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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. 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