deleted file mode 100644
index 98e2fb2..0000000
--- a/old/69298-h/images/fig268.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig269.jpg b/old/69298-h/images/fig269.jpg
deleted file mode 100644
index 3698f24..0000000
--- a/old/69298-h/images/fig269.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig27.jpg b/old/69298-h/images/fig27.jpg
deleted file mode 100644
index 4c2a917..0000000
--- a/old/69298-h/images/fig27.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig270.jpg b/old/69298-h/images/fig270.jpg
deleted file mode 100644
index 4b87451..0000000
--- a/old/69298-h/images/fig270.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig271.jpg b/old/69298-h/images/fig271.jpg
deleted file mode 100644
index 7f04e66..0000000
--- a/old/69298-h/images/fig271.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig272.jpg b/old/69298-h/images/fig272.jpg
deleted file mode 100644
index a349952..0000000
--- a/old/69298-h/images/fig272.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig273.jpg b/old/69298-h/images/fig273.jpg
deleted file mode 100644
index d26dd0a..0000000
--- a/old/69298-h/images/fig273.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig274.jpg b/old/69298-h/images/fig274.jpg
deleted file mode 100644
index aac56ef..0000000
--- a/old/69298-h/images/fig274.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig275.jpg b/old/69298-h/images/fig275.jpg
deleted file mode 100644
index 4044538..0000000
--- a/old/69298-h/images/fig275.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig276.jpg b/old/69298-h/images/fig276.jpg
deleted file mode 100644
index 0a50dba..0000000
--- a/old/69298-h/images/fig276.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig277.jpg b/old/69298-h/images/fig277.jpg
deleted file mode 100644
index 9036fab..0000000
--- a/old/69298-h/images/fig277.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig278.jpg b/old/69298-h/images/fig278.jpg
deleted file mode 100644
index e5a22fe..0000000
--- a/old/69298-h/images/fig278.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig279.jpg b/old/69298-h/images/fig279.jpg
deleted file mode 100644
index 96c32a7..0000000
--- a/old/69298-h/images/fig279.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig28.jpg b/old/69298-h/images/fig28.jpg
deleted file mode 100644
index 5840e4b..0000000
--- a/old/69298-h/images/fig28.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig280.jpg b/old/69298-h/images/fig280.jpg
deleted file mode 100644
index de049e5..0000000
--- a/old/69298-h/images/fig280.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig281.jpg b/old/69298-h/images/fig281.jpg
deleted file mode 100644
index 71afce3..0000000
--- a/old/69298-h/images/fig281.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig282.jpg b/old/69298-h/images/fig282.jpg
deleted file mode 100644
index 908b161..0000000
--- a/old/69298-h/images/fig282.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig283.jpg b/old/69298-h/images/fig283.jpg
deleted file mode 100644
index c898647..0000000
--- a/old/69298-h/images/fig283.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig284.jpg b/old/69298-h/images/fig284.jpg
deleted file mode 100644
index 159b140..0000000
--- a/old/69298-h/images/fig284.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig285.jpg b/old/69298-h/images/fig285.jpg
deleted file mode 100644
index 870a3c9..0000000
--- a/old/69298-h/images/fig285.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig286.jpg b/old/69298-h/images/fig286.jpg
deleted file mode 100644
index c553a4d..0000000
--- a/old/69298-h/images/fig286.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig287.jpg b/old/69298-h/images/fig287.jpg
deleted file mode 100644
index 7e2a76b..0000000
--- a/old/69298-h/images/fig287.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig288.jpg b/old/69298-h/images/fig288.jpg
deleted file mode 100644
index eb596b4..0000000
--- a/old/69298-h/images/fig288.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig289.jpg b/old/69298-h/images/fig289.jpg
deleted file mode 100644
index 71599a0..0000000
--- a/old/69298-h/images/fig289.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig29.jpg b/old/69298-h/images/fig29.jpg
deleted file mode 100644
index 73beed1..0000000
--- a/old/69298-h/images/fig29.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig290.jpg b/old/69298-h/images/fig290.jpg
deleted file mode 100644
index e3c7e14..0000000
--- a/old/69298-h/images/fig290.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig291.jpg b/old/69298-h/images/fig291.jpg
deleted file mode 100644
index 9a14387..0000000
--- a/old/69298-h/images/fig291.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig292.jpg b/old/69298-h/images/fig292.jpg
deleted file mode 100644
index e4d1f00..0000000
--- a/old/69298-h/images/fig292.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig293.jpg b/old/69298-h/images/fig293.jpg
deleted file mode 100644
index fdf446e..0000000
--- a/old/69298-h/images/fig293.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig294.jpg b/old/69298-h/images/fig294.jpg
deleted file mode 100644
index 8ec0faa..0000000
--- a/old/69298-h/images/fig294.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig295.jpg b/old/69298-h/images/fig295.jpg
deleted file mode 100644
index 46c90db..0000000
--- a/old/69298-h/images/fig295.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig296.jpg b/old/69298-h/images/fig296.jpg
deleted file mode 100644
index 4f37ba2..0000000
--- a/old/69298-h/images/fig296.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig297.jpg b/old/69298-h/images/fig297.jpg
deleted file mode 100644
index a401b2a..0000000
--- a/old/69298-h/images/fig297.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig298.jpg b/old/69298-h/images/fig298.jpg
deleted file mode 100644
index 22d8dfa..0000000
--- a/old/69298-h/images/fig298.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig299.jpg b/old/69298-h/images/fig299.jpg
deleted file mode 100644
index b105964..0000000
--- a/old/69298-h/images/fig299.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig3.jpg b/old/69298-h/images/fig3.jpg
deleted file mode 100644
index cdc04b2..0000000
--- a/old/69298-h/images/fig3.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig30.jpg b/old/69298-h/images/fig30.jpg
deleted file mode 100644
index 7a1ca1d..0000000
--- a/old/69298-h/images/fig30.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig31.jpg b/old/69298-h/images/fig31.jpg
deleted file mode 100644
index 48d1bf7..0000000
--- a/old/69298-h/images/fig31.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig32.jpg b/old/69298-h/images/fig32.jpg
deleted file mode 100644
index 4c63a2a..0000000
--- a/old/69298-h/images/fig32.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig33.jpg b/old/69298-h/images/fig33.jpg
deleted file mode 100644
index cb36125..0000000
--- a/old/69298-h/images/fig33.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig34.jpg b/old/69298-h/images/fig34.jpg
deleted file mode 100644
index 131ca98..0000000
--- a/old/69298-h/images/fig34.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig35.jpg b/old/69298-h/images/fig35.jpg
deleted file mode 100644
index 8129f10..0000000
--- a/old/69298-h/images/fig35.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig36.jpg b/old/69298-h/images/fig36.jpg
deleted file mode 100644
index db5301e..0000000
--- a/old/69298-h/images/fig36.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig37.jpg b/old/69298-h/images/fig37.jpg
deleted file mode 100644
index 7b28170..0000000
--- a/old/69298-h/images/fig37.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig38.jpg b/old/69298-h/images/fig38.jpg
deleted file mode 100644
index 1fe9489..0000000
--- a/old/69298-h/images/fig38.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig39.jpg b/old/69298-h/images/fig39.jpg
deleted file mode 100644
index 7778120..0000000
--- a/old/69298-h/images/fig39.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig4.jpg b/old/69298-h/images/fig4.jpg
deleted file mode 100644
index 4cbb9db..0000000
--- a/old/69298-h/images/fig4.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig40.jpg b/old/69298-h/images/fig40.jpg
deleted file mode 100644
index 425cb02..0000000
--- a/old/69298-h/images/fig40.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig41.jpg b/old/69298-h/images/fig41.jpg
deleted file mode 100644
index 234b358..0000000
--- a/old/69298-h/images/fig41.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig42.jpg b/old/69298-h/images/fig42.jpg
deleted file mode 100644
index 810d225..0000000
--- a/old/69298-h/images/fig42.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig43.jpg b/old/69298-h/images/fig43.jpg
deleted file mode 100644
index 6a030d3..0000000
--- a/old/69298-h/images/fig43.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig44.jpg b/old/69298-h/images/fig44.jpg
deleted file mode 100644
index 77df6c5..0000000
--- a/old/69298-h/images/fig44.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig45.jpg b/old/69298-h/images/fig45.jpg
deleted file mode 100644
index 9b2642d..0000000
--- a/old/69298-h/images/fig45.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig46.jpg b/old/69298-h/images/fig46.jpg
deleted file mode 100644
index 828b99e..0000000
--- a/old/69298-h/images/fig46.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig47.jpg b/old/69298-h/images/fig47.jpg
deleted file mode 100644
index 593518b..0000000
--- a/old/69298-h/images/fig47.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig48.jpg b/old/69298-h/images/fig48.jpg
deleted file mode 100644
index 0c84895..0000000
--- a/old/69298-h/images/fig48.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig49.jpg b/old/69298-h/images/fig49.jpg
deleted file mode 100644
index 70945ed..0000000
--- a/old/69298-h/images/fig49.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig5.jpg b/old/69298-h/images/fig5.jpg
deleted file mode 100644
index 64df61a..0000000
--- a/old/69298-h/images/fig5.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig50.jpg b/old/69298-h/images/fig50.jpg
deleted file mode 100644
index 0b22500..0000000
--- a/old/69298-h/images/fig50.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig51.jpg b/old/69298-h/images/fig51.jpg
deleted file mode 100644
index 701a42f..0000000
--- a/old/69298-h/images/fig51.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig52.jpg b/old/69298-h/images/fig52.jpg
deleted file mode 100644
index b5dd523..0000000
--- a/old/69298-h/images/fig52.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig53.jpg b/old/69298-h/images/fig53.jpg
deleted file mode 100644
index b0e6b6e..0000000
--- a/old/69298-h/images/fig53.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig54.jpg b/old/69298-h/images/fig54.jpg
deleted file mode 100644
index 91f10ce..0000000
--- a/old/69298-h/images/fig54.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig55.jpg b/old/69298-h/images/fig55.jpg
deleted file mode 100644
index e9ee604..0000000
--- a/old/69298-h/images/fig55.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig56.jpg b/old/69298-h/images/fig56.jpg
deleted file mode 100644
index 5864eeb..0000000
--- a/old/69298-h/images/fig56.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig57.jpg b/old/69298-h/images/fig57.jpg
deleted file mode 100644
index 9aecd6d..0000000
--- a/old/69298-h/images/fig57.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig58.jpg b/old/69298-h/images/fig58.jpg
deleted file mode 100644
index 8b08ec3..0000000
--- a/old/69298-h/images/fig58.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig59.jpg b/old/69298-h/images/fig59.jpg
deleted file mode 100644
index bea3d7b..0000000
--- a/old/69298-h/images/fig59.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig6.jpg b/old/69298-h/images/fig6.jpg
deleted file mode 100644
index 7ac4fe5..0000000
--- a/old/69298-h/images/fig6.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig60.jpg b/old/69298-h/images/fig60.jpg
deleted file mode 100644
index 518b22e..0000000
--- a/old/69298-h/images/fig60.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig61.jpg b/old/69298-h/images/fig61.jpg
deleted file mode 100644
index 661bb6b..0000000
--- a/old/69298-h/images/fig61.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig62.jpg b/old/69298-h/images/fig62.jpg
deleted file mode 100644
index 7d74db5..0000000
--- a/old/69298-h/images/fig62.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig63.jpg b/old/69298-h/images/fig63.jpg
deleted file mode 100644
index 0f1cde4..0000000
--- a/old/69298-h/images/fig63.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig64.jpg b/old/69298-h/images/fig64.jpg
deleted file mode 100644
index 919438d..0000000
--- a/old/69298-h/images/fig64.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig65.jpg b/old/69298-h/images/fig65.jpg
deleted file mode 100644
index aa27643..0000000
--- a/old/69298-h/images/fig65.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig66.jpg b/old/69298-h/images/fig66.jpg
deleted file mode 100644
index 7400514..0000000
--- a/old/69298-h/images/fig66.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig67.jpg b/old/69298-h/images/fig67.jpg
deleted file mode 100644
index 5ea1bb6..0000000
--- a/old/69298-h/images/fig67.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig68.jpg b/old/69298-h/images/fig68.jpg
deleted file mode 100644
index 20eab5f..0000000
--- a/old/69298-h/images/fig68.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig69.jpg b/old/69298-h/images/fig69.jpg
deleted file mode 100644
index 7be1e92..0000000
--- a/old/69298-h/images/fig69.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig7.jpg b/old/69298-h/images/fig7.jpg
deleted file mode 100644
index 75f03b7..0000000
--- a/old/69298-h/images/fig7.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig70.jpg b/old/69298-h/images/fig70.jpg
deleted file mode 100644
index f8e272b..0000000
--- a/old/69298-h/images/fig70.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71dan.jpg b/old/69298-h/images/fig71dan.jpg
deleted file mode 100644
index 08e562c..0000000
--- a/old/69298-h/images/fig71dan.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71dov.jpg b/old/69298-h/images/fig71dov.jpg
deleted file mode 100644
index ea1a8db..0000000
--- a/old/69298-h/images/fig71dov.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71emb.jpg b/old/69298-h/images/fig71emb.jpg
deleted file mode 100644
index 4acb3aa..0000000
--- a/old/69298-h/images/fig71emb.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71eng.jpg b/old/69298-h/images/fig71eng.jpg
deleted file mode 100644
index 8ed4747..0000000
--- a/old/69298-h/images/fig71eng.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71ind.jpg b/old/69298-h/images/fig71ind.jpg
deleted file mode 100644
index 5a3326f..0000000
--- a/old/69298-h/images/fig71ind.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71inv.jpg b/old/69298-h/images/fig71inv.jpg
deleted file mode 100644
index 5c1c73d..0000000
--- a/old/69298-h/images/fig71inv.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71neb.jpg b/old/69298-h/images/fig71neb.jpg
deleted file mode 100644
index 9f9f485..0000000
--- a/old/69298-h/images/fig71neb.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71pot.jpg b/old/69298-h/images/fig71pot.jpg
deleted file mode 100644
index 0a17b48..0000000
--- a/old/69298-h/images/fig71pot.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71rag.jpg b/old/69298-h/images/fig71rag.jpg
deleted file mode 100644
index 67dc42a..0000000
--- a/old/69298-h/images/fig71rag.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71rom.jpg b/old/69298-h/images/fig71rom.jpg
deleted file mode 100644
index 27cb4dd..0000000
--- a/old/69298-h/images/fig71rom.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig71wav.jpg b/old/69298-h/images/fig71wav.jpg
deleted file mode 100644
index ca98aea..0000000
--- a/old/69298-h/images/fig71wav.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig72.jpg b/old/69298-h/images/fig72.jpg
deleted file mode 100644
index 086f461..0000000
--- a/old/69298-h/images/fig72.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig73.jpg b/old/69298-h/images/fig73.jpg
deleted file mode 100644
index bdd48e7..0000000
--- a/old/69298-h/images/fig73.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig74.jpg b/old/69298-h/images/fig74.jpg
deleted file mode 100644
index 2718ad3..0000000
--- a/old/69298-h/images/fig74.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig75.jpg b/old/69298-h/images/fig75.jpg
deleted file mode 100644
index 5d20889..0000000
--- a/old/69298-h/images/fig75.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig76.jpg b/old/69298-h/images/fig76.jpg
deleted file mode 100644
index 0f859e3..0000000
--- a/old/69298-h/images/fig76.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig77.jpg b/old/69298-h/images/fig77.jpg
deleted file mode 100644
index 4428870..0000000
--- a/old/69298-h/images/fig77.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig78.jpg b/old/69298-h/images/fig78.jpg
deleted file mode 100644
index c0a5c11..0000000
--- a/old/69298-h/images/fig78.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig79.jpg b/old/69298-h/images/fig79.jpg
deleted file mode 100644
index c290619..0000000
--- a/old/69298-h/images/fig79.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig8.jpg b/old/69298-h/images/fig8.jpg
deleted file mode 100644
index 3ed963f..0000000
--- a/old/69298-h/images/fig8.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig80.jpg b/old/69298-h/images/fig80.jpg
deleted file mode 100644
index f13ab6e..0000000
--- a/old/69298-h/images/fig80.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig81.jpg b/old/69298-h/images/fig81.jpg
deleted file mode 100644
index b07ffbc..0000000
--- a/old/69298-h/images/fig81.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig82.jpg b/old/69298-h/images/fig82.jpg
deleted file mode 100644
index 6d3498a..0000000
--- a/old/69298-h/images/fig82.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig83.jpg b/old/69298-h/images/fig83.jpg
deleted file mode 100644
index c4406d4..0000000
--- a/old/69298-h/images/fig83.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig84.jpg b/old/69298-h/images/fig84.jpg
deleted file mode 100644
index bbadb78..0000000
--- a/old/69298-h/images/fig84.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig85.jpg b/old/69298-h/images/fig85.jpg
deleted file mode 100644
index 11d6c4e..0000000
--- a/old/69298-h/images/fig85.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig86.jpg b/old/69298-h/images/fig86.jpg
deleted file mode 100644
index a1570f8..0000000
--- a/old/69298-h/images/fig86.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig87.jpg b/old/69298-h/images/fig87.jpg
deleted file mode 100644
index 250f0ce..0000000
--- a/old/69298-h/images/fig87.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig88.jpg b/old/69298-h/images/fig88.jpg
deleted file mode 100644
index c570028..0000000
--- a/old/69298-h/images/fig88.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig89.jpg b/old/69298-h/images/fig89.jpg
deleted file mode 100644
index 6a272bd..0000000
--- a/old/69298-h/images/fig89.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig9.jpg b/old/69298-h/images/fig9.jpg
deleted file mode 100644
index 94fccb6..0000000
--- a/old/69298-h/images/fig9.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig90.jpg b/old/69298-h/images/fig90.jpg
deleted file mode 100644
index fd4c86b..0000000
--- a/old/69298-h/images/fig90.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig91.jpg b/old/69298-h/images/fig91.jpg
deleted file mode 100644
index 8c11700..0000000
--- a/old/69298-h/images/fig91.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig92.jpg b/old/69298-h/images/fig92.jpg
deleted file mode 100644
index 5d23928..0000000
--- a/old/69298-h/images/fig92.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig93.jpg b/old/69298-h/images/fig93.jpg
deleted file mode 100644
index a1882e5..0000000
--- a/old/69298-h/images/fig93.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig94.jpg b/old/69298-h/images/fig94.jpg
deleted file mode 100644
index 0722136..0000000
--- a/old/69298-h/images/fig94.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig95.jpg b/old/69298-h/images/fig95.jpg
deleted file mode 100644
index 51b0f60..0000000
--- a/old/69298-h/images/fig95.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig96.jpg b/old/69298-h/images/fig96.jpg
deleted file mode 100644
index 1334bf8..0000000
--- a/old/69298-h/images/fig96.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig97.jpg b/old/69298-h/images/fig97.jpg
deleted file mode 100644
index 94e3636..0000000
--- a/old/69298-h/images/fig97.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig98.jpg b/old/69298-h/images/fig98.jpg
deleted file mode 100644
index fe5a71d..0000000
--- a/old/69298-h/images/fig98.jpg
+++ /dev/null
diff --git a/old/69298-h/images/fig99.jpg b/old/69298-h/images/fig99.jpg
deleted file mode 100644
index 41a4160..0000000
--- a/old/69298-h/images/fig99.jpg
+++ /dev/null
diff --git a/old/69298-h/images/griffin.jpg b/old/69298-h/images/griffin.jpg
deleted file mode 100644
index a374b8d..0000000
--- a/old/69298-h/images/griffin.jpg
+++ /dev/null
diff --git a/old/69298-h/images/grimm.jpg b/old/69298-h/images/grimm.jpg
deleted file mode 100644
index 3259a3d..0000000
--- a/old/69298-h/images/grimm.jpg
+++ /dev/null
diff --git a/old/69298-h/images/kress.jpg b/old/69298-h/images/kress.jpg
deleted file mode 100644
index 85ea794..0000000
--- a/old/69298-h/images/kress.jpg
+++ /dev/null
diff --git a/old/69298-h/images/pagcar.jpg b/old/69298-h/images/pagcar.jpg
deleted file mode 100644
index 06a23e7..0000000
--- a/old/69298-h/images/pagcar.jpg
+++ /dev/null
diff --git a/old/69298-h/images/pisano.jpg b/old/69298-h/images/pisano.jpg
deleted file mode 100644
index 02c5244..0000000
--- a/old/69298-h/images/pisano.jpg
+++ /dev/null
diff --git a/old/69298-h/images/privy.jpg b/old/69298-h/images/privy.jpg
deleted file mode 100644
index 08f6666..0000000
--- a/old/69298-h/images/privy.jpg
+++ /dev/null
diff --git a/old/69298-h/images/pubmark.jpg b/old/69298-h/images/pubmark.jpg
deleted file mode 100644
index d5c49d8..0000000
--- a/old/69298-h/images/pubmark.jpg
+++ /dev/null
diff --git a/old/69298-h/images/schwings.jpg b/old/69298-h/images/schwings.jpg
deleted file mode 100644
index 401fa98..0000000
--- a/old/69298-h/images/schwings.jpg
+++ /dev/null
diff --git a/old/69298-h/images/shape1.jpg b/old/69298-h/images/shape1.jpg
deleted file mode 100644
index f7fd096..0000000
--- a/old/69298-h/images/shape1.jpg
+++ /dev/null
diff --git a/old/69298-h/images/shape2.jpg b/old/69298-h/images/shape2.jpg
deleted file mode 100644
index 677a4c8..0000000
--- a/old/69298-h/images/shape2.jpg
+++ /dev/null
diff --git a/old/69298-h/images/shape3.jpg b/old/69298-h/images/shape3.jpg
deleted file mode 100644
index aad8edb..0000000
--- a/old/69298-h/images/shape3.jpg
+++ /dev/null
diff --git a/old/69298-h/images/sigismund.jpg b/old/69298-h/images/sigismund.jpg
deleted file mode 100644
index ccc3380..0000000
--- a/old/69298-h/images/sigismund.jpg
+++ /dev/null
diff --git a/old/69298-h/images/stabius.jpg b/old/69298-h/images/stabius.jpg
deleted file mode 100644
index 938ebaa..0000000
--- a/old/69298-h/images/stabius.jpg
+++ /dev/null
diff --git a/old/69298-h/images/talpas.jpg b/old/69298-h/images/talpas.jpg
deleted file mode 100644
index 13ee971..0000000
--- a/old/69298-h/images/talpas.jpg
+++ /dev/null
diff --git a/old/69298-h/images/wallis.jpg b/old/69298-h/images/wallis.jpg
deleted file mode 100644
index 66a60f9..0000000
--- a/old/69298-h/images/wallis.jpg
+++ /dev/null
diff --git a/old/69298-h/images/wyvern.jpg b/old/69298-h/images/wyvern.jpg
deleted file mode 100644
index 3c97669..0000000
--- a/old/69298-h/images/wyvern.jpg
+++ /dev/null