,transcriber's ,notes ,changes to the text are limited to correction of typographical errors are listed at the end of the book4 ,minor corrections to formatting or punctuation are made without comment4 ,illustrations and plates have been re-positioned to appear as close as possible following the first reference in the text1 while retaining their numbered order4 ,plate ,,xxx and ,plate ,,xxxi were in reverse order in the original4 ,footnotes have been numbered consecutively throughout the book and placed after the paragraph in which the footnote anchor appears4 ,in this ,plain ,text version of the e-book1 characters from the ,latin-#a 7,,iso-#hhei-a7 character set only are used4 ,other symbols are represented as follows3 s stands for long s underscore symbols represent italic typeface2 equals signs represent bold type face2 tilde signs represent blackletter font2 ,,all ,,caps is used to represent small caps typeface4 99 99 99 99 99 ,,the ,,artistic ,,crafts ,,series ,,of ,,technical ,,handbooks ,,edited ,,by ,w4 ,r4 ,,lethaby ,,heraldry ,illustration3 ,,banner ,,of ,,the ,,arms ,,of ,,king ,,george ,,the ,,fifth4 ,,heraldry ,,for ,,craftsmen ,,designers ,,by ,w4 ,h4 ,,st4 ,,john ,,hope ,,litt4,d41 ,d4,c4,l41 ,,with ,,diagrams ,,by ,,the ,,author ,,and ,,numerous ,,illustrations ,,coloured ,,lithographs ,,and ,,collotype ,,reproductions ,,from ,,ancient ,,examples ,,published ,,by ,,john ,,hogg #ac ,,paternoster ,,row ,,london #aiac ,,printed ,,by ,,ballantyne ,,company ,,ltd ,,london ,,editor',s ,,preface ,in issuing this volume of a series of ,handbooks on the ,artistic ,crafts1 it will be well to state what are our general aims4 ,in the first place1 we wish to provide trustworthy text-books of workshop practice1 from the points of view of experts who have critically examined the methods current in the shops1 and1 putting aside vain survivals1 are prepared to say what is good workmanship and to set up a standard of quality in the crafts which are more especially associated with design4 ,secondly1 in doing this1 we hope to treat design itself as an essential part of good workmanship4 ,during the last century most of the arts1 save painting and sculpture of an academic kind1 were little considered1 and there was a tendency to look on 'design' as a mere matter of appearance4 ,such 'ornamentation' as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production4 ,with the critical attention given to the crafts by ,ruskin and ,morris1 it came to be seen that it was impossible to detach design from craft in this way1 and that1 in the widest sense1 true design is an inseparable element of good quality1 involving as it does the selection of good and suitable material1 contrivance for special purpose1 expert workmanship1 proper finish and so on1 far more than mere ornament1 and1 indeed1 that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines4 ,workmanship when separated by too wide a gulf from fresh thought--that is1 from design--inevitably decays1 and1 on the other hand1 ornamentation1 divorced from workmanship1 is necessarily unreal1 and quickly falls into affectation4 ,proper ornamentation may be defined as a language addressed to the eye2 it is pleasant thought expressed in the speech of the tool4 ,in the third place1 we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood4 ,although within the bounds of academic art the competition1 of its kind1 is so acute that only a very few per cent4 can fairly hope to succeed as painters and sculptors1 yet as artistic craftsmen there is some probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success4 ,in the blending of handwork and thought in such arts as we propose to deal with1 happy careers may be found as far removed from the dreary routine of hack labour as from the terrible uncertainty of academic art4 ,it is desirable in every way that men of good education should be brought back into the productive crafts3 there are more than enough of us 'in the ,city1' and it is probable that more consideration will be given in this century than in the last to ,design and ,workmanship4 99 99 99 99 99 ,designers have at times to deal with some matters which are almost common to all the arts1 matters which they either know or do not know1 and in which the genius they are apt to trust in goes for little apart from knowledge4 ,they must learn lettering for inscriptions much like they once learnt the multiplication table1 and they should learn the elements of heraldry in the same way4 ,this it has been difficult to do1 as most of the books on heraldry1 in seeking to be complete1 so effectually muddle up the few important points with the vast number of things unimportant1 or worse1 that the art student is likely to give it up in despair4 ,many books on heraldry1 which in itself is surely a gay thing1 have been made to resemble grammars and dictionaries of a meaningless jargon4 ,any student1 however1 who has become interested in a single shield1 or in the look of the thing as seen in a collection of fine examples of heraldry such as are illustrated in this volume1 should be able to master the main principles in an hour or two4 ,the curious terms are only old-fashioned2 they are used1 so far as they are necessary1 not of malice1 but because it is of the essence of heraldry that everything shall be so strictly defined that a few words may represent a shield of arms as surely as a picture4 ,hence everything has a name1 everything is clear1 sharp1 and bright1 the colours are few1 the forms must be large and simple4 ,even the seemingly arbitrary dictum that 'no colour must be put on colour or metal on metal' may probably have arisen from the fact that when gilding or silvering was used on a shield it would form a perfect foil for colours1 but as they reflected light in the same way1 they could not be distinguished if used one on the other4 ,even yellow pigment on white would not tell clearly at any distance2 the maxim is merely a rule for the sake of distinctness4 ,again1 the curious vigorous drawing of beasts and birds with the eyes staring and the feet spread out was not the result of a desire to be quaint1 but arose naturally from the same need of being clear4 ,a good naturalistic drawing of a lion would be useless on a flag4 ,granted the special needs of heraldry1 it developed in a perfectly understandable way4 ,on the question of heraldic drawing ,i should like to caution the student against thinking that it is so easy as it looks4 ,elementary and exaggerated1 it may seem as if any child might do it1 but in truth it is terribly difficult4 ,the old shields were designed by experts with great experience2 they placed the charge perfectly on the field and so distributed the parts that they were balanced in 'weight'2 there were no weak lines and nothing was crowded for lack of room4 ,much practice made them perfect1 and perfection is still difficult4 ,the present volume seems to me exactly what artists have wanted4 ,w4 ,r4 ,,lethaby ,march #aiac ,,author',s ,,preface ,this book is an attempt to place before designers and craftsmen such an account of the principles of the art of ,heraldry as will enable them to work out for themselves the many and various applications of it that are possible to-day4 ,to that end the different usages which have prevailed from time to time are dealt with in detail1 and are illustrated as far as may be from ancient sources4 ,should it be thought that undue stress has been laid upon the pre-,tudor heraldry1 to the comparative exclusion of that of later times1 it may be pointed out that until the principles of the earlier heraldry have been grasped and appreciated1 it is impossible to get rid of the cast-iron uniformity and stupid rules that bound the heraldry of to-day1 and tend to strangle all attempts to raise it to a higher level4 ,to what extent these chilling ideas prevail1 and how necessary it is to get rid of them1 cannot better be illustrated than by two letters written to the author1 after most of the following chapters were in type1 by a critical friend who has not read any of them4 ,he points out in his first letter that on the very day of his writing there had been brought to his notice1 not for the first time1 the great need that exists for a book in which sculptors and painters may find out what they legitimately may and what they may not do as regards heraldry4 ,what1 for example1 may be left out from an achievement of arms1 and how the different elements composing it may be varied1 or even rearranged4 ,he instances the case of a sculptor who had been supplied with a drawing1 'brilliant in emerald green and powder blue1' of the arms that had been granted to a famous ,englishman whose memory was about to be honoured by the setting up of a statue with his arms1 etc4 carved upon the pedestal4 ,the arms in the drawing did not present any difficulties1 but the crest was not shown upon the helm1 and the whole was surrounded by a series of trophies which to this unenlightened sculptor were as heraldic as the arms and crest4 ,out of all this1 asked the sculptor1 what could lawfully be omitted8 ,if any of the trophies were supporters1 must they be shown8 ,and must the crest be used8 ,ought the crest to be on a helm8 ,and should the helm be shown in profile or full-faced8 ,the contents of the drawing1 if all were sculptured1 would1 in my friend's opinion1 'either come so small as to be unmonumental1 or so large as to dwarf the statue into a doll4' ,it will be seen from the principles enunciated in the present work that the answers to the foregoing questions were obviously as follows3 ,i4 ,that the sculptor might use the arms alone if he thought fit1 and he might vary the shape and size of the shield according to his fancy4 ,,ii4 ,that he could omit the crest if he wished1 but if he elected to use it1 the crest ought certainly to be set upon a helm1 which should face the same way as the crest2 the crested helm might also be flourished about with such mantling as the sculptor thought proper4 ,,iii4 ,that in the particular drawing none of the trophies was heraldic4 ,the sculptor accordingly could omit the whole1 if he were so minded1 or could dispose about the arms and crested helm any such other trophies of like character as would in his judgment look well or be appropriate4 ,in a further letter my friend enumerates other difficulties that vex poor artists4 ,must a shield always be surmounted by a crested helm8 ,should the helm face any special way according to the degree of the bearer thereof8 ,what are the ordinary relative proportions which helm and crest should bear to the shield8 ,may a shield be set aslant as well as upright8 ,should a torse be drawn with a curved or a straight line8 ,is it necessary to represent the engraved dots and lines indicative of the tinctures8 ,what are supporters to stand upon8 ,are they to plant their feet on a ribbon or scroll1 or on a flowering mound1 or what8 ,may arms entitled to have supporters be represented without them8 ,what are the simplest elements to which a shield of arms may be reduced8--as1 for example1 in a panel some #fj or #gj feet above the eye1 and when but a small space is available4 ,to a craftsman or designer who has grasped the principles of heraldry these further questions will present no difficulty1 and most of them can be answered by that appeal to medieval usage which the nature of the illustrations renders possible4 ,these illustrations1 it will be seen1 are largely selected from heraldic seals1 and for the particular reason that seals illustrate so admirably and in a small compass such a number of those usages to which appeal may confidently be made4 ,examples of heraldry in conjunction with buildings1 monuments1 and architectural features generally1 have also been given1 and its application to the minor arts has not been overlooked4 ,in order1 too1 to enable full advantage to be taken of the long period covered by the illustrations1 the most typical of these have been collected into a chronological series at the end of the book4 ,it is thus possible to show the gradual rise and decline of heraldic art from the thirteenth to the seventeenth century1 beyond which it is hardly necessary to go4 ,the only modern illustrations that have been tolerated are those showing the formation of the ,union ,jack1 and the degraded condition of the so-called ,royal ,standard4 ,the coloured frontispiece is an attempt to show a more effective way of displaying with equal heraldic 'correctness' the arms of our ,sovereign ,lord ,king ,george the ,fifth4 ,w4 ,h4 ,,st4 ,,john ,,hope ,my thanks are due to the ,society of ,antiquaries of ,london for leave to reproduce the coloured illustrations in pls4 ,i and ,,ii1 for the loan of blocks or drawings of figs4 #g1 #ac1 #cc1 #fd1 #fe1 #aja1 #abi1 #aec1 #ahf1 #ahg1 #aij1 and #aic1 and for leave to photograph the numerous casts of seals figured in pls4 ,v-,,xiv and ,,xvii-,,xxx and throughout the book2 to the ,royal ,archological ,institute for loan of figs4 #bj and #ajg2 to the ,sussex ,archological ,society for the loan of fig4 #adb2 to the ,society of ,arts for figs4 #f1 #ae1 #ag1 #bh1 #cj1 #da1 #de1 #df1 #dh1 #ea1 #ee1 #gc1 #gd1 #hf1 #ib1 #aad1 #abf1 #abg1 #aej1 #aed1 #aee1 and #aii2 to the ,royal ,institute of ,british ,architects for figs4 #h1 #ic1 and #aii2 to ,messrs4 ,cassell ,co4 for figs4 #ba1 #ec1 #ed1 #ef1 #fc1 #ha1 #hd1 #he1 #ia1 #ajh1 #aji1 #aag1 #aah1 #abd1 #acb1 #acc1 #aci1 #aea2 to ,messrs4 ,constable ,co4 for figs4 #i1 #ad1 #dc1 #fg1 #fh1 #gb1 #ge1 #gf1 #gg1 #gh1 #hc1 #acf1 #acg1 #ach2 to ,messrs4 ,parker ,co4 for fig4 #adc2 and to ,messrs4 ,longmans ,co4 for figs4 #agg1 #ahc4 ,also to ,mr4 ,t4 ,w4 ,rutter for lending the drawings reproduced in pls4 ,,ii and ,,iii2 to ,mr4 ,r4 ,w4 ,paul for the drawing of fig4 #ahd2 to ,mr4 ,mill ,stephenson for the loan of the brass rubbings reproduced in figs4 #ai1 #bf1 #bg1 #bi1 #ca1 #cb1 #ce-ci1 #db1 #adf-adh2 to the ,rev4 ,t4 ,w4 ,galpin1 ,mr4 ,e4 ,m4 ,beloe1 and ,mr4 ,aymer ,vallance for the photographs of figs4 #dg1 #adi1 and #aia respectively2 and to the ,rev4 ,severne ,majendie for leave to photograph the effigies of the ,duke and ,duchess of ,exeter 7figs4 #afg1 #afh7 in ,st4 ,katharine's chapel in ,regent's ,park4 ,i wish also to thank1 among others1 ,mr4 ,david ,weller1 head verger of ,westminster ,abbey1 for leave to reproduce the photographs shown in figs4 #a1 #b1 #d1 #cd1 #dj1 #hg1 #ajd1 #aaj1 #acd1 #aef1 #agf1 #aid1 #aie2 ,mr4 ,t4 ,w4 ,phillips1 of ,wells1 for those forming figs4 #bc and #aaa2 ,mr4 ,charles ,goulding1 of ,beverley1 for those forming figs4 #di1 #ej2 ,mr4 ,t4 ,palmer ,clarke1 of ,cambridge1 for those forming figs4 #hh1 #if1 #abh1 #agj1 #aga1 and #agb2 and ,mr4 ,fred ,spalding1 of ,chelmsford1 for the photograph of the ,new ,hall panel in fig4 #ahi4 ,,contents ,,chap4 page ,i4 ,,introduction #cc ,defects of ,modern ,heraldic ,decoration2 ,appeal to ,first ,principles2 ,english versus ,foreign ,sources2 ,definition of ,heraldry2 ,modes of ,display2 ,colours and ,furs2 ,formation of ,arms2 ,divisions of the ,shield2 ,early ,authorities3 ,seals1 ,monuments1 ,buildings1 ,wills and ,inventories1 ,rolls of ,arms4 ,,ii4 ,,the ,,shield ,,and ,,its ,,treatment #fe ,early ,forms of ,shields2 ,later ,forms2 ,shields of ,irregular ,outline and ,surface2 ,the ,filling of a ,shield2 ,apparent versus ,absolute ,uniformity2 ,modern ,rules as to ,proportion2 ,the ,use and ,abuse of ,quartering3 its ,origin and ,growth2 ,differencing of ,arms2 ,the ,scutcheon of ,ulster2 ,diapering4 ,,iii4 ,,the ,,shield ,,and ,,its ,,treatment 7cont47 #aji ,armorial ,bearings of ,ladies2 ,use of ,lozenges and ,roundels as variant forms of ,shields2 ,arms of ,men on ,lozenges2 ,combinations of ,shields with ,lozenges and ,roundels of ,arms on ,seals and in ,embroideries4 ,,iv4 ,,the ,,treatment ,,of ,,crests #abc ,origin of ,crests2 ,earliest examples of ,crests2 ,ways of wearing ,crests2 ,the ,helm and its treatment2 ,modern use of ,helms2 ,absurd ,crests2 ,use of ,crests other than by individuals2 ,the comparative sizes of ,helms and ,crests4 ,v4 ,,mantlings #aci ,origin of ,mantlings2 ,simple early forms2 ,colours of ,mantlings2 ,medieval usage as to colours of ,mantlings4 ,,vi4 ,,crests ,,and ,,crowns1 ,,caps ,,of ,,estate1 ,,and ,,wreaths #adh ,crests within ,crowns2 ,nature and ,treatment of ,crowns2 ,caps of ,estate3 ,their possible origin and introduction into ,heraldry2 ,the colour of ,caps2 ,the placing of ,crests upon ,caps2 ,wreaths or ,torses2 ,their ,colour2 ,crests and ,mottoes2 ,use of ,crests by ,bishops2 ,the ensigning of ,arms with ,mitres1 ,cardinals' and ,doctors' ,hats1 and ,caps of ,estate4 ,,vii4 ,,the ,,use ,,of ,,badges1 ,,knots1 ,,and ,,the ,,rebus #afe ,definition of a ,badge2 ,difference between ,crests and ,badges2 ,examples of ,badges2 ,the ,ostrich-,feather ,badge2 ,the ,white ,hart1 etc42 ,introduction of ,badges into ,heraldry2 ,their ,prevalence2 ,allusive ,badges2 ,badges of obscure ,origin2 ,knots and ,badges2 ,the ,rebus4 ,,viii4 ,,supporters #aic ,the probable ,origin of ,supporters2 ,quasi-,supporters2 ,true ,supporters3 their ,introduction2 ,supporters of ,crested ,helms2 ,pairs of ,supporters2 ,dissimilar ,supporters2 ,the use of ,supporters by ,ladies2 ,other ways of ,supporting ,shields4 ,,ix4 ,,banners ,,of ,,arms #bai ,the ,royal ,banner of ,arms2 ,the ,banner of the ,arms of the ,city of ,london2 ,shapes of ,banners2 ,sizes of certain ,banners2 ,upright versus ,long ,banners2 ,advantages of the upright form2 ,banners with ,achievements of ,arms2 ,modern ,use of ,banners4 ,x4 ,,marshalling ,,of ,,arms #bea ,arms of husband and wife2 ,dimidiating2 ,impaling2 ,scutcheons of ,pretence2 ,impalement with ,official ,arms2 ,arms of ladies2 ,heraldic ,drawing2 ,mottoes2 ,use and ,misuse of the ,garter2 ,lettering and ,mottoes4 ,,xi4 ,,crowns1 ,,coronets1 ,,and ,,collars #bfi ,crowns and ,coronets2 ,introduction of ,coronets2 ,coronets of ,princes1 ,dukes1 and ,earls2 ,bequests of ,coronets2 ,illustrations of ,coronets and ,crowns2 ,collars and ,chains2 ,collars of ,orders2 ,lancastrian ,collars of ,,ss2 ,yorkist ,collars of ,suns and ,roses2 ,tudor ,collars of ,,ss2 ,other ,livery ,collars2 ,waits' ,collars2 ,collars and ,chains of ,mayors1 ,mayoresses1 and ,sheriffs2 ,the ,revival of ,collars2 ,inordinate ,length of modern ,collars4 ,,xii4 ,,heraldic ,,embroideries #cai ,the introduction of armorial insignia in embroidered ,vestments3 on ,robes3 on ,beds1 etc4 ,,xiii4 ,,tudor ,,and ,,later ,,heraldry #cca ,decorative ,heraldry of the ,reign of ,henry ,,viii2 ,the ,decadent ,change in the ,quality of ,heraldry2 ,examples of ,elaborated ,arms2 ,survival of ,tradition in ,heraldic ,art2 ,elizabethan ,heraldry2 ,heraldry in the ,seventeenth ,century and ,under the ,commonwealth2 ,post-,restoration ,heraldry4 ,,chronological ,,series ,,of ,,illustrations #ced ,,index #daa ,,list ,,of ,,illustrations ,,plates ,facing ,,plate page ,banner of the arms of ,king ,george the ,fifth 7,frontispiece7 ,title ,i4 ,arms of ,milton ,abbey from a window in ,ibberton church1 ,dorset1 c4 #adge4 7,from ,archologia1 vol4 xlvii47 #dh ,,ii4 ,shields in stained glass of the #adth century in #ed ,,iii4 the ,victoria and ,albert ,museum4 7,from coloured #ef drawings by ,mr4 ,t4 ,w4 ,rutter7 ,,iv4 ,part 7reduced7 of an early ,roll of ,arms belonging to the ,society of ,antiquaries of ,london #fd ,v4 ,examples of shaped shields #gj ,,vi4 ,various shapes of shields #gc ,,vii4 ,examples of quartering #hi ,,viii4 ,examples of diapered shields #ajd ,,ix4 ,use of lozenges and roundels of arms #aab ,x4 ,use of lozenges and roundels of arms #aad ,,xi4 ,early examples of crests #abc ,,xii4 ,early uses of crests1 on seals of ,william ,montagu earl of ,salisbury1 #accg-dd #abe ,,xiii4 ,various treatments of crests #abi ,,xiv4 ,examples of crests and mantlings #acj ,,xv4 ,stall-plate 7reduced7 of ,hugh ,stafford lord ,bourchier1 c4 #adba #aea ,,xvi4 ,stall-plate 7reduced7 of ,william lord ,willoughby1 c4 #adba #aed ,,xvii4 ,crests with mottoes #afa ,,xviii4 ,examples of supporters #ahh ,,xix4 ,origin of supporters #aic ,,xx4 ,shields with supporters #aih ,,xxi4 ,shields accompanied by badges #aii ,,xxii4 ,quasi-supporter #bjj ,,xxiii4 ,shields accompanied by badges #bjb ,,xxiv4 ,shields accompanied by badges #bjc ,,xxv4 ,arms with crown and supporters of ,elizabeth ,wydville1 queen of ,edward ,,iv #bjh ,,xxvi4 ,arms1 supporters1 and badges of the lady ,margaret ,beaufort1 #adee #bji ,,xxvii4 ,methods of arranging shields #bad ,,xxviii4 ,examples of banners of arms #baf ,,xxix4 ,ways of upholding shields #bah ,,xxx4 ,crowned shield with supporters and badges of the lady ,margaret ,beaufort1 #adhe #bhh ,,xxxi4 ,right and wrong versions of the ,union ,jack #bdh ,,illustrations ,,in ,,text ,,fig4 page #a4 ,tile with the arms of ,king ,henry ,,iii1 c4 #abee1 from the chapter-house of ,westminster abbey4 7,from a photograph by ,mr4 ,david ,weller7 #cf #b4 ,shield of the arms of ,st4 ,edward1 c4 #abei1 in the quire of ,westminster abbey church4 7,from a photograph by ,mr4 ,david ,weller7 #cg #c4 ,heraldry on the gatehouse of ,kirkham priory1 ,yorkshire1 built between #abhi and #abif4 7,from a photograph by ,mr4 ,c4 ,c4 ,hodges7 #ch #d4 ,shield with curved bend or baston of ,henry de ,laci earl of ,lincoln1 c4 #abei1 in the quire of ,westminster abbey church4 7,from a photograph by ,mr4 ,david ,weller7 #dd #e4 ,arms of ,clopton1 from a brass c4 #adbj at ,long ,melford in ,suffolk #df #f4 ,heraldic candle-holder1 etc4 from the latten grate about the tomb of ,king ,henry ,,vii at ,westminster4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 p4 #bch7 #ee #g4 ,firedog with armorial bearings4 7,from a drawing by ,mr4 ,c4 ,prtorius1 ,f4,s4,a47 #ef #h4 ,chimney-piece in ,tattershall castle1 ,lincolnshire1 built by ,ralph lord ,cromwell between #adcc and #adee4 7,from ,journal of the ,royal ,institute of ,british ,architects1 #crd ,s4 vol4 iv4 #bda7 #eg #i4 ,paving tiles with arms and badges of the ,beauchamps1 from ,tewkesbury abbey church4 7,from ,the ,ancestor1 vol4 ix47 #eh #aj4 ,seal of ,richard duke of ,gloucester1 as admiral of ,england in ,dorset and ,somerset 7#adfb7 #ei #aa4 ,heraldic buckle from the effigy of ,robert lord ,hungerford 7ob4 #adei7 in ,salisbury cathedral church4 7,from ,stothard's ,monumental ,effigies7 #fj #ab4 ,heraldic buckle from the effigy of ,william lord ,bardolf 7ob4 #adda7 in ,dennington church1 ,suffolk4 7,from ,stothard's ,monumental ,effigies7 #fj #ac4 ,enamelled shield with the arms of ,ballard on the print of a mazer at ,all ,souls college1 ,oxford1 c4 #adde4 7,from ,archologia1 vol4 l4 #aea7 #fa #ad4 ,heraldic paving tiles from ,tewkesbury abbey4 7,from ,the ,ancestor1 vol4 ix47 #fc #ae4 ,shield with rounded corners 7c4 #abei7 of ,richard earl of ,cornwall in the quire of ,westminster abbey church4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bca7 #ff #af4 ,shields of ,english work from the tomb of ,william earl of ,pembroke1 ob4 #abif1 in ,westminster abbey church4 7,from ,stothard's ,monumental ,effigies7 #fg #ag4 ,seal of ,hugh ,bardolf showing shield with square corners4 ,from the ,barons' ,letter4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bbh7 #fh #ah4 ,seal and counterseal of ,simon lord of ,montagu1 with shield supported by two bearded men and surmounted by the castle of ,corfe1 of which ,simon became governor in #abih4 ,from the ,barons' ,letter #fi #ai4 ,shield of ornate form1 from a brass at ,stoke ,poges1 ,bucks1 #adgf #gj #bj4 ,head of a doorway1 now in ,norwich ,guildhall1 with arms of ,king ,henry ,,viii1 the ,city of ,norwich1 and the ,goldsmiths' ,company4 7,from the ,norwich volume of the ,archological ,institute1 p4 #agc7 #gb #ba4 ,shield with engrailed edges1 c4 #aebj1 from the chantry chapel of abbot ,thomas ,ramryge in ,st4 ,albans abbey church4 7,from ,boutell's ,english ,heraldry1 ,no4 #baj7 #gc #bb4 ,shields with ridged charges1 from the monument of ,guy lord ,bryen1 ob4 #acij1 in ,tewkesbury abbey church4 7,from ,stothard's ,monumental ,effigies7 #gd #bc4 ,armorial panels from the ,george ,inn at ,glastonbury4 7,from a photograph by ,mr4 ,t4 ,w4 ,phillips7 #ge #bd4 ,shield with curved surface from an effigy of a ,pembridge at ,clehonger1 ,herefordshire4 7,from ,stothard's ,monumental ,effigies7 #gf #be4 ,shield from the seal of ,henry ,percy 7from the ,barons' ,letter7 with well-drawn lion #gg #bf4 ,shield with a leaping lion1 from a brass c4 #achj at ,felbrigge in ,norfolk #gh #bg4 ,shield with an eagle from a brass at ,great ,tew1 ,oxon1 c4 #adaj #gi #bh4 ,seal of ,queen's ,college1 ,oxford1 #acda1 with well-filled shields4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcj7 #hj #bi4 ,shield with a griffin1 from a brass of #adje1 at ,boughton-under-,blean1 ,kent #ha #cj4 ,seal of ,peter de ,mauley ,,iv 7from the ,barons' ,letter7 showing a simple well-balanced shield4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcd7 #hb #ca4 ,shield with a bend counter-flowered from the brass of ,sir ,thomas ,bromfleet1 #adcj1 at ,wymington1 ,beds4 #hb #cb4 ,shield with three lions1 from a brass at ,stanford ,dingley1 ,berks1 #addd #hc #cc4 ,shield of the royal arms done in boiled leather1 from the tomb of ,edward prince of ,wales at ,canterbury1 #acgf4 7,reduced from ,vetusta ,monumenta1 vol4 vii47 #hd #cd4 ,shield of the ,king of ,france1 c4 #abei1 in the quire of ,westminster abbey church4 7,from a photograph by ,mr4 ,david ,weller7 #he #ce and #cf4 ,shields with uncharged ordinaries3 from the brass of bishop ,robert ,wyvil at ,salisbury1 #acge2 and the brass of ,william ,holyngbroke at ,new ,romney in ,kent1 #acge #hg #cg4 ,shield with a charged bend from a brass at ,kidderminster1 #adae #hh #ch and #ci4 ,shields with engrailed borders1 plain and charged3 from the brass of ,william ,grevel1 #adja1 at ,chipping ,campden in ,gloucestershire2 and the brass of ,thomas ,walysel1 c4 #adbj1 at ,whitchurch1 ,oxon4 #ij #dj4 ,quartered shield of ,queen ,eleanor of ,castile1 from her tomb at ,westminster1 #abia4 7,from a photograph by ,mr4 ,david ,weller7 #ia #da4 ,arms of ,king ,edward ,,iii from his tomb at ,westminster4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcj7 #ib #db4 ,shield with impaled quarters from the brass of ,peter ,halle1 ob4 #adbj1 at ,herne in ,kent #ic #dc4 ,arms of ,st4 ,edward1 from the tomb of ,edmund duke of ,york1 ob4 #adjb1 at ,king's ,langley4 7,from ,the ,ancestor1 vol4 ii47 #id #dd4 ,seal of ,humphrey ,stafford earl of ,buckingham1 ,hereford1 ,stafford1 ,northampton1 and ,perche1 as captain of ,calais and lieutenant of the ,marches1 #addb #ie #de4 ,shield of ,sir ,hugh ,hastings from the ,elsing brass 7#acdg71 with diapered maunch and a label of three pieces4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bca7 #ajj #df4 ,part of the gilt-latten effigy of ,edward prince of ,wales at ,canterbury1 showing labels over both the arms and the crest4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcb7 #ajb #dg4 ,diapered shield of the arms of ,vere1 from an effigy in ,hatfield ,broadoak church1 ,essex4 7,from a photograph by the ,rev4 ,t4 ,w4 ,galpin7 #ajd #dh4 ,diapered shield from the seal of ,robert ,waldby archbishop of ,york1 #acij1 for the ,regality of ,hexham4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bca7 #aje #di4 ,diapered shield of the arms of ,clun1 from the monument of the lady ,eleanor ,percy 7ob4 #accg7 in ,beverley ,minster4 7,from a photograph by ,mr4 ,c4 ,goulding7 #ajf #ej4 ,diapered shield of the arms of ,percy1 from the monument of the lady ,eleanor ,percy 7ob4 #accg7 in ,beverley ,minster4 7,from a photograph by ,mr4 ,c4 ,goulding7 #ajg #ea4 ,lozenge of arms from the monument at ,westminster of ,frances ,brandon duchess of ,suffolk1 ob4 #aeei4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bbi7 #aaj #eb4 ,seal of ,robert ,fitz,pain1 with arms in an oval4 ,from the ,barons' ,letter #aab #ec4 ,seal of ,joan de ,barre1 wife of ,john de ,warenne earl of ,surrey1 #acjf4 7,from ,boutell's ,english ,heraldry1 ,no4 #cah7 #aac #ed4 ,seal of ,mary de ,seynt-,pol1 wife of ,aymer of ,valence earl of ,pembroke1 #acbb4 7,from ,boutell's ,english ,heraldry1 ,no4 #cai7 #aaf #ee4 ,seal of ,maud ,badlesmere1 wife of ,john de ,vere earl of ,oxford1 #accf4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bbh7 #aah #ef4 ,seal of ,maud of ,lancaster1 wife of ,william of ,burgh earl of ,ulster1 and of ,sir ,ralph ,ufford1 #acdc-d4 7,from ,boutell's ,english ,heraldry1 ,no4 #cbj7 #aai #eg4 ,the ,syon ,cope1 now in the ,victoria and ,albert ,museum #aba #eh4 ,seal of ,thomas de ,moulton1 with fan-shaped crest on helm and horse's head4 ,from the ,barons' ,letter #abd #ei4 ,seal of ,thomas earl of ,lancaster1 ,leicester1 and ,ferrers1 showing wiver crest on his helm and horse's head4 ,from the ,barons' ,letter #abf #fj4 ,seal of ,henry of ,lancaster1 lord of ,monmouth1 with wiver crest and quasi-supporters4 ,from the ,barons' ,letter #abg #fa4 ,seal of ,robert de la ,warde1 with fan crest4 ,from the ,barons' ,letter #abh #fb4 ,seal of ,walter de ,mounci1 with helm surmounted by a fox as a crest4 ,from the ,barons' ,letter #abh #fc4 ,seal of ,sir ,robert de ,marni1 #acff1 with crested helms flanking the shield4 7,from ,boutell's ,english ,heraldry1 ,no4 #cha7 #acj #fd4 ,crest1 etc4 of ,sir ,john ,astley1 from a ,,ms4 c4 #adbj4 7,from ,archologia1 vol4 lvii47 #aca #fe4 ,crest of ,edward prince of ,wales1 #acgf1 of leather and stamped gesso4 7,reduced from ,vetusta ,monumenta1 vol4 vii47 #acb #ff4 ,funeral helm and wooden crest of ,george ,brooke lord ,cobham1 ob4 #aeeh1 in ,cobham church1 ,kent #acc #fg4 ,stall-plate of ,humphrey duke of ,buckingham as earl of ,stafford1 c4 #adbi4 7,from ,the ,ancestor1 vol4 iii47 #ace #fh4 ,stall-plate of ,sir ,thomas ,burgh1 ,k4,g41 c4 #adhc4 7,from ,the ,ancestor1 vol4 iii47 #acf #fi4 ,seal of ,richard ,nevill with separate crests and supporters for his earldoms of ,salisbury and ,warwick #acg #gj4 ,seal of ,william lord ,hastings1 c4 #adfa #adj #ga4 ,seal of ,william de la ,pole earl of ,suffolk1 #adae #ada #gb4 ,stall-plate of ,ralph lord ,bassett1 showing simple form of mantling4 7,from ,the ,ancestor1 vol4 iii47 #adb #gc4 ,stall-plate of ,sir ,sanchet ,dabrichecourt1 ,k4,g41 c4 #adba4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcc7 #adc #gd4 ,stall-plate of ,sir ,william ,arundel1 ,k4,g41 c4 #adba4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcc7 #ade #ge4 ,stall-plate of ,richard ,beauchamp earl of ,warwick1 after #adbc4 7,from ,the ,ancestor1 vol4 iii47 #adf #gf4 ,stall-plate of ,richard ,wydville lord ,rivers1 c4 #adej4 7,from ,the ,ancestor1 vol4 iii47 #adg #gg4 ,stall-plate of ,hugh lord ,burnell1 c4 #adba4 7,from ,the ,ancestor1 vol4 iii47 #adi #gh4 ,arms of ,st4 ,edmund1 from the tomb of ,edmund duke of ,york1 ob4 #adjb1 at ,king's ,langley4 7,from ,the ,ancestor1 vol4 ii47 #aej #gi4 ,crest from the stall-plate of ,hugh ,stafford lord ,bourchier #aeb #hj4 ,two forms of the same crest4 ,from the stall-plate of ,richard lord ,grey of ,codnor #aec #ha4 ,helm with crest and wreath from the ,hastings brass at ,elsing1 #acdg4 7,from ,boutell's ,english ,heraldry1 ,no4 #che7 #aeg #hb4 ,helm with crest and torse and simple form of mantling1 from the ,harsick brass at ,southacre1 #achd #aei #hc4 ,stall-plate of ,sir ,simon ,felbrigge1 c4 #adba4 7,from ,the ,ancestor1 vol4 iii47 #afj #hd4 ,privy seal of ,henry le ,despenser bishop of ,norwich1 #acgj-adjf4 7,from ,boutell's ,english ,heraldry1 ,no4 #cea7 #afb #he4 ,shield with ostrich-feather badge from the tomb of ,edward prince of ,wales 7ob4 #acgf7 at ,canterbury4 7,from ,boutell's ,english ,heraldry1 ,no4 #dja7 #afg #hf4 ,seal of ,thomas of ,woodstock duke of ,gloucester with ostrich-feather and ,bohun swan badges4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bdj7 #afh #hg4 ,fetterlock-and-falcon badge of the house of ,york1 from ,henry ,,vii's chapel at ,westminster4 7,from a photograph by ,mr4 ,david ,weller7 #afi #hh4 ,crowned rose and portcullis from ,king's college chapel at ,cambridge4 7,from a photograph by ,mr4 ,j4 ,palmer ,clarke7 #agj #hi4 ,seal of ,robert de ,clifford1 with arms surrounded by rings in allusion to his mother ,isabel ,vipont4 7,from the ,barons' ,letter7 #aga #ij4 ,seal of ,robert de ,toni as ,,chevaler ,,au ,,cing with the arms encircled by swans and talbots4 7,from the ,barons' ,letter7 #aga #ia4 ,seal of ,oliver ,bohun with swans about the shield4 7,from ,boutell's ,english ,heraldry1 ,no4 #cba7 #agb #ib4 ,gilt-latten effigy at ,westminster of ,king ,richard ,,ii1 pounced with badges1 etc4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bdj7 #agc #ic4 ,piers and arches in ,wingfield church1 ,suffolk1 with badges of ,michael de la ,pole earl of ,suffolk 7ob4 #adae7 and his wife ,katharine ,stafford4 7,from a photograph by the ,rev4 ,w4 ,marshall in ,journal of the ,royal ,institute of ,british ,architects1 #crd4 ,s4 vol4 iv4 #bde7 #agf #id4 ,chimney-piece in the ,bishop's ,palace at ,exeter with the arms and badges of bishop ,peter ,courtenay1 #adgh-hg4 7,from a photograph by ,heath and ,bradnee7 #agg #ie4 ,gateway to the ,deanery at ,peterborough4 ,built by ,robert ,kirkton1 abbot #adig-aebf4 7,from a photograph by ,mr4 ,a4 ,nicholls7 #agh #if4 ,the gatehouse of ,christ's ,college1 ,cambridge4 7,from a photograph by ,mr4 ,j4 ,palmer ,clarke7 #agi #ig4 ,bronze door with badges of ,york and ,beaufort from the ,lady chapel of ,westminster abbey church4 7,from a photograph by ,mr4 ,emery ,walker1 ,f4,s4,a47 #ahj #ih4 ,signet with badge and crested helm of ,lewis lord ,bourchier1 #adbj #aha #ii4 ,seal of ,hugh de ,vere with boar badge and two wivers as supporters4 ,from the ,barons' ,letter #aha #ajj4 ,signet of ,william lord ,bardolf 7c4 #adaj7 with eagle badge derived from his arms #ahb #aja4 ,signet with flote badge and word of ,sir ,william ,oldhalle in #adeg4 7,from ,archologia1 vol4 xxxvii4 #ccg7 #ahb #ajb4 ,seal with badge 7a gray or badger7 of ,richard lord ,grey of ,codnor1 #acib #ahc #ajc4 ,seal of ,thomas lord ,stanley as earl of ,derby and seneschal of ,macclesfield1 #adhe1 with the eagle's claw badge of ,stanley and the legs of the ,isle of ,man #ahc #ajd4 ,daisy plant 7marguerite7 badge of the ,lady ,margaret ,beaufort1 from ,henry ,,vii's chapel at ,westminster4 7,from a photograph by ,mr4 ,david ,weller7 #ahd #aje4 ,part of the brass at ,exeter of canon ,william ,langeton1 kinsman of ,edward ,stafford bishop of ,exeter1 #adac1 in cope with an orphrey of ,x's and ,stafford knots #ahe #ajf4 ,elbow-piece and ,bourchier knot from the brass of ,sir ,humphrey ,bourchier1 ob4 #adga1 in ,westminster abbey church #ahf #ajg4 ,alabaster tomb and effigy of ,edward ,stafford earl of ,wiltshire1 ob4 #adih1 in ,lowick church1 ,northamptonshire4 7,from the ,archological ,journal1 vol4 lxi4 #bcc7 #ahg #ajh4 ,rebus of abbot ,robert ,kirkton from the ,deanery ,gate at ,peterborough4 7,from ,boutell's ,english ,heraldry1 ,no4 #bie7 #ahh #aji4 ,rebus of ,thomas ,beckington bishop of ,bath and ,wells1 #adgg4 7,from ,boutell's ,english ,heraldry1 ,no4 #bif7 #ahh #aaj4 ,rebus of ,john ,islip abbot of ,westminster1 from his chantry chapel4 7,from a photograph by ,mr4 ,david ,weller7 #ahi #aaa4 ,oriel window in the ,deanery at ,wells with badges of ,king ,edward ,,iv1 and badges and rebuses of ,dean ,gunthorpe4 7,from a photograph by ,mr4 ,t4 ,w4 ,phillips7 #aij #aab4 ,arms and rebus of ,sir ,john ,pechy1 ob4 #aebb1 from painted glass in ,lullingstone church1 ,kent4 7,from ,stothard's ,monumental ,effigies7 #aia #aac4 ,seal of ,john de ,moun slung from an eagle and flanked by two leopards4 ,from the ,barons' ,letter #aie #aad4 ,seal of ,alan la ,souche in #acja4 ,from the ,barons' ,letter4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bbh7 #aif #aae4 ,seal of ,john ,beauchamp of ,hacche1 with shield on breast of an eagle4 ,from the ,barons' ,letter #aig #aaf4 ,seal of ,william de ,ferrers with shield upon an eagle with two heads4 ,from the ,barons' ,letter #aig #aag4 ,seal of ,edmund ,mortimer earl of ,march and ,ulster1 #adjj1 with rampant leopard supporters4 7,from ,boutell's ,english ,heraldry1 ,no4 #djg7 #bja #aah4 ,seal of ,sir ,william ,windsor1 #acha1 with eagle supporters4 7,from ,boutell's ,english ,heraldry1 ,no4 #chb7 #bja #aai4 ,seal of ,william de la ,pole duke of ,suffolk1 #addh #bjb #abj4 ,seal of ,john ,nevill lord ,montagu1 #adfa #bjc #aba4 ,seal of ,william lord ,hastings1 c4 #adfa #bjd #abb4 ,seal of ,john lord ,talbot and ,furnival1 #adjf #bje #abc4 ,seal of ,george duke of ,clarence and lord of ,richmond1 #adfb1 with black bulls of ,clare supporting his crested helm #bjg #abd4 ,seal of ,richard ,beauchamp earl of ,warwick1 #adja4 7,from ,boutell's ,english ,heraldry1 ,no4 #ddh7 #bjh #abe4 ,seal of ,richard ,beauchamp earl of ,warwick and of ,albemarle and lord ,despenser1 #adba #bji #abf4 ,seal of ,edmund duke of ,somerset for the town of ,bayeux1 c4 #adde4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcd7 #baj #abg4 ,seal of ,cecily ,nevill1 wife of ,richard duke of ,york and mother of ,king ,edward ,,iv1 #adfa4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bce7 #bab #abh4 ,arms and supporters1 a dragon and a greyhound1 of ,king ,henry ,,vii in ,king's ,college chapel at ,cambridge4 7,from a photograph by ,mr4 ,j4 ,palmer ,clarke7 #bac #abi4 ,seal of the ,mayoralty of ,calais4 7,from ,archologia1 vol4 liii4 #cbg7 #bae #acj4 ,seal of ,walter lord ,hungerford with banners of ,heytesbury and ,hussey or ,homet1 c4 #adbj #baf #aca4 ,knights with banners1 from an illumination #bbj #acb4 ,seal of ,walter lord ,hungerford with banners4 7,from ,boutell's ,english ,heraldry1 ,no4 #cia7 #bba #acc4 ,part of the seal of ,margaret lady ,hungerford1 with impaled banner held up by a lion4 7,from ,boutell's ,english ,heraldry1 ,no4 #djf7 #bbb #acd4 ,tomb of ,lewis ,robsart lord ,bourchier1 ,k4,g4 ob4 #adca1 in ,westminster abbey church1 with banners of arms upheld by supporters4 7,from a photograph by ,mr4 ,david ,weller7 #bbc #ace4 ,the ,king's banner or royal standard as now borne #bbg #acf4 ,stall-plate1 as a banner1 of ,walter lord ,hungerford1 after #adbf4 7,from ,the ,ancestor1 vol4 iii47 #bcj #acg4 ,stall-plate1 as a banner1 of ,richard ,nevill earl of ,salisbury1 c4 #adcf4 7,from ,the ,ancestor1 vol4 iii47 #bca #ach4 ,stall-plate1 as a banner1 of ,sir ,john ,grey of ,ruthin1 c4 #adci4 7,from ,the ,ancestor1 vol4 iii47 #bcb #aci4 ,standard of ,sir ,henry ,stafford1 ,k4,g4 c4 #adge4 7,from ,boutell's ,english ,heraldry ,no4 #dae7 #bcd #adj4 ,knights with pennons1 from an illumination #bcf #ada4 ,armed ,knights carrying pennons1 from an illumination #bcg #adb4 ,armorial vane on ,etchingham church1 ,sussex4 7,from ,sussex ,archological ,collections1 vol4 ix4 #cdi7 #bdj #adc4 ,vane formerly upon the finial of the kitchen roof1 ,stanton ,harcourt1 ,oxon4 7,from ,a ,glossary of 444 ,gothic ,architecture1 vol4 i4 #eje7 #bda #add4 ,part of ,king ,henry ,,viii's garden at ,hampton ,court1 from a contemporary picture4 #bdf #ade4 ,part of ,king ,henry ,,viii's garden at ,hampton ,court1 from a contemporary picture4 #bdg #adf4 ,shield of ,bryen impaling ,bures1 from a brass in ,acton church1 ,suffolk #beb #adg4 ,lion with a forked tail1 from a brass at ,spilsby in ,lincolnshire1 #acia #bee #adh4 ,shield with three pheasants1 from a brass at ,checkendon1 ,oxon1 #adjd #bef #adi4 ,shield of the arms of ,sir ,humphrey ,littlebury1 from his effigy at ,holbeach in ,lincolnshire1 c4 #acfj1 with fine examples of heraldic leopards4 7,from a photograph by ,mr4 ,e4 ,m4 ,beloe1 ,f4,s4,a47 #beg #aej4 ,early and modern versions of ermine-tails4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcf7 #beh #aea4 ,early and modern versions of vair4 7,from ,boutell's ,english ,heraldry1 ,nos4 #fa1 #fb7 #beh #aeb4 ,the ,garter1 from the brass of ,thomas lord ,camoys1 ,k4,g4 at ,trotton in ,sussex #bfa #aec4 ,pewter medallion with ,edward prince of ,wales1 now in the ,british ,museum4 7,from ,archologia1 vol4 xxxi4 #ada7 #bfb #aed4 ,shield of arms encircled by the ,garter1 from the brass of ,thomas lord ,camoys1 ob4 #adai4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcg7 #bfd #aee4 ,shields encircled by the ,garter and a scroll1 from the brass of bishop ,hallam 7ob4 #adaf7 at ,constance4 7,from ,journal of the ,society of ,arts1 vol4 xlv4 #bcg7 #bfe #aef4 ,royal arms of ,king ,henry ,,vii within the ,garter1 of ,english work1 from the ,king's tomb by ,torregiano at ,westminster4 7,from a photograph by ,mr4 ,david ,weller7 #bff #aeg4 ,arms of ,st4 ,george within the ,garter1 from the brass of ,sir ,thomas ,bullen1 ,k4,g4 earl of ,wiltshire and ,ormond1 #aech1 at ,hever in ,kent #bfg #aeh4 ,crowned effigy of ,queen ,eleanor at ,westminster #bgj #aei4 ,crowned effigy of ,queen ,joan at ,canterbury #bga #afj4 ,helm and crest1 and bust1 of ,richard ,beauchamp earl of ,warwick1 ob4 #adci1 from his gilt-latten effigy at ,warwick4 7,from ,stothard's ,monumental ,effigies7 #bgd #afa4 ,effigy of a lady1 c4 #abej1 in ,scarcliffe church1 ,derbyshire4 7,from ,stothard's ,monumental ,effigies7 #bge #afb4 ,effigy of a lady in ,staindrop church1 ,durham4 7,from ,stothard's ,monumental ,effigies7 #bgf #afc4 ,thomas earl of ,arundel1 ob4 #adaf1 from his alabaster effigy at ,arundel4 7,from ,stothard's ,monumental ,effigies7 #bgg #afd4 ,joan ,beaufort countess of ,westmorland1 ob4 #addj1 from her alabaster effigy in ,staindrop church1 ,durham4 7,from ,stothard's ,monumental ,effigies7 #bgh #afe4 ,william ,fitz,alan earl of ,arundel 7ob4 #adhg7 from his effigy at ,arundel4 7,from ,stothard's ,monumental ,effigies7 #bgi #aff4 ,joan countess of ,arundel1 from her effigy at ,arundel4 7,from ,stothard's ,monumental ,effigies7 #bhj #afg4 ,john ,holand duke of ,exeter1 ob4 #addg1 from his effigy at ,st4 ,katharine's hospital1 ,regent's ,park #bhb #afh4 ,head of a duchess of ,exeter1 from the monument at ,st4 ,katharine's hospital1 ,regent's ,park #bhc #afi4 ,alice duchess of ,suffolk1 ob4 #adge1 from her alabaster effigy in ,ewelme church1 ,oxon4 7,from ,hollis's ,monumental ,effigies7 #bhd #agj4 ,armorial ensigns and badges of the lady ,margaret ,beaufort from the gatehouse of her foundation of ,christ's college1 ,cambridge4 7,from a photograph by ,mr4 ,j4 ,palmer ,clarke7 #bhf #aga4 ,arms of the foundress1 the lady ,margaret ,beaufort1 with yale supporters1 from the base of an oriel in ,christ's college1 ,cambridge4 7,from a photograph by ,mr4 ,j4 ,palmer ,clarke7 #bhg #agb4 ,armorial panel on the gatehouse of ,st4 ,john's college1 ,cambridge4 7,from a photograph by ,mr4 ,j4 ,palmer ,clarke7 #bhi #agc4 ,king ,henry ,,iv from his alabaster effigy in ,canterbury cathedral church4 7,from ,stothard's ,monumental ,effigies7 #bia #agd4 ,king ,henry ,,iii from his gilt-latten effigy at ,westminster #bib #age4 ,king ,edward ,,ii from his alabaster effigy at ,gloucester4 7,from ,stothard's ,monumental ,effigies7 #bic #agf4 ,crowned initials of ,king ,henry ,,vii from his ,lady chapel at ,westminster4 7,from a photograph by ,mr4 ,david ,weller7 #bid #agg4 ,thomas ,howard third duke of ,norfolk 7#adgc8-aeed7 with the collar of the ,order of the ,garter1 from the picture by ,holbein at ,windsor ,castle4 7,from ,gardiner's ,student's ,history of ,england1 p4 #daj7 #bie #agh4 ,collars of ,,ss #bif #agi4 ,collar of ,,ss from the effigy of ,william lord ,bardolf1 ob4 #adda1 at ,dennington in ,suffolk4 7,from ,stothard's ,monumental ,effigies7 #big #ahj4 ,spandrel of the tomb of ,oliver ,groos1 esquire 7ob4 #adci71 in ,sloley church1 ,norfolk1 with collar of ,,ss #cja #aha4 ,collars of ,,ss from the effigy of ,queen ,joan at ,canterbury1 and of ,robert lord ,hungerford at ,salisbury4 7,from ,stothard's ,monumental ,effigies7 #cjc #ahb4 ,collars of suns and roses from the effigy of a knight at ,aston1 ,warwickshire1 and the effigy of ,sir ,robert ,harcourt1 ,k4,g4 #adga at ,stanton ,harcourt1 ,oxon4 7,from ,hollis's ,monumental ,effigies7 #cje #ahc4 ,sir ,thomas ,more wearing the collar of ,,ss3 from an original portrait painted by ,holbein in #aebg1 belonging to the late ,mr4 ,edward ,huth4 7,from ,gardiner's ,student's ,history of ,england1 p4 #chg7 #cjg #ahd4 ,head of the effigy in ,ripon ,minster of ,sir ,thomas ,markenfield with livery collar of park-palings4 7,from a drawing by ,mr4 ,roland ,paul1 ,f4,s4,a47 #caj #ahe4 ,thomas lord ,berkeley 7ob4 #adag7 with a collar of mermaids1 from his brass at ,wotton-under-,edge1 ,gloucestershire4 7,from ,hollis's ,monumental ,effigies7 #caa #ahf4 ,silver badge belonging to the duke of ,northumberland4 7,from a drawing by ,mr4 ,c4 ,prtorius1 ,f4,s4,a47 #cab #ahg4 ,waits' ,collars of ,exeter1 ,king's ,lynn1 and ,norwich #cad #ahh4 ,part of an embroidered altar frontal with a rebus at ,baunton in ,gloucestershire4 7,from a photograph by ,mr4 ,g4 ,clinch7 #cbj #ahi4 ,carved panel with the crowned arms1 supporters1 and badges of ,king ,henry ,,viii at ,new ,hall in ,essex4 7,from a photograph by ,mr4 ,fred ,spalding7 #ccc #aij4 ,paving tile with arms and initials of ,john ,lyte 7c4 #aece71 from ,marten church1 ,wilts4 7,from a drawing by ,mr4 ,c4 ,prtorius1 ,f4,s4,a47 #ccd #aia4 ,arms with crested helm and badge 7a blazing ragged-staff7 of1 apparently1 ,sir ,john ,guldeford of ,benenden1 ob4 #aefe1 in ,east ,guldeford church1 ,sussex4 7,from a photograph by ,mr4 ,aymer ,vallance1 ,m4,a41 ,f4,s4,a47 #cci #aib4 ,part of a bed-hanging embroidered with the arms of ,henry and ,elizabeth ,wentworth1 c4 #aefj1 formerly in the possession of ,sir ,a4 ,w4 ,franks1 ,k4,c4,b4 #cdb #aic4 ,arms of ,cotes1 from a mazer print of #aehe-f4 7,from ,archologia1 vol4 l4 #agd7 #cdc #aid4 ,shield from the tomb of ,margaret countess of ,lennox1 ob4 #aegh1 in ,westminster abbey church4 7,from a photograph by ,mr4 ,david ,weller7 #cdd #aie4 ,achievement of arms from the monument of ,sir ,richard ,pecksall1 ob4 #aega1 in ,westminster abbey church4 7,from a photograph by ,mr4 ,david ,weller7 #cde #aif4 ,obverse of the ,great ,seal of the ,republic of ,england1 ,scotland1 and ,ireland1 #afee 7reduced7 #cdh #aig4 ,arms1 etc4 of the ,trinity ,house1 ,london4 ,from a wood-carving c4 #afgj in the ,victoria and ,albert ,museum #cdi #aih4 ,limewood carving with the arms and crest of the ,trevor family1 c4 #agjj1 in the ,victoria and ,albert ,museum #cea #aii4 ,part of the carved oak ceiling of the chapel1 formerly the hall1 of ,auckland castle1 ,durham1 with the arms of bishop ,john ,cosin4 ,date #affb-d4 7,from a photograph by ,mr4 ,h4 ,kilburn in ,journal of the ,royal ,institute of ,british ,architects1 #crd ,s4 vol4 iv4 #bgb7 #ceb ,,chronological ,,series ,,of ,,illustrations pp4 #ced-djg ,,chapter ,i ,,introduction ,defects of ,modern ,heraldic ,decoration2 ,appeal to ,first ,principles2 ,english versus ,foreign ,sources2 ,definition of ,heraldry2 ,modes of ,display2 ,colours and ,furs2 ,formation of ,arms2 ,divisions of the ,shield2 ,early ,authorities3 ,seals1 ,monuments1 ,buildings1 ,wills and ,inventories1 ,rolls of ,arms4 ,to those who have given attention to the study of ancient heraldry few things are more surprising than the imperfect understanding of its true principles displayed in their works by so many artists and craftsmen of every degree4 ,year after year1 in paintings and sculpture at the ,royal ,academy and other exhibitions1 in the architecture and decorations of our churches and public buildings1 on monuments1 on plate1 jewellery1 and ornaments of all kinds1 the attempt to introduce armorial accessories1 even by some of our best artists1 is almost always a failure4 ,in so recent a work as the national memorial to ,queen ,victoria before ,buckingham ,palace1 the shields for ,scotland in the frieze of the pedestal bear the rampant lion only1 and the distinctive double tressure is again omitted in the ,scottish quarter of the royal arms behind the figure of ,victory4 ,the sides of the pedestal also bear fanciful shields of arms1 in the one case with three lamps1 in the other with some allegorical device1 charged on bends sinister6 ,it is only fair to say that the fault appears to be not altogether that of the artist or craftsman1 but should rather be ascribed to the disregard of the principles and usages of true armory that pervades so much of the printed literature to which men naturally turn for information4 ,he1 however1 who would know something about heraldic art must go behind the books to better sources of information1 and rid himself once and for all of the modern cast-iron rules that cramp all attempts to improve matters4 ,he will then soon find himself revelling in the delightful freedom and playful common-sense of medieval armory when it was still a living art1 and a science too1 utilized for artistic purposes by every class of worker and unencumbered by the ridiculous conceits of ,tudor and later times4 ,the appeal1 moreover1 should largely be confined1 if one would have what is best1 to our own land4 ,in the beginning heraldry was much the same in most ,european countries1 but in course of time foreign armory became complicated by needless subdivisions and new methods of expression and combination4 ,it would indeed be foolish to maintain that nothing can be learnt from foreign sources1 but in the earlier stages of study ,english heraldry should come first4 ,not only is it characterized by a beautiful simplicity which continued practically unchanged until the beginning of the sixteenth century1 but no other country outside ,england possesses such a wealth of examples of its various applications1 and they lie immediately to hand for purposes of study and comparison4 ,moreover1 ,english heraldry so fully illustrates the general principles followed in other countries that it is unnecessary at first to go further afield4 ,heraldry1 or armory as it was anciently called1 is a symbolical and pictorial language of uncertain and disputed origin1 which1 by the beginning of the thirteenth century1 had already been reduced to a science with a system1 classification1 and nomenclature of its own4 ,the artistic devices known as arms1 which may be formed by proper combinations of the colours1 ordinaries1 and figures that represent the letters of this language1 had each their significance1 and soon came to be regarded as the hereditary possession of some person1 family1 dignity1 or office4 ,illustration3 ,,fig4 #a4 ,tile with the arms of ,king ,henry ,,iii1 c4 #abee1 from the chapter-house of ,westminster abbey4 ,the display of arms was restricted primarily to shields and banners1 but occasionally to horse-trappers 7pls4 ,,xi ,b and ,,xii ,b7 and such garments as jupes1 gowns1 and mantles4 ,later on heraldry came also to be used ornamentally1 either upon shields or without them1 in all kinds of ways1 in architecture and on monuments1 on tiles and in glazing1 in woodcarvings and in paintings1 in woven stuffs and embroideries1 in jewellery and on seals4 ,illustration3 ,,fig4 #b4 ,shield of the arms of ,st4 ,edward1 c4 #abei1 in the quire of ,westminster abbey church4 ,an early instance of the use of heraldry in architecture4 ,the colours used in heraldry are red1 blue1 green1 purple1 and black1 or1 to give them their old names1 gules1 azure1 vert1 purpure1 and sable2 combined with the yellow of gold and the whiteness of silver4 ,orange was never used1 probably on account of the difficulty of finding a stable pigment4 ,it was soon found that for brilliancy of effect the use of gold or silver with a colour was preferable to that of colour with colour or metal with metal2 two colours are therefore found together or superposed only under certain conditions1 and the same applies to the two metals4 ,illustration3 ,,fig4 #c4 ,heraldry on the gatehouse of ,kirkham priory1 ,yorkshire1 built between #abhi and #abif4 ,imitations of two furs1 ermine and vair1 were also used3 the one of white flecked with little black tails2 the other of alternating oblong patches of white and blue1 square at the top and rounded at the bottom1 to represent grey squirrels' skins4 7,see figs4 #aea1 #aeb47 ,if vair were coloured other than white and blue1 the resultant was called vairy4 ,there is also known a black fur with silver ermine-tails4 ,there were never any exact rules as to the particular tint of the colour employed1 that being simply a matter of taste4 ,thus blue may range from a full indigo almost to ,cambridge-blue1 and red from a bright scarlet1 through vermilion1 to a dull brick colour1 and so on2 and it is surprising to find how well quiet colours blend together4 ,in the formation of arms the mere combinations of colours and metals produced by vertical1 horizontal1 or other divisions of the shield were soon exhausted1 as were quarters1 checkers1 etc4 ,there accordingly grew quite naturally the further use of applied strips or bands based upon such divisions4 ,illustration3 ,party ,illustration3 ,party-fessewise ,illustration3 ,quarterly ,illustration3 ,pale ,illustration3 ,fesse ,illustration3 ,cross ,illustration3 ,party-bendwise ,illustration3 ,party-saltirewise ,illustration3 ,gyronny ,illustration3 ,bend ,illustration3 ,saltire ,illustration3 ,border ,illustration3 ,chief ,illustration3 ,quarter ,illustration3 ,cheveron ,illustration3 ,pile ,illustration3 ,orle ,illustration3 ,flanches ,illustration3 ,paly ,illustration3 ,barry ,illustration3 ,wavy ,illustration3 ,bendy ,illustration3 ,checky ,illustration3 ,lozengy ,thus the vertical parting of a metal and a colour known as party produced the pale1 and a horizontal division the fesse or bar1 and these combined to form the cross suggested by the quarterly lines4 ,an oblique or slanting parting gave rise to the bend1 and the crossing of two such produced the ,st4 ,andrew's cross or saltire4 ,a combination of the lines of a saltire with a quarterly division produced the varied field called gyronny4 ,the border almost suggested itself4 ,a cutting off of the upper half or head of the shield yielded the chief1 and of a fourth part the quarter4 ,one other of these applied pieces1 or ordinaries as they were called1 was the cheveron1 formed of two strips issuing from the lower edges of the shield and meeting in a point in the middle1 like the cheverons forming the roof timbers of a house4 ,another ordinary was the pile1 which was often threefold with lines converging towards the base as in fig4 #gb4 ,sometimes a shield was charged with one of smaller size called a scutcheon1 and the middle of this was occasionally cut out to form a voided scutcheon or orle4 ,flanches1 as they are called1 are very rarely found2 they are formed by drawing incurving lines within each side of the shield4 ,an even series of pales yielded a vertical striping called paly1 and of piles1 pily1 while an even number of bars became barry4 ,undulated or waved bars formed wavy1 and sometimes paly and pily stripes were also waved 7fig4 #ai74 ,in early examples the bend was often bended or curved4 ,bends are so represented in one of the shields in ,westminster abbey 7fig4 #d71 in some of the shields over the nave arcades in ,york minster1 and on a number of monumental effigies4 ,a narrower bend which overlaid everything was known as a baston 7see fig4 #fj74 ,a number of narrow bends produced bendy1 but the lines were then straight4 ,a field divided into squares or checkers formed checky1 and when divided into what are now called lozenges it became lozengy4 ,pales1 fesses1 crosses1 saltires1 borders1 and cheverons sometimes had their edges engrailed by taking out of them1 as it were1 a continuous series of bites separated by sharp points1 and the lower edge of a chief or the inner margin of a border was often indented like the edge of a saw2 but in early heraldry engrailing and indenting were interchangeable terms4 ,an indented fesse was anciently called a daunce4 ,cheverons1 fesses1 bars1 etc4 were occasionally battled1 through the upper line being formed into battlements4 ,a fesse was often placed between two cheverons1 as in the well-known arms of ,fitz,walter2 or between two very narrow bars called cotises1 or pairs of cotises called gemell bars4 ,cheverons1 bends1 and pales were also sometimes cotised4 ,cotises were often of a tincture different from that of the ordinary which they accompanied1 and sometimes indented or dancetty as in the arms of ,clopton 7fig4 #e7 and ,gonvile4 ,the ground or field could be relieved by the use of vair or ermine1 or by the addition of fretting or trellis-work or other simple means4 ,it was also not unfrequently powdered with small crosses1 fleurs-de-lis1 or billets2 often in conjunction with a larger charge like a cinqfoil or a lion4 ,illustration3 ,,fig4 #d4 ,shield with curved bend or baston of ,henry de ,laci earl of ,lincoln1 c4 #abei1 in the quire of ,westminster abbey church4 ,illustration3 ,,fig4 #e4 ,arms of ,clopton1 sable a bend silver and two cotises dancetty gold1 from a brass c4 #adbj at ,long ,melford in ,suffolk4 ,almost from the beginning every kind of device was charged or painted upon shields1 either singly or in multiple1 and upon or about such ordinaries as crosses1 cheverons1 and fesses4 ,birds1 beasts1 and fishes1 and parts of them like heads1 or feet1 or wings2 flowers1 fruits1 and leaves2 suns1 moons or crescents1 and stars2 fleurs-de-lis1 crosses1 billets1 roundels1 rings1 etc4--all were pressed into the service4 ,the great rule as to colour held good as regards charges1 and it was not permissible to paint a red rose upon blue or a gold star upon silver2 but a red rose upon gold or a silver star upon blue was quite right4 ,it has however been lawful at all times to place an ordinary1 such as a fesse or a cheveron1 and whether charged or not1 upon a parti-coloured field like quarterly1 checky1 paly1 or barry1 or upon vair or vairy4 ,a quarter1 or a chief1 or a border1 without reference to its colour1 can also be added to any such field4 ,conversely1 a parti-coloured cross1 fesse1 or charge of any kind is allowable upon a plain field4 ,in the ,great ,roll of arms1 temp4 ,edward ,,ii1 are instances of two shields1 in the one case of a red lion1 and in the other of a red fer-de-moline1 on fields party gold and vert2 also of a silver leopard upon a field party gold and gules1 and of three red lions upon party gold and azure4 ,likewise of a shield with three lions ermine upon party azure and gules1 and of another with wavy red bars upon a field party gold and silver4 ,in the arms1 too1 of ,eton ,college granted by ,king ,henry ,,vi in #addh-i three silver lilies on a black field are combined with a chief party azure and gules1 with a gold leopard on the red half and a gold fleur-de-lis on the blue half4 ,king ,henry also granted in #addi these arms1 party cheveronwise gules and sable three gold keys1 to ,roger ,keys1 clerk1 for his services in connexion with the building of ,eton ,college1 and to his brother ,thomas ,keys and his descendants4 ,shields with quarterly fields often had a single charge in the quarter1 like the well-known molet of the ,veres1 or the eagle of ,phelip4 ,arms were sometimes counter-coloured1 by interchanging the tinctures of the whole or parts of an ordinary or charge or charges overlying a parti-coloured field4 ,this often has a very striking effect1 as in the arms of ,st4 ,bartholomew's ,hospital1 which are party silver and sable a cheveron counter-coloured1 or those of ,geoffrey ,chaucer1 who bore party silver and gules a bend counter-coloured4 ,sir ,robert ,farnham bore quarterly silver and azure four crescents counter-coloured1 or1 as the ,great ,roll describes them1 'de l'un en l'autre4' ,the town of ,southampton likewise bears for its arms gules a chief silver with three roses counter-coloured4 ,in drawing parti-coloured fields it is as well to consider what are the old rules with regard to them4 ,in the early rolls a field barry of silver and azure1 or of gold and sable1 is often described as of six pieces1 that is1 with three coloured bars alternating with three of the metal1 though barry of eight and even ten pieces is found4 ,paly of six pieces is also a normal number4 ,but the number of pieces must always be even1 or the alternate pieces will become bars or pales4 ,the number of squares in each line of a checkered field or ordinary is also another important matter4 ,six or eight form the usual basis for the division of a field1 but the seven on the seal of the earl of ,warenne and ,surrey attached to the ,barons' ,letter of #acjj-a is not without its artistic advantages4 ,on an ordinary1 such as a fesse or cross1 there should be at least two rows of checkers4 ,here1 however1 as in other cases1 much depends upon the size of the shield1 and a large one could obviously carry with advantage either on field or ordinary more squares than a small one without infringing any heraldic law4 ,besides the plain cross familiar to most of us in the arms of ,st4 ,george1 and the similar form with engrailed edges1 there is a variety known as the ragged cross1 derived from two crossed pieces of a tree with lopped branches4 ,this is often used in the so-called arms of ,our ,lord1 showing the instruments of ,his ,passion1 or in compositions associated therewith1 as in the cross with the three crowned nails forming the arms of the town of ,colchester4 ,several other forms of cross have also been used4 ,the most popular of these is that with splayed or spreading ends1 often split into three divisions1 called the cross paty1 which appears in the arms of ,st4 ,edward 7see figs4 #b and #dc74 ,it is practically the same as the cross called patonce1 flory1 or fleury1 these being names applied to mere variations of drawing4 ,the cross with les chefs flurettes of the ,great ,roll seems to have been one flowered1 or with fleurs-de-lis1 at the ends4 ,another favourite cross was that with forked or split ends1 formed of a fer-de-moline or mill-rind1 sometimes called a cross fourche1 or1 when the split ends were coiled1 a cross recercele4 ,the arms of ,antony ,bek bishop of ,durham 7#abhd-acaj7 and patriarch of ,jerusalem were gules a fer-de-moline ermine1 and certain vestments 'woven with a cross of his arms which are called ferrum molendini' passed to his cathedral church at his death4 ,on his seal of dignity the bishop is shown actually wearing such a vestment of his arms4 ,the tau or ,st4 ,anthony's cross also occurs in some late fifteenth century arms4 ,the small crosses with which the field of a shield was sometimes powdered were usually what are now called crosslets1 but with rounded instead of the modern squared angles1 as in the ,beauchamp arms 7fig4 #ad71 and a field powdered with these was simply called crusily4 ,but the powdering sometimes consisted of crosses paty1 or formy as they were also styled1 as in the arms of ,berkeley1 or of the cross with crutched ends called a cross potent1 like that in the arms of the ,kingdom of ,jerusalem4 ,these crosses often had a spiked foot1 as if for fixing them in the ground1 and were then further described as fitchy or crosses fixable4 ,since the elucidation of the artistic rather than the scientific side of heraldry is the object of this present work1 it is advisable to show how it may best be studied4 ,the artistic treatment of heraldry can only be taught imperfectly by means of books1 and it is far better that the student should be his own teacher by consulting such good examples of heraldic art as may commonly be found nigh at hand4 ,he may1 however1 first equip himself to advantage with a proper grasp of the subject by reading carefully the admirable article on ,heraldry1 by ,mr4 ,oswald ,barron1 in the new 7eleventh7 edition of the ,encyclopdia ,britannica4 ,the earliest and best of artistic authorities are heraldic seals4 ,these came into common use towards the end of the twelfth century1 much at the same time that armory itself became a thing of life1 and they were constantly being engraved for men1 and even for women1 who bore and used arms1 and for corporate bodies entitled to have seals4 ,moreover1 since every seal was produced under the direction of its owner and continually used by him1 the heraldry displayed on seals has a personal interest of the greatest value1 as showing not only what arms the owner bore1 but how they were intended to be seen4 ,from seals may be learnt the different shapes of shields1 and the times of their changes of fashion2 the methods of depicting crests2 the origin and use of supporters2 the treatment of the 'words' and 'reasons' now called mottoes2 the various ways of combining arms to indicate alliances1 kinships1 and official connexions2 and the many other effective ways in which heraldry may be treated artistically without breaking the rigid rules of its scientific side4 ,seals1 unfortunately1 owing to their inaccessibility1 are not so generally available for purposes of study as some other authorities4 ,they are consequently comparatively little known4 ,fine series1 both of original impressions and casts1 are on exhibition in the ,british and the ,victoria and ,albert ,museums1 and in not a few local museums also1#a but the great collection in the ,british ,museum is practically the only public one that can be utilized to any extent by the heraldic student1 and then under the limitation of applying for each seal by a separate ticket4 #a ,it would surely not be a matter of much difficulty or expense to equip the leading schools of art in this country with sets of casts of these beautiful objects4 ,the many examples of armorial seals illustrated in the present work will give the student a good idea of their importance and high artistic excellence4 ,next to the heraldry on seals1 that displayed on tombs and monuments1 and in combination with architecture1 may be studied1 and1 of course1 with greater ease1 since such a number of examples is available4 ,many a village church is comparatively as rich in heraldry as the abbey churches of ,westminster and ,st4 ,albans1 or the minsters of ,lincoln and ,york and ,beverley4 ,it is to the country church1 too1 that we may often look for lovely examples of old heraldic glass1 which has escaped the destruction of other subjects that were deemed more superstitious 7pls4 ,i1 ,,ii1 and ,,iii74 ,illustration3 ,,plate ,i4 ,,arms ,,of ,,milton ,,abbey ,,from ,a ,,window ,,in ,,ibberton ,,church ,,dorset1 ,c4 #adge 7,,from ,,archaeologia1 ,,vol4 ,,xlvii47 ,illustration3 ,,plate ,,ii4 ,,shields ,,in ,,stained ,,glass ,,of ,,the #ad,,th ,,century ,,with ,,the ,,arms ,,of 7#a7 ,,john1 ,,earl ,,of ,,kent 7#b7 ,,john ,,of ,,gaunt ,,as ,,king ,,of ,,castile1 ,,and 7#c7 ,,sir ,,william ,,arundel1 ,k4,g43 ,,in ,,the ,,victoria ,,and ,,albert ,,museum4 ,illustration3 ,,plate ,,iii4 ,,shields ,,in ,,stained ,,glass ,,of ,,the #ad,,th ,,century ,,with ,,the ,,arms ,,of 7#a7 ,,mowbray 7#b7 ,,beauchamp1 ,,and 7#c7 ,,audley3 ,,in ,,the ,,victoria ,,and ,,albert ,,museum4 ,but the student is not restricted to ecclesiastical buildings in his search for good examples of heraldry4 ,inasmuch as there never was such a thing as an ecclesiastical style1 it was quite immaterial to the medieval master masons whether they were called in to build a church or a gatehouse1 a castle or a mansion1 a barn or a bridge4 ,the master carpenter worked in the same way upon a rood loft or a pew end as upon the screen or the coffer in the house of the lord2 the glazier filled alike with his coloured transparencies the bay of the hall1 the window of the chapel1 or that of the minster or the abbey2 and the tiler sold his wares to sacrist1 churchwarden1 or squire alike4 ,the applications of heraldry to architecture are so numerous that it is not easy to deal with them in any degree of connexion4 ,shields of arms1 badges1 crests1 and supporters are freely used in every conceivable way1 and on every reasonable place3 on gatehouses 7figs4 #c1 #ie1 #if7 and towers1 on porches and doorways1 in windows and on walls1 on plinths1 buttresses1 and pinnacles1 on cornice1 frieze1 and parapet1 on chimney-pieces 7figs4 #h1 #id7 and spandrels1 on vaults and roofs1 on woodwork1 metalwork 7figs4 #f1 #g71 and furniture of all kinds1 on tombs1 fonts1 pulpits1 screens1 and coffers1 in painting1 in glass1 and on the tiles of the floor 7figs4 #a1 #i1 #ad74 ,illustration3 ,,fig4 #f4 ,heraldic candle-holder1 etc4 from the latten grate about the tomb of ,king ,henry ,,vii at ,westminster4 ,illustration3 ,,fig4 #g4 ,firedog with armorial bearings4 ,illustration3 ,,fig4 #h4 ,chimney-piece in ,tattershall castle1 ,lincolnshire1 built by ,ralph lord ,cromwell between #adcc and #adee1 with shields of arms and treasurer's purse and motto4 ,illustration3 ,,fig4 #i4 ,paving tiles with arms and badges of the ,beauchamps1 from ,tewkesbury abbey church4 ,though actual examples are now rare1 we know from pictures and monuments1 and the tantalizing descriptions in inventories1 to how large an extent heraldry was used in embroidery and woven work1 on carpets and hangings1 on copes and frontals1 on gowns1 mantles1 and jupes1 on trappers and in banners1 and even on the sails of ships 7fig4 #aj74 ,illustration3 ,,fig4 #aj4 ,seal of ,richard duke of ,gloucester1 as admiral of ,england in ,dorset and ,somerset 7#adfb71 with arms on the mainsail of the ship4 ,wills and inventories also tell us that in jewellery and goldsmiths' work 7see figs4 #aa and #ab7 heraldry played a prominent part1 and by the aid of enamel it appeared in its proper colours1 an advantage not always attainable otherwise 7fig4 #ac74 ,beautiful examples of heraldic shields bright with enamel occur in the abbey church of ,westminster on the tombs of ,king ,edward ,,iii and of ,william of ,valence1 and on the tombs at ,canterbury and ,warwick respectively of ,edward prince of ,wales and ,richard ,beauchamp earl of ,warwick2 while in ,st4 ,george's chapel in ,windsor castle there are actually nearly ninety enamelled stall-plates of ,knights of the ,garter of earlier date than ,tudor times1 extending from about #acij to #adhe1 and forming in themselves a veritable heraldic storehouse of the highest artistic excellence4 7,see pls4 ,,xv1 ,,xvi47 ,illustration3 ,,fig4 #aa4 ,heraldic buckle from the effigy of ,robert lord ,hungerford 7ob4 #adei7 in ,salisbury cathedral church4 ,illustration3 ,,fig4 #ab4 ,heraldic buckle from the effigy of ,william lord ,bardolf 7ob4 #adda7 in ,dennington church1 ,suffolk4 ,illustration3 ,,fig4 #ac4 ,enamelled shield with the arms of ,ballard on the print of a mazer 7c4 #adde7 at ,all ,souls college1 ,oxford4 ,another source of coloured heraldry is to be found in the so-called rolls of arms4 ,while heraldry was a living art1 it obviously became necessary to keep some record of the numerous armorial bearings which were already in use1 as well as of those that were constantly being invented4 ,this seems to have been done by entering the arms on long rolls of parchment4 ,in the earliest examples these took the form of rows of painted shields1 with the owners' names written over 7pl4 ,,iv72 but in a few rare cases the blazon or written description of the arms is also given1 while other rolls consist wholly of such descriptions1 as in the well-known ,great and ,boroughbridge ,rolls4 ,these have a special value in supplying the terminology of the old heraldry1 but this belongs to the science or grammar and not the art of it4 ,the pictured rolls1 on the other hand1 clearly belong to the artistic side1 and as they date from the middle of the thirteenth century onwards1 they show how the early heralds from time to time drew the arms they wished to record4 ,illustration3 ,,fig4 #ad4 ,heraldic paving tiles from ,tewkesbury abbey4 ,the three uppermost bear the arms of ,despenser1 ,berkeley1 and ,beauchamp1 and the large one the arms of ,robert ,fitz,hamon1 the founder1 impaled with the singular cross of the abbey4 ,illustration3 ,,plate ,,iv4 ,,part 7,,reduced7 ,,of ,,an ,,early ,,roll ,,of ,,arms ,,belonging ,,to ,,the ,,society ,,of ,,antiquaries ,,of ,,london4 ,,chapter ,,ii ,,the ,,shield ,,and ,,its ,,treatment ,early ,forms of ,shields2 ,later ,forms2 ,shields of ,irregular ,outline and ,surface2 ,the ,filling of a ,shield2 ,apparent versus ,absolute ,uniformity2 ,modern ,rules as to ,proportion2 ,the ,use and ,abuse of ,quartering3 its ,origin and ,growth2 ,differencing of ,arms2 ,the ,scutcheon of ,ulster2 ,diapering4 ,from these preliminary remarks we may pass to the practical consideration of the principles of heraldic art4 ,and first as to shields and their treatment4 ,the form of a shield is in itself entirely arbitrary and void of meaning4 ,although it varied from time to time1 this was simply a matter of fashion1 like the shape of an arch or the pattern of a window4 ,such changes must not1 however1 be overlooked1 for it would be absurd in actual practice to use an ornate shield of the style of the fifteenth or sixteenth century for a lion of 7say7 the thirteenth century type1 or to fill a shield of early form with charges characteristic of a later date4 ,during the twelfth century shields were more or less kite-shaped1 like those that were actually used1 but in the thirteenth century they began to be shorter and straighter across the top4 ,good examples of this type may be found on seals4 ,in the aisles behind the quire of ,westminster abbey church1 the beautiful shields in the spandrels of the wall arcade1 of a date not later than #abei1 retain their rounded upper corners4 7,see figs4 #b and #ae47 ,the next form1 with the upper corners square 7figs4 #af1 #ag71 came into vogue in the second half of the thirteenth century1 and has continued always in use4 ,owing to the elastic way in which its curves can be slightly altered when required1 it may safely be adopted in general practice4 ,in the earliest examples the curves begin at the top1 or just below1 but later on they were so struck as to increase the area of the lower part of the shield in order to make more room for the charges4 ,in some fourteenth century instances the sides continue straight nearly to the bottom1 so that the shield is practically an oblong with rounded lower corners1 like the shields of the royal arms on our coinage to-day 7fig4 #ah and pl4 ,,vi ,a74 ,a tendency in the same direction is not uncommon throughout the fifteenth century4 ,about the middle of the same century the fashion began to prevail1 alongside the other1 of representing a man's arms on the same irregularly shaped shield that he was wont to carry in the jousts4 ,this is as wide at the bottom as the top1 with its outline worked into curves1 and has on the dexter1 or right-hand side as borne1 a deep notch for the lance to rest in during tilting2 the top and bottom of the shield are often subdivided into three or more lobes or shallow curves4 ,good examples occur on seals and monuments1 and some of the ,garter stall-plates4 7,see pls4 ,v ,a and ,b2 ,,vi ,b2 ,,xvii2 and ,,xxiii ,a47 ,shields of a more ornate form are occasionally to be met with1 like an example 7fig4 #ai7 on a brass at ,stoke ,poges of the date #adgf1 with graceful leaf-work curling over at the top and bottom4 ,shields similarly ornamented occur on the doorway of a citizen's house now built into the ,guildhall at ,norwich 7fig4 #bj74 ,illustration3 ,,fig4 #ae4 ,shield with rounded corners 7c4 #abei7 of ,richard earl of ,cornwall in the quire of ,westminster abbey church4 ,illustration3 ,,fig4 #af4 ,shields of ,english work from the tomb of ,william earl of ,pembroke 7ob4 #abif7 in ,westminster abbey church4 ,illustration3 ,,fig4 #ag4 ,seal of ,hugh ,bardolf showing shield with square corners4 ,from the ,barons' ,letter4 ,illustration3 ,,fig4 #ah4 ,seal and counterseal of ,simon lord of ,montagu1 with shield of unusual form supported by two bearded men and surmounted by the castle of ,corfe1 of which ,simon became governor in #abih4 ,the quadrangular signet displays a griffin4 ,from the ,barons' ,letter4 ,illustration3 ,,fig4 #ai4 ,shield of ornate form1 from a brass at ,stoke ,poges1 ,bucks1 #adgf4 ,illustration3 ,,fig4 #bj4 ,head of a doorway1 now in ,norwich ,guildhall1 with arms of ,king ,henry ,,viii1 the ,city of ,norwich1 and the ,goldsmiths' ,company4 ,illustration3 ,,plate ,v4--,examples of shaped shields4 ,a ,john ,tiptoft earl of ,worcester1 #addi4 ,b ,william ,herbert earl of ,huntingdon1 #adgi4 ,illustration3 ,a ,john earl of ,kent #acea4 ,b ,john ,mowbray1 duke of ,norfolk and earl marshal1 #addb4 ,,plate ,,vi4--,various shapes of shields4 ,in the simpler forms the field of a shield in painted representations is invariably shown flat2 but in carvings1 and occasionally on seals1 a slight convexity1 or even concavity1 is often met with1 the artistic advantages of which it is unnecessary to enlarge upon4 ,in some of the later ornate forms1 like those described above1 the incurved or engrailed edge is accompanied by a field worked with a series of ridges and furrows 7figs4 #ba and #bc74 ,the effect of this may be good1 but there is a danger of carrying it to excess and so injuring the appearance of the charges4 ,if the shield be well covered by the bearings on it1 it is generally better to use one of simple form than one with an irregular outline and ridged surface2 but there is1 of course1 no reason why both forms should not be used concurrently in architectural or other works1 as they sometimes were of old4 ,illustration3 ,,fig4 #ba4 ,shield with engrailed edges 7c4 #aebj71 from the chantry chapel of abbot ,thomas ,ramryge in ,st4 ,albans abbey church4 ,the same principle as the ridging of a shield to relieve the plain surface was also applied to the ordinaries upon it4 ,an early example may be seen upon the tomb of queen ,eleanor at ,westminster1 which has the bends in the shields of ,ponthieu ridged along the middle line4 ,the shield borne by ,brian ,fitz,alan 7ob4 #acjb7 in his effigy at ,bedale has the alternate bars of his arms 7barry of eight pieces gold and gules7 treated in the same way4 ,another instance may be seen on the effigy of ,sir ,richard ,whatton 7c4 #acbe7 at ,whatton1 ,notts1 in which a bend1 though charged1 is ridged4 ,the shields on the tomb of ,guy lord ,bryen 7ob4 #acij7 at ,tewkesbury 7fig4 #bb7 furnish typical later examples1 while during the fifteenth and early sixteenth centuries instances are as common as the curved and ridged shields described above1 especially as regards crosses and saltires1 as at ,st4 ,albans1 the ,george ,inn at ,glastonbury 7fig4 #bc71 and elsewhere4 ,illustration3 ,,fig4 #bb4 ,shields with ridged charges1 from the monument of ,guy lord ,bryen 7ob4 #acij7 in ,tewkesbury abbey church4 ,illustration3 ,,fig4 #bc4 ,armorial panels1 the middlemost with the arms1 supporters1 and badges of ,king ,edward ,,iv1 from the ,george ,inn at ,glastonbury4 ,in monumental effigies the shield borne by a knight often has a convex or rounded surface 7fig4 #bd71 and in late fifteenth century and ,tudor architecture otherwise flat shields sometimes have the middle swelled out1 as on dean ,gunthorpe's oriel at ,wells1 in a manner very popular in ,renaissance work4 7,see figs4 #aaa and #aie47 ,illustration3 ,,fig4 #bd4 ,shield with curved surface1 from an effigy of a ,pembridge at ,clehonger1 ,herefordshire4 ,a reference to a number of good ancient examples of heraldic shields or banners will disclose the care that has been taken to occupy the field1 as far as possible1 with whatever is placed upon it 7figs4 #be1 #bf1 #bg74 ,a lion or an eagle1 for instance1 will have the limbs and extremities so spread out as to fill every available space2 and the same will be found in every group or combination of objects capable of arrangement or extension4 ,illustration3 ,,fig4 #be4 ,shield from the seal of ,henry ,percy 7from the ,barons' ,letter7 with well-drawn lion4 ,illustration3 ,,fig4 #bf4 ,shield with a leaping lion1 from a brass 7c4 #achj7 at ,felbrigge in ,norfolk4 ,illustration3 ,,fig4 #bg4 ,shield with an eagle from a brass at ,great ,tew1 ,oxon1 c4 #adaj4 ,even with most unpromising combinations1 or a group that cannot be extended or modified at all1 or with a single charge like a fleur-de-lis1 or ordinary such as a bend1 7fig4 #cj71 pale1 or cheveron 7pl4 ,,viii ,a71 a judicious adjustment of proportions1 or some equally common-sense method1 enabled a medieval artist to make his shield look well4 ,illustration3 ,,fig4 #bh4 ,seal of ,queen's ,college1 ,oxford1 #acda1 with well-filled shields4 ,illustration3 ,,fig4 #bi4 ,shield with a griffin1 from a brass of #adje at ,boughton-under-,blean1 ,kent4 ,illustration3 ,,fig4 #cj4 ,seal of ,peter de ,mauley ,,iv 7from the ,barons' ,letter71 showing a simple well-balanced shield4 ,another point that may be noticed in all old work is that in shields containing several similar objects no two are exactly alike4 ,if the charges be1 for example1 three roses or three roundels or three lions 7fig4 #cb71 two will be placed in the upper and the third in the lower part of the shield4 ,but the latter will often be somewhat larger than the others1 and these1 in turn1 will differ slightly the one from the other as they do in nature4 ,so1 too1 in a case like the three leopards of the ,king of ,england1 whether displayed on shield or in banner1 no two are exactly alike1 but each differs somewhat from another in pose or in size 7fig4 #cb74 ,even when the same charge is repeated many times1 like the fleurs-de-lis in the old arms of ,france1 any possible chance of mechanical monotony is avoided by a trifling variation in the shape of each1 as in the shield of the ,king of ,france in the early series at ,westminster 7fig4 #cd74 ,another fact is that in the old work lines and curves are hardly ever quite true1 but drawn by hand instead of with pen or compasses4 ,the modern artist1 on the contrary1 usually draws his lines and curves with mechanical precision2 his charges are exact copies one of another2 the fact that they do not fill the field 7pace the royal arms on the coinage7 is to him quite unimportant1 and the final result is that under no circumstances will his work look well4 ,even in old stencilling a pleasing effect never seen in modern work of the kind was produced through a not too rigid adherence to a regularity of application4 ,illustration3 ,,fig4 #ca4 ,shield with a bend counter-flowered1 from the brass of ,sir ,thomas ,bromfleet 7#adcj7 at ,wymington1 ,beds4 ,illustration3 ,,fig4 #cb4 ,shield with three lions1 from a brass at ,stanford ,dingley1 ,berks1 #addd4 ,illustration3 ,,fig4 #cc4 ,shield of the royal arms done in boiled leather1 from the tomb of ,edward prince of ,wales at ,canterbury1 #acgf4 ,illustration3 ,,fig4 #cd4 ,shield of the ,king of ,france 7c4 #abei7 in the quire of ,westminster abbey church4 ,another cause of the bad effect of much modern heraldry is the unnecessary adherence to the rules laid down in some of the textbooks and manuals as to the relative widths of ordinaries and subordinaries4 ,the old heralds certainly did not fetter themselves with such shackles4 ,a cheveron1 a bend1 a fesse1 or a cross was drawn of the best proportion to look well 7figs4 #ce1 #cf74 ,if charged it would be wider than when plain4 ,if placed between charges it was drawn narrower1 if itself uncharged1 and thus took its proper relative position with regard to the size and arrangement or the charges4 ,so1 too1 with a border2 if uncharged or merely gobony 7i4e4 formed of short lengths of alternate colours7 or engrailed1 it was drawn very narrow1 and even if charged it was not allowed much greater width 7figs4 #ch1 #ci74 ,it thus never unduly encroached upon the field or other contents of the shield1 and yet remained an artistic addition in itself4 ,the curious bordering known as the tressure1 which is almost peculiar to ,scotland1 and familiar to us through its occurrence in the shield of our ,sovereign1 is drawn sufficiently narrow in all good examples to leave ample room for the ramping lion it fences in1 and its frieze of fleurs-de-lis is formed of a good number of flowers1 instead of the eight considered sufficient in the royal arms of to-day4 ,even a chief1 if necessary1 was enlarged from the 'less than one-third of the shield' of to-day to the one-half of it1 or even more1 as may be seen in some of the examples of the arms of the monastery in the abbey church of ,westminster1 or in those of the town of ,southampton4 ,illustration3 ,from the brass of bishop ,robert ,wyvil in the cathedral church of ,salisbury1 #acge4 ,from the brass of ,william ,holyngbroke at ,new ,romney in ,kent1 #acge4 ,figs4 #ce and #cf4 ,shields with uncharged ordinaries4 ,illustration3 ,,fig4 #cg4 ,shield with a charged bend1 from a brass at ,kidderminster1 #adae4 ,illustration3 ,from the brass of ,william ,grevel 7#adja7 at ,chipping ,campden in ,gloucestershire4 ,from the brass of ,thomas ,walysel 7c4 #adbj7 at ,whitchurch1 ,oxon4 ,figs4 #ch and #ci4 ,shields with engrailed borders1 plain and charged4 ,another feature of early heraldry which it is well to bear in mind is the sparing use of what is known as quartering1 or the method of combining in one shield the arms of two or more persons or families4 ,one of our oldest instances of this occurs on the tomb of ,queen ,eleanor1 the first wife of ,king ,edward ,i1 at ,westminster1 and shows her paternal arms of ,castile and ,leon so arranged 7fig4 #dj74 ,another early example occurs in the ,great ,roll1 temp4 ,edward ,,ii1 where the arms of ,sir ,simon ,montagu 7ob4 c4 #acaf71 silver a fesse indented gules of three indentures1 are quartered with azure a gold griffin4 ,so long as the shield contained only four quarters1 with the first and fourth1 and the second and third1 respectively alike1 the effect was often good1 as in the cases just noted1 or in the beautiful arms of ,france and ,england combined used after #acdj by ,king ,edward ,,iii 7fig4 #da74 ,there are also many examples1 as in the well-known bearings of the ,veres and of the ,despensers1 where a quarterly disposition of the shield forms the basis of the arms4 ,but when1 as became common in the fifteenth century1 quarters were multiplied or subdivided1 the artistic effect of the old simple shield was lost or destroyed4 ,as the principle was further extended1 especially in ,tudor and ,stewart times1 the result became more and more confused in appearance1 until the field resembled rather a piece of coloured patchwork than a combination of various arms all more or less beautiful in themselves4 ,illustration3 ,,fig4 #dj4 ,quartered shield of ,queen ,eleanor of ,castile1 from her tomb at ,westminster1 #abia4 ,illustration3 ,,fig4 #da4 ,arms of ,king ,edward ,,iii1 from his tomb at ,westminster4 ,the origin and growth of these combinations1 which actually are perfectly lawful and proper1 and yet often quite accidental1 can easily be illustrated by a few typical examples4 ,in #achb ,king ,richard ,,ii1 who used the same arms as his grandfather1 a quarterly shield of ,old ,france and ,england1 married ,anne of ,bohemia1 daughter of the ,emperor ,charles ,,iv4 ,as her shield was also a quartered one1 the combined arms of the king and his queen1 as shown upon her seal1 formed a shield of eight quarters 7pl4 ,,vii ,a74 ,this was further complicated through the later assumption by ,king ,richard of the arms assigned to ,st4 ,edward 7fig4 #dc71 a cross between five birds2 and the eight-quartered shield with this clumsy addition at one side may be seen on the ,felbrigge brass4 ,illustration3 ,a ,queen ,anne of ,bohemia1 #achb4 ,b ,john of ,gaunt's privy seal as ,king of ,castile1 #acgb4 ,,plate ,,vii4--,examples of ,quartering4 ,illustration3 ,,fig4 #db4 ,shield with impaled quarters1 from the brass of ,peter ,halle 7c4 #adbj7 at ,herne in ,kent4 ,illustration3 ,,fig4 #dc4 ,arms of ,st4 ,edward1 from the tomb of ,edmund duke of ,york 7ob4 #adjb7 at ,king's ,langley4 ,these arms of ,st4 ,edward were used for a time duly 'differenced' in conjunction with his own quarterly arms by ,henry of ,lancaster1 afterwards ,king ,henry ,,iv1 and are impaled with those of his wife1 ,mary de ,bohun1 on his seal 7#acii7 as duke of ,hereford4 ,artistically the lop-sided effect so produced is quite unhappy4 ,many fifteenth century shields show forth1 by the simple quartering of a man's arms with those of his wife or his mother1 his succession or summons as a lord of parliament1 or his inheritance of great estates4 ,but this simplicity was gradually destroyed when the added quartering was itself quartered1 as in the arms of ,richard ,nevill earl of ,salisbury 7see pls4 ,,xvii ,a and ,,xxii ,b71 or the quarterings were all different1 as in the case of ,humphrey ,stafford duke of ,buckingham4 ,when but a year old he succeeded his father as earl of ,stafford1 and on his mother's death he became earl of ,buckingham1 ,hereford1 ,northampton1 ,essex1 and ,perche6 ,these dignities are duly displayed in the quarterings of his arms on his seal1 as follows3 #a4 ,the quartered arms of his mother1 for the earldom of ,buckingham4 #b4 ,bohun of ,hereford4 #c4 ,bohun of ,northampton4 #d4 ,stafford 7fig4 #dd74 ,illustration3 ,,fig4 #dd4 ,seal of ,humphrey ,stafford earl of ,buckingham1 ,hereford1 ,stafford1 ,northampton1 and ,perche1 as captain of ,calais and lieutenant of the ,marches1 #addb4 ,when ,henry duke of ,buckingham succeeded in #adfj to all the dignities of duke ,humphrey his grandfather1 he wisely elected1 by the advice of the kings-of-arms1 to drop the above quarterings1 and to use only the arms of his great-grandmother1 who as sister and heir of ,humphrey duke of ,gloucester and earl of ,buckingham bore ,france and ,england quarterly within a border silver4 ,about #adcc ,margaret1 daughter of ,richard ,beauchamp earl of ,warwick1 was married to ,john ,talbot earl of ,shrewsbury1 and she thereupon had a beautiful seal engraved1 with two large shields or arms hung side by side by their straps from a ragged staff1 the badge of her father's house 7pl4 ,,xxvii ,b74 ,this charming composition is1 however1 quite spoilt through the complicated treatment of the shields4 ,one of these bears the arms of husband and wife conjoined1 the other those of the lady's father4 ,the earl of ,warwick's shield is a quartered one of ,beauchamp and ,newburgh1 with a small superimposed scutcheon4 ,the earl of ,shrewsbury's arms also consisted of four quarters1 to which his wife added her four 7omitting the scutcheon71 and thus made a patchwork of eight4 ,a more remarkable and equally accidental case may be illustrated by the brass of ,sir ,humphrey ,bourchier 7#adga7 in the abbey church of ,westminster4 ,this displays four shields3 one has the arms of ,bourchier quartering ,lovain and impaling the quarterly arms of ,berners2 and another1 the six quarterings of ,sir ,humphrey's wife1 ,elizabeth ,tylney4 ,in a third shield these are quite properly impaled1 with a resultant of fourteen quarters4 ,in the fourth shield these are quartered together1 and so produce a dreadful confusion of twenty-eight quarters6 ,it is not necessary here to show how these shields might have been simplified in themselves1 but from the artistic standpoint there cannot be any doubt that the two first should at least have been kept separate4 ,the many other examples to be found in the illustrations of this book will serve as useful reminders of the greater advantage artistically of simpler treatment4 ,it is moreover well to remember that in the majority of cases there is not the least need in actual work to produce a great many quarterings in a shield4 ,in numerous examples1 especially in the sixteenth century and later1 they were assumed merely for display1 and to reduce them to a reasonable few is often a most desirable thing4 ,it is difficult without knowledge of individual cases to lay down any definite rules for dealing with quarterings1 but there can be no question that in general a shield looks best without any at all4 ,in the case of a man with a compound name or title1 who represents more than one family or dignity1 it would be legitimate to add a quartering on that account1 but only of the actual arms of the family or dignity represented4 ,it is however so hard to draw a line or to restrain the wishes of clients that the fifteenth century example of ,henry duke of ,buckingham should ever be borne in mind4 ,as soon as the principle of hereditary descent of armorial bearings became established1 the necessity arose of making some slight difference between the arms of a father and those borne by his sons4 ,this was usually done by adding to the paternal arms such more or less unobtrusive device as a label1 or narrow border1 or a small charge like a crescent or a molet4 ,the lord ,john of ,eltham1 son of ,king ,edward ,,ii1 bears upon his tomb at ,westminster a beautifully carved shield of the arms of ,england differenced by a border of ,france2 and one of the sons of ,king ,edward ,,iii1 ,thomas of ,woodstock1 differenced his father's arms by a silver border1 as at an earlier period did ,edmund earl of ,kent1 the youngest son of ,king ,edward ,i4 ,the label is a narrow band with long pendent strips or pieces1 usually three1 but sometimes four or five in number1 placed upon and across the upper part of a shield 7fig4 #de74 ,it is now used to distinguish the arms of an eldest son from those of his father1 but this was not always the rule1 and younger sons of ,king ,henry ,,iii and ,king ,edward ,i1 and at least three of the sons of ,king ,edward ,,iii1 besides the ,prince of ,wales1 bore distinctive labels for difference4 ,anciently1 the label was very narrow1 and the pendent pieces of equal or nearly equal width throughout1 even when charged with devices1 as they sometimes were4 ,the colour was also a matter of choice4 ,the first three ,edwards1 during their fathers' lifetime1 successively bore blue labels1 sometimes of three1 sometimes of five pieces1 while the younger brother of ,king ,edward ,i1 ,edmund earl of ,lancaster1 used a label of ,france 7blue with gold fleurs-de-lis7 of four pieces1 and ,thomas of ,brotherton1 second son of ,king ,edward ,i1 a silver label of three pieces4 ,illustration3 ,,fig4 #de4 ,shield of ,sir ,hugh ,hastings1 from the ,elsing brass 7#acdg71 with diapered maunch and a label of three pieces4 ,in the case of the sons of ,king ,edward ,,iii1 the ,prince of ,wales bore at first a silver label of five and later of three pieces2 ,lionel duke of ,clarence seems to have borne at one time a gold label with a red cross on each piece for ,ulster1 and at another a silver label charged on each piece with a red quarter for ,clare2 ,john of ,gaunt duke of ,lancaster bore an ermine label for his earldom of ,richmond 7pl4 ,,ii72 and ,edmund duke of ,york a silver label with three red roundels on each piece 7pl4 ,,xxi ,b74 ,the rolls of arms furnish instances of labels of all colours1 and with pieces charged with various devices1 such as leopards1 eagles1 castles1 martlets1 etc4 ,differencing with labels was likewise extended to crests1 and a good example may be seen on the monument of ,edward prince of ,wales 7ob4 #acgf7 at ,canterbury 7fig4 #df71 as well as in fig4 #aci4 ,illustration3 ,,fig4 #df4 ,part of the gilt-latten effigy of ,edward prince of ,wales at ,canterbury1 showing labels over both the arms and the crest4 ,in modern heraldry the label is often drawn unduly wide1 with short and ugly wedge-shaped pieces hanging from or sticking on to it1 and sometimes it does not even extend to the sides of the shield4 ,the result is that instead of its being a comparatively unobtrusive addition to the arms the label becomes unduly conspicuous and void of all artistic effect4 ,the old way of differencing by the addition of a crescent1 molet1 or similar device was generally carried out in quite an artistic fashion on account of the care taken to place the device agreeably1 a favourite position being on the principal ordinary or charge of the arms4 ,many cadets of the great family of ,nevill1 for example1 differenced the arms of their house1 gules a saltire silver1 by placing the device on the middle of the saltire1 and some of the ,beauchamps placed the differencing mark on the fesse of their arms4 ,in other cases the device was placed in the upper part of the shield1 or in some other such point where it would least interfere with or be confounded with the charges4 ,one of the most difficult differences an artist has to contend with to-day is the silver scutcheon with a red hand which is placed upon the arms of baronets4 ,its position of course varies1 and may often be altered with advantage1 and it looks all the better if drawn not unduly large and with a simple heater-shaped shield4 ,but some artists wisely leave it out altogether4 ,in the case of all devices introduced as differences it will generally be found advisable to draw them to a somewhat smaller scale than the charges already in the arms4 ,in many ancient heraldic shields1 especially in painted glass1 and to a lesser extent in carved work and on seals1 the plain uncharged surfaces of the field or ordinaries are relieved by covering them with the purely ornamental decoration called diapering 7figs4 #de1 #dh74 ,an early instance in relief occurs on the shield of the effigy in the ,templars' church in ,london usually ascribed to ,geoffrey de ,magnavilla2 and another delicately sculptured example of later date is to be seen on the ,vere effigy in ,hatfield ,broadoak church in ,essex 7fig4 #dg74 ,several fine instances of painted diapering will be found in ,stothard's ,monumental ,effigies4 ,this beautiful treatment has1 happily1 been largely revived of late years by the glass painters1 who use it quite successfully1 probably from the ease with which in their case it can be applied4 ,modern carvers use it very sparingly1 and this perhaps is as it should be1 for diapering needs to be done with great skill in sculpture to look well4 ,a careful study therefore of old examples is advisable1 in order thoroughly to understand the principles of its application4 ,illustration3 ,,fig4 #dg4 ,diapered shield of the arms of ,vere1 from an effigy in ,hatfield ,broadoak church1 ,essex4 ,illustration3 ,,fig4 #dh4 ,diapered shield from the seal of ,robert ,waldby archbishop of ,york1 #acij1 for the regality of ,hexham4 ,some of the finest diapered shields in carved work occur in the spandrels of the splendid monument of the lady ,eleanor ,percy in ,beverley minster 7figs4 #di1 #ej74 ,good instances are to be found on seals1 and a number of these are here illustrated in order to show the proper treatment of diapering4 7,see pls4 ,,viii1 ,,xii1 and ,,xxvii ,a47 ,illustration3 ,,fig4 #di4 ,diapered shield of the arms of ,clun1 from the monument of the lady ,eleanor ,percy 7ob4 #accg7 in ,beverley minster4 ,illustration3 ,,fig4 #ej4 ,diapered shield of the arms of ,percy1 from the monument of the lady ,eleanor ,percy 7ob4 #accg7 in ,beverley minster4 ,illustration3 ,a ,humphrey earl of ,stafford1 in #adbi4 ,b ,john ,tiptoft4 ,c ,elizabeth1 wife of ,john la ,warre1 in #acic4 ,,plate ,,viii4--,examples of diapered shields4 ,it is of course to be borne in mind that diapering is merely a surface decoration1 and it must not on any account be emphasized by any difference of colour from that of the field or ordinary it relieves1 nor must it be treated with such prominence as to render it liable to be mistaken for a charge or charges4 ,diapering can be represented effectively in embroidered work by the use of flowered or patterned damasks1 as may be seen in the banners in ,st4 ,paul's cathedral church in the chapel of the ,order of ,st4 ,michael and ,st4 ,george4 ,,chapter ,,iii ,,the ,,shield ,,and ,,its ,,treatment 7continued7 ,armorial ,bearings of ,ladies2 ,use of ,lozenges and ,roundels as variant forms of ,shields2 ,arms of ,men on ,lozenges2 ,combinations of ,shields with ,lozenges and ,roundels of ,arms on ,seals and in ,embroideries4 ,before leaving the subject of the shield a few words must be written about the armorial bearings of ladies4 ,it has always been the practice for the daughters of a house to bear1 without difference or alteration1 the arms of their father4 ,this practice has been departed from only in quite modern times1 by the addition of distinctive labels to the arms borne by our princesses4 ,to the manner in which married ladies have arranged or 'marshalled' their arms reference will be made later1 but it is necessary here to call attention to the fact that it has been customary for a long time to place the arms of widows and single ladies upon shields that are lozenge-shaped4 ,a good early example is that from the monument in ,westminster abbey church of ,frances ,brandon duchess of ,suffolk 7ob4 #aeei71 shown in fig4 #ea4 ,illustration3 ,,fig4 #ea4 ,lozenge of arms from the monument at ,westminster of ,frances ,brandon duchess of ,suffolk 7ob4 #aeei74 ,this singularly inconvenient form of shield1 upon which it is often impossible to draw the arms properly1 began to be used early in the fourteenth century4 ,it was not1 however1 used for or restricted to the arms of ladies1 since the evidence of seals shows that it was at first used to contain the armorial bearings of men4 ,there can likewise be little doubt that it and the roundel1 which was also charged with arms1 were contemporaneously invented by the seal engravers as variants from the ordinary form of shield2 and it is interesting to note that the majority of the examples occur on seals which have a background or setting of elaborate tracery4 ,the roundel seems to have originated in the covering of the entire field of a circular seal with the arms of its owner1 such as the leopards of ,england which are so disposed in a counterseal of ,edward of ,carnarvon as prince of ,wales4 ,two seals of ,john of ,gaunt duke of ,lancaster1 engraved probably in #acgb1 show a similar treatment3 the one bearing his arms impaling1 and the other his arms impaled with1 those of ,castile and ,leon 7pl4 ,,vii ,b74 ,the former commemorates his marriage with ,constance of ,castile1 and the latter the duke's claim in right of his wife to the kingdom of ,castile itself4 ,a large enamelled roundel1 party gules and azure with a gold charbocle1 accompanies the shield and crested helm which1 with it1 form the stall-plate of ,ralph lord ,bassett 7c4 #acij7 at ,windsor4 ,one of the lesser seals appended to the ,barons' ,letter1 that of ,robert ,fitz,pain1 is an oval filled with the owner's arms 7fig4 #eb74 ,illustration3 ,,fig4 #eb4 ,seal of ,robert ,fitz,pain1 with arms in an oval4 ,one of the earliest examples of arms on a lozenge is on a seal of ,thomas ,furnival1 who died in #abgi1 and another but little later is furnished by the seal of ,william de ,braose1 appended to a deed of either #abhb or #acad at ,magdalen ,college1 ,oxford 7pl4 ,,ix ,b74 ,illustration3 ,a ,william ,paynel1 in #acja4 ,b ,william ,braose1 8 #abhb4 ,c ,parnell ,bensted1 in #acei4 ,d ,e ,elizabeth of ,clare4 ,,plate ,,ix4--,use of lozenges and roundels of arms4 ,that of ,william ,paynel1 appended to the ,barons' ,letter1 also has his arms on a lozenge 7pl4 ,,ix ,a74 ,the first seal of a lady in which lozenges of arms occur is probably that of ,joan1 daughter of ,henry count of ,barre and ,eleanor daughter of ,king ,edward ,i1 who married1 in #acjf1 ,john de ,warenne earl of ,surrey 7fig4 #ec74 ,this has five lozenges arranged in cross3 that in the middle has her husband's checkers1 those on each side her father's barbels1 etc4 and those above and below the three leopards of ,england4 ,the lady's descent from ,king ,edward is further shown by the castles and lions of his consort ,eleanor of ,castile4 ,illustration3 ,,fig4 #ec4 ,seal of ,joan de ,barre1 wife of ,john de ,warenne earl of ,surrey1 #acjf4 ,another interesting example1 of a date about #acbj1 is the seal of ,parnel1 daughter of ,h4 de ,grapenell1 and widow 7#a7 of ,john ,fitz,john and 7#b7 of ,sir ,john ,bensted 7ob4 #acbc74 ,this has in the middle a shield of the arms of ,bensted1 gules three gold gemell-bars1 between four lozenges1 apparently for ,grapenell and ,fitz,john 7pl4 ,,ix ,c74 ,contemporary with ,parnel ,bensted's seal are two others in which roundels are used instead of lozenges4 ,both are traceried seals of ,elizabeth daughter of ,gilbert of ,clare earl of ,gloucester1 and ,joan daughter of ,king ,edward ,i and ,queen ,eleanor of ,castile4 ,she was thrice married3 first1 about #acjf to ,john of ,burgh1 son of ,richard earl of ,ulster2 secondly to ,theobald lord ,verdon2 and thirdly to ,roger lord d',amory1 who died in #acbb4 ,one of these seals has in the middle1 in a shield1 ,elizabeth's own arms of ,clare impaling ,burgh within a black border bedewed with tears4 ,above and below are roundels of ,clare1 and on either side other roundels of ,verdon and d',amory4 ,in the interspaces are the castles and lions of ,castile and ,leon 7pl4 ,,ix ,d74 ,the other seal is similarly arranged1 but has in the middle a large shield of d',amory1 between roundels of arms of the lady's other husbands above and below1 and of ,clare for her father or herself on either side4 ,the interspaces again contain castles and lions 7pl4 ,,ix ,e74 ,four other early seals of great artistic merit displaying roundels may also be described1 especially since they are apparently the work of the same engraver4 ,they are filled with tracery1 consisting of a triangle enclosing a circle1 which contains a large shield1 with cusped circles on its sides containing roundels or devices4 ,the first is for ,mary de ,seynt-,pol1 who married in #acbb ,aymer of ,valence earl of ,pembroke 7fig4 #ed74 ,the shield bears the dimidiated arms of husband and wife2 on a roundel in base are the arms of her mother2 and higher up are roundels of ,england and ,france1 out of compliment to ,king ,edward ,,ii and ,queen ,isabel4 ,illustration3 ,,fig4 #ed4 ,seal of ,mary de ,seynt-,pol1 wife of ,aymer of ,valence earl of ,pembroke1 #acbb4 ,the second is for ,john de ,bohun earl of ,hereford1 and has a large shield of ,bohun with roundels also of ,bohun4 ,it was probably engraved in #acbb1 and before the earl's marriage in #acbe 7pl4 ,x ,a74 ,illustration3 ,a ,john de ,bohun earl of ,hereford1 #acbb4 ,b ,hugh ,courtenay earl of ,devon1 #accd4 ,c ,henry ,sturmy1 lord of ,savernake ,forest1 #acee4 ,d ,elizabeth1 wife of ,walter ,bermyngham1 in #acda4 ,e ,sibyl1 wife of ,sir ,edmund ,arundel1 #acej4 ,,plate ,x4--,use of lozenges and roundels of arms4 ,the third is for ,richard ,fitz,alan earl of ,arundel 7#accj-a71 who succeeded to the vast ,warenne estates in #acdg4 ,it has in the middle a shield of ,fitz,alan1 and about it three roundels with the checkers of ,warenne4 ,the fourth is for ,hugh ,courtenay earl of ,devon 7#accd-e-dj7or his son ,hugh 7#acdj-gg74 ,the shield displays the arms of ,courtenay and in each of the outer circles is a sexfoil 7pl4 ,x ,b74 ,to these examples may be added a fifth of about the same date1 for ,henry ,sturmy or ,esturmy1 lord of the forest of ,savernake4 ,this has the ,sturmy shield in the middle1 between two roundels of the ,hussey arms1 and a third roundel above with the tenure horn of ,savernake ,forest 7pl4 ,x ,c74 ,other seals that may be quoted in illustration of the indiscriminate use of shields1 roundels1 and lozenges during the fourteenth century are those of3 7#a7 ,juliana1 daughter of ,thomas ,leybourne1 and wife of ,john lord ,hastings 7ob4 #acbe71 with a shield of ,hastings impaling ,leybourne1 encircled by six lozenges of arms indicative of other alliances and descents1 derived from the fact of the lady having been married thrice2 7#b7 ,elizabeth de ,multon1 wife of ,walter ,bermyngham1 with the shield of ,bermyngham surrounded by six roundels of other arms2 7#c7 ,maud1 daughter of ,bartholomew ,badlesmere1 and wife in #accf of ,john de ,vere earl of ,oxford 7fig4 #ee71 with a shield of ,vere between lozenges of ,clare1 ,badlesmere 7her father and herself71 ,clare with label 7mother71 and ,fitz,payn 7first husband72 7#d7 ,maud1 daughter of ,henry earl of ,lancaster1 married first to ,william of ,burgh earl of ,ulster1 and secondly 7in #acdc-d7 to ,sir ,ralph ,ufford 7fig4 #ef71 with lozenges of ,lancaster 7father and herself7 above and ,chaworth 7mother7 below1 and shields of ,burgh and ,ufford 7husbands72 7#e7 ,sybil1 daughter of ,william ,montagu earl of ,salisbury and ,katharine ,graunson1 with shield of ,fitz,alan with a label1 for her husband ,sir ,edmund of ,arundel1 second son of ,edmund ,fitz,alan earl of ,arundel1 between lozenges of ,montagu and ,graunson 7pl4 ,x ,e72#b and 7#f7 ,elizabeth1 widow of ,sir ,gilbert ,elsefield1 with a lozenge of ,elsefield between four roundels of other arms 7impression #achb-c74 #b ,impression attached to a deed in the ,british ,museum1 #acej-a4 ,illustration3 ,,fig4 #ee4 ,seal of ,maud ,badlesmere1 wife of ,john de ,vere earl of ,oxford1 #accf4 ,illustration3 ,,fig4 #ef4 ,seal of ,maud of ,lancaster1 wife 7#a7 of ,william of ,burgh earl of ,ulster1 and 7#b7 of ,sir ,ralph ,ufford1 #acdc-d4 ,alice1 wife of ,thomas of ,heslerton1 has on her seal 7impression #acgd7 a large lozenge of the arms of ,heslerton 7gules six silver lions with gold crowns7 within a quatrefoil1 outside of which are four small banners of arms with martlets between4 ,lastly may be noted a seal of ,roger ,foljambe1 attached to a deed of #acif-g1 having a lozenge of his arms 7a bend and six scallop shells7 surrounded by his word or motto4 ,but seals are not the only authorities for the indiscriminate use of roundels and lozenges as well as shields of arms4 ,in the ,victoria and ,albert ,museum at ,south ,kensington is an enamelled coffer of late thirteenth century work decorated with lozenges of arms of ,england1 ,valence1 ,dreux1 ,angoulme1 ,brabant1 and ,lacy4 ,the famous ,syon cope de opere ,anglicano1 also in the ,victoria and ,albert ,museum1 has the existing orphrey filled with large armorial roundels and lozenges1 and its border is composed of a stole and fanon embroidered throughout with lozenges of arms4 7,see fig4 #eg47 ,christchurch1 ,canterbury1 in #acae possessed an albe 'sewn with lozenges with the arms of the king of ,england and of ,leybourne1'#c and another 'sewn with the arms of ,northwode and ,ponyngg in squares'2#d also an albe 'sewn with divers arms in lozenges with purple frets with a stole and fanon of the same work1'#e evidently not unlike those on the ,syon cope4 #c 'consuta de losenges cum armis regis ,anglie et de ,leyburn4' #d 'consuta de armis de ,northwode et ,ponyngg in quadrangulis4' #e 'consuta de diversis armis in lozengis cum frectis purpureis cum stola et manipulo ejusdem operis4' ,illustration3 ,,fig4 #eg4 ,the ,syon ,cope1 now in the ,victoria and ,albert ,museum4 ,it may also be noted that the pillows beneath the head of the effigy at ,westminster of ,aveline countess of ,lancaster 7c4 #abge7 are both covered with heraldic lozenges3 on the upper one with the arms of her husband alternating with the lion of ,redvers2 on the lower with the vair cross on red of her father1 ,william of ,forz earl of ,albemarle4 ,the gilt metal bed plate under the effigy of ,william of ,valence earl of ,pembroke 7ob4 #abif71 likewise at ,westminster1 is also covered with a lozengy diaper of ,england and ,valence1 still bright with the original enamel2 the workmanship of this1 however1 is probably ,french4 ,the restriction of the lozenge to the arms of ladies has clearly therefore no medieval precedent1 and there is not any reason why the modern custom should not be set aside when for artistic reasons a shield or roundel is preferable4 ,,chapter ,,iv ,,the ,,treatment ,,of ,,crests ,origin of ,crests2 ,earliest examples of ,crests2 ,ways of wearing ,crests2 ,the ,helm and its treatment2 ,modern use of ,helms2 ,absurd ,crests2 ,use of ,crests other than by individuals2 ,the comparative sizes of ,helms and ,crests4 ,a crest was originally1 as its name reminds us1 a tuft or plume on the head of a bird4 ,such a plume or tuft1 or bush as it was often called1 was fixed in early times as an ornament on the top of a helm1 of which it thus formed the crest4 ,other devices1 such as could conveniently be so worn1 were soon used for the same purpose1 and like armorial bearings became associated with particular individuals4 ,in later days when the helm enveloped the whole head1 the crest played a useful part in revealing the wearer's identity1 though his face was hidden4 ,one of the earliest suggestions of a crest in ,english armory appears on the second great seal 7of #aaih7 of ,king ,richard ,i1 whose cylindrical helm has a leopard upon the cap with two wing-shaped fans above turned in opposite directions4 ,on many seals of the second half of the thirteenth century1 as1 for instance1 on those of ,robert de ,vere earl of ,oxford 7#abfc7 and ,henry de ,laci earl of ,lincoln 7#abgb71 the knight is represented as riding in full armour1 with the helm surmounted with a fan-shaped plume1 which is also repeated upon the horse's head4 7,see also fig4 #eh and pl4 ,,xi ,b47 ,illustration3 ,,fig4 #eh4 ,seal of ,thomas de ,moulton1 with fan-shaped crest on helm and horse's head4 ,from the ,barons' ,letter4 ,illustration3 ,a ,roger of ,leybourne1 ob4 #abhd4 ,b ,henry de ,perci1 in #acja4 ,,plate ,,xi4--,early examples of crests4 ,an early use of a crest proper is furnished by the seal of ,roger of ,leybourne 7ob4 #abhd74 ,this shows his shield of arms 7bearing six lions7 hung upon a tree1 with his banner 7charged with one lion only7 behind1 and at one side a helm with lion crest 7pl4 ,,xi ,a74 ,thomas of ,berkeley in #abie has upon his seal a shield flanked by two mermaids and surmounted by a helm carrying a mitre for a crest4 ,thomas earl of ,lancaster 7#abif7 on two separate seals has a wiver1 or two-legged dragon1 upon his helm1 and this again is repeated upon his horse's head 7fig4 #ei74 ,the seal of his brother ,henry of ,lancaster1 appended to the ,barons' ,letter1 also shows his helm crested with a wiver 7fig4 #fj74 ,two other early examples of crests on seals from the ,barons' ,letter are shown in figs4 #fa and #fb4 ,sir ,john ,peche1 on a seal appended to a deed of #acbc-d1 has his shield flanked by wivers and surmounted by a helm with squirrel crest4 ,william ,montagu earl of ,salisbury 7#accf-g71 in the mounted figure of himself on his fine seal1 has a demi-griffin fixed upon his crowned helm 7pl4 ,,xii ,b71 and ,king ,edward ,,iii shows for the first time1 on his seal of #acdj1 his crest of a crowned leopard standing upon the cap of estate which surmounts his helm4 ,illustration3 ,,fig4 #ei4 ,seal of ,thomas earl of ,lancaster1 ,leicester1 and ,ferrers1 showing wiver crest on his helm and horse's head4 ,from the ,barons' ,letter4 ,illustration3 ,,fig4 #fj4 ,seal of ,henry of ,lancaster1 lord of ,monmouth1 with wiver crest and quasi-supporters4 ,illustration3 ,a ,b ,,plate ,,xii4--,early uses of crests1 on seals of ,william ,montagu earl of ,salisbury1 #accg-dd4 ,during the first half of the fourteenth century there is an interesting diversity in the manner of representing crests1 when not being worn by their owners4 ,william ,montagu earl of ,salisbury shows on his counterseal 7pl4 ,,xii ,a7 his shield supported by two griffins1 and ensigned by the demi-griffin issuing from an open crown which in his seal he carries upon his helm4 ,john ,engayn1 in #acdi1 has upon the upper edge of his shield a wolf or fox walking under a tree4 ,henry duke of ,lancaster 7#acda7 ensigns the shield of his arms with a cap of estate surmounted by a leopard 7pl4 ,,xiii ,c72 and ,peter de ,mauley1 the sixth of that name1 in #acgi-hj has a seal with his simple arms 7a bend7 supported by two ramping leopards1 and surmounted by a fierce dragon breathing defiance 7pl4 ,,xx ,b74 ,in none of these cases does a helm appear4 ,illustration3 ,,fig4 #fa4 ,seal of ,robert de la ,warde1 with fan crest4 ,illustration3 ,,fig4 #fb4 ,seal of ,walter de ,mounci1 with the helm surmounted by a fox as a crest4 ,after the middle of the fourteenth century the crest is invariably shown as part of the helm4 ,the helm1 it is hardly necessary to say1 was such an one as formed part of the war harness of the time1 and in the numerous armorial representations that may be found on seals or on monuments or buildings it is almost invariably shown in profile4 ,this was1 however1 merely on account of its being the most convenient way of displaying the crest1 and1 in accordance with the usual medieval common-sense1 examples are to be found which show the helm and crest facing the observer4 ,thus ,thomas de ,holand 7#acec7 has on his seal a shield of his arms hung from a tree and flanked by two fronting helms1 each encircled by a crown and surmounted by a huge bush of feathers2 ,sir ,robert de ,marni 7#acff7 flanks his shield1 which is also hung from a tree1 with two fronting helms1 each crested with a tall pair of wings rising from the sides of a cap of estate 7fig4 #fc72 ,sir ,stephen ,hales 7#acib-c7 on his seal has a couched shield of his arms surmounted by a fronting helm1 with a crown about it from which issue two fine wings2 ,robert ,deynelay 7#acid-e7 in like manner shows his helm crested with two ears of a bat or hare2 and ,walter lord ,fitz,walter 7#adae-ca7 has on his seal a couched shield1 and on a fronting helm above a cap of estate surmounted by a star between two large wings 7pl4 ,,xiii ,a74 ,another example of a fronting helm is shown in pl4 ,v ,b4 ,illustration3 ,,fig4 #fc4 ,seal of ,sir ,robert de ,marni1 #acff1 with crested helms flanking the shield4 ,the present custom of using various types of helm facing different ways to denote grades of rank is comparatively recent as well as often inconvenient1 and utterly subversive of the proper method of displaying a crest1 which should invariably face the same way as its wearer4 ,this fact is amply illustrated by the early stall-plates at ,windsor1 but the modern crested helms surmounting the stalls there were for a long time the scoff of students of heraldry owing to the absurd manner in which the crests were set athwart the fronting helms4 ,it is pleasant to be able to add that the crests have lately been replaced almost throughout by a new and larger series1 worthy of their surroundings1 and set upon the helms in the proper way4 ,under the same enlightened administration the most recent stall-plates are enamelled creations of real artistic and heraldic excellence4 ,illustration3 ,,fig4 #fd4 ,crest1 etc4 of ,sir ,john ,astley1 from a ,,ms4 c4 #adbj4 ,the crest was1 of old time1 almost always something that could actually be set upon a helm1 and such objects as naturally were too large or too heavy were modelled in boiled leather1 wood1 or other light material3 like the fine crest borne at the funeral of ,edward prince of ,wales1 now over his tomb at ,canterbury1 which is a leopard standing upon a cap of estate and modelled in leather covered with stamped gesso 7fig4 #fe72 or the soldan's head of carved wood that surmounts the funeral helm of ,george lord ,cobham1 in ,cobham church1 ,kent 7fig4 #ff74 ,illustration3 ,,fig4 #fe4 ,crest of ,edward prince of ,wales1 #acgf1 of leather and stamped gesso1 from his tomb at ,canterbury4 ,illustration3 ,,fig4 #ff4 ,funeral helm and wooden crest of ,george ,brooke lord ,cobham 7ob4 #aeeh7 in ,cobham church1 ,kent4 ,such impossible crests as the pictorial scenes and other absurdities granted by the kings-of-arms during the eighteenth and nineteenth centuries1 and even back to ,elizabethan days1 would not have been thought of at an earlier period1 when heraldry was a living art4 ,the degradation of the proper use of a crest1 other than by those entitled to wear one1 began as soon as the kings-of-arms presumed to grant armorial bearings by their bestowing crests upon impersonal corporate bodies like the ,london livery companies1 such as the ,tallow ,chandlers 7#adef71 ,masons 7#adgb71 and ,wax ,chandlers 7#adhe-f74 ,arms were borne by the mayor and commonalty of a city or town at least as early as #abhc in the case of ,chester1 and of #acje in the case of ,dover 7or the ,cinque ,ports71 but none presumed to use a crest until ,london did so on the making of a new seal in #aeci1 and no crest was granted to a town before #aefa4 ,before leaving crests a word must be said as to their comparative sizes4 ,throughout the best period of heraldic art the crested helm and the shield in pictorial representations practically balance one another1 but there is occasionally a tendency to diminish the shield1 and so apparently to enlarge the crest4 ,this may be seen1 for example1 in several of the early stall-plates at ,windsor 7figs4 #fg1 #fh71 which otherwise are admirable models as to the treatment of crests in general4 ,they also show very clearly how easily and comfortably the crests surmount the helms4 ,illustration3 ,,fig4 #fg4 ,stall-plate of ,humphrey duke of ,buckingham as earl of ,stafford1 c4 #adbi4 ,illustration3 ,,fig4 #fh4 ,stall-plate of ,sir ,thomas ,burgh1 c4 #adhc4 ,a remarkable early ,english example of the use of two crests is furnished by a seal of ,richard ,nevill 7#addi-ga71 the ',kingmaker1' who was earl of ,salisbury1 and1 in right of his wife1 also earl of ,warwick 7fig4 #fi74 ,this exhibits two helms above the multi-quartered shield1 the one carrying the ,beauchamp swan for the earldom of ,warwick1 the other the ,montagu griffin for the earldom of ,salisbury4 ,illustration3 ,,fig4 #fi4 ,seal of ,richard ,nevill with separate crests and supporters for his earldoms of ,salisbury and ,warwick4 ,,chapter ,v ,,mantlings ,origin of ,mantlings2 ,simple early forms2 ,colours of ,mantlings2 ,medieval usage as to colours of ,mantlings4 ,in actual use the helm seems often to have been covered behind by a hanging scarf or cloth of some kind1 perhaps to temper the heat of the sun1 like a modern puggaree4 ,heraldically this is represented by what is now called the mantling4 ,at first this was a simple affair1 worn puggaree-wise1 but by degrees it was enlarged in representations until it extended on either side beyond the helm1 and was disposed in graceful twists and folds with dagged edges1 which have been supposed to represent the cuts it was liable to receive during fighting 7figs4 #gj1 #ga74 ,illustration3 ,,fig4 #gj4 ,seal of ,william lord ,hastings1 c4 #adfa4 ,the usual colour for the mantling1 for a long time1 has been red1 and its lining of ermine or white fur1 but there is ample precedence for a difference of treatment1 as may be seen in that rich collection of ancient heraldic art1 the stall-plates at ,windsor4 ,the earliest surviving plate1 that of ,ralph lord ,bassett 7,k4,g4 #acfh-ij71 has a short black mantling1 to match the boar's head that forms his crest 7fig4 #gb74 ,a large group of plates set up in #adba exhibits a considerable variety4 ,thus the plate of ,sir ,sanchet ,dabrichecourt has a red mantling powdered with gold lozenges1 a treatment suggested by two bands of red similarly decorated which encircle the bush of feathers forming his crest 7fig4 #gc74 ,the mantling of ,william lord ,latimer is of red and silver stripes1 and that of ,john lord ,beaumont1 like the field of his shield1 is1 together with the cap of estate1 of blue powdered with gold fleurs-de-lis4 ,sir ,walter ,pavely has also a blue mantling4 ,illustration3 ,,fig4 #ga4 ,seal of ,william de la ,pole earl of ,suffolk1 #adae4 ,illustration3 ,,fig4 #gb4 ,stall-plate of ,ralph lord ,basset1 showing simple form of mantling4 ,illustration3 ,,fig4 #gc4 ,stall-plate of ,sir ,sanchet ,dabrichecourt1 c4 #adba4 ,sir ,william ,fitz,waryn's mantling is quarterly per fesse indented of red and ermine1 like his shield of arms4 ,the ,captal de ,buch1 ,raynald lord ,cobham1 ,hugh lord ,burnell 7fig4 #gg71 ,hugh lord ,bourchier 7pl4 ,,xvi71 and ,sir ,thomas ,banastre have black mantlings1 and ,john lord ,bourchier and ,william lord ,willoughby d',eresby 7pl4 ,,xv7 white mantlings lined with red4 ,sir ,miles ,stapleton and the ,soudan de la ,trau have black mantlings lined with red4 ,several early mantlings1 too1 are formed entirely of silver feathers1 with red1 black1 or other linings4 ,these usually accompany a feathered crest1 like ,sir ,william ,arundel's griffin 7fig4 #gd71 or the earl of ,warwick's swan 7fig4 #ge71 or ,sir ,thomas ,erpingham's bush of feathers4 ,another curious variation1 which is found on four early plates1 has the colour of the mantling different on the two sides of the helm1 such as red on one side1 and blue or black on the other4 ,in about a dozen plates between #adej and #adgj the red1 and in one case the blue1 ground of a mantling is relieved by a trailing pattern in gold1 sometimes in lines only1 but more usually as leafwork or flowers4 ,in the plate of ,walter lord ,hungerford 7el4 #adba7 the mantling on his banner-like plate is barred with red and ermine 7see fig4 #acf71 in allusion to the arms of his lordship of ,hussey4 ,lastly1 in the plate of ,richard lord ,rivers 7el4 #adej7 the mantling is red1 sown with gold trefoils1 and lined with white1 with gold tassels at the ends 7fig4 #gf74 ,this is derived from the crest1 which is the upper part of a man brandishing a scimitar1 and clad in a red tunic with standing collar and large hanging sleeves1 also sown with trefoils4 ,the sleeves are cleverly arranged in the plate1 as if forming part of the mantling1 and are similarly dagged and lined and tasselled4 ,on the stall-plate 7c4 #adhc7 of ,francis viscount ,lovel the mantling is of purple sown with gold hanging locks4 ,illustration3 ,,fig4 #ge4 ,stall-plate of ,richard ,beauchamp earl of ,warwick1 after #adbc4 ,illustration3 ,,fig4 #gf4 ,stall-plate of ,richard ,wydville lord ,rivers1 c4 #adej4 ,,chapter ,,vi ,,crests ,,and ,,crowns1 ,,caps ,,of ,,estate1 ,,and ,,wreaths ,crests within ,crowns2 ,nature and treatment of ,crowns2 ,caps of ,estate3 ,their possible origin and introduction into ,heraldry2 ,the colour of ,caps2 ,the placing of ,crests upon ,caps2 ,wreaths or ,torses2 ,their ,colour2 ,crests and ,mottoes2 ,use of ,crests by ,bishops2 ,the ensigning of ,arms with ,mitres1 ,cardinals' and ,doctors' ,hats1 and ,caps of ,estate4 ,the treatment of the crest varies4 ,in the earliest examples it is set directly upon the mantled helm 7fig4 #gg and pls4 ,,xiv ,a and ,,xvii ,b71 to which it was actually attached by wires through holes on top4 ,but from the first large numbers of crests were fixed1 or rose as it were1 from within a crown or coronet encircling the helm1 or stood upon a cap or hat of estate that surmounted it4 7,see figs4 #fe1 #fg1 #gb1 #gc1 #gd1 #ge1 and pls4 ,,xiii ,e and ,f1 ,,xvii ,a1 ,,xxi1 ,,xxii1 ,,xxvii ,a1 etc47 ,illustration3 ,a ,walter lord ,fitz,walter1 #adae-ca4 ,b ,c ,henry duke of ,lancaster1 #acda4 ,d ,robert ,shottesbroke1 #adeh-i4 ,e ,thomas lord ,dacre of ,gilsland1 #adab4 ,f ,sir ,john ,cheyny1 #acie4 ,,plate ,,xiii4--,various treatments of crests4 ,illustration3 ,,fig4 #gg4 ,stall-plate of ,hugh lord ,burnell1 c4 #adba4 ,illustration3 ,a ,edmund ,grey earl of ,kent1 #addb4 ,b ,thomas ,ballard1 ,esq4 ,c ,sir ,henry ,ingelose1 of ,loddon1 #adea4 ,,plate ,,xiv4--,examples of crests and mantlings4 ,the crown was merely ornamental1 and had no reference to the dignity of the wearer1 but was used alike heraldically by prince and peer1 knight and esquire1 and the same may be said of the cap of estate4 ,crowns were anciently formed of a number of leaves or fleurons set upright upon the band1 sometimes with lesser leaves or jewels between them2 the bands too were often jewelled4 ,but in practice only three 7fig4 #gh71 or sometimes five1 principal leaves are shown when the crown is drawn in profile 7fig4 #hc74 ,illustration3 ,,fig4 #gh4 ,arms of ,st4 ,edmund1 from the tomb of ,edmund duke of ,york 7ob4 #adjb7 at ,king's ,langley4 ,illustration3 ,,plate ,,xv4 ,,stall-,,plate 7,,reduced7 ,,of ,,hugh ,,stafford ,,lord ,,bourchier1 ,c4 #adba4 ,beyond the fact that the thing was a crown1 there was no strict rule as to the design1 which varied according to the taste of the artist4 ,two examples among the early stall-plates at ,windsor1 those of ,hugh ,stafford lord ,bourchier 7fig4 #gi and pl4 ,,xvi7 and ,richard lord ,grey of ,codnor 7both c4 #adba71 illustrate this in a pretty way 7fig4 #hj74 ,in both cases the plate after being finished has been cut up1 partly reversed1 and in part re-engraved2 not because anything was wrong with the heraldry1 but to make the crested helms face the other way4 ,these have accordingly been turned over1 but in cutting them afresh the engraver has slightly varied the designs of the crests and of the crowns with which each is encircled1 without however in any way altering their heraldic character4 ,in the earliest existing plates the crested helms are all drawn turned towards the high altar1 consequently those on the north side of the quire face heraldically towards the sinister4 ,the two plates just noted1 and at least one other1 have been transferred from one side of the quire to the other4 ,illustration3 ,,fig4 #gi4 ,crest from the reverse of the stall-plate of ,hugh ,stafford lord ,bourchier4 ,illustration3 ,,fig4 #hj4 ,two forms of the same crest1 from the stall-plate of ,richard lord ,grey of ,codnor4 ,illustration3 ,,plate ,,xvi4 ,,stall-,,plate ,,of ,,william ,,lord ,,willoughby1 ,c4 #adba4 ,one of the first instances of a crown about a crest is on the seal of ,william ,montagu earl of ,salisbury1 #accg 7pl4 ,,xii74 ,crowns were not by any means always of gold or silver1 and quite a number of pre-,tudor stall-plates have them enamelled red1 and in two cases blue4 ,these heraldic crowns must not be confounded with the coronets1 as they are now called1 worn of different patterns by peers and peeresses according to their degree2 some reference to these will be made later4 ,the cap of estate is generally depicted in ,english heraldic art as a high crowned conical hat or cap with flattened top1 and a broad brim lined with ermine4 ,the brim is usually turned up high in front1 but gradually lessens along the sides towards the back1 where the brim extends horizontally to its full width4 ,the cap of estate first appears1 surmounted by his leopard crest1 on the head of ,king ,edward ,,iii in the great seal made for him in ,february #acci-dj on his assumption of the title of ,king of ,france4 ,whether the cap has any connexion with the assumption of the king's new title it is difficult to say1 but its more common name of 'cap of maintenance' would acquire a significant meaning could such connexion be proved4 ,it is however more probable that the cap was worn by the king for his dignity of duke of ,normandy and of ,aquitaine1 and it was long the custom for representatives of those duchies to take part in coronation processions wearing robes and caps of estate4 ,according to the ,little ,device for the coronation of ,henry ,,vii1 there were to ride before the king in the procession from the ,tower 'ij ,squiers for the kinges bodie bearing in baudrick wise twoo mantells furred wt ,ermyns1 wearing twoo hattes of ,estate of ,crymsen clothe of golde beked on1 beks turnyd upp behinde1 and furred also wt ,ermyns in reprecentacion of the kinges twoo duchesses of ,gyen and ,normandie4'#f #f ,l4 ,g4 ,wickham ,legg1 ,english ,coronation ,records 7,westminster1 #aija71 #bbc4 ,although the cap may at first have been restricted to the king1 it was certainly used by the sons of ,edward ,,iii1 and may be seen of like form and fashion upon the seals of ,edward as prince of ,wales 7#acdc71 of ,john of ,gaunt as duke of ,lancaster 7#acfb7 and of ,edmund of ,langley as duke of ,york 7pl4 ,,xxi71 and of ,thomas of ,woodstock as duke of ,gloucester in #ache4 ,it was no doubt in each case given by personal investiture by the ,sovereign1 but only to those who were made dukes4 ,in heraldry1 however1 the cap of estate was used after #acej by many who were not only dukes who had been invested with it1 but by earls and barons who had not been so invested1 and even by mere knights 7pl4 ,,xiii ,f74 ,it would be as rash to argue from this that such persons were all entitled to wear for dignity the cap of estate as it would be to insist that the equally common use of a crown round the base of a crest entitled every knight or baron on whose seal it occurs to wear a coronet4 ,the colour of the cap of estate was almost invariably red1 with a lining of ermine1 but in two of the early stall-plates it is blue4 ,the crest is generally placed directly upon it1 but representations of two-legged or four-legged creatures often stand upon the brim with their feet on either side of the flat-topped cap 7figs4 #aab1 #ach74 ,it is hardly necessary to say that the crested cap is always placed upon the helm1 with the mantling issuing from under it4 ,it is a common practice nowadays1 quite wrongly1 to represent crests apart from the helm1 and as standing upon a twisted bar1 or wreath as it is called4 ,a little research will show that this bar represents the twisting together of two or three differently coloured stuffs1 and fixing the wreath so formed round the base of the crest to mask its junction with the top of a helm4 ,once invented it came into common use1 and crests of all kinds were fixed within it4 ,when seen sideways the rounded top of the helm causes the crest to appear as if standing upon the wreath1 and this has no doubt given rise to the present malpractice4 ,the ,rev4 ,c4 ,boutell in his smaller ,english ,heraldry quotes the ,hastings brass at ,elsing1 of the year #acdg1 as the earliest instance of a wreath about a crest 7fig4 #ha74 ,but this brass is probably ,french1 and in ,english work the wreath does not come into being much before the close of the fourteenth century1 and was not regularly used until about #adej4 ,illustration3 ,,fig4 #ha4 ,helm with crest and wreath1 from the ,hastings brass at ,elsing1 #acdg4 ,the wreath or torse1 as it was also called1 from being a twist1 was usually of two colours1 derived from the principal metal and colour of the arms2 but the fifteenth century stall-plates show many variations from this rule4 ,thus ,lewis lord ,bourchier 7c4 #adba7 has a torse of blue1 gold1 and black1 and ,john earl of ,tankerville 7c4 #adba7 one of green1 red1 and white4 ,john lord ,bourchier 7c4 #adba7 and ,henry lord ,bourchier 7c4 #adeb7 both have black and green torses4 ,richard ,wydville lord ,rivers 7c4 #adej7 has the crest issuing from a green torse1 crested with a crown of holly leaves4 ,thomas lord ,stanley 7c4 #adei7 has a torse of gold and blue with red spots or jewels between1 and ,sir ,william ,chamberlayne 7c4 #adfa7 a red and blue torse4 ,the modern practice is that the twists of a torse shall be only six in number2 but in old heraldry there was no such rule1 and any number from four may be found1 whatever would look best4 ,in the ,harsick brass 7fig4 #hb7 there are eleven twists4 ,illustration3 ,,fig4 #hb4 ,helm with crest and torse and simple form of mantling1 from the ,harsick brass at ,southacre1 #achd4 ,crests occasionally had mottoes or 'words' associated with them1 quite apart from the ordinary 'word' or 'reason' of the family or individual4 ,thus the ermine bush of feathers that formed the crest of ,sir ,simon ,felbrigge is accompanied on his stall-plate 7c4 #adba7 by a scroll lettered ,sanz muer 7fig4 #hc71 and on that of ,john lord ,scrope 7el4 #adfa7 the crest1 which is likewise a bush of feathers1 has above it the 'reason' autre qz-elle4 ,two of the fine seals of ,richard ,nevill earl of ,salisbury 7#adbh-fj7 have behind his demi-griffin crest a scroll lettered apparently ma or do plesier 7pls4 ,,xvii ,a and ,,xxii ,b71 and the seal of ,john ,talbot earl of ,shrewsbury1 as marshal of ,france 7#adde71 has a scroll with his 'word' issuing from the mouth of his lion crest 7pl4 ,,xvii ,b74 ,illustration3 ,,fig4 #hc4 ,stall-plate of ,sir ,simon ,felbrigge1 c4 #adba4 ,illustration3 ,a ,richard ,nevill earl of ,salisbury1 #adbh-fj4 ,b ,john ,talbot earl of ,shrewsbury1 #adde4 ,,plate ,,xvii4--,crests with mottoes4 ,from what has been said above as to the ancient association of helm and crest1 it follows that the present fashion of representing the crest by itself1 apart from the helm to which it was always attached1 is entirely wrong4 ,it at once renders the crest meaningless3 in appearance it forthwith becomes insignificant2 and attempts to treat it artistically generally end in failure4 ,let crests be shown as crests1 properly set upon practicable helms1 and with competent mantlings treated with all the freedom that they are capable of4 ,it may here be noted that it has not been customary1 nor is it logically correct1 for ladies and other non-combatant persons1 such as the ministers of the ,church1 to use crests2 arms they have ever been allowed to bear4 ,examples1 however1 of the breach of the rule as to crests even by bishops are afforded by several of their privy seals4 ,thus ,henry le ,despenser bishop of ,norwich 7#acgj-adjf7 has his differenced shield of arms surmounted by a mantled helm upon which a mitre1 with a griffin's head and wings issuing therefrom1 is placed as a crest 7fig4 #hd72 and ,alexander ,nevill archbishop of ,york 7#acgd7 shows his shield hanging below a crowned helm surmounted by the bull's head crest of his house and supported by two griffins4 ,illustration3 ,,fig4 #hd4 ,privy seal of ,henry le ,despenser bishop of ,norwich1 #acgj-adjf4 ,william ,courtenay1 as archbishop of ,canterbury 7#acha-if71 similarly displays a shield of his arms1 ensigned by a helm surmounted by a cap of estate with a dolphin on top4 ,a helm crested with a lovely bunch of columbines is also carved with his arms above the tomb of ,james ,goldwell bishop of ,norwich 7ob4 #adih-i7 in his cathedral church4 ,robert ,nevill on his privy seal as bishop of ,durham 7#adch-eg7 surmounts his shield with a beautiful labelled mitre1 from which issues a bull's head with a scroll lettered en grace affie4 ,many of the bishops of ,durham1 on their great seals in chancery1 in virtue of their secular palatinate jurisdiction1 are represented as riding in complete armour with helms on their heads4 ,the first to be so represented was ,thomas ,hatfield 7#acde71 who wears a large crowned helm surmounted by a mitre1 from which issues a bush of feathers4 ,john ,fordham 7#acha7 also surmounts his crowned helm with a mitre1 on which is perched a bird4 ,walter ,skirlaw 7#achh7 and ,thomas ,langley 7#adjf7 set within the crowns crests without mitres2 in one case the bust of an angel1 in the other a bush of feathers4 ,robert ,nevill 7#adch7 surmounts his crowned helm with a mitre1 from which issues a bull's head1 as on his privy seal above noted4 ,cuthbert ,tunstall 7#aecj7 has a mitre alone upon his helm4 ,the usual practice in displaying a bishop's arms has been1 for a long time1 to ensign them simply with his own official headgear in the shape of a mitre1 and the same custom prevailed with regard to the arms of mitred abbots and priors4 ,robert ,nevill's privy seal is an early example4 ,cardinals ensigned their shields with the tasselled hat of their order1 as may be seen on the seal-of-arms of ,henry ,beaufort bishop of ,winchester 7#adje71 and in a carving of his arms in ,southwark cathedral church4 ,a cardinal's hat is displayed1 with his rebus and sundry royal badges1 on the arch about the cenotaph of ,john ,morton archbishop of ,canterbury and cardinal in the undercroft of his cathedral church4 ,doctors also sometimes surmounted their arms with the round cap pertaining to their dignity4 ,on the monument at ,st4 ,albans of ,humphrey duke of ,gloucester 7ob4 #addf7 his arms are ensigned alternately by his mantled and crested helm1 and by a large cap of estate encircled by a crown or coronet4 ,jasper duke of ,bedford 7#adhe7 on his seal likewise surmounts his arms with a cap of estate encircled by a delicate crown4 ,there is not any necessity at the present day to represent any crown or coronet with the cap of estate within it4 ,,chapter ,,vii ,,the ,,use ,,of ,,badges1 ,,knots1 ,,and ,,the ,,rebus ,definition of a ,badge2 ,difference between ,crests and ,badges2 ,examples of ,badges2 ,the ,ostrich-,feather ,badge2 ,the ,white ,hart1 etc42 ,introduction of ,badges into ,heraldry2 ,their ,prevalence2 ,allusive ,badges2 ,badges of obscure ,origin2 ,knots and ,badges2 ,the ,rebus4 ,closely allied with crests1 but borne and used in an entirely different way1 are the devices called badges4 ,the whole history of these is in itself of great interest1 and the facility with which they lend themselves to artistic heraldic decoration renders badges of peculiar value4 ,a badge is1 properly speaking1 any distinctive device1 emblem1 or figure assumed as the mark or cognisance of an individual or family2 and it should be borne alone1 without any shield1 torse1 or other accessory4 ,but a badge may be and often was1 like a crest1 accompanied by a word1 reason1 or motto4 ,there is however this important difference between a crest and a badge1 that the crest was pre-eminently the personal device of its owner1 while his badge might also be used by his servants and retainers4 ,such a use of the badge still survives in the 'crest' on the buttons of liveried servants4 ,the most famous and best known badge is that of the three ostrich feathers encircled by a crown or coronet borne by the ,prince of ,wales4 ,it was probably introduced by ,queen ,philippa1 who is known to have possessed plate ornamented with 'a black scocheon of ostrich feathers1' perhaps allusive of the ,comt of ,ostrevant1 the appanage of the eldest sons of the house of ,hainault4 ,a single ostrich feather1 alone or stuck in a scroll1 occurs after #acdc in several seals of ,edward prince of ,wales1 and on his tomb at ,canterbury the shield of his own arms alternates with his mother's black shield with three silver ostrich feathers1 each transfixing a scroll with the word ich diene2 over the shield is likewise a scroll inscribed with the same words 7fig4 #he74 ,john of ,gaunt duke of ,lancaster is said to have borne an ostrich feather powdered with ermine tails1 and ,thomas of ,woodstock duke of ,gloucester1 the youngest of ,queen ,philippa's sons1 bore the feathers with a strap 7which some have regarded as a ,garter7 extended along the quill 7fig4 #hf74 ,the ,queen's great-grandson1 ,richard duke of ,york and earl of ,march 7#adcf71 bore the feather with a chain similarly placed2 perhaps ,edmund of ,langley1 his grandfather1 had done the same4 ,henry of ,lancaster1 the son of ,john of ,gaunt1 on his seal as earl of ,derby in #ache 7pl4 ,,xxiv ,c7 and on that as duke of ,hereford in #acii1 has an ostrich feather stuck in the end of a scroll which is entwined about the feather and inscribed with the significant word souvereyne1 and the same word is repeated many times on his tomb as ,king ,henry ,,iv at ,canterbury4 ,illustration3 ,,fig4 #he4 ,shield with ostrich-feather badge from the tomb of ,edward prince of ,wales 7ob4 #acgf7 at ,canterbury4 ,illustration3 ,,fig4 #hf4 ,seal of ,thomas of ,woodstock duke of ,gloucester with ostrich-feather and ,bohun swan badges4 ,another notable badge is the couched white hart of ,king ,richard ,,ii1 with which may be named the white hind borne by his kinsman1 ,thomas ,holand earl of ,kent 7pl4 ,,xviii ,b74 ,illustration3 ,a ,joan ,arundel wife of ,william lord ,beauchamp1 #adaf4 ,b ,thomas ,holand earl of ,kent1 #acih4 ,c ,robert ,corbet ,d ,joan ,stafford countess of ,kent and lady of ,wake1 #adcg4 ,,plate ,,xviii4--,examples of supporters4 ,the fetterlock-and-falcon 7fig4 #hg7 and the white rose of the house of ,york1 the white lion of the earls of ,march1 the rayed rose of ,edward ,,iv1 and the silver boar of ,richard ,,iii are of course well-known badges2 as well as the red and the red and white roses1 the crowned fleur-de-lis1 and the ,beaufort portcullis1 used by the ,tudor kings 7fig4 #hh74 ,illustration3 ,,fig4 #hg4 ,fetterlock-and-falcon badge of the house of ,york1 from ,henry ,,vii's chapel at ,westminster4 ,illustration3 ,,fig4 #hh4 ,crowned rose and portcullis from ,king's college chapel at ,cambridge4 ,when badges first came into use in this country is uncertain1 but after the middle of the fourteenth century they abound4 ,they are foreshadowed by the free treatment of earlier decorative heraldry1 such as the little leopards on the footgear and pillows of ,king ,henry ,,iii's gilt-latten effigy at ,westminster1 and the plate with its lozengy diaper of leopards on which it lies2 also the lozengy diaper of castles and lions which covers the metal plate whereon lies the effigy of ,queen ,eleanor of ,castile4 ,many badges1 too1 originated in devices borrowed from various sources and arranged about the shield on seals1 as in figs4 #hi and #ij1 which are only two out of a number of such appended to the ,barons' ,letter4 ,illustration3 ,,fig4 #hi4 ,seal of ,robert de ,clifford1 with arms surrounded by rings in allusion to his mother ,isabel ,vipont4 ,illustration3 ,,fig4 #ij4 ,seal of ,robert de ,toni as ,,chevaler ,,au ,,cing with the arms encircled by swans and talbots4 ,the famous white swan badge of the ,bohuns 7fig4 #ia7 is found perched upon the shield in the seal of ,humphrey ,bohun earl of ,hereford and ,essex1 #abih 7pl4 ,,xix ,b74 ,later on its neck was encircled by a crown for a collar1 with a chain attached1 and in this form it appears on the seals of ,thomas of ,woodstock1 who married ,eleanor ,bohun 7fig4 #hf71 and on that lady's brass at ,westminster4 ,it was also borne by the sons and descendants of ,king ,henry ,,iv by his wife ,mary ,bohun4 ,illustration3 ,,fig4 #ia4 ,seal of ,oliver ,bohun with swans about the shield4 ,illustration3 ,a ,stephen ,longespee1 ob4 #abfj4 ,b ,humphrey de ,bohun earl of ,hereford and ,essex1 constable of ,england1 #abih4 ,,plate ,,xix4--,origin of supporters4 ,the gilt-latten effigies of ,richard ,,ii 7fig4 #ib7 and ,anne of ,bohemia have their dresses pounced all over with badges1 such as the white hart1 the sun-burst1 and the broom sprigs on that of the king1 and the ostrich and a peculiar knot on that of the queen4 ,in #achj ,edmund ,mortimer earl of ,march left a bequest of 'our large bed of black satin embroidered with white lions and gold roses1 with scocheons of the arms of ,mortimer and ,ulster1' and in #ache ,joan princess of ,wales bequeathed to her son the ,king 7,richard ,,ii7 'my new bed of red velvet embroidered with ostrich feathers of silver and leopards' heads of gold with boughs and leaves issuing from their mouths4' ,in #acig1 ,sir ,ralph ,hastings1 whose arms were a red maunch or sleeve on a gold ground1 and his crest a bull's head1 left bequests of a silver bason and laver 'stamped with a bull's head 7cum capite tauri71 a vestment of red cloth of gold with orfreys before and behind worked with maunches 7cum maunches7 and with the colours of mine arms1' and six salts stamped with maunches4 ,in #achh ,john of ,gaunt duke of ,lancaster mentions in his will 'my great bed of cloth of gold1 the field powdered with roses of gold set upon pipes of gold1 and in each pipe two white ostrich feathers1' also 'my new vestment of cloth of gold the field red worked with gold falcons4' ,two falcons holding hanging locks in their beaks are also shown on one of the duke's seals 7pl4 ,,xxi ,a74 ,in #adjj ,thomas ,beauchamp earl of ,warwick left a bed of silk embroidered with 'bears of mine arms'2 and in #adae ,john lord le ,scrope mentions in his will documents sealed cum signato meo de ,crabb1 and in a codicil made in #adec he bequeaths 'j fayre pile of coppis conteyning xij coppis of gilt1 with crabbis in ye myddes1 and two coveryngis to thame with crabb4' ,in the north of ,england a crab is often called a scrap1 whence its assumption by the ,scropes4 ,illustration3 ,,fig4 #ib4 ,gilt-latten effigy at ,westminster of ,king ,richard ,,ii1 pounced with badges1 etc4 ,such examples as the foregoing could be multiplied indefinitely1 but they will suffice to show the prevalence of badges and the many ways in which they were used4 ,they of course abounded on seals as well as on monuments of all kinds1 and in conjunction with architecture4 ,under this last head may be quoted such examples as the arches in ,wingfield church1 ,suffolk 7fig4 #ic71 studded with leopards' heads1 wings1 and ,stafford knots1 commemorative of ,michael de la ,pole earl of ,suffolk 7ob4 #adae7 and his wife ,katharine ,stafford2 the porch and other parts of ,lavenham church1 displaying the boars and molets of ,john de ,vere earl of ,oxford2 bishop ,courtenay's chimney-piece in the bishop's palace at ,exeter 7fig4 #id72 and the great displays of ,tudor badges on the deanery gateway at ,peterborough 7fig4 #ie71 the gatehouses at ,christ's 7fig4 #if7 and ,st4 ,john's ,colleges 7fig4 #agb7 at ,cambridge1 and the noble chapel of ,king's ,college4 ,special mention must also be made of the magnificent bronze doors of ,henry ,,vii's chapel at ,westminster1 than which no more beautiful example of the use of badges for decorative purposes could possibly be found 7fig4 #ig74 ,illustration3 ,,fig4 #ic4 ,piers and arches in ,wingfield church1 ,suffolk1 with badges of ,michael de la ,pole earl of ,suffolk 7ob4 #adae7 and his wife ,katharine ,stafford4 ,illustration3 ,,fig4 #id4 ,chimney-piece in the ,bishop's ,palace at ,exeter with the arms and badges of bishop ,peter ,courtenay1 #adgh-hg4 ,illustration3 ,,fig4 #ie4 ,gateway to the ,deanery at ,peterborough4 ,built by ,robert ,kirkton abbot #adig-aebf4 ,illustration3 ,,fig4 #if4 ,the gatehouse of ,christ's ,college1 ,cambridge4 ,illustration3 ,,fig4 #ig4 ,bronze door with badges of ,york and ,beaufort1 from the ,lady chapel of ,westminster abbey church4 ,the sources of badges were various4 ,as a matter of fact a man's badge was often the same device as his crest1 like the ,courtenay dolphin1 or the boar of the ,veres1 or the sickle of the ,hungerfords4 ,sometimes the badge was derived from a part of the arms1 such as the leopards' heads and the wings of the de la ,poles1 the water-bougets of the ,bourchiers 7fig4 #ih71 the silver molet of the ,veres 7fig4 #ii71 and the ,phelip eagle 7fig4 #ajj74 ,if by chance a badge could have any punning or allusive meaning it was the more popular1 and it then often served as a rebus4 ,the boar 7verre7 of the ,veres 7fig4 #ii71 the crab or scrap of the ,scropes1 the pike or luce of the ,lucys1 the long swords of ,longespee 7pl4 ,,xix ,a71 the gray or badger of ,richard lord ,grey of ,codnor 7fig4 #ajb71 and the wood-stock or tree stump of ,thomas duke of ,gloucester1 who was born at ,woodstock1 are all good examples of a practice that should be followed whenever possible1 even in these degenerate days4 ,illustration3 ,,fig4 #ih4 ,signet with badge and crested helm of ,lewis lord ,bourchier1 #adbj4 ,illustration3 ,,fig4 #ii4 ,seal of ,hugh de ,vere with boar badge and two wivers as supporters4 ,from the ,barons' ,letter4 ,illustration3 ,,fig4 #ajj4 ,signet of ,william ,phelip lord ,bardolf 7c4 #adaj7 with eagle badge derived from his arms4 ,illustration3 ,,fig4 #aja4 ,signet with flote badge and word of ,sir ,william ,oldhalle in #adeg4 ,illustration3 ,,fig4 #ajb4 ,seal with badge 7a gray or badger7 of ,richard lord ,grey of ,codnor1 #acib4 ,illustration3 ,,fig4 #ajc4 ,seal of ,thomas lord ,stanley as earl of ,derby and seneschal of ,macclesfield1 #adhe1 with the eagle's claw badge of ,stanley and the legs of the ,isle of ,man4 ,but in a large number of cases the badge has a different and often quite obscure origin1 like the ,bohun swan1 the ,percy crescent and swivel1 the ,beauchamp bear and ragged staff1 the ,lovel hanging-lock1 the ,zouch eagle and crooked billet1 and the ,berkeley mermaid4 ,illustration3 ,,fig4 #ajd4 ,daisy plant 7marguerite7 badge of the ,lady ,margaret ,beaufort1 from ,henry ,,vii's chapel at ,westminster4 ,a few families1 e4g4 the ,staffords 7fig4 #aje71 the ,bourchiers1 and the ,wakes1 used as a badge some special form of knot1 and attention has already been called to the peculiar knots pounced upon the effigy of ,queen ,anne of ,bohemia4 ,interesting examples of the ,bourchier knot may be seen on the tomb of archbishop ,thomas ,bourchier at ,canterbury1 and on the brass of ,sir ,humphrey ,bourchier at ,westminster 7fig4 #ajf71 and a good instance of the application of the knot is afforded by the seal of ,joan ,stafford countess of ,kent and lady of ,wake1 who encircles her impaled shield with a cordon of ,stafford knots 7pl4 ,,xviii ,d74 ,on the tomb at ,lowick 7,northants7 of ,edward ,stafford earl of ,wiltshire 7ob4 #adih7 the shields are encircled with cordons of ,stafford knots with another ,stafford badge1 the nave of a wheel1 alternating with the knots 7fig4 #ajg74 ,on the canopy of the tomb at ,little ,easton in ,essex of ,henry ,bourchier earl of ,essex 7ob4 #adhc7 and his wife ,isabel1 sister of ,richard duke of ,york1 is a badge formed by placing a ,bourchier knot within a fetterlock of ,york4 ,illustration3 ,,fig4 #aje4 ,part of the brass at ,exeter of canon ,william ,langeton1 kinsman of ,edward ,stafford bishop of ,exeter1 #adac1 in cope with an orphrey of ,x's and ,stafford knots4 ,illustration3 ,,fig4 #ajf4 ,elbow-piece and ,bourchier knot1 from the brass of ,sir ,humphrey ,bourchier 7ob4 #adga7 in ,westminster abbey church4 ,illustration3 ,,fig4 #ajg4 ,alabaster tomb and effigy of ,edward ,stafford earl of ,wiltshire 7ob4 #adih7 in ,lowick church1 ,northamptonshire4 ,mention has been made above of the rebus4 ,this was invariably a badge or device forming a pun upon a man's surname1 and at one time was exceedingly popular4 ,it no doubt originated in the canting or allusive heraldry of earlier days1 like the boars' heads of the ,swynburnes1 the trumpets of the ,trumpingtons1 the hammers 7,fr4 martel7 of the ,martels1 or the scallop shells of the ,scales4 ,the ox crossing a ford in the arms of ,oxford1 and the ,cam and its great bridge in the arms of ,cambridge are also kindred examples4 ,a large number of rebuses on names ending in 'ton' are based upon a tun or barrel1 like the lup on a ton of ,robert ,lupton provost of ,eton #aejc-d1 or the large church 7kirk7 and ton of abbot ,kirkton on the deanery gate at ,peterborough 7fig4 #ajh71 or the beacon rising from a ton of bishop ,thomas ,beckington at ,wells 7fig4 #aji74 ,the gold wells of bishop ,goldwell and the harts lying in water of bishop ,walter ,lyhart in their cathedral church at ,norwich are well known1 as are probably the eye and the slip of a tree which form1 together with a man falling from a tree 7,i slip671 the rebuses of abbot ,islip at ,westminster 7fig4 #aaj74 ,an ox1 the letter ,n1 and a bridge make the rebus of canon ,john ,oxenbridge in his chantry chapel at ,windsor1 while an eagle and an ox with ne on his side gives the name of prior ,john ,oxney at ,christchurch1 ,canterbury4 ,two large hares with a spring or well rising between them crouch at the feet of bishop ,harewell's effigy at ,wells2 and dean ,gunthorpe's oriel window in the deanery there is decorated with guns 7fig4 #aaa74 ,sir ,john ,pechey's arms 7azure a lion ermine with a forked tail and a gold crown71 in a window in ,lullingstone church1 ,kent1 are encircled by a wreath of peach-branches1 with peaches charged with the letter e for the final syllable of his name 7fig4 #aab74 ,illustration3 ,,fig4 #ajh4 ,rebus of abbot ,robert ,kirkton1 from the ,deanery ,gate at ,peterborough4 ,illustration3 ,,fig4 #aji4 ,rebus of ,thomas ,beckington bishop of ,bath and ,wells1 #adgg4 ,illustration3 ,,fig4 #aaj4 ,rebus of ,john ,islip abbot of ,westminster1 from his chantry chapel4 ,illustration3 ,,fig4 #aaa4 ,oriel window in the ,deanery at ,wells with badge of ,king ,edward ,,iv1 and rebus of ,dean ,gunthorpe4 ,illustration3 ,,fig4 #aab4 ,arms and rebus of ,sir ,john ,pechey 7ob4 #aebb71 from painted glass in ,lullingstone church1 ,kent4 ,here again it is needless to multiply examples of rebuses1 but the fun to be got out of them is ample justification for urging their adoption and use in connexion with decorative heraldry4#g #g ,the ,rev4 ,e4 ,e4 ,dorling has taken for his rebus a little door 7doorling67 with the hinges ending in ,e's1 and the author of this book might fitly content himself with the anchor of ,hope6 ,,chapter ,,viii ,,supporters ,the probable ,origin of ,supporters2 ,quasi-,supporters2 ,true ,supporters3 their ,introduction2 ,supporters of ,crested ,helms2 ,pairs of ,supporters2 ,dissimilar ,supporters2 ,the use of ,supporters by ,ladies2 ,other ways of supporting ,shields4 ,the misuse of crests to which reference has been made unfortunately does not stand alone1 for modern artists are quite as much at fault with regard to the proper treatment of supporters4 ,there can be little doubt that these charming adjuncts to heraldic compositions originated with the seal engravers1 in their desire to fill up the vacant space in a round seal between the shield and its surrounding margin4 ,in the oldest examples this was done by adding scrollwork or leafage1 but in the seal of ,humphrey ,bohun earl of ,hereford1 #abbj1 the large shield of his arms is flanked by two smaller shields of his other earldom of ,essex4 ,the same treatment occurs in the seal of his grandson1 another ,humphrey ,bohun earl of ,hereford and ,essex1 #abih-acbb 7pl4 ,,xix ,b74 ,henry de ,laci 7#abeg7 has the side spaces filled by two small wivers1 and in the seal of ,stephen ,longespee 7ob4 #abfj7 the shield is flanked by two long swords 7pl4 ,,xix ,a74 ,gilbert of ,clare earl of ,gloucester 7#abfb7 has his shield hung on a peg and accompanied by two lions back to back1 while in the seal of ,edmund earl of ,cornwall 7#abgb7 and son of ,richard king of the ,romans the shield is held up in the beak of an imperial eagle splayed or spread out behind it4 ,thomas earl of ,lancaster 7#abif7 on both his larger and his lesser seals has the shield flanked by two wivers1 as has also his brother ,henry of ,lancaster 7#abih7 7fig4 #fj74 ,sometimes the shield is hung about the neck of a bird 7fig4 #aac71 or about a beast1 as in the seal of ,alan la ,souche1 which likewise has the shield surrounded by a number of lions 7fig4 #aad74 ,illustration3 ,,fig4 #aac4 ,seal of ,john de ,moun with the shield slung from an eagle and flanked by two leopards4 ,from the ,barons' ,letter4 ,illustration3 ,,fig4 #aad4 ,seal of ,alan la ,souche in #acja4 ,during the first half of the fourteenth century little definite progress was made towards true supporters4 ,shields1 whether hung from pegs or upon trees1 or surmounted by crested helms1 still continued to be flanked by quasi-supporters1 which of course varied much in character4 ,pairs of wivers1 dragons1 and lions1 usually back to back1 the better to fit the space1 and sometimes with entwined tails1 were common early in the century1 and shields with splayed eagles behind may not infrequently be found 7figs4 #aae1 #aaf74 ,what may be regarded as true supporters appear on the lesser seal 7pl4 ,,xii ,a7 of ,william ,montagu earl of ,salisbury 7circa #accg71 wherein two griffins seem to be holding up the shield1 but it is not until well on in the second half of the fourteenth century that further definite instances become fairly common4 ,illustration3 ,,fig4 #aae4 ,seal of ,john ,beauchamp of ,hacche with shield on breast of an eagle4 ,illustration3 ,,fig4 #aaf4 ,seal of ,william de ,ferrers with shield upon an eagle with two heads4 ,interesting transitional usages may also be found4 ,thus on a seal 7c4 #acej7 of ,margaret ,graunson two wivers uphold by their beaks the upper corners of a shield of her husband's arms1 while a third wiver similarly grips the point4 ,guy de ,bryen 7c4 #acej7 has his shield hung upon a tree and supported at the corners by two wivers holding it by their beaks4 ,another lady1 ,joan ,fitz,alan1 who married in #acfb ,humphrey ,bohun earl of ,hereford1 has an impaled shield of their arms held up in their beaks by two ,bohun swans2 and another pair of swans perform the same office in a ,fitz,warin seal used in #acih-i 7pl4 ,,xx ,a74 ,illustration3 ,a ,ivo ,fitz,warin1 in #acih-i4 ,b ,peter de ,mauley1 in #acgi-hj4 ,c ,sir ,bartholomew ,burghersh1 #acig-h4 ,d ,john la ,warre1 in #acij4 ,,plate ,,xx4--,shields with supporters4 ,a curious variant from the ordinary flanking pair of beasts occurs on the seal of ,edmund ,mortimer earl of ,march 7#acfj-ha71 where the arms are accompanied by a pair of lions with their heads covered by large helms with the earl's crest1 a bush of feathers rising from a crown4 ,a similar treatment is to be seen on a seal of ,john la ,warre1 as used in #acij 7pl4 ,,xx ,d74 ,analogous cases will be noted on the seal of ,sir ,robert de ,marni 7#acff7 7fig4 #fd71 whose shield hangs from a tree and is flanked by two fronting helms with tall pairs of wings rising from caps of estate as crests2 also in a seal of ,sir ,bartholomew ,burghersh 7#acig-h71 which has the shield flanked by two helms crested with tall soldans' heads1 and surmounted by what is probably his badge1 a swan with a lady's head 7pl4 ,,xx ,c74 ,a seal of ,sir ,roger ,scales 7#acfi-hf7 has his seal flanked by two long-necked wivers1 and hung by a strap from another wiver which has twisted itself into the shape of the letter ,s1 and perched itself on the upper edge of the shield4 ,another case of true supporters is afforded by a seal of ,peter de ,mauley in #acgi-hj1 where a shield surmounted by a fierce dragon 7perhaps a badge7 is upheld by small lions 7pl4 ,,xx ,b74 ,other supporters of shields only may be seen on seals of ,thomas ,beauchamp earl of ,warwick 7#acfi71 where they are bears2 and of ,roger ,mortimer earl of ,march and ,ulster 7#acha71 where they are lions1 as is also the case in a seal of ,john ,batour used in #adah-i4 ,in each of these cases the shield is hung upon a tree4 ,in heraldic representations where the shield of arms is surmounted by a helm and crest1 there is the same hesitation in arriving at true supporters2 the space at the sides being filled at first by a badge or such device4 ,thus ,john of ,gaunt duke of ,lancaster 7in #acfb7 introduced a pair of eagles with hanging locks in their beaks1 and his brother ,edmund of ,langley duke of ,york 7in #ache7 followed suit with a couple of falcons having in their beaks scrolls with scriptures 7pl4 ,,xxi74 ,john ,nevill lord of ,raby and seneschal of ,bordeaux 7#acgh7 flanked his arms1 etc4 with two letters b1 while his kinsman1 ,sir ,william ,nevill1 used in #acij a seal with his arms and crested helm accompanied by two large stars4 ,illustration3 ,a ,john of ,gaunt duke of ,lancaster1 #acfb4 ,b ,edmund of ,langley duke of ,york1 #ache4 ,,plate ,,xxi4--,shields accompanied by ,badges4 ,the fine seal of ,thomas lord ,despenser 7before #acig7 has on either side of his shield and crested helm a tree from which hangs a lozenge of arms3 the one bearing the three cheverons of ,clare1 for his lordship of ,glamorgan2 the other the forked-tailed lion of the barony of ,burghersh1 which came to him through his mother 7pl4 ,,xxii ,a74 ,richard ,nevill earl of ,salisbury in #adbi similarly places two angels bearing shields3 one with the arms of ,nevill1 the other with the lions of ,longespee in virtue of his earldom of ,salisbury 7pl4 ,,xxii ,b74 ,henry of ,lancaster 7afterwards ,king ,henry ,,iv7 as earl of ,derby1 etc4 7c4 #ache7 flanks his arms and crested helm with two ostrich feathers entwined with a scroll with the scripture souvereyne 7pl4 ,,xxiv ,c71 and others of the royal house similarly used ostrich feathers of other forms4 ,edward ,v as prince of ,wales in #adga flanked his arms with two scrolled ostrich feathers standing on large ,york roses4 ,thomas duke of ,exeter 7#adaf7 placed a swan on either side of his armorial achievement1 and ,william lord ,lovel and ,holand 7#adbc7 a hanging lock 7pl4 ,,xxiii ,a72 while ,sir ,john ,pelham 7c4 #adcj7 flanked his crest with his buckle badge 7pl4 ,,xxiii ,b74 ,on the fine seal of ,thomas lord ,roos of ,hamlake or ,helmsley 7#adca-fd7 his peacock crest is flanked by two large flowering plants1 perhaps hemlocks 7pl4 ,,xxiii ,e74 ,illustration3 ,a ,thomas lord ,despenser1 before #acig4 ,b ,richard ,nevill earl of ,salisbury1 #adbi4 ,,plate ,,xxii4--,quasi-supporters4 ,illustration3 ,a ,william lord ,lovel and ,holand1 #adbc4 ,b ,sir ,john ,pelham1 c4 #adcj4 ,c ,hugh de ,veer1 #acja4 ,d ,aver de ,rocheford1 c4 #accj4 ,e ,thomas lord ,roos of ,hamlake1 #adca4 ,,plate ,,xxiii4--,shields accompanied by badges4 ,by the third quarter of the fourteenth century the combination of supporters with shields of arms surmounted by crested helms had become fully established1 and henceforth the number of beautiful and instructive examples is so great that it is unnecessary to do more than illustrate a typical series 7figs4 #aag-aba74 ,it will be seen from these that in seals the majority of the supporters are upholding the heavy helm and its crest1 and not the shield that hangs below it2 probably on account of the nature of the design4 ,the supporters1 too1 usually form pairs1 and it goes without saying that every variety of creature is made to serve4 ,sometimes they are composed of badges1 like the falcons on crooked billets used by ,william lord ,zouch 7pl4 ,,xxiv ,a71 or the similar birds with 'words' coupled with oak leaves and the letter t that appear on a seal of ,sir ,john ,falstaff used in #adef 7pl4 ,,xxiv ,b74 ,william lord ,botraux1 in a seal used in #adbf1 has his armorial ensigns flanked by two buttresses 7,fr4 botreaux72 while ,john lord ,talbot and ,furnival 7#adjf7 has two talbots 7fig4 #abb71 and ,george duke of ,clarence 7#adfc7 the black bulls of ,clare 7fig4 #abc74 ,illustration3 ,,fig4 #aag4 ,seal of ,edmund ,mortimer earl of ,march and ,ulster1 #adjj1 with rampant leopard supporters4 ,illustration3 ,,fig4 #aah4 ,seal of ,sir ,william ,windsor1 #acha1 with eagle supporters4 ,illustration3 ,,fig4 #aai4 ,seal of ,william de la ,pole duke of ,suffolk1 #addh4 ,illustration3 ,,fig4 #abj4 ,seal of ,john ,nevill lord ,montagu1 #adfa4 ,illustration3 ,,fig4 #aba4 ,seal of ,william lord ,hastings1 c4 #adfa4 ,illustration3 ,,fig4 #abb4 ,seal of ,john lord ,talbot and ,furnival1 #adjf4 ,illustration3 ,,fig4 #abc4 ,seal of ,george duke of ,clarence and lord of ,richmond1 #adfb1 with black bulls of ,clare supporting his crested helm4 ,illustration3 ,a ,william lord ,zouch1 #adcj4 ,b ,sir ,john ,falstaff1 in #adef4 ,c ,henry of ,lancaster earl of ,derby1 #ache4 ,,plate ,,xxiv4--,shields accompanied by badges4 ,where the supporters differ it is usually the case that they represent more than one dignity4 ,thus on one of his seals 7fig4 #abd7 ,richard ,beauchamp earl of ,warwick 7#adja7 used as such for supporters two muzzled bears hugging ragged staves1 but on a later seal 7#adba7 as earl of ,warwick and of ,albemarle the supporters are a bear and a griffin 7fig4 #abe74 ,so1 too1 his successor in the title of earl of ,warwick1 ,richard ,nevill1 on a fine seal 7c4 #adea-b7 has two muzzled bears for supporters1 but on a later seal 7c4 #adfj7 as earl of ,warwick and ,salisbury his supporters are a ,warwick bear and a ,montagu griffin 7fig4 #fi74 ,edmund ,beaufort duke of ,somerset on his seal for the town of ,bayeux 7c4 #adde7 7fig4 #abf7 has on one side his own eagle supporter1 and on the other a spotted dog-like beast with a crown about his neck2 and ,richard duke of ,york and earl of ,march on his seal as governor of ,france and ,normandy in #adcf has for supporters the ,york falcon and the white lion of ,march4 ,on the stall-plate of ,john ,beaufort duke of ,somerset and earl of ,kendal his arms are supported by a ,somerset crowned eagle and a mysterious beast called a yale1#h behind each of which stands an ostrich feather with the quill gobony of blue and silver4 #h ,for a full account of the yale or eale see papers in the ,archological ,journal1 lxviii1 #agc-aii4 ,the adoption of the beast by the duke of ,somerset has not yet been explained1 but it may be for his earldom of ,kendal and partly be a rebus 7,kend-eale74 ,illustration3 ,,fig4 #abd4 ,seal of ,richard ,beauchamp earl of ,warwick1 #adja4 ,illustration3 ,,fig4 #abe4 ,seal of ,richard ,beauchamp earl of ,warwick and of ,albemarle and lord ,despenser1 #adba4 ,illustration3 ,,fig4 #abf4 ,seal of ,edmund duke of ,somerset for the town of ,bayeux1 c4 #adde4 ,it is not necessary here to cite the various supporters borne by the ,kings of ,england1 but it may suffice to point out that since the union of the crowns of ,england and ,scotland one of the royal supporters has always been a lion for ,england and the other a unicorn for ,scotland4 ,in seals of married ladies in which their arms are accompanied by supporters1 one often represents the husband and the other the lady's family4 ,thus ,joan ,holand1 daughter of ,thomas earl of ,kent1 and wife of ,edmund of ,langley duke of ,york1 has 7after #acic7 her husband's half of her impaled shield supported by the falcon of ,york1 and her own half by her father's hind with its crown collar4 ,cecily ,nevill1 the wife of ,richard duke of ,york and earl of ,march1 and mother of ,king ,edward ,,iv1 has the shield on her fine seal ensigned by a falcon of ,york and supported by a stag with crown-collar and chain and by a lion of ,march 7fig4 #abg74 ,the even more splendid seal of ,elizabeth ,wydville1 queen-consort of ,king ,edward ,,iv1 shows as her supporters the lion of ,march and a lean spotted beast not unlike an otter1 collared and chained 7pl4 ,,xxv74 ,the lady ,margaret ,beaufort1 on the other hand1 ensigns on both her seals her paternal arms of ,beaufort with the ,somerset eagle and uses for her supporters a pair of yales 7pls4 ,,xxvi1 ,,xxx74 ,illustration3 ,,plate ,,xxv4--,arms with crown and supporters of ,elizabeth ,wydville1 queen of ,edward ,,iv4 ,illustration3 ,,plate ,,xxvi4--,arms1 supporters1 and badges of the ,lady ,margaret ,beaufort1 #adee4 ,illustration3 ,,fig4 #abg4 ,seal of ,cecily ,nevill1 wife of ,richard duke of ,york and mother of ,king ,edward ,,iv1 #adfa4 ,it is of course all-important that supporters should be shown standing upon something solid1 and not on so precarious a footing as the edge of a motto or forked scroll4 ,one of the beautiful armorial groups with the supporters of ,king ,henry ,,vii in ,king's college chapel at ,cambridge 7fig4 #abh7 shows how effectively and yet unobtrusively this may be done4 ,in the splendid panel at ,new ,hall in ,essex with the crowned arms1 etc4 of ,king ,henry ,,viii his dragon and greyhound supporters stand in a bush of roses and pomegranates 7fig4 #ahi72 and in the well-known glass at ,ockwells the supporters have fields full of flowers to stand on4 ,illustration3 ,,fig4 #abh4 ,arms and supporters1 a dragon and a greyhound1 of ,king ,henry ,,vii in ,king's college chapel at ,cambridge4 ,besides the more or less regular use of supporters just described1 there are a number of curious and irregular ways of supporting shields4 ,these deserve special attention1 not only from their value in showing how delightfully heraldry used to be played with1 but as precedents for similar variety of treatment at the present day1 when supporters so-called often do not support anything4 ,over the doorway1 for example1 of the ,national ,portrait ,gallery in ,london the 'supporters' of the royal arms are merely a pair of cowering beasts at the base of the shield4 ,quite an early instance of playful treatment is furnished by the seal of ,roger ,leybourne 7ob4 #abhd74 ,this has a small banner standing behind the shield1 which is hung on a tree with side branches2 one of these supports the crested helm1 and the other ends in a bunch of leaves 7pl4 ,,xi ,a74 ,thomas lord ,holand and ,wake 7c4 #acec7 has within a traceried panel a tree standing in a rabbit warren and supporting his crowned helm with its huge bush of feathers4 ,hanging on either side are two shields1 one with beautiful diapering of his lordship of ,wake1 the other 7originally7 of his lordship of ,holand 7pl4 ,,xxvii ,a74 ,illustration3 ,a ,thomas lord ,holand and ,wake1 c4 #acej4 ,b ,margaret ,beauchamp1 wife of ,john ,talbot earl of ,shrewsbury1 after #adcc4 ,,plate ,,xxvii4--,methods of arranging shields4 ,thomas of ,woodstock duke of ,gloucester1 son of ,edward ,,iii1 used from about #ache a lovely seal with the stock of a tree standing within a paling and surrounded by water on which float two chained ,bohun swans1 for his wife ,eleanor ,bohun2 from the tree hangs a large shield of the duke's arms1 with his crested helm above1 and from two side branches are suspended diapered shields of the earldom of ,hereford 7azure two bends1 one gold1 the other silver71 also in reference to his ,bohun marriage4 ,margaret daughter of ,richard ,beauchamp earl of ,warwick1 and wife of ,john ,talbot earl of ,shrewsbury and ,waterford1 in her fine shield 7after #adcc7 suspends by their straps her father's shield and the impaled shield of her husband and herself from the ragged staff of her father's house 7pl4 ,,xxvii ,b74 ,thomas ,holand earl of ,kent used in #acih a seal bearing his badge of a white hind with a crown for a collar1 reclining under a tree1 and with the shield of his arms hanging round its neck 7pl4 ,,xviii ,b74 ,in the fourteenth century seal of the mayoralty of ,calais a boar has a cloak tied about his neck and flying upwards banner-wise to display the arms of the town1 which were barry wavy with a crowned 787 leopard rampant 7fig4 #abi74 ,a similar treatment occurs on the half-florin of ,king ,edward ,,iii1 which has for device a crowned sitting leopard with a cloak about his neck with the royal arms4 ,illustration3 ,,fig4 #abi4 ,seal of the mayoralty of ,calais4 ,on one of his seals as regent of ,france 7#adbb-ce7 ,john duke of ,bedford has an eagle standing with one leg upon his badge1 the root of a tree1 and holding in its other claw a shield of his arms4 ,william lord ,fitz ,hugh 7#adbi7 and of ,marmion shows on his seal his quartered shield ensigned by his helm and crest1 which was apparently a lion's head4 ,the rest of the beast is somewhat incongruously squatting behind the shield and has the paws thrust out on each side to grasp two banners of arms that complete the composition 7pl4 ,,xxviii ,a74 ,a similar pair of banners appears on the seal of ,walter lord ,hungerford1 which has the shield 'supported' by two ,hungerford sickles1 and surmounted by the crested helm1 with flanking banners of the arms of the lordships of ,heytesbury and ,hussey 7fig4 #acj74 ,illustration3 ,,fig4 #acj4 ,seal of ,walter lord ,hungerford with banners of ,heytesbury and ,hussey or ,homet1 c4 #adbj4 ,illustration3 ,a ,william lord ,fitz,hugh 7#adbi7 and of ,marmion4 ,b ,margaret lady ,hungerford and ,botreaux1 #adfb4 ,,plate ,,xxviii4--,examples of banners of arms4 ,banners also figure prominently on the charming seal of ,margaret lady of ,hungerford and ,botreaux 7#adfb7 7pl4 ,,xxviii ,b74 ,she was the daughter of ,william lord ,botreaux and ,margaret ,beaumont1 and wife of ,sir ,robert ,hungerford1 who died in #adei4 ,the seal shows the lady in her widow's dress 'sitting upon her knees' in a garden1 and reading from a book some words which are inscribed on a scroll about her head4 ,overshadowing her are two large banners of impaled arms3 one of ,hungerford and ,botreaux1 upheld by a lion2 the other of ,botreaux and ,beaumont1 upheld by a griffin4 ,on many late thirteenth and early fourteenth century seals it was not uncommon to represent ladies holding up shields of arms4 ,a delightful example that may be cited is that of ,emmeline ,fitz,gerald1 and wife of ,stephen ,longespee1 who is upholding her father's shield in her right and her husband's in her left hand4 ,below each shield is a leopard of ,england to show her husband's close relationship to the royal house1 and on each side of her is a long sword4 ,she died in #acca 7pl4 ,,xxix ,b74 ,a few cases occur where a man himself acts as the supporter of his arms4 ,one of the shields of ,henry ,percy earl of ,northumberland 7#acgg7 shows him in armour1 standing behind a large shield of ,percy which he supports with his left hand4 ,his right is upon the hilt of a sword with the belt wrapped about it1 and against his left shoulder rests a banner with the ,percy lion4 ,the earl appears in similar fashion in another of his seals as lord of ,cockermouth 7#acic74 ,in this the shield is quarterly of ,percy and ,lucy1 and is grasped as before by his left hand1 while the right holds up a pennon charged with his badge of a crescent 7pl4 ,,xxix ,a74 ,it must suffice to quote one last piece of playfulness1 a seal of ,richard duke of ,york and earl of ,march and ,ulster 7ob4 #adfj7 as justice-in-eyre of the forests4 ,this has his shield of arms suspended about the neck of a ,york falcon1 and enclosed by the horns of a buck's head in base1 in reference to his office4 ,upon the buck's horns are fixed two small hands for the duke's earldom of ,ulster 7pl4 ,,xxix ,c74 ,illustration3 ,a ,henry ,percy earl of ,northumberland1 #acgg4 ,b ,emmelin ,fitz,gerald1 wife of ,stephen ,longespee1 c4 #abej4 ,c ,richard duke of ,york1 as ,justice in ,eyre of ,forests1 ob4 #adfj4 ,,plate ,,xxix4--,ways of upholding shields4 ,,chapter ,,ix ,,banners ,,of ,,arms ,the ,royal ,banner of ,arms2 the ,banner of the ,arms of the ,city of ,london2 ,shapes of ,banners2 ,sizes of certain ,banners2 ,upright versus ,long ,banners2 ,advantages of the upright form2 ,banners with ,achievements of ,arms2 ,modern ,use of ,banners4 ,representations of banners constantly occur in medieval pictures 7fig4 #aca72 and1 as has been shown above1 they are not infrequent upon seals4 ,illustration3 ,,fig4 #aca4 ,knights with banners1 from an illumination in ,royal ,,ms4 #ai ,b ,,xv in the ,british ,museum4 ,every one is familiar with the banner of the royal arms that betokens the presence of the ,king1 and with our splendid national banner known as the ,union ,jack4 ,the banner with the arms of the city that is flown above the ,mansion ,house when the lord mayor is in residence is familiar to ,londoners1 and the citizens of ,rochester are equally accustomed to see the banner of their city flying on ,sundays and holidays from the great tower of their castle4 ,let a banner once be regarded in the light of a rectangular shield and its fitness to contain armorial bearings immediately becomes apparent4 ,the ,king's banner is now always miscalled 'the royal standard1' even in official language1 though heraldically it is not a standard at all1 but simply a banner4 ,medieval banners at first were oblong in shape1 and set upright with a longer side next the staff4 ,in the late thirteenth century pictures formerly in the painted chamber in the palace of ,westminster the banners borne by the knights were more than twice as tall as they were broad4 ,the same proportion survives even in the famous pictorial pageant of ,richard ,beauchamp earl of ,warwick1 drawn about #adic2i but the majority of the banners therein shown have a height one and three-quarter times the width1 which is better for the display of heraldry4 ,this is also the proportion of the banners on ,william lord ,hungerford's seal 7fig4 #acb71 but the banners with impaled arms on lady ,hungerford's seal are nearly square 7fig4 #acc74 ,on the monument in ,westminster abbey church of ,lewis lord ,bourchier 7ob4 #adca7 the large quartered banners at the ends1 upheld by lions and eagles1 are slightly less than a square and a half in area1 and admirably proportioned for displaying arms 7fig4 #acd74 ,the banner of ,king ,edward ,,iv1 'which also hung over his grave' in ,st4 ,george's chapel in ,windsor castle1 is described as of ',taffaty1 and thereon painted quarterly ,france and ,england2 it had in breadth three foot four inches1 besides a ,fringe of about an inch broad1 and in depth five foot and four inches1 besides the ,fringe4'#aj ,ashmole1 in his description of the banners hung above the stalls of the ,knights of the ,garter1 states 7in #afgb7 that 'the fashion of the ,soveraign's and all the ,knight-,companions ,banners are square2 but it doth no where appear to us1 of what size their ,banners anciently were2 yet in ,queen ,elizabeth's ,reign1 we find them two yards and a quarter long1 and a yard and three quarters broad1 beside the ,fringe 7which is made of ,gold or ,silver and ,silk1 of the colours in the ,wreath7 and thereon are wrought or beaten upon ,taffaty-,sarcenet1 double-,sarcenet1 or rich ,taffaty1 with fine ,gold and ,colours1 on both sides1 the paternal ,coat of the ,knights ,companion1 together with his ,quarterings1 or so many of them as he please to make use of1 wherein ,garter is to take care that they be warrantly marshalled4444 ,these ,banners of ,arms are fixed to the end of long ,staves1 painted in ,oyl1 formerly with the ,colours of the ,wreath1 but now ,red4'#aa #i ,brit4 ,mus4 ,cott4 ,,ms4 ,julius ,e4 ,,iv4 #aj ,elias ,ashmole1 ,the ,institution1 ,laws and ,ceremonies of the most ,noble ,order of the ,garter 7,london1 #afgb71 #adi4 #aa ,ibid4 #cce1 #ccf4 ,illustration3 ,,fig4 #acb4 ,seal of ,walter lord ,hungerford with banners4 ,illustration3 ,,fig4 #acc4 ,part of the seal of ,margaret lady ,hungerford1 with impaled banner held up by a lion4 ,illustration3 ,,fig4 #acd4 ,tomb of ,lewis ,robsart lord ,bourchier1 ,k4,g4 7ob4 #adca71 in ,westminster abbey church1 with banners of arms upheld by supporters4 ,the remark here as to the quarterings1 in view of the comments upon them in an earlier page of this book1 is interesting1 but it is more important to note that both the banner of ,king ,edward ,,iv1 and those of the ,knights of the ,garter in ,queen ,elizabeth's time1 were of similar proportions to those on the ,bourchier monument4 ,the fact is that the heraldic draughtsmen of even this late period were fully as aware as their predecessors of the difficulty of drawing arms in a banner that exceeded the width of a square1 and they also appreciated the greater advantage of an area that was narrower than that figure4 ,the longer form of banner may be tolerated for so simple a combination as the ,union ,jack1 or even for such of its component parts as the cross of ,st4 ,andrew or the saltire of ,st4 ,patrick1 but it is rarely possible so to arrange heraldry upon it as to look well1 and even the cross of ,st4 ,george looks better upright thus ,illustration than ,illustration when extended unduly horizontally4 ,in the ,king's banner as at present borne it is practically impossible to draw the arms artistically1 or with a proper balancing relation of field and charge 7fig4 #ace74 ,the leopards of ,england may be so outrageously lengthened and attenuated as nearly to fill the quarters allotted to them1 but it is impracticable to display properly the upright form of the ramping lion of ,scotland or to expand horizontally the ,irish harp4 ,in the banner1 too1 of the lord mayor of ,london as used on the ,mansion ,house to-day1 the sword of ,st4 ,paul in the quarter can only be drawn of the comparative size of ,sir ,william ,walworth's dagger1 which it is in consequence so absurdly mistaken to be4 ,illustration3 ,,fig4 #ace4 ,the ,king's banner or 'royal standard' as now borne4 ,were1 however1 the ,king's arms 7see frontispiece7 and those of his city of ,london placed on upright oblong or even square banners1 all difficulties of drawing them would be avoided1 and from appearing to be glaring examples of mean modern heraldry they would forthwith become fine pieces of artistic decoration4 ,a close approximation to the better way of displaying the ,king's arms is illustrated by the lately adopted banners of ,queen ,mary and ,queen ,alexandra1 both of which show the ,sovereign's arms impaling those of his consort4 ,the ,king's arms are thus restricted to half the usual length of the present 'royal standard1' that is1 to a square1 and so can be drawn with less waste space on either side of the charges4 ,whatever be their shape1 banners1 like shields1 ought as a rule to be covered completely with the heraldry1 like the banners of the ,knights of the ,garter at ,windsor 7which1 though modern1 are quite good in this respect7 and those of more recent institution of the ,order of ,st4 ,michael and ,st4 ,george in ,st4 ,paul's cathedral church4 ,examples are not lacking1 even in the fifteenth century1 of banners charged with regular heraldic achievements instead of arms1 and quite an interesting series may be found among the ,windsor stall-plates4 ,two small oblong plates of ,sir ,peter ,courtenay and ,henry lord ,fitz,hugh are practically complete banners of their arms1 but ,walter lord ,hungerford 7after #adbf7 displays his arms1 with helm1 crest1 and mantling1 upon a dull black banner with fringed gold border attached to a writhen gilded staff 7fig4 #acf74 ,richard ,nevill earl of ,salisbury 7c4 #adcf7 7fig4 #acg71 ,john earl of ,shrewsbury 7c4 #adec71 ,john lord ,tiptoft 7c4 #adfa71 and several others have their arms1 etc4 on plain gold-coloured fringed banners1 but ,richard lord ,rivers 7c4 #adej71 ,thomas lord ,stanley 7c4 #adei71 and ,george duke of ,clarence 7c4 #adfa7 have the field worked all over with decorative scroll-work4 ,sir ,john ,grey of ,ruthin 7c4 #adci7 also displays his arms on an undoubted banner with black ground and gold fringe and staff 7fig4 #ach71 and ,william lord ,fauconberg 7c4 #addj7 on a banner with the field bendy of blue and silver1 with a gold fringe and staff4 ,it is not improbable that several other quadrangular stall-plates with coloured grounds represent banners4 ,edmund of ,langley duke of ,york has the field paly of three pieces of silver1 green1 and black2 ,john duke of ,bedford 7#adbb-c7 has a ground party blue and silver1 and ,thomas duke of ,exeter 7c4 #adbb7 a ground all black4 ,john duke of ,somerset 7c4 #addj7 has the field of his plate bendy of silver1 red1 and green1 with a gilded border of scrolled leaves2 and ,walter lord ,mountjoy 7c4 #adgb7 disposes the same three colours in vertical stripes4 ,illustration3 ,,fig4 #acf4 ,stall-plate1 as a banner1 of ,walter lord ,hungerford1 after #adbf4 ,illustration3 ,,fig4 #acg4 ,stall-plate1 as a banner1 of ,richard ,nevill earl of ,salisbury1 c4 #adcf4 ,illustration3 ,,fig4 #ach4 ,stall-plate1 as a banner1 of ,sir ,john ,grey of ,ruthin1 c4 #adci4 ,two similar displays of heraldic achievements are to be found in a manuscript at the ,heralds' ,college4#ab ,in one of these the arms1 etc4 of ,sir ,richard ,nanfant 7ob4 #aejf-g7 are painted upon a quadrangular field party of blue and green4 ,in the other the impaled shield of ,sir ,richard and his dame1 upheld by an angel1 is painted upon a ground having the upper three-fourths red and the fourth part pale pink4#ac #ab ,,ms4 ,m #c4 #ac ,illustrated ,catalogue of the ,heraldic ,exhibition1 ,burlington ,house1 #ahid 7,london1 #ahif71 pl4 xxviii4 ,in modern practice there is no conceivable reason why banners for the display of arms should not be more widely adopted2 not only as banners proper1 to fly upon a staff1 but in decorative art1 such as painting1 sculpture1 and embroidery4 ,both the ,royal ,society and the ,society of ,antiquaries regularly notify their existence in ,burlington ,house by displaying banners of their arms over their apartments1 and their example is one that might be followed by other corporations entitled to bear arms4 ,on the use of banners by individuals it is unnecessary to enter after the useful series of examples and usages thereof already noted4 ,the curious flags known as standards1 which were in use during the fifteenth and sixteenth centuries1 seem to have been borne simply for display in pageants or at funerals4 ,for decorative purposes they are most effective1 and as they were anciently borne by men of every degree down to and including esquires1 they might with much advantage from the artistic standpoint again be devised and brought into use4 ,a standard 7fig4 #aci7 was a long narrow flag with the lower edge horizontal1 and the upper gradually descending from the staff to the extremity1 which was split into two rounded ends4 ,a compartment next the staff always contained the arms of ,st4 ,george4 ,the rest of the ground not infrequently was formed of two1 three1 or four horizontal stripes of the livery colours of the owner1 and divided into three sections by two slanting bands with his word1 reason1 or motto4 ,upon the section next to the ,st4 ,george's cross was generally displayed the principal beast or other device of the bearer and in later times the crest on a torse1 while the other sections and the field in general were powdered with badges or rebuses4 ,the whole was fringed of the livery colours4 ,illustration3 ,,fig4 #aci4 ,standard of ,sir ,henry ,stafford1 ,k4,g4 c4 #adge4 ,the series illustrated in the volume in the ,de ,walden ,library on ,banners1 ,standards1 and ,badges from a ,tudor ,manuscript in the ,college of ,arms will supply ample evidence of the playful composition of ancient standards1 and hints as to the way in which they may be invented nowadays4 ,pennons were small and narrow flags of varying length1 sometimes pointed1 sometimes swallow-tailed at the end1 fixed below the point of a lance or spear and carried by the owner as his personal ensign 7fig4 #adj74 ,that held by ,sir ,john d',abernoun in his well-known brass 7c4 #abgg7 at ,stoke d',abernoun is short and pointed and fringed1 and bears his arms 7azure a cheveron gold74 ,a contemporary illustration of a large and more fluttering form of pennon is to be seen in fig4 #ada4 ,an example of a pennon charged with a badge1 in the shape of the ,percy crescent1 occurs on the seal of ,henry ,percy earl of ,northumberland1 who is shown with it in his hand 7pl4 ,,xxix ,a74 ,illustration3 ,,fig4 #adj4 ,knights with pennons1 from an illumination in ,royal ,,ms4 #ai ,b ,,xv in the ,british ,museum4 ,illustration3 ,,fig4 #ada4 ,armed ,knights carrying pennons1 temp4 ,edward ,i1 from an illumination in ,arundel ,,ms4 #hc f4 #acb4 ,in the fifteenth and sixteenth centuries it was not unusual to set up on gables1 pinnacles1 and other high places figures of animals holding banners as vanes or ornaments4 ,heraldic beasts as finials began to be used even in the thirteenth century1 and an example so early as #abcg is noted on the ,pipe ,roll of #bb ,henry ,,iii1 when a charge occurs 'for making and setting up a certain lion of stone upon the gable of the ,king's hall'#ad within the castle of ,windsor4 ,examples of the fourteenth century are hard to find1 but in the fifteenth century and first half of the sixteenth they are common enough4 ,in most of these later examples the creatures sit up and support shields with arms or badges2 some1 like the fine groups at ,mapperton in ,dorset1 once held vanes as well4 #ad ',et in quodam leone de petra faciendo et erigendo super gabulum in eadem aula4' ,early vanes from their tendency to decay are rare4 ,in #aceb-c #ads4 were spent 'upon a vane of copper painted with the king's arms1 bought to be put upon the top of the hall of the king's college'#ae in ,windsor castle2 and a delightful example1 also of copper1 pierced with the arms of ,sir ,william ,etchingham1 its builder 7ob4 #achi71 still surmounts the steeple of ,etchingham church in ,sussex 7fig4 #adb74 ,a simple specimen of an iron vane may yet be seen on ,cowdray ,house in the same county4 ,the octagonal steeple of ,fotheringay church1 ,northants1 built at the cost of ,richard duke of ,york c4 #adce1 is surmounted by a fine representation in copper of his badge1 the falcon within a fetterlock4 #ae ',et in una vane de cupro picta de armis ,regis empta ad ponendum super summitatem aule ,collegij ,regis ibidem1 xiiij s4' ,pipe ,roll1 #bh ,edward ,,iii4 ,illustration3 ,,fig4 #adb4 ,armorial vane on ,etchingham church1 ,sussex4 ,the employment of a creature to hold up a banner of arms was already no novelty in the fifteenth century1 and examples have been noted above of those on the tomb of ,lewis lord ,bourchier 7ob4 #adca7 and on the seal of ,margaret lady ,hungerford 7c4 #adfj72 to which may be added the banner-bearing lion on the seal 7c4 #addb7 of ,henry ,percy1 eldest son of ,henry second earl of ,northumberland4 ,the conversion therefore of the sitting beast into a vane-holder came about quite naturally4 ,a good instance of the end of the fifteenth century forms a charming finial to the well-known kitchen at ,stanton ,harcourt in ,oxfordshire1 but the griffin which sits aloft there has1 alas1 no longer a vane to hold 7fig4 #adc74 ,illustration3 ,,fig4 #adc4 ,vane formerly upon the finial of the kitchen roof at ,stanton ,harcourt1 ,oxon4 ,quite an array of such vane-holders was set up early in the sixteenth century upon the pinnacles of the nave clerestory of ,st4 ,george's chapel in ,windsor castle1 and the contract made in #aejf for completing the quire in like fashion provides for 'as well the vautte within furth as archebotens1 crestys1 corses1 and the ,king's bestes stondyng on theym to bere the fanes on the outside of the said quere1 and the creasts1 corses 7and7 beasts above on the outsides of ,maister ,john ,shornes ,chappell4' ,the contract made in #aeaa for finishing the adjacent ,lady chapel also includes 'making up crests1 corses1 and the ,king's bestes stondyng on theym to bere furth squychons with armes4' ,these beasts holding their glittering vanes seem to have been completed only so far as the great chapel was concerned1 and are plainly shown in ,hollar's engraving of the building2 but they were all taken down in #afhb by the advice of ,sir ,christopher ,wren1 who suggested that pineapples be set up in their stead6 ,another mention of figures with vanes occurs in the contract made in #aedf for the building of the ,coventry cross3 ,and further to set on every principall pinnacle in the lowest story of the same new ,crosse1 the ,ymage or a ,beast or a foule1 holding up a fane1 and on everie principall pinnacle in the second story the image of a naked boy with a ,targett1 and holding a ,fane4#af #af ,t4 ,hearne1 ,liber ,niger1 ii4 #fbj4 ,these beasts1 fowls1 and boys obviously performed a double duty1 like the creatures on ,mapperton manor-house4 ,the exact nature of the ',king's bestes' at ,windsor and elsewhere is illustrated by the accounts for the building of the great hall of ,hampton ,court in #aecc-d4 ,these include payments 'for the workyng and makyng of a lyon and a dragon in stone1 standyng at the ,gabull ends of the said hall'2 'for two pynnys of irne for stayes for the two bests of freston1 standyng at the gabyll endes of the haull'2 and 'for gylding and payntyng of two vanys1 servyng the bests of freston stondyng at the endes uppon the haull1 oon of the ,kynges armys1 the other of the ,quenys1 wrowghte wyth fyne golde and in owyle4' ,further payments are 'for makyng of #bi of the ,kynges bestes to stand upon the new batilments of the ,kynges ,new ,hall1 and uppon the femerell of the said ,hall' and 'for #af vanys for the bestes standyng upon the battylment of the hall4' ,also 'for the payntyng of #f great lyons1 standyng abowght the bartyllment1 of tymber worke1 uppon the ,kynges ,new ,hall1 theyre vaynys gylte with fyne golde and in oyle1' and for the painting 'of #d great dragons of #f grewhounds servyng the same barttylment4' ,there are also payments to a ',karver1 for karvyng and coutting of #b grewhondes1 oon lybert1 servyng to stande uppon the typpis of the vycys abowght the ,kynges new haull1' and to a 'paynter1 for gyldyng and payntyng of #b grewhondes1 oon lybert1 syttyng upon basys baryng vanys1 uppon the typys at the haull endes'2 likewise 'for gyldyng and payntyng of #bd vanys with the ,kynges armes and the ,quenes badges4'#ag #ag ,ernest ,law1 ,the ,history of ,hampton ,court ,palace 7,london #aijc71 i4 #cdf-h4 ,the free use of external colouring should be noted4 ,the use of the ,king's beasts as heraldic adjuncts was not confined at ,hampton ,court to the building only1 but they were made to do duty1 in an equally delightful manner1 as garden decorations4 ,thus the payments already quoted include charges for makyng and entaylling of #ch of the ,kynges and the quenys ,beestes1 in freeston1 barying shyldes wythe the ,kynges armes and the ,quenys2 that ys to say1 fowre dragownes1 seyx lyones1 fyve grewhoundes1 fyve harttes1 foure ,innycornes1 servyng to stand abowght the ponddes in the pond yerd2 for cuttyng and intayling of a lyon and grey-hound in freestoon1 that is to say1 the lyon barying a vane with the ,kynges armes1 c4 servyng to stand uppon the bases of freeston abought the ponds2 for pynnes servyng the pyllers of freestoon that the beastes standyth uppon abowght the ponds in the pond yerd2 for payntyng of #cj stoon bests standyng uppon bases abowght the pondes in the pond yerd1 for workmanship1 oyle1 and collers4 ,also for payntyng off #ahj postes wyth white and grene#ah and in oyle 444 standyng in the ,kynges new garden2 also for lyke payntyng of #if powncheones wyth white and grene1 and in oyle1 wrought wyth fyne antyke uppon both the sydes beryng up the rayles in the sayd ,garden2 also for lyke payntyng of #ifj yerdes in leyngthe of ,rayle4#ai #ah ,white and green were the livery colours of ,king ,henry ,,viii4 #ai ,law1 op4 cit4 i4 #cgj1 #cga4 ,the quaint aspect of such an heraldic garden has been preserved to us in the large picture at ,hampton ,court itself of ,king ,henry ,,viii and his family4 ,this has at either end archways in which stand ,will ,somers the ,king's jester and ,jane the fool1 and behind them are delightful peeps of the garden1 with its low brick borders carrying green and white railings1 and its gay flower beds from which rise tall painted posts surmounted by the ,king's beasts holding up their glittering vanes 7figs4 #add1 #ade74 ,illustration3 ,,fig4 #add4 ,part of ,king ,henry ,,viii's garden at ,hampton ,court1 from a contemporary picture4 ,illustration3 ,,fig4 #ade4 ,part of ,king ,henry ,,viii's garden at ,hampton ,court1 from a contemporary picture4 ,before finally leaving the subject of banners1 a few remarks may be offered touching our beautiful national banner which we call the ,union ,jack4 ,this charming and interesting composition is not only1 in a large number of cases when it is flown1 displayed upside down1 but in a still greater number of instances it is made quite incorrectly4 ,the first ,union ,jack1 that in use from #afjf to #ahja1 combining as it did only the cross of ,st4 ,george for ,england and the saltire of ,st4 ,andrew for ,scotland1 presented little difficulty1 since there was practically no excuse for not drawing the ,st4 ,andrew's cross straight through from corner to corner4 ,but the present ,union ,jack is a much more difficult banner to draw1 as well as to understand1 and the prevailing ignorance of its history even among so-called 'educated' people is extraordinary4 ,the ,union ,jack consists actually of 7i7 the banner of ,st4 ,george with its white field reduced to a narrow edging on all sides of the red cross1 to enable it to be superposed1 without breaking the heraldic rule of colour upon colour1 upon 7ii7 the blue banner of ,st4 ,andrew with his white cross2 but since the ,union with ,ireland there has been combined with these 7iii7 the banner of ,st4 ,patrick1 which has a red saltire upon a white field4 ,this combination1 in order to meet ,scottish susceptibilities1 has been effected in a very peculiar but ingenious way1 first by treating the ,irish banner like that of ,england1 and reducing its white field to a narrow edging about the saltire1 and then by slitting this down the middle of each arm1 and joining the pieces to the opposite sides of ,st4 ,andrew's saltire similarly treated1 yet so that the ,scottish pieces are uppermost next the staff4 ,it thus comes about that whatever be the shape of the flag1 whether square or oblong1 two straight lines drawn across it diagonally from corner to corner should always equally divide the ,scottish and ,irish crosses1 and if this cannot be done the flag is not correctly built up 7pl4 ,,xxxi74 ,illustration3 ,,plate ,,xxxi4 ,,right ,,and ,,wrong ,,versions ,,of ,,the ,,union ,,jack4 ,it also happens that unless the flag is exactly square the blue sections of the field must differ more or less in size4 ,ignorant flag-makers try to correct this1 but only by dislocating in the middle the diagonal lines that ought always to be straight and continuous4 ,the right way up of a ,union ,jack is indicated by the ,scottish1 that is1 the broader white1 half of the diagonal members being always uppermost in the two pieces next the staff4 ,,chapter ,x ,,marshalling ,,of ,,arms ,arms of husband and wife2 ,dimidiating2 ,impaling2 ',scutcheons of ,pretence2 ,impalement with ,official ,arms2 ,arms of ladies2 ,heraldic ,drawing2 ,mottoes2 ,use and ,misuse of the ,garter2 ,lettering and ,mottoes4 ,in gathering up for practical consideration some of the points already discussed1 as well as others that are suggested by them1 something may first be said on the ways of combining the arms of husband and wife4 ,this was done originally by simply setting them side by side1 a plan which of course may still be followed whenever it is thought desirable4 ,for a short time during the latter part of the thirteenth and beginning of the fourteenth century the arms of husband and wife were combined in one shield by the curious device of halving or 'dimidiating' them1 by joining the half of the one to the opposite half of the other1 as in the arms of ,aymer of ,valence and ,mary de ,seynt ,pol1 still borne 7since #acdg7 by the lady's foundation of ,pembroke college at ,cambridge4 ,owing however to the many inconveniences which this plan involved1 it was soon exchanged for the more simple way of 'impaling' or placing the entire arms of both parties side by side in one shield 7fig4 #adf and pls4 ,,viii ,c1 ,,xviii ,a1 ,b71 a practice that has continued ever since1 except when the wife is an heiress4 ,in that case the lady's arms are usually drawn upon a smaller shield and placed upon the middle of the husband's arms 7pl4 ,v ,a74 ,this ugly and most inconvenient plan1 though of considerable antiquity1 might very well be amended by the more ancient way of quartering the arms together1 as is still done by the children of the heiress4 ,for rules for the combination of the arms of a husband who has married two or more wives1 or the cumbrous regulations as to quartering1 the student may1 if he wishes1 consult the various manuals of heraldry4 ,illustration3 ,,fig4 #adf4 ,shield of ,bryen impaling ,bures1 from a brass in ,acton church1 ,suffolk4 ,when a man is a member of any ,order1 such as the ,garter or the ,bath1 only his own arms should be encircled by the insignia of the ,order4 ,exceptions to this rule can of course be found1 but it is otherwise a general one that ought strictly to be followed4 ,bishops are entitled to bear their personal arms only impaled with those of their bishopstool or cathedral church1 and the same rule applies to deans1 heads of colleges1 and regius professors 7like those at ,cambridge7 who have official arms4 ,the chancellor of a ,university presumably may impale its arms with his own4 ,it has already been shown that the arms of ladies1 all through the medieval period1 were borne in precisely the same way as their fathers' or their husbands'1 that is1 upon a shield1 lozenge1 or roundel1 and that the present inconvenient restriction to a lozenge did not come into use much before the middle of the sixteenth century1 when heraldry and heraldic art were already on the down-grade4 ,the present custom seems to be for the arms of married ladies to be borne upon shields1 and of widows and spinsters upon lozenges4 ,from the artistic standpoint it would certainly be desirable1 whenever it is thought advisable1 to revert to the freedom of pre-,elizabethan times4 ,enough has already been said as to the elasticity of drawing shields1 helms1 crests1 and mantlings1 and as to the proper use of supporters1 but a few words may be added as to the proper way of drawing the various creatures that are used in heraldry4 ,since heraldry is a survival of what was once a living thing1 it is clear that if modern work is to look well1 animals and birds ought to be drawn in a more or less conventional manner 7figs4 #adh1 #adi74 ,some1 such as elephants1 dogs1 falcons1 etc4 may be drawn almost directly from nature2 but others1 especially lions1 if so represented1 would manifestly be unfit to consort with the leopards1 the wivers1 the griffins1 the two-headed eagles1 and other delightful creatures of the early heralds which they borrowed from the bestiaries4 ,the conventional treatment should not1 however1 be carried to excess1 nor should natural forms be too closely copied4 ,here1 as in other matters connected with heraldry1 a comparative study of good ancient examples will soon show what are the best types to follow4 ,illustration3 ,,fig4 #adg4 ,lion with a forked tail1 from a brass at ,spilsby in ,lincolnshire1 #acia4 ,illustration3 ,,fig4 #adh4 ,shield with three pheasants1 from a brass at ,checkendon1 ,oxon1 #adjd4 ,illustration3 ,,fig4 #adi4 ,shield of the arms of ,sir ,humphrey ,littlebury1 from his effigy at ,holbeach in ,lincolnshire1 c4 #acfj1 with fine examples of heraldic leopards4 ,it would be an advantage1 too1 if artists would revert to the old ways of representing the furs known as ermine and vair4 ,the ancient ermine tails did more or less resemble the actual tail of an ermine1 but the modern object with its three dots above has no likeness to it whatever 7fig4 #aej74 ,so too with regard to vair1 which represents the skins of grey squirrels1 the modern treatment of it as rows of angular eighteenth century shields is far removed from the conventional forms of the real skins seen in the best old work 7fig4 #aea74 ,illustration3 ,,fig4 #aej4 ,early and modern versions of ermine-tails4 ,illustration3 ,,fig4 #aea4 ,early and modern versions of vair4 ,it has already been pointed out that there are no strict rules as to the particular shades of colour allowable in heraldry1 and it is one of the surprises of the student to find what dull and cold tones were anciently used that yet look quite right4 ,the apparently bright reds1 for example1 of the enamel in the early stall-plates at ,windsor are actually brick-colour1 and the apparent fine blues a cold grey2 but their combination with gilding and silvering makes all the difference in the ultimate beautiful rich effect4 ,one thing that ought to be most scrupulously avoided in all modern heraldic decoration is the indicating of the gilding and colouring by the pernicious 'dot-and-dash' system4 ,this is all very well as a kind of shorthand in one's own notes or memoranda1 but it is utterly destructive of artistic effect if applied in actual work4 ,ancient shields in relief were no doubt invariably painted1 like those still to be seen behind the quire at ,westminster2 but let any one try to imagine the fine series at ,york or ,st4 ,albans scored and pecked to indicate the colour and gilding4 ,if the heraldic carvings are not to be painted1 at any rate do not let their surfaces be disfigured4 ,they may always be relieved by diapering4 ,the treatment of mottoes may not1 at first sight1 seem to fall within the scope of this work1 but actually it is one of very real importance4 ,there is much to be said for the theory that mottoes are derived from the war cries of early times1 and hence their frequent association with the crest worn upon the helm4 ,reference has already been made to examples upon seals and other authorities4 ,the association of a motto with a shield only was not common anciently1 and when it is so found it is generally placed on a scroll1 like the well-known examples on the tomb of ,edward prince of ,wales at ,canterbury 7fig4 #he74 ,in later times1 when shields began to be encircled by the ,garter of the famous ,order 7fig4 #aeb71 mottoes were often arranged about the shield in a similar way4 ,illustration3 ,,fig4 #aeb4 ,the ,garter1 from the brass of ,thomas lord ,camoys1 ,k4,g4 at ,trotton in ,sussex4 ,there was however always this very important and noteworthy difference and distinction1 that the buckled band now so commonly used for mottoes was anciently never allowed for any but the motto of the ,order of the ,garter4 ,other mottoes were written on a band which was fastened in a different way1 or merely disposed ,garter-wise round the shield4 ,the earliest known representation of the ,garter is on a singular lead or pewter medallion 7fig4 #aec7 commemorative of ,edward prince of ,wales1 first ,prince of the ,order1 now in the ,british ,museum4 ,in this the prince is kneeling bare-headed before a personification of the ,holy ,trinity1 with his gloves on the ground before him1 and an angel standing behind him and holding his crested helm4 ,the whole is enclosed by a buckled band inscribed hony soyt ke mal y pense1 with a cloud overlapping its upper margin1 from which issues an angel holding down the prince's shield of arms4 ,illustration3 ,,fig4 #aec4 ,pewter medallion with ,edward prince of ,wales1 now in the ,british ,museum4 ,it has been customary from within a few years of the foundation of the ,order in #acdh for the ,knights-,companions to encircle their personal arms with the ,garter4 ,in a wardrobe account of ,king ,edward ,,iii1 from #adth ,february #acdi-ej to #cjth ,september #acea1 payments are entered for the making 'of two pencells of sindon de ,triple1 each having in the midst a ,garter of blue sindon with a shield within the same ,garter of the ,king's arms quartered1 and beaten throughout the field with eagles of gold'2 but representations of such a usage are hard to find4 ,a good early example is afforded by the monumental brass at ,trotton in ,sussex of ,thomas lord ,camoys 7ob4 #adai7 7fig4 #aed74 ,illustration3 ,,fig4 #aed4 ,shield of arms 7a chief and three roundels on the chief7 encircled by the ,garter1 from the brass of ,thomas lord ,camoys 7ob4 #adai74 ,in illustration of the care above referred to of distinguishing the ,garter motto from any other1 two concrete examples may be cited3 one on the brass at ,constance of ,robert ,hallam bishop of ,salisbury 7ob4 #adaf71 where the ,king's arms are encircled by the ,garter1 and the bishop's own arms by an open scroll with a scripture 7fig4 #aee72 the other on the west porch of the cathedral church of ,norwich1 where the arms of ,king ,henry ,,vi have the ,garter about them1 and the arms of the builder of the porch1 bishop ,william ,alnwick 7#adbf-cf71 are surrounded by a scroll with his motto4 ,illustration3 ,,fig4 #aee4 ,shields encircled by the ,garter and a scroll1 from the brass of ,bishop ,hallam 7ob4 #adaf7 at ,constance4 ,this distinction was carefully borne in mind when the insignia of ,british ,orders1 other than that of the ,garter1 were devised1 and in every case their mottoes are displayed on plain and not buckled bands4 ,in the ,albert ,medal for ,bravery1 however1 the encircling motto has been most improperly placed on a buckled band like the ,garter1 and the people who supply 'heraldic stationery' are notorious offenders in the same direction4 ,the lettering of a motto must of course depend upon the circumstances of its use4 ,nothing looks so well as the so-called 'old-,english' or small black-letter1 especially if the height of the words is as nearly as possible the same as the width of the band or scroll1 and the capitals are not unduly prominent2 but the form of capital known as ,lombardic is always preferable to those of the black-letter alphabet4 ,when capitals alone are used1 fanciful types should be avoided2 a good ,roman form such as is often found in ,tudor inscriptions being far better4 ,if the motto to be set about a shield is a short one it can often be extended conveniently1 if necessary1 by a judicious use of ornamental devices like roses or other flowers between the words4 ,the ends of scrolls with mottoes have a more satisfactory appearance if shown partly curled up and partly pulled out spirally than if forked and waved1 as may so often be seen nowadays4 ,scrolls always look better if not bordered or edged in any way1 but this does not apply to the narrow bounding line that may be necessary in enamelled work4 ,illustration3 ,,fig4 #aef4 ,royal arms of ,king ,henry ,,vii within the ,garter1 of ,english work1 from the ,king's tomb by ,torregiano at ,westminster4 ,illustration3 ,,fig4 #aeg4 ,arms of ,st4 ,george within the ,garter1 from the brass of ,sir ,thomas ,bullen1 ,k4,g4 earl of ,wiltshire and ,ormond1 #aech1 at ,hever in ,kent4 ,,chapter ,,xi ,,crowns1 ,,coronets1 ,,and ,,collars ,crowns and ,coronets2 ,introduction of ,coronets2 ,coronets of ,princes1 ,dukes1 and ,earls2 ,bequests of ,coronets2 ,illustrations of ,coronets and ,crowns2 ,collars and ,chains2 ,collars of ,orders2 ,lancastrian ,collars of ,,ss2 ,yorkist ,collars of ,suns and ,roses2 ,tudor ,collars of ,,ss2 ,other ,livery ,collars2 ,waits' ,collars2 ,collars and ,chains of ,mayors1 ,mayoresses1 and ,sheriffs2 ,the ,revival of ,collars2 ,inordinate ,length of modern ,collars4 ,at the present day it is the habit of divers ladies of rank to surmount their hair1 when occasion allows1 with diamond tiaras of surpassing splendour4 ,the ladies of olden time were not free from a similar weakness1 but the diamond mines of ,south ,africa being then unknown1 and other gems too costly1 they encouraged the goldsmiths to make them beautiful crowns and crestings1 with which they adorned their heads and headgear4 ,a reference to the accurate drawings and details published by ,stothard in his ,monumental ,effigies will show not only the high artistic excellence of these ornaments1 but also how becoming they were to the ladies who wore them4 ,they varied greatly in design1 from the simple circlet of fleurons and trefoils of ,queen ,eleanor of ,castile 7fig4 #aeh7 to the sumptuous piece of jewellery beset with pearls and stones1 which is represented on the alabaster effigy of ,queen ,joan at ,canterbury 7fig4 #aei7 and reflects so worthily the yet more splendid crown of her husband1 ,king ,henry ,,iv 7fig4 #agc74 ,illustration3 ,,fig4 #aeh4 ,crowned effigy of ,queen ,eleanor at ,westminster4 ,illustration3 ,,fig4 #aei4 ,crowned effigy of ,queen ,joan at ,canterbury4 ,attention has already been drawn to the decorative use of crowns in heraldry1 and a reference promised to the coronets of peers and peeresses4 ,coronets1 as they are now called1 originated as early as #acdc1 when ,edward duke of ,cornwall and earl of ,chester was created ,prince of ,wales1 and invested by his father with a circlet 7sertum7 on his head1 a gold ring on his finger1 and a golden verge which was placed in his hand4 ,the circlet in question passed into the possession of his brother1 ,lionel duke of ,clarence1 who in #achh left in his will 'a golden circlet with which my brother and lord was created prince' as well as 'that circlet with which ,i was created duke4' ,this latter event happened in #acfb1 at the same time that his brother ,john of ,gaunt was created duke of ,lancaster1 when ,king ,edward girded his son with a sword and put upon his head a fur cap and over it 'un cercle d'or et de peres1' a circlet of gold and precious stones4 ,this investiture with a coronet was for some time restricted to dukes1 but in #ache ,king ,richard ,,ii bestowed upon ,richard earl of ,oxford the new dignity of marquess of ,dublin1 and invested him with a sword and a circlet of gold4 ,the investing of an earl with a coronet does not seem to have become customary before the reign of ,edward ,,vi1 but earls had worn coronets in virtue of their rank for a long time previously4 ,in ,april #addd1 when ,henry ,beauchamp earl of ,warwick was created premier earl by ,henry ,,vi1 the letters patent of his appointment empower him 'to wear a golden circlet upon his head and his heirs male to do the same on feast days in all places where it is convenient as well in our presence as of others4' ,but the practice can perhaps be carried still further back1 for ,selden in his ,titles of ,honour 7p4 #fhj7 quotes a receipt dated #acai by ,william of ,lavenham1 treasurer of ,aymer of ,valence earl of ,pembroke1 of 'a gold crown of the said earl4' ,by his will dated #acge ,richard ,fitz,alan earl of ,arundel leaves to ,richard his son 'my best crown 7ma melieure coroune7 charging him upon my blessing that he part not with it during his life1 and that after his death he leave it to his heir in the same manner to descend perpetually from heir to heir to the lords of ,arundel in remembrance of me and of my soul4' ,he also leaves to his daughter ,joan 'my second-best crown' and to his daughter ,alice 'my third crown1' under similar conditions4 ,the earl's best crown may be that shown upon the alabaster effigy at ,arundel of his grandson ,thomas earl of ,arundel2 to whom it was bequeathed by his father 7fig4 #afc74 ,it has alternate leaves and pearled spikes1 similar to1 but richer and better in design than1 the earls' coronets of to-day4 ,sir ,n4 ,h4 ,nicolas suggests that earl ,richard's second and third coronets were bequeathed to his daughters because both were countesses2 ,joan being wife to ,humphrey ,bohun earl of ,hereford1 and ,alice to ,thomas ,holand earl of ,kent4 ,there are other bequests of coronets to ladies3 ,edmund ,mortimer earl of ,march and ,ulster left in #achj to his daughter ,philippa1 afterwards wife to 7#a7 ,john ,hastings earl of ,pembroke1 7#b7 ,richard earl of ,arundel1 and 7#c7 ,john lord ,st4 ,john1 'a coronal of gold with stones and two hundred great pearls 7un coronal a'or ove perie et deuz cents grands perles7 and also a circlet with roses1 with emeralds and rubies or ,alexandria in the roses 7un cercle ove roses emeraudes et rubies d'alisaundre en les roses74' ,michael de la ,pole earl of ,suffolk also left in #adae to his wife ,katherine the diadem or coronet which had belonged to her father ,hugh earl of ,stafford1 who died in #achf4 ,the swan's head crest of ,richard ,beauchamp earl of ,warwick 7ob4 #adci7 on his effigy at ,warwick is encircled by a crown of stalked pearls1 not unlike those of an earl's coronet of the present day 7fig4 #afj74 ,illustration3 ,,fig4 #afj4 ,helm and crest1 and bust1 of ,richard ,beauchamp1 earl of ,warwick 7ob4 #adci17 from his gilt-latten effigy at ,warwick4 ,among ,stothard's engravings are two of effigies of quite early date of ladies wearing crowns or coronets4 ,one1 at ,scarcliffe in ,derbyshire 7fig4 #afa71 cannot be later than about #abej1 and the crown in this case is composed of some twenty simple leaves set upright upon the edge of a narrow band4 ,the other1 at ,staindrop in ,durham1 is about a century later1 and represents a widowed lady1 probably ,margery1 second wife of ,john lord ,nevill1 wearing a crown of curled leaves with points between 7fig4 #afb74 ,the next illustration is of special interest since it represents ,thomas earl of ,arundel 7ob4 #adaf7 wearing presumably the coronet mentioned above in his grandfather's bequest 7fig4 #afc72 his countess ,beatrice has a slighter coronet of similar character4 ,the great alabaster tomb1 also at ,staindrop1 or ,ralph earl of ,westmorland 7ob4 #adbe7 and his two countesses furnishes the next example4 ,in this case the earl is in armour1 but both ladies wear delicate coronets1 formed of rows of points with triplets of pearls and intervening single pearls1 rising from narrow ornamental circlets 7fig4 #afd74 ,illustration3 ,,fig4 #afa4 ,effigy of a lady 7c4 #abej7 in ,scarcliffe church1 ,derbyshire4 ,illustration3 ,,fig4 #afb4 ,effigy of a lady in ,staindrop church1 ,durham4 ,illustration3 ,,fig4 #afc4 ,thomas earl of ,arundel 7ob4 #adaf71 from his alabaster effigy at ,arundel4 ,illustration3 ,,fig4 #afd4 ,joan ,beaufort1 countess of ,westmorland 7ob4 #addj71 from her alabaster effigy in ,staindrop church1 ,durham4 ,the tomb of another earl of ,arundel1 ,william ,fitz,alan 7ob4 #adhg71 and of his countess ,joan1 further illustrates the use of coronets4 ,the earl's coronet is in this case composed of a continuous row of leaves with a jewelled band 7fig4 #afe72 the countess wears a similar coronet1 but curiously distorted behind1 evidently because it was thought to be more becoming when so worn 7fig4 #aff74 ,illustration3 ,,fig4 #afe4 ,william ,fitz,alan1 earl of ,arundel 7ob4 #adhg71 from his effigy at ,arundel4 ,illustration3 ,,fig4 #aff4 ,joan countess of ,arundel1 from her effigy at ,arundel4 ,the monument in ,st4 ,peter's church1 in ,sheffield1 of ,george earl of ,shrewsbury 7ob4 #aech7 and his two wives represents him in armour1 with the mantle and collar of the ,garter1 and a coronet1 now broken1 about his head4 ,his wives also have coronets1 which are happily complete1 and are composed of continuous series of twelve short points tipped with pearls4 ,the earl's coronet seems to have had similar points1 but with sixteen pearls instead of twelve4 ,the effigy circa #aejj at ,whitchurch in ,salop of that famous warrior1 ,john ,talbot earl of ,shrewsbury1 who was killed in #adec1 also represents him in the mantle of the ,garter over his armour and a coronet about his head4 ,this is unfortunately badly broken1 but seems to have resembled that on the ,sheffield figures4 ,besides these examples of coronets of earls and their countesses a few illustrations of those worn by dukes and duchesses may be cited4 ,it has been already noted that the shields on the monument of ,humphrey duke of ,gloucester 7ob4 #addf7 at ,st4 ,albans are surmounted alternately by crested helms and by caps with coronets4 ,these coronets have a richly jewelled circlet on which is set1 instead of leaves1 a series of what seem to be cups full of daisies1 with small triplets of pearls between4 ,another good coronet is to be seen on the effigy of ,thomas ,holand duke of ,exeter 7ob4 #addg7 on the monument formerly in ,st4 ,katharine's hospital by the ,tower1 now in the chapel in ,regent's ,park4 ,the duke's coronet here is quite narrow1 and composed of some eighteen or twenty trefoils set close upon a band 7fig4 #afg72 but his two duchesses have coronets of triplets of pearls with intermediate single pearls1 like those of the countesses of ,westmorland at ,staindrop 7fig4 #afh74 ,illustration3 ,,fig4 #afg4 ,john ,holand duke of ,exeter 7ob4 #addg71 from his effigy at ,st4 ,katharine's hospital1 ,regent's ,park4 ,illustration3 ,,fig4 #afh4 ,head of a duchess of ,exeter1 from the monument at ,st4 ,katharine's hospital1 ,regent's ,park4 ,the alabaster effigy at ,ewelme of ,alice1 widow of ,william duke of ,suffolk 7ob4 #adej71 shows her in a beautiful coronet of fleurs-de-lis alternating with small clusters of pearls 7fig4 #afi71 and similar coronets once adorned the effigies at ,wingfield in ,suffolk of her son ,john de la ,pole duke of ,suffolk 7ob4 #adia7 and his wife ,elizabeth4 ,illustration3 ,,fig4 #afi4 ,alice duchess of ,suffolk 7ob4 #adge71 from her alabaster effigy in ,ewelme church1 ,oxon4 ,the privilege of wearing coronets was not extended to viscounts until the reign of ,james ,i1 and to barons until #affa4 ,the official patterns of coronets to which peers and peeresses are now restricted have1 as may be seen from the examples above cited1 practically no relation to the older forms1 which exhibited the usual delightful medieval elasticity of design4 ,the present coronets too are rendered uglier than ever by the modern rule forbidding them to be jewelled in any way4 ,this was not formerly the case4 ,among the stuff remaining in the palace of ,westminster in #aeec1 and delivered to lady ,jane ,grey1 was 'a coronet for a duke1 set with five roses of diamonds1 six small pointed diamonds1 one table emerald1 six great ballases1 seven blue sapphires1 and thirty-eight great pearls1 with a cap of crimson velvet and a roll of powdered armyns about the same'2 and a beautifully ornamented coronet of much earlier date than the painting is shown in a portrait of ,john marquess of ,winchester1 the defender of ,basing ,house1 who died in #afgd4 ,it is the custom now for ladies of rank to wear their coronets only at coronations1 and to display them on their note-paper1 their spoons and forks1 and on the panels of their carriages and motor-cars4 ,such coronets cannot however be considered artistic objects1 even when depicted apart from the crimson velvet bonnets which they encircle1 and there is no reason why ladies should not devise and wear coronet-like ornaments of their own invention4 ,a little research will show that crowns of every form and fashion have always been freely used in heraldic decoration1 both by themselves and as ensigning letters or other devices1 and so long as care be taken not to infringe what may be called official patterns1 there are really no limits to a continuance of the ancient practice4 ,the lady ,margaret ,beaufort1 countess of ,richmond and mother of ,king ,henry ,,vii1 has left us a delightful series of coronets4 ,first1 on a seal newly made for her on the accession of her son1 her shield of arms is ensigned with a coronet or crown of roses and fleurs-de-lis placed alternately along the edge of a narrow band 7pl4 ,,xxx74 ,shortly after #aeje the lady ,margaret began to build ,christ's ,college at ,cambridge1 and both the gatehouse 7fig4 #agj7 and the oriel of the master's lodge 7fig4 #aga7 are rich in heraldic decoration4 ,in this case both her arms and her portcullis badge are ensigned with coronets set with a continuous row of triplets of pearls4#bj ,in the lady ,margaret's later foundation of ,st4 ,john's ,college1 her arms1 etc4 again are displayed upon the stately gatehouse2 in this case with a coronet of roses and fleurs-de-lis over the shield1 as in her seal 7fig4 #agb74 ,her portcullis badge1 on the other hand1 has over it a fine coronet formed of clusters of roses1 which recalls the circlet of roses set with emeralds and rubies of ,alexandria mentioned earlier in this chapter4 ,it is quite easy to conjure up visions of coronets or circlets formed of lilies or marguerites1 or of roses red and white1 or of any other suitable flower or device1 wrought in gold or gilded silver1 and either jewelled or bright with enamel4 ,and let designers take heart when so recent and yet so picturesque an object as the so-called 'naval crown' can be produced1 with its cresting of sterns and square sails of ships4 ,this was used most effectively some years ago as one of the decorations encircling the ,nelson ,column in ,london on ,trafalgar ,day4 #bj ,on the gatehouse the coronet over the arms has been restored4 ,illustration3 ,,fig4 #agj4 ,armorial ensigns and badges of the lady ,margaret ,beaufort1 from the gatehouse of her foundation of ,christ's ,college1 ,cambridge4 ,illustration3 ,,fig4 #aga4 ,arms of the foundress1 the lady ,margaret ,beaufort1 with yale supporters1 from the base of an oriel in ,christ's ,college1 ,cambridge4 ,illustration3 ,,fig4 #agb4 ,armorial panel on the gatehouse of ,st4 ,john's ,college1 ,cambridge4 ,illustration3 ,,plate ,,xxx4--,crowned shield with supporters and badges of the ,lady ,margaret ,beaufort1 #adhe4 ,it may be as well to point out that the royal crown has been composed1 from the fifteenth century1 of crosses alternating with fleurs-de-lis1 and since the coronation of ,king ,henry ,,iv it has been distinguished by being arched over cross-wise4 ,the splendid open crown shown on the effigy of the king at ,canterbury 7fig4 #agc7 is not that wherewith he was crowned1 but another worn with the parliament robes in which he is represented4 ,beautiful examples of crowns of simpler type are afforded by the effigies of ,king ,henry ,,iii 7fig4 #agd7 and ,king ,edward ,,ii 7fig4 #age74 ,when the lady ,elizabeth ,wydville became the queen of ,edward ,,iv1 she ensigned her arms with a beautiful crown or coronet of alternate large crosses and fleurs-de-lis with smaller fleurs-de-lis between1 rising from a richly jewelled band 7pl4 ,,xxv71 and a rich example of the crown of ,king ,henry ,,viii so treated is to be seen on the great carved panel with his arms1 etc4 at ,new ,hall in ,essex 7fig4 #ahi74 ,crosses and fleurs-de-lis are now used only in the coronets of those of royal blood4 ,illustration3 ,,fig4 #agc4 ,king ,henry ,,iv1 from his alabaster effigy in ,canterbury cathedral church4 ,illustration3 ,,fig4 #agd4 ,king ,henry ,,iii1 from his gilt-latten effigy at ,westminster4 ,illustration3 ,,fig4 #age4 ,king ,edward ,,ii1 from his alabaster effigy at ,gloucester4 ,from ornaments for the head it is easy to pass to those for the neck4 ,the wearing about the neck of something which was considered decorative or becoming has been customary with the fair sex in every part of the world and in all ages of its history1 and necklaces of every form1 material1 and fashion are as popular to-day as ever4 ,but less attention is now paid to the decorative collars that once were worn not only by women but by men4 ,it has always been a mark of distinction or dignity to wear about the neck a chain or collar of gold1 silver1 or silver-gilt1 either as an ornament1 or a decoration of honour1 or as a badge of partizanship2 and the most noteworthy of these to-day are the collars of the various orders of ,knighthood1 such as the ,garter 7fig4 #agg71 the ,thistle1 and the ,bath4 ,illustration3 ,,fig4 #agf4 ,crowned initials of ,king ,henry ,,vii1 from his ,lady chapel at ,westminster4 ,illustration3 ,,fig4 #agg4 ,thomas ,howard third duke of ,norfolk 7#adgc787-aeed7 with the collar of the ,order of the ,garter1 from the picture by ,holbein at ,windsor castle4 ,the history and characteristic features of these are well known1 and representations of them abound2 moreover the wearing of them is confined to a few privileged persons4 ,it is therefore hardly necessary to discuss them further in a work like the present4 ,the case is however different with regard to the so-called livery collars1 since these may properly be regarded as models for the formation and construction of such similar collars as may freely be worn to-day4 ,the most notable of such decorations during the medieval period was the collar of ,,ss which formed the distinctive cognisance of the ,house of ,lancaster 7figs4 #agh1 #agi74 ,it was worn by persons of every degree1 from the ,king and ,queen to the knight and his esquire1 and it was likewise worn by their wives and even conferred on civilians4 ,illustration3 ,,fig4 #agh4 ,collars of ,,ss4 #a4 ,from the brass of ,lady ,camoys1 #adai1 at ,trotton in ,sussex4 #b4 ,from the brass of ,sir ,william ,calthorpe1 #adbj1 at ,burnham ,thorpe in ,norfolk4 ,the collar of ,,ss was apparently invented by ,king ,henry ,,iv before his accession1 and quite a number of important entries that throw light upon its history occur in his household accounts while he was only ,henry of ,lancaster earl of ,derby4 ,illustration3 ,,fig4 #agi4 ,collar of ,,ss from the effigy of ,william lord ,bardolf 7ob4 #adda7 at ,dennington in ,suffolk4 ,in #acij-a a gold signet was engraved for him 'cum j plume et j coler1' of which unhappily no impressions are known4 ,in #acia-b there was made for him a 'coler' of gold 'with seventeen letters of ,s after the manner of feathers with scrolls and scriptures in the same with a swan in the tiret4' ,this recalls the badge upon one of ,henry's own seals as earl of ,derby 7#ache7 described above 7p4 #afg71 an ostrich plume entwined with a scroll and the scripture souvereyne 7pl4 ,,xxiv ,c71 and we know from other sources of ,henry's favour towards the ,bohun swan1 which device he used in right of his first wife1 the lady ,mary ,bohun4 ,the collar of ,,ss1 moreover1 on the effigy of ,john ,gower the poet 7ob4 #adjb7 in ,southwark cathedral church has a swan on the pendant of it1 and no doubt represents the collar actually given to him by ,henry of ,lancaster in #acic-d4 ,the initial letter1 too1 of the charter granted to the city of ,gloucester by ,henry as ,king in #acii1 contains a crown encircled by a collar of ,,ss ending in two lockets between which is a pendant charged with a swan4 ,the earl's accounts for #acic-d mention the purchase of the silver 'of a collar made with rolled esses and given to ,robert ,waterton because the lord had given the collar of the same ,robert to another esquire4' ,in #acif-g a charge is entered 'for the weight of a collar made1 together with esses1 of flowers of soveigne vous de moy#ba hanging and enamelled weighing eight ounces4' #ba ,in #adbf ,sir ,john ,bigod lord of ,settrington left to his daughter a covered cup 'pounset cum sovenez de moy'2 perhaps a gift to him from ,henry of ,lancaster4 ,testamenta ,eboracensia 7,surtees ,soc4 #d7 i4 #daa4 ,what these flowers were is uncertain4 ,charges for making 'flores domini' occur in #acij-a and other years1 and in #acia-b three hundred leaves 78flowers7 de souveine vous de moy of silver-gilt were bought for one of the earl's robes4 ,in #adjg ,henry of ,lancaster as ,king ordered payment to be made to ,christopher ,tildesley1 citizen and goldsmith of ,london1 of the huge sum of #che #fs4 #h;d4 'for a collar of gold worked with this word soveignez and letters of ,s and ,x enamelled and garnished with nine large pearls1 twelve large diamonds1 eight balases1 and eight sapphires1 together with a great nouche in manner of a treangle with a great ruby set in it and garnished with four large pearls4'#bb #bb ,p4,r4,o4 ,issue ,rolls 7,pells7 ,mich4 #h ,henry ,,iv 7#adjg74 ,most of these entries suggest that the mysterious ,,ss stand for ,soveignez1 and possibly at one time this was the case1 but ,henry's seal as earl of ,derby in #ache containing the feathers with the scripture souvereyne must not be overlooked4 ,there is moreover1 on a fragment which has fortunately survived in a tattered and burnt mass of fragments of a jewel account of ,henry's reign in the ,public ,record ,office1 the important entry of a payment to ,christopher ,tildesley of 'a collar of gold made for the ,king with twenty-four letters of ,s pounced with soverain1 and four bars1 two pendants1 and a tiret with a nouche garnished with a balas and six large pearls 7the balas bought of the said ,christopher for #aj and the price of the pearls at #djs41 being #ab7 weighing #g oz4 ,troy at #bcs4 #d;d4 #h #cs4 #d;d4 ,also a black tissue for the same collar #cs4 #d;d4 and for the workmanship of it #d4'bc ,the ,king's word soverayne also occurs many times1 with the ,queen's word a temperance1 on the tester over their monument at ,canterbury1 which has likewise the shield of arms for the ,king1 the ,king and ,queen1 and the ,queen alone1 encircled in each case with a collar of ,,ss with golden eagles placed upon the tiret4 ,gold eagles also form stops between the repetitions of the word soverayne4 #bc ,accounts1 ,exch4 ,k4,r4 #djd_/ah4 ,another example of a collar of ,,ss with an eagle as a pendant is to be seen on the monument of ,oliver ,groos1 esquire 7ob4 #adci71 in ,sloley church1 ,norfolk 7fig4 #ahj74 ,illustration3 ,,fig4 #ahj4 ,spandrel of the tomb of ,oliver ,groos1 ,esq4 7ob4 #adci71 in ,sloley church1 ,norfolk1 with collar of ,,ss4 ,examples of effigies in stone or brass of men and women wearing the collar of ,,ss are common throughout the ,lancastrian period4 ,the ,,ss seem in most cases to be represented as sewn or worked upon a band of silk1 velvet1 or other stuff1#bd which usually ends in buckled lockets1 linked by a trefoil-shaped tiret1 from which is hung a small ring 7fig4 #aha74 #bd ,notice of the theft of a collar of black silk dotted 7stipatum7 with silver letters of ,,ss is entered on the ,patent ,roll of #g ,henry ,,iv 7#adjf71 part ii4 m4 #bi4 ,illustration3 ,,fig4 #aha4 ,collars of ,,ss from 7#a7 the effigy of ,queen ,joan at ,canterbury1 and 7#b7 the effigy of ,robert lord ,hungerford at ,salisbury4 ,several other interesting occurrences of the collar of ,,ss may be noted4 ,in one of the windows in the chapter house at ,wells is a shield of the arms of ,mortimer1 and next to it a gold star within the horns of a crescent party blue and silver1 encircled by a collar of ,,ss also half blue and half white4 ,as there are associated with these the arms of the ,king and of ,thomas duke of ,clarence 7ob4 #adba71 they probably commemorate ,edmund ,mortimer earl of ,march1 who died in #adbe4 ,in #addi a receipt given to the steward of ,southampton by the prior of the ,shene ,charterhouse1 which was founded by ,king ,henry ,v1 bears a seal with ihs within a collar of ,,ss2 and in ,st4 ,mary's church at ,bury ,st4 ,edmunds the ceiling over the tomb of ,john ,baret1 an ardent ,lancastrian1 who died in #adhj1 is painted with collars of ,,ss surrounding his monogram4 ,there is also in a ,,ms4 in the ,british ,museum1#be written probably for ,john lord ,lovel 7ob4 #adad71 a painting of the arms of ,holand quartering ,lovel surrounded by a collar1 one half of which is white and the other half blue1 with gold letters of ,,ss1 having for a pendant a gold fetterlock1 party inside of red and black4 #be ,harl4 ,,ms4 #gjbf1 f4 #ac4 ,on a brass c4 #adge at ,muggington in ,derbyshire the ,beaufort portcullis appears as a pendant to the collar of ,,ss4 ,with the rise to power of the ,yorkists on the accession of ,edward ,,iv a rival collar to that of the ,lancastrian livery came into vogue1 composed of blazing suns and ,york roses disposed alternately 7fig4 #ahb74 ,it may be seen in various forms on a number of monumental effigies and brasses1 usually with the couchant white lion of the house of ,march as a pendant1 but on the accession of ,richard ,,iii the lion was replaced by his silver boar4 ,on the wooden ,nevill effigies at ,brancepeth the earl has a collar of rayed suns with the boar pendant1 while the countess has a collar of alternate suns and roses4 ,joan countess of ,arundel1 on her effigy at ,arundel 7fig4 #aff71 shows another variation by interpolating the ,fitz,alan oak leaves between the suns and the roses4 ,illustration3 #a #b ,,fig4 #ahb4 ,collars of suns and roses from 7#a7 the effigy of a knight of the ,erdington family at ,aston1 ,warwickshire1 and 7#b7 from the effigy of ,sir ,robert ,harcourt1 ,k4,g4 #adga1 at ,stanton ,harcourt1 ,oxon4 ,after the accession of ,henry ,,vii the collar of ,,ss was again revived1 but with variations and different pendants4 ,the effigy1 for example1 at ,salisbury of ,sir ,john ,cheyney1 ,k4,g4 7ob4 #adhi71 has appended to his ,,ss collar a large portcullis charged with a rose4 ,a collar of gold weighing over #g ounces is recorded to have been given in #adii to adorn the image of the ,holy ,trinity in ,norwich cathedral church1 and is described as containing twenty-five letters of ,s1 two tirets1 two 'purcoles' 7portcullises71 and one double ,r787 with a red rose enamelled4#bf ,a similar collar1 but all of gold1 is shown in the portrait of ,sir ,thomas ,more1 painted by ,holbein in #aebg 7fig4 #ahc74 ,on a brass c4 #aeaj at ,little ,bentley in ,essex the collar of ,,ss has a portcullis pendant1 and on the ,manners effigy 7c4 #aeac7 at ,windsor and the ,vernon effigy 7#aecg7 at ,tong the pendant to the knight's collar is a large double rose4 #bf ,norwich ,sacrist's ,register1 xi4 f4 #aaa4 ,illustration3 ,,fig4 #ahc4 ,sir ,thomas ,more wearing the collar of ,,ss1 from an original portrait painted by ,holbein in #aebg1 belonging to the late ,mr4 ,edward ,huth4 ,the collars on the ,salkeld effigies 7#aeja7 at ,salkeld in ,cumberland are composed of ,,ss and four-leaved flowers alternately1 and that worn by ,sir ,george ,forster 7ob4 #aebf7 on his tomb at ,aldermaston in ,berkshire is of ,,ss laid sideways and alternating with knots1 and has a portcullis and rose pendant4 ,in #aede ,sir ,john ,alen1 sheriff in #aeah and lord mayor in #aebe and #aece1 bequeathed for the use of the lord mayor of ,london1 and his successors for ever1 his collar of ,,ss1 knots1 and roses of red and white enamel2 and a cross of gold with precious stones and pearls was given to be worn with it in #aeeh4 ,an effigy of a ,lisle c4 #aeej at ,thruxton in ,hants has a similar collar of ,,ss1 knots1 and roses1 also with a cross as a pendant4 ,sir ,john ,alen's collar1 somewhat enlarged1 and with a modern 'jewel' as a pendant1 is still worn by the lord mayor of ,london1 and is the only medieval collar of ,,ss that has survived4 ,after the reign of ,king ,henry ,,viii the wearing of the collar of ,,ss gradually became restricted to judges and other officials1 and has so survived to the present day1 when it is still worn in ,england by the lord chief justice1 the kings-of-arms1 heralds1 and pursuivants1 and by the serjeants-at-arms4 ,the lord chief justice's collar1 like all those formerly worn by the judges1 is composed of ,,ss and knots2 the others of ,,ss only4 ,beside the livery collars above mentioned1 others have been worn from time to time4 ,in the exquisitely painted diptych or ,richard ,,ii and his avowries1 now at ,wilton ,house1 the ,king has about his neck a collar formed of golden broom-cods1 and the gorgeous red mantle in which he is habited is covered all over with similar collars enclosing his favourite badge1 the white hart4 ,a collar of gold 'de ,bromecoddes' with a sapphire and two pearls occurs in the great inventory taken on the death of ,king ,henry ,v1 and a collar formed of ,,ss and broom-cods was also made for ,king ,henry ,,vi in ,july #adbf4bg #bg ,john ,anstis1 ,the ,register of the most noble ,order of the ,garter 7,london1 #agbd71 ii4 #aaf note4 ,on his effigy at ,ripon 7c4 #acij7 ,sir ,thomas ,markenfield displays a collar formed of park palings1 which widen out in front to enclose a couchant hart 7fig4 #ahd74 ,if this were not a personal collar1 it may have been a livery of ,henry of ,lancaster as earl of ,derby4 ,illustration3 ,,fig4 #ahd4 ,head of the effigy in ,ripon minster of ,sir ,thomas ,markenfield with livery collar of park-palings4 ,a brass of the same date of a knight1 formerly at ,mildenhall1 showed him as wearing a collar apparently once composed of scrolls with scriptures1 joining in front upon a large crown with a collared dog or other beast within it4 ,the brass at ,wotton-under-,edge of ,thomas lord ,berkeley 7ob4 #adag7 shows him with a collar sown with mermaids1 the cognisance of his house 7fig4 #ahe74 ,illustration3 ,,fig4 #ahe4 ,thomas lord ,berkeley 7ob4 #adag7 with a collar of mermaids1 from his brass at ,wotton-under-,edge1 ,gloucestershire4 ,in his will dated #adcj ,william ,stowe the elder1 of ,ripon1 a retainer in the household of the earl of ,northumberland1 bequeaths his silver livery ,anglice cressaunt and his livery ,anglice coller to the shrine of ,st4 ,wilfrid4#bh ,possibly the 'cressaunt' was an object similar to that here figured 7now belonging to the duke of ,northumberland71 and the collar like that formed of p's and crescents enclosing p's linked together which is engraved upon it 7fig4 #ahf74 #bh ',item ego liberaturam meam argenteam ,anglice cressaunt1 et liberaturam meam ,anglice coller4 ad feretrum ,sancte ,wilfridi4' ,test4 ,ebor4 ii4 #ac4 ,illustration3 ,,fig4 #ahf4 ,silver badge belonging to the duke of ,northumberland4 ,the earlier collars1 as has already been noted1 were composed of devices sewn upon a band of stuff1 but in later examples a more open treatment is found wherein the devices are linked together by short pieces of chain1 as in the collar of ,,ss shown in ,sir ,thomas ,more's portrait4 ,the ,yorkist collar of suns and roses on an effigy at ,erdington is so treated1 as is the collar of ,,ss and flowers on the ,salkeld effigies1 which may perhaps be a personal and not a livery collar4 ,collars of similar construction1 but always of silver1 with pendent scutcheons of the town arms1 were worn by the little bands of minstrels called waits1 formerly in the employ of most towns of importance 7fig4 #ahg74 ,in ,london the six waits appointed in #adge had silver collars of ,,ss with scutcheons of the city arms4 ,at ,exeter the four waits' collars1 dating from about #aejj1 still exist1 and are formed of roundels with ,x's and ,r's alternately 7fig4 #ahg74 ,two beautiful waits' collars at ,norwich 7c4 #aeej7 are composed of silver castles and gilded leopards alternately1 like those in the appended shield 7fig4 #ahg74 ,the waits' collars at ,lynn were formed of scrolled leaves alternating with dragons' heads pierced with crosses1 like those in the town arms1 which are allusive of ,st4 ,margaret 7fig4 #ahg74 ,at ,york the collars are formed wholly of little silver leopards1 and at ,beverley of eagles and beavers alternately4 ,the waits' collars at ,bristol date from the reign of ,queen ,mary1 and are composed of pierced roundels containing alternately the letters ,,cb4 and a rose dimidiating a pomegranate4 ,illustration3 ,,fig4 #ahg4 ,waits' ,collars of ,exeter1 ,king's ,lynn1 and ,norwich4 ,the wearing of collars1 or chains as they are called1 by mayors1 mayoresses1 and sheriffs is comparatively modern4 ,it was formerly the custom for every person of any dignity to wear a chain1 and it was only when chains began to go out of fashion that the wearing of them survived among persons of particular dignity such as mayors and sheriffs4 ,the collar of ,,ss worn by the lord mayor of ,london is an exceptional example1 and the only other early mayor's chain is that given to ,kingston-on-,hull in #aefd and remade in #aegj4 ,a plain gold chain was bequeathed to the city of ,york in #afab1 and 'a fayre chayne of gold double linked with a medall of massy gold' was given to the town of ,guildford in #afgc4 ,in #agaf a gold chain for the mayor was given to the city of ,norwich1 but passed on for the use of the deputy mayor on a new chain being given in #ageg4 ,yarmouth bought itself a chain in #agcd1 and seven other towns became possessed of mayors' chains towards the end of the eighteenth century4 ,down to #ahej some fifteen more mayors' chains came into existence1 mostly of simple type1 like the older chains1 with one or more rows of plain or ornate links4 ,since #ahej practically every town that can boast of a corporation has likewise got a chain for its mayor1 and appalling creations many of them are1 with rows of tablet links1 and armorial pendants as large as saucers4 ,a simple gold chain to be worn by the sheriffs of ,norwich was given in #agci1 but those at ,chester1 ,newcastle1 ,exeter1 and other places are quite recent4 ,in ,london it has been the custom for the friends and admirers of the sheriffs to present them with elaborate gold collars on their accession to office1 but these are happily private property and not official insignia4 ,the same description applies to them as to the recent mayors' chains4 ,chains for mayoresses have not yet become general1 but they are being multiplied yearly4 ,the mayoress of ,kingston-on-,hull had an official chain as early as #afjd1 but it was sold as being 'useless' in #ahce4 ,the lady mayoress of ,york has a chain of plain gold links given in #afgj1 which is regularly weighed on its delivery to and return by the wearer4 ,all other mayoresses' chains are quite recent1 and in most cases of the same fearsome design as those worn by their husbands4 ,the unfortunate mayors1 mayoresses1 and sheriffs are practically at the mercy of ignorant and inartistic tradesmen for the designing and making of the collars they are called upon to wear officially1 but that is no reason why people with more enlightened ideas should not invent1 design1 and wear collars or chains that are beautiful in themselves4 ,the examples already quoted and the many illustrations of others that are accessible will show what comely ornaments the old heraldic collars were1 and many a lady would look well in a collar to whom a necklace is most unbecoming4 ,flowers1 letters1 and devices of heraldic import can easily be embroidered in gold1 or struck out of metal and enamelled1 and then be sewn down on velvet or silk stuff1 or linked together by fine chains4 ,but let every wearer of a chain or collar avoid the error of making it too long4 ,the ancient collars were quite short1 and therefore rested comfortably and easily upon the shoulders4 ,official collars have however grown to so preposterous a length that they have to be tied with bows of ribbons upon the shoulders to hinder them from slipping off the wearer altogether6 ,the reason of this is curious and instructive4 ,the old collars were1 as aforesaid1 of sensible dimensions1 but the introduction of wigs in the seventeenth century necessitated the collars being lengthened to be worn outside them4 ,wigs had their day and at last disappeared from general wear1 but the lengthened collars remain1 and it has not occurred to any one in authority that they might now advantageously be shortened4 ,so the inconvenience goes on4 ,,chapter ,,xii ,,heraldic ,,embroideries ,the introduction of armorial insignia in embroidered ,vestments3 on ,robes3 on ,beds1 etc4 ,no one who has had occasion to examine any series of old wills and inventories1 especially those of the fourteenth and fifteenth centuries1 can fail to have noticed what a large part was played by heraldry in the household effects of our forefathers4 ,in the vestments and other ornaments of the chapel1 the hallings1 bankers1 and like furniture of the hall1 the hangings and curtains of the beds and bedchambers1 the gold and silver vessels and utensils of the table1 or in carpets and cushions and footstools1 shields of arms1 badges1 mottoes1 and quasi-heraldic devices of all sorts were as common as blackberries in autumn4 ,and the evidence of illuminated pictures and monumental effigies is equally strong in showing that heraldry was quite as much in vogue for personal adornment4 ,as a matter of fact heraldry had its very origin in a system of devices to be worn on shields and banners and coats-of-arms to distinguish the wearer in battle1 and from the coat-of-arms of the knight it was but a step to the armorial gown or mantle of his lady4 ,illustration3 ,,fig4 #ahh4 ,part of an embroidered altar frontal with a rebus at ,baunton in ,gloucestershire3 date1 late fifteenth century4 ,it would be somewhat tedious to extract from the authorities just cited1 especially since they are easily accessible1 every entry relating to an heraldic ornament or piece of furniture4 ,but with regard to hangings and embroideries the case is somewhat different1 inasmuch as numbers of ladies are engaged nowadays in stitch-work of every kind1 amongst which heraldic embroidery ought certainly to have a place4 ,as might be expected1 the inventories of ,church stuffs furnish us with some of the earliest examples of heraldic embroideries1 and often in sufficiently precise terms to enable us to realize what the things looked like4 ,thus an inventory taken in #acae of the ornaments at ,christchurch1 ,canterbury1 enumerates such things as a chasuble and five copes1 the gift of ,katharine ,lovel1 sewn with arms of divers persons2 a white cope of the arms of the ,king of ,scotland2 a cope of ,peter bishop of ,exeter 7ob4 #abia7 of baudekyn 'with biparted shields' 7an early example72 a cope of ,john of ,alderby bishop of ,lincoln1 and another of ,thomas ,burton bishop of ,exeter1 of green cloth embroidered with shields2 an albe with apparels of blue velvet embroidered with shields and fleurs-de-lis2 two albes sewn with shields and black letters1 and a third of red samite embroidered with shields and popinjays2 an albe sewn with lozenges with the arms of the ,king of ,england and of ,leybourne2 an albe sewn with shields and embroidered with letters2 an albe sewn with the arms of ,northwood and ,poynyngs in quadrangles2 and an albe1 stole1 and fanon sewn with divers arms in lozenges with purple frets4 ,the same inventory mentions a vestment of ,philip ,king of ,france1 made1 quite properly1 of blue cloth with fleurs-de-lis2 and a number of vestments with orphreys of the arms of the ,king of ,england and of ,france4 ,the inventory of the vestry of ,westminster ,abbey taken in #achh also contains some interesting heraldic ornaments1 such as a frontal with the arms of ,england and ,france in red and blue velvet woven with golden leopards and fleurs-de-lis1 from the burial of ,king ,edward ,,iii2 six murrey carpets woven with the new arms of the ,king of ,england and of the count of ,hainault 7in other words1 the quartered shield adopted by ,edward ,,iii in #acdj1 and the arms of his queen1 ,philippa of ,hainault72 four carpets of the arms of the earl of ,pembroke2 four carpets of red colour woven with white shields having three red fleurs-de-lis1 of the gift of ,richard ,twyford1 whose arms they were2 five black carpets having in the corners shields of the arms of ,st4 ,peter and ,st4 ,edward2 two green silk cloths sewn with the arms of ,england1 ,spain1 and ,queen ,eleanor2 a bed with a border with the arms of the ,king of ,scotland2 three new copes of a red colour of noble cloth of gold damask1 with orphreys of black velvet embroidered with the letters ,t and ,a and swans of pearl1 the gift of ,thomas duke of ,gloucester1 whose wife was ,eleanor ,bohun1 and her family badge a white swan2 a cope of red velvet with gold leopards and a border of blue velvet woven with gold fleurs-de-lis1 formerly the lord ,john of ,eltham's1 whose fine alabaster tomb in the abbey church has the same arms on his shield4 ,a ,st4 ,paul's inventory of #adjb also contains a few choice examples3 a cope of red velvet with gold lions1 and orphreys of the collars of the duke of ,lancaster and a stag lying in the middle of each collar2 a suit of blue cloth of gold powdered with gold crowns in each of which are fixed two ostrich feathers2 six copes of red cloth of gold with blue orphreys with golden-hooded falcons and the arms of ,queen ,anne of ,bohemia2 three albes and amices of linen cloth with orphreys of red velvet powdered and worked with little angels and the arms of ,england1 given by ,queen ,isabel2 three albes and amices with apparels of red cloth of gold powdered with divers white letters of ,s and with golden leopards1 given by ,john of ,gaunt2 two great cushions of silk cloth of blue colour with a white cross throughout1 and in each quarter of the cross the golden head of a lion4 ,the secular documents carry on the story4 ,some quite noteworthy items may be found in the account of the expenses of the great wardrobe of ,king ,edward ,,iii 7#acde-dh-i73 for making a bed of blue taffata for the ,king powdered with garters containing this word hony soit q mal y pense2 for making a jupe of blue taffata for the ,king's body with ,garters and buckles and pendants of silver-gilt2 for making #dj clouds for divers of the ,king's garments1 embroidered with gold1 silver1 and silk1 with an ,e in the middle of gold1 garnished with stars throughout the field2 for making six pennons for trumpets and clarions against ,christmas ,day of sindon beaten with the ,king's arms quarterly2 for making of a bed of red worsted given to the lord ,king by ,thomas de ,colley powdered with silver bottles having tawny bands and curtains of sindon beaten with white bottles2 for making a harness for the lord ,david ,king of ,scotland of 'blu' velvet with a pale of red velvet and within the pale aforesaid a white rose2 for making a harness of white bokeram for the ,king stencilled with silver1 namely1 a tunic and shield wrought with the ,king's word hay hay the wythe swan2 by godes soule ,i am thy man and a crupper1 etc4 stencilled with silver2 for making a doublet for the ,king of white linen cloth having about the sleeves and bottom a border of green long cloth wrought with clouds and vines of gold and with the ,king's word it4 is4 as4 it4 is4 ,in #achj ,edmund ,mortimer earl of ,march leaves 'our great bed of black satin embroidered with white lions 7the badge of the house of ,march7 and gold roses with scutcheons of the arms of ,mortimer and ,ulster'2 and in #ache ,joan princess of ,wales leaves to ,king ,richard her son 'my new bed of red velvet embroidered with ostrich feathers and leopards' heads of gold with branches and leaves issuing from their mouths4' ,in #achi ,william ,pakington archdeacon of ,canterbury leaves 'my halling of red with a shield of the ,king's arms in the midst and with mine own arms in the corners'2 and in #acia ,margaret1 the wife of ,sir ,william ,aldeburgh1 leaves 7i7 a red halling with a border of blue with the arms of ,baliol and ,aldeburgh1 7ii7 a red bed embroidered with a tree and recumbent lion and the arms of ,aldeburgh and ,tillzolf1 and 7iii7 a green bed embroidered with griffins and the arms of ,aldeburgh4 ,the inventory of ,thomas of ,woodstock duke of ,gloucester1 taken in #acig1 also contains some interesting items3 a white halling 7or set of hangings for a hall7 consisting of a dosser and four costers worked with the arms of ,king ,edward 7his father7 and his sons with borders paly of red and black powdered with ,bohun swans and the arms of ,hereford2 a great bed of gold1 that is to say1 a coverlet1 tester1 and selour of fine blue satin worked with gold ,garters1 and three curtains of tartryn beaten with ,garters to match2 and a large bed of white satin embroidered in the midst with the arms of the duke of ,gloucester1 with his helm1 in ,cyprus gold4 ,a number of other items in the list are also more or less heraldic3 a bed of black baudekyn powdered with white roses2 a large old bed of green tartryn embroidered with gold griffins2 twelve pieces of tapestry carpet1 blue with white roses in the corners and divers arms2 a large bed of blue baudekyn embroidered with silver owls and gold fleurs-de-lis2 fifteen pieces of tapestry for two rooms of red worsted embroidered with blue ,garters of worsted with helms and arms of divers sorts2 three curtains of white tartryn with green popinjays2 a green bed of double samite with a blue pale 7stripe7 of chamlet embroidered with a pot of gold filled with divers flowers of silver2 an old bed of blue worsted embroidered with a stag of yellow worsted2 a red bed of worsted embroidered with a crowned lion and two griffins and chaplets and roses2 a bed of blue worsted embroidered with a white eagle2 a coverlet and tester of red worsted embroidered with a white lion couching under a tree2 a single gown of blue cloth of gold of ,cyprus powdered with gold stags2 and a single gown of red cloth of gold of ,cyprus with mermaids4 ,in #acha ,william lord ,latimer leaves 'an entire vestment or suit of red velvet embroidered with a cross of mine arms1' and in #acig ,sir ,ralph ,hastings bequeathed 'a vestment of red cloth of gold with orphreys before and behind ensigned with maunches and with colours of mine arms1' which were a red maunch or sleeve on a gold ground4 ,among the chapel stuff of ,henry ,bowet archbishop of ,york1 in #adbc1 were a sudary or veil of white cloth with the arms of the duke of ,lancaster on the ends1 and two costers or curtains of red embroidered with great white roses and the arms of ,st4 ,peter 7the crossed keys74 ,in #adcg ,helen ,welles of ,york bequeathed a blue tester with a couched stag and the reason ,auxilium meum a ,domino4 ,in #addh ,thomas ,morton1 a canon of ,york1 left a halling with two costers of green and red say paled with the arms of archbishop ,bowet2 and in #addi the inventory of ,dan ,john ,clerk1 a ,york chaplain1 mentions two covers of red say having the arms of ,dan ,richard ,scrope and the keys of ,st4 ,peter worked upon them4 ,to the examples worked with letters may be added a bed with a carpet of red and green with crowned ,m's1 left about #addj by a ,beverley mason1 who also had another bed with a carpet of blue and green with ,katharine wheels2 a vestment left in #adfg1 by ,robert ,est1 a chantry priest in ,york minster1 of green worsted having on the back two crowned letters1 namely1 ,r and ,e2 and a bequest in #aebj by ,thomas duke of ,norfolk of 'our great hangede bedde palyd with cloth of golde whyte damask and black velvet1 and browdered with these two letters ,t4 ,a41' being the initials of himself and his wife4 ,there is of course nothing to hinder at the present day the principles embodied in the foregoing examples1 which could easily be extended ad infinitum1 from being carried out in the same delightful way2 and a small exercise of ingenuity would soon devise a like treatment of one's own arms1 or the use of a favourite device or flower1 or the setting out of the family word1 reason1 or motto4 ,the medieval passion for striped1 paned1 or checkered hangings might also be revived with advantage1 and the mention in #acia of 'a bed of white and murrey unded' shows that waved lines were as tolerable as straight4 ,,chapter ,,xiii ,,tudor ,,and ,,later ,,heraldry ,decorative ,heraldry of the ,reign of ,henry ,,viii2 ,the ,decadent ,change in the ,quality of ,heraldry2 ,examples of ,elaborated ,arms2 ,survival of ,tradition in ,heraldic ,art2 ,elizabethan ,heraldry2 ,heraldry in the ,seventeenth ,century and under the ,commonwealth2 ,post-,restoration ,heraldry4 ,in the foregoing chapters practically nothing has been said or any illustration given of heraldry later than the reign of ,henry ,,viii1 chiefly because little that is artistic can be found afterwards4 ,there are however certain points about both ,elizabethan and ,stewart heraldry that are worthy of notice1 especially when the old traditions have been followed4 ,in the second quarter of the sixteenth century decorative heraldry may be said to have reached its climax1 and such examples as can be seen at ,hengrave ,hall1 ,hampton ,court1 ,athelhampton ,house1 ,cowdray ,house1 ,st4 ,george's chapel in ,windsor ,castle1 ,king's ,college chapel at ,cambridge1 and ,henry ,,vii's ,lady chapel at ,westminster1 or in the beautiful panel of ,henry ,,viii's arms at ,new ,hall in ,essex 7fig4 #ahi71 are quite the finest of their kind4 ,then comes a falling off1 and though sporadic cases in continuation of tradition may be found1 with the advent of the ,renaissance ,english heraldry underwent a complete change4 ,illustration3 ,,fig4 #ahi4 ,carved panel with the crowned arms1 supporters1 and badges of ,king ,henry ,,viii at ,new ,hall in ,essex4 ,one of the most notable differences between the older and the later heraldry is in the quality of the heraldry itself4 ,in the days when men devised arms for themselves these were characterized by a simplicity that held its own all through the thirteenth and fourteenth centuries and well down into the fifteenth century4 ,but following upon a privilege that had hitherto been exercised by the ,king as a mark of special honour1 and in some rare cases even by nobles1 the heralds then began to assign arms to such of the newly-rich who came to the front after the ,wars of the ,roses and were willing to pay for them4 ,henceforth the artistic aspect of heraldry entered upon a continuous decadent course4 ,the beginning is visible in the extraordinary compositions devised and granted to all sorts and conditions of men during the reign of ,henry ,,viii4 ,such arms as had been granted by ,henry ,,vi or ,edward ,,iv1 or even by the kings-of-arms in the fifteenth century1 still followed ancient precedent1 but the ,tudor members of the newly incorporated ,heralds' ,college seem to have struck out a line for themselves4 ,illustration3 ,,fig4 #aij4 ,paving tile with arms and initials of ,john ,lyte 7c4 #aece71 from ,marten church1 ,wilts4 ,a notable example is furnished by the arms devised for cardinal ,thomas ,wulcy4 ,these1 in token of his ,suffolk origin1 have for basis the engrailed cross upon a sable field of the ,uffords 7to whom he was not related71 charged with the leopards' heads of the de la ,poles and a lion passant 7perhaps for ,england72 to which is added a gold chief1 with a red ,lancastrian rose1 and two of the ,cornish choughs from the posthumous arms of ,st4 ,thomas of ,canterbury in allusion to his ,christian name6 ,the arms granted by ,christopher ,barker1 ,garter1 in #aecf to the city of ,gloucester afford another example4 ,they consist of the sword of state of the city1 with the sword-bearer's cap on the point1 set upright on a gold pale1 and flanked on either side by a silver horseshoe and a triad of horsenails on a green field2 there is also 7as in ,wulcy's arms7 a chief party gold and purple1 with the silver boar's head of ,richard ,,iii 7who granted a charter to the city7 between the halves of a ,lancastrian red rose and of a ,yorkist white rose1 each dimidiated with a golden sun6 ,a reference to ,bedford's ,blazon of ,episcopacy will show that the arms of a considerable number of the bishops appointed during the reigns of ,henry ,,viii and ,edward ,,vi were characterized by overcharged chiefs like those just described1 and these may be taken as typical of the arms then being granted by the kings-of-arms4 ,the same passion for crowding the shield is seen even in many of the less elaborate arms that were occasionally granted4 ,things did not improve under ,mary and ,elizabeth4 ,simple arms continued to be issued from the ,college1 but mixed with such extravagant bursts as that of ,laurence ,dalton1 ,norroy1 who granted in ,january #aefj-a to the famous physician doctor ,john ,caius these arms3 ,golde semyd wth flowre gentle in the myddle of the cheyfe1 sengrene resting uppon the heades of ij serpentes in pale1 their tayles knytte to gether1 all in proper color1 resting uppon a square marble stone vert1 betwene theire brestes a boke sable1 garnyshed gewles1 buckles gold1 and to his crest upon thelme a ,dove argent1 bekyd membred gewles1 holding in his beke by the stalke1 flowre gentle in propre color1 stalked verte1 set on a wreth golde gewles4 ,this precious composition is further described in the grant as betokening by the boke lerning3 by the ij serpentes resting upon the square marble stone1 wisdom with grace founded stayed upon vertues stable stone3 by sengrene flower gentle1 immortality yt never shall fade1 etc4 ,the way in which matters went from bad to worse is shown by the case of the ,company of ',barbours ,chirurgeons' of ,london1 to whom had been granted in #aefa paly argent and vert1 on a pale gules a lyon passant gardant golde betweene two ,spatters argent on eche a double rose gules and argent crowned golde4 ,the united genius of ,garter1 ,clarenceux1 and ,norroy 'improved' these arms in #aefi into3 ,quarterly the first sables a ,cheveron betweene three flewmes argent3 the second quarter per pale argent and vert on a ,spatter of the first1 a double ,rose gules and argent crowned golde3 the third quarter as the seconde and the fourth as the first3 ,over all on a ,crosse gules a lyon passant gardant golde4 ,such compositions as these could not but fail to bring heraldry into contempt1 and men soon ceased to revel in and play with it in the same delightful way as before4 ,here and there1 as in ,sir ,thomas ,tresham's market house at ,rothwell1 or in ,sir ,henry ,stafford's great mansion of ,kirby ,hall1 tradition has been held fast1 and play is made upon the former with the ,tresham trefoils1 and in the latter with ,stafford knots and with crests treated as badges in quite the old style4 ,at ,kirby ,hall1 despite its date 7#aegb-e71 and at ,cadhay in ,devon1 sitting figures of beasts with shields of arms were set upon the gables1 and at ,kirby upon the pinnacles that surmounted the pilasters about the court4 ,a good panel with the arms and badge apparently of ,sir ,john ,guldeford 7ob4 #aefe7 is to be seen in ,east ,guldeford church1 ,sussex 7fig4 #aia74 ,illustration3 ,,fig4 #aia4 ,arms1 with crested helm and badge 7a blazing ragged-staff7 of1 apparently1 ,sir ,john ,guldeford of ,benenden 7ob4 #aefe7 in ,east ,guldeford church1 ,sussex4 ,a remarkably fine specimen of ,elizabethan heraldic decoration is also to be seen in the great chamber of ,gilling castle1 ,yorks1 as finished by ,sir ,william ,fairfax about #aehe4 ,here the beautiful inlaid wall-panelling is surmounted by a frieze nearly four feet deep1 painted with hunting scenes and a series of large trees1 upon which are hung according to wapentakes the shields of arms of ,yorkshire gentlefolk4 ,the chimney piece displays the armorial ensigns of the builder1 with those of his ,queen above1 and four other shields1 and between the frettings of the plaster ceiling are the ,fairfax lions and goats1 and the ,stapleton talbot4 ,the rich effect of the whole is completed by the contemporary heraldic glazing with which the windows happily are filled4 ,but in ,elizabethan buildings generally1 heraldry made but a poor show4 ,supporters and other creatures had descended from the gables to stand or squat upon gateposts1 and occasionally a square panel filled with heraldry was inset above a doorway or a porch2 or the family crest1 divorced from its helm1 was carved upon the spandrels of the entrance4 ,but the former glory had disappeared1 and shields of arms were often replaced by initials and dates of owners and builders1 presumably because they were 'non-armigerous persons4' ,within doors matters were somewhat better4 ,such gorgeous rooms as the great chamber at ,gilling were quite exceptional1 and heraldic display was usually confined to the elaborately carved overmantels of the chimneys1 which served as a frame for the family arms and crested helm with grand flourishing of mantlings4 ,these were often repeated upon the cast-iron fire-backs4 ,the art of the plasterer was extended to the inclusion of crests and other devices among the ornaments of the moulded ceilings1 and the glazier continued to fill the windows with beautiful coloured shields of alliances4 ,occasionally too the family arms were woven into carpets or table covers2 or embroidered by the ladies of the house on the hangings of the state bed1 within charming wreaths of flowers copied from those in the garden 7fig4 #aib74 ,illustration3 ,,fig4 #aib4 ,part of a bed-hanging embroidered with the arms of ,henry and ,elizabeth ,wentworth1 c4 #aefj1 formerly in the possession of ,sir ,a4 ,w4 ,franks1 ,k4,c4,b4 ,the monuments of the dead continue as before to be adorned with heraldry1 but in a different way1 and for the beautiful simple arms and devices of the medieval memorial began to be substituted the concentrated shield of the family quarterings1 with crest and mantled helm1 and such supporters as the ,college of ,arms allowed or approved4 ,despite the inevitable consequent formality1 there is often much that is good about the treatment of ,elizabethan and ,jacobean heraldry1 and it would not be easy1 even at an earlier date1 to beat the delightful lions upon the shields on the ,lennox tomb at ,westminster 7fig4 #aid71 or to fill up more satisfactorily a shield like that above the monument of ,sir ,ralph ,pecksall 7fig4 #aie74 ,the effective way in which the shield itself is treated in this case is also praiseworthy1 and both shields are models of heraldic carving in low relief4 ,illustration3 ,,fig4 #aic4 ,arms of ,cotes1 from a mazer print of #aehe-f4 ,illustration3 ,,fig4 #aid4 ,shield from the tomb of ,margaret countess of ,lennox 7ob4 #aegh7 in ,westminster abbey church4 ,illustration3 ,,fig4 #aie4 ,achievement of arms from the monument of ,sir ,richard ,pecksall 7ob4 #aega7 in ,westminster abbey church4 ,the ,lennox and ,pecksall shields are likewise indicative of another characteristic change1 the desire to illustrate ancient descent by the multiplication of quarterings4 ,the disastrous consequences of this practice1 even in the fourteenth and fifteenth centuries1 have already been pointed out1 but in the reign of ,elizabeth it was carved to such an excess as to produce at times a mere patchwork of carved or painted quarters1 in which the beauty of the heraldry was entirely lost4 ,in the great hall of ,fawsley ,house1 ,northants1 there hangs a coloured achievement of the ,knightley family containing actually #ccd quarterings1 which have been rightly described by ,mr4 ,j4 ,a4 ,gotch as '#ccj too many for decorative effect4' ,the heraldry of the seventeenth century is in general but a duller version of that of the later sixteenth century1 with a tendency to become more commonplace as time goes on4 ,under the ,commonwealth every vestige of regality was ordered to be put down and done away2 a very large number of representations of the royal arms were defaced and destroyed2 and the leopards of ,england were for a time 'driven into the wilderness' along with the lion of ,scotland4 ,it was nevertheless thought desirable that the ,united ,kingdom should still have arms1 and on ,,the ,,great ,,seale ,,of ,,england_/ ,,in ,,the ,,first ,,yeare ,,of ,,freedom ,,by ,,god',s ,,blessing ,,restored1 that is1 #afdh1 the cross of ,st4 ,george appears for ,england1 and a harp for ,ireland4 ,the royal crown was at the same time superseded1 on all maces and other symbols of kingly power1 by another which curiously reproduces all its elements4 ,it had a circlet inscribed ,,the ,,freedom ,,of ,,england ,,by ,,god',s ,,blessing ,,restored1 with the date1 and for the cresting of crosses and fleurs-de-lis there was substituted an intertwined cable enclosing small cartouches with the cross of ,st4 ,george and the ,irish harp4 ,the new crown was also arched over1 with four graceful incurved members like ostrich feathers1 but wrought with oak leaves and acorns4 ,these supported a pyramidal group of four handsome cartouches with the cross and harp surrounded by an acorn1 instead of the orb and cross4#bi ,perfect examples of this singular republican crown still surmount the two maces of the town of ,weymouth4 #bi ,a curious variant of this crown1 with a jewelled instead of an inscribed band1 heads a drawing of the city arms of the date #afea in the ,dormant ,book of the corporation of ,carlisle4 ,on the obverse of the new great seal of the ,commonwealth1 designed and engraved by ,simon and first used in #afee1 the field is filled with an heraldic achievement of some interest 7fig4 #aif74 ,this includes a shield with the cross of ,st4 ,george in the first and fourth quarters1 ,st4 ,andrew's cross in the second quarter1 and the ,irish harp in the third quarter1 with the lion of ,cromwell on a scutcheon of pretence4 ,this shield of the ,state's arms is supported by a lion with a royal crown on his head1 and by a dragon1 standing upon the edge of a ribbon with the motto ,,pax ,,qv,,ritvr ,,bello1 and is surmounted by a front-faced helm with much flourished mantling1 with a royal crown and the crowned leopard crest above1 set athwart the helm4 ,illustration3 ,,fig4 #aif4 ,obverse of the ,great ,seal of the ,republic of ,england1 ,scotland1 and ,ireland1 #afee4 ,the seal furnishes an excellent illustration of the heraldic art of the period1 but it is singular that under a ,nonconformist domination the arms selected for ,england and ,scotland should consist of the crosses of their patron saints4 ,it is also interesting to note that the expunged arms of ,england and ,scotland had evidently been regarded rightly as personal to the murdered ,king4 ,a further curious point is the reappearance on the seal of the royal crown of ,england above the helm and on the leopard crest and the lion supporter4 ,on the reverse of the seal just noted the ,state's new arms are repeated on a cartouche behind the equestrian figure of the ,protector4 ,of the heraldry of the ,restoration and later it is hardly necessary to make mention1 so lifeless and dull is the generality of it4 ,a good specimen c4 #afgj with the arms of the ,trinity ,house 7fig4 #aig71 and a later one 7fig4 #aih7 with the arms1 etc4 of the ,trevor family1 are to be seen in the ,victoria and ,albert ,museum4 ,reference is due1 too1 to one other notable example4 ,this is the beautiful panelled ceiling set up over the chapel 7formerly the great hall7 of ,auckland castle1 by doctor ,john ,cosin bishop of ,durham 7fig4 #aii74 ,it was in making from #affb to #affd1 by a local carpenter1 and consists for the most part of a series of square panels containing alternately the cross and four lions that form the arms of the bishopric of ,durham1 and the fret forming the arms of ,cosin4 ,in the middle bay the bishop's arms are given in an oval1 and flanked by similar ovals with the eagle of ,st4 ,john in allusion to his name4 ,no earlier wooden ceiling could be finer in conception1 and the effect of the whole was originally enhanced by colour and gilding1 but this was most unhappily removed by order of bishop ,barrington 7#agia-ahbf74 ,illustration3 ,,fig4 #aig4 ,arms1 etc4 of the ,trinity ,house1 ,london4 ,from a wood carving c4 #afgj in the ,victoria and ,albert ,museum4 ,illustration3 ,,fig4 #aih4 ,limewood carving with the arms and crest of the ,trevor family1 c4 #agjj1 in the ,victoria and ,albert ,museum4 ,illustration3 ,,fig4 #aii4 ,part of the carved oak ceiling of the chapel1 formerly the hall1 of ,auckland castle1 ,durham1 with the arms of bishop ,john ,cosin1 date #affb-d4 ,with so notable a late survival of medieval tradition this book may fitly end4 ,,chronological ,,series ,,of ,,illustrations ,the following series of illustrations is an attempt to gather up into chronological order such of the more typical examples in this book as serve to show the development and various applications of heraldic art from the thirteenth to the eighteenth century4 ,the series could1 of course1 have been extended indefinitely1 but the present collection is probably sufficient for its purpose4 ,illustration3 c4 #abee c4 #abei ,tiles c4 #abee from the chapter-house and shield c4 #abei from the quire aisle of ,westminster abbey ,illustration3 ,shields c4 #abei from the quire aisles of ,westminster abbey church ,illustration3 ,the ,syon ,cope1 a late thirteenth-century work with armorial orphrey and border in the ,victoria and ,albert ,museum ,illustration3 ,quartered shield of ,queen ,eleanor of ,castile1 from her tomb at ,westminster1 #abia ,illustration3 #a #b ,seals from the ,barons' ,letter of #acja of 7#a7 ,hugh ,bardolf and 7#b7 ,henry ,percy ,illustration3 ,diapered shield from the monument of the lady ,eleanor ,percy 7ob4 #accg7 in ,beverley ,minster ,illustration3 ,diapered shield from the monument of the lady ,eleanor ,percy 7ob4 #accg7 in ,beverley ,minster ,illustration3 ,shield of the arms of ,sir ,humphrey ,littlebury1 from his effigy at ,holbeach in ,lincolnshire2 c4 #acfj ,illustration3 ,shields from brasses at ,new ,romney1 ,kent1 and at ,salisbury1 #acge ,illustration3 ,shield modelled in boiled leather1 from the tomb of ,edward prince of ,wales1 ob4 #acgf1 at ,canterbury ,illustration3 ,shield and crested helm with simple mantling from a brass at ,southacre1 ,norfolk1 #achd ,illustration3 ,stall-plate of ,ralph lord ,bassett1 #acij1 showing simple form of mantling ,illustration3 #a #b ,shields with lions from 7#a7 ,felbrigge1 ,norfolk1 c4 #achj1 and 7#b7 from ,spilsby1 ,lincs1 #acia ,illustration3 ,shields from brasses at ,chipping ,campden1 ,glos4 #adja1 and ,great ,tew1 ,oxon1 #adaj ,illustration3 ,arms of ,st4 ,edmund the ,king and ,st4 ,edward the ,confessor1 from the tomb of ,edmund duke of ,york1 ob4 #adjb1 at ,king's ,langley ,illustration3 ,seal of ,richard ,beauchamp earl of ,warwick1 in #adjc1 and early fifteenth-century heraldic tiles from ,tewkesbury abbey church ,illustration3 ,shields from brasses at ,checkendon1 ,oxon1 #adjd1 and ,boughton-under-,blean1 ,kent1 #adje ,illustration3 ,shields from brasses at ,kidderminster1 ,worcs1 #adae1 and ,whitchurch1 ,oxon1 c4 #adbj ,illustration3 ,part of the chancel arcade in ,wingfield church1 ,suffolk1 with badges of ,michael de la ,pole earl of ,suffolk1 ob4 #adae1 and his wife ,katherine ,stafford ,illustration3 ,stall-plate of ,walter lord ,hungerford1 after #adbf ,illustration3 ,stall-plate of ,humphrey duke of ,buckingham as ,earl of ,stafford1 c4 #adbi ,illustration3 ,tomb of ,lewis ,robsart lord ,bourchier1 ob4 #adca1 in ,westminster abbey church ,illustration3 ,banner stall-plate of ,richard ,nevill earl of ,salisbury1 c4 #adcf ,illustration3 ,banner stall-plate of ,sir ,john ,grey of ,ruthin1 c4 #adci ,illustration3 ,spandrel of the tomb of ,oliver ,groos1 ,esq41 ob4 #adci1 in ,sloley church1 ,norfolk ,illustration3 ,chimney-piece in ,tattershall castle1 ,lincs1 built by ,ralph lord ,cromwell between #adcc and #adee ,illustration3 ,print from a mazer at ,all ,souls college1 ,oxford1 c4 #adej1 and shield from a brass at ,stanford ,dingley1 ,berks1 #addd ,illustration3 ,seals of ,edmund duke of ,somerset1 c4 #adde1 and ,john ,tiptoft earl of ,worcester1 #addi ,illustration3 ,seal of ,cecily ,nevill1 wife of ,richard duke of ,york and mother of ,king ,edward ,,iv1 #adfa ,illustration3 c4 #aejj c4 #adgf ,shields from the chantry chapel of ,thomas ,ramryge abbot of ,st4 ,albans1 c4 #aejj1 and from a brass at ,stoke ,poges1 ,bucks1 #adgf ,illustration3 ,oriel window in the ,deanery at ,wells1 with badges of ,king ,edward ,,iv and rebuses of ,dean ,gunthorpe1 c4 #adge-hj ,illustration3 ,armorial panel1 temp4 ,king ,edward ,,iv1 from the ,george ,inn at ,glastonbury ,illustration3 ,chimney-piece in the ,bishop's ,palace at ,exeter1 with arms and badges of bishop ,peter ,courtenay1 #adgh-hg ,illustration3 ,gateway to the ,deanery at ,peterborough with arms and badges of ,king ,henry ,,vii and others1 built by ,robert ,kirkton1 abbot #adig-aebf ,illustration3 ,heraldic candle-holder1 etc4 from the bronze grate about the tomb of ,king ,henry ,,vii at ,westminster ,illustration3 ,bronze door with ,york and ,beaufort badges from ,henry ,,vii's chapel at ,westminster ,illustration3 ,crowned initials of ,king ,henry ,,vii from his chapel at ,westminster1 and crowned portcullis and rose from ,king's college chapel at ,cambridge ,illustration3 ,crowned arms and supporters of ,king ,henry ,,vii in ,king's college chapel at ,cambridge ,illustration3 ,carved panel with the crowned arms1 supporters1 and badges of ,king ,henry ,,viii at ,new ,hall1 ,essex ,illustration3 ,gatehouse of ,christ's college at ,cambridge1 built by the lady ,margaret ,beaufort after #aeje ,illustration3 ,base of an oriel on the master's lodge at ,christ's college in ,cambridge with the armorial ensigns of the lady ,margaret ,beaufort1 foundress1 c4 #aeje ,illustration3 ,armorial panel with the arms1 etc4 of the lady ,margaret ,beaufort1 on the gatehouse of ,st4 ,john's college in ,cambridge ,illustration3 ,head of a doorway1 now in ,norwich ,guildhall1 temp4 ,king ,henry ,,viii ,illustration3 ,paving tile1 c4 #aece1 from ,marten church1 ,wilts2 and shield of ,st4 ,george in the ,garter from the brass of ,thomas earl of ,wiltshire and ,ormond1 #aecc1 at ,hever in ,kent ,illustration3 ,lozenge of arms from the monument at ,westminster of ,frances ,brandon duchess of ,suffolk1 ob4 #aeei ,illustration3 ,part of an embroidered bed-hanging1 c4 #aefj ,illustration3 ,arms with crested helm and badge of 7apparently7 ,sir ,john ,guldeford of ,benenden1 ob4 #aefe1 in ,east ,guldeford church1 ,sussex ,illustration3 ,armorial ensigns from the monument of ,sir ,richard ,pecksall1 ob4 #aega1 in ,westminster abbey church ,illustration3 ,shield from the tomb of ,margaret countess of ,lennox1 ob4 #aegh1 in ,westminster abbey church ,illustration3 ,obverse of the ,great ,seal of the ,republic of ,england1 ,scotland1 and ,ireland1 #afee ,illustration3 ,part of the carved oak ceiling of the chapel of ,auckland castle1 ,durham1 with the arms of bishop ,john ,cosin4 ,date1 #affb-d ,illustration3 ,arms1 etc4 of the ,trinity ,house1 ,london4 ,from a wood-carving c4 #afgj in the ,victoria and ,albert ,museum ,illustration3 ,limewood carving with the arms and crest of the ,trevor family1 c4 #agjj1 in the ,victoria and ,albert ,museum ,,index ,,index ,academy1 ,royal1 heraldry at exhibitions1 #cc ,acton church 7,suffolk71 brass in1 #beb ,africa1 ,south1 #bfi ,albans1 ,saint1 #ed1 #afd1 #bei1 #bha2 abbey church of1 #gc1 #gd ,albemarle1 ,richard earl of1 see ,beauchamp2 ,william earl of1 see ,forz ,albert ,medal for ,bravery1 #bfe ,aldeburgh arms1 #cbf ,aldeburgh1 ,margaret1 #cbf2 ,sir ,william1 #cbf ,alderby1 ,john of1 bp4 of ,lincoln1 #cbb ,aldermaston 7,berks71 #cjf ,alen1 ,sir ,john1 #cjg1 #cjh 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,aymer of1 earl of ,pembroke1 #aae1 #aaf1 #bea1 #bgc2 ,william of1 #fa1 #fg1 #abj ,veer1 ,hugh de1 #aha ,verdon1 ,theobald lord1 #aad ,vere arms1 #hh1 #ajd1 #aag2 boar1 #ahb2 molet1 #dh1 #ahb ,vere effigy at ,hatfield ,broadoak1 #ajf ,vere1 ,john de1 earl of ,oxford1 #aag1 #aah1 #age2 ,robert de1 earl of ,oxford1 #abd ,vernon effigy at ,tong1 #cjf ,victoria1 ,queen1 memorial to1 #cc ,victoria and ,albert ,museum1 #ec1 #aai1 #aba1 #cdi1 #cea ,victory1 figure of1 #cd ,vipont1 ,isabel1 #aga ,voided scutcheon1 the1 #db ,waits' collars1 #cac ,wake knot1 #ahd2 lordship of1 #bac ,waldby1 ,robert1 abp4 of ,york1 #aje ,walden1 de1 ,library1 #bce ,walworth1 ,sir ,william1 #bbf ,walysel1 ,thomas1 brass of1 #ij ,warde1 ,robert de la1 #abh ,warenne1 ,john de1 earl of ,surrey1 #aac ,warenne and ,surrey1 earl of1 arms1 #di ,warenne estates1 #aae ,warre1 ,john la1 #aih ,warwick1 #fa1 #bgd1 #bgf ,warwick bear1 #bje ,warwick1 earl of1 see ,beauchamp2 ,henry earl of1 see ,beauchamp2 ,richard earl of1 see ,beauchamp2 ,thomas earl of1 see ,beauchamp ,waterford1 ,john earl of1 see ,talbot ,waterton1 ,robert1 #bih ,wavy1 #dc ,wax-,chandlers' ,company1 #acd ,welles1 ,helen1 of ,york1 #cbh ,wells chapter-house1 #cjb ,wells 7,somerset71 #gd1 #aij1 #aia1 #aib2 oriel in deanery1 #aij1 #aib ,wentworth arms and family1 #cdb ,westminster1 #bgj1 #bid ,westminster abbey1 arms of1 #hf2 abbey chapter-house1 tiles in1 #cf2 vestry of1 #cbb ,westminster abbey church1 heraldry in1 #cg1 #dc1 #dd1 #ed1 #ee1 #fa1 #ff1 #fg1 #ga1 #hj1 #he1 #hf1 #ia1 #ib1 #ig1 #ii1 #aaj1 #abj1 #afi1 #agj1 #agb1 #agc1 #ahj1 #aha1 #ahd1 #ahf1 #ahi1 #bbb1 #bbc1 #bei1 #bff1 #ccb1 #cda1 #cdd1 #cde ,westminster1 palace of1 #bba1 #bhe ,westmorland1 ,joan1 countess of1 see ,beaufort2 ,ralph earl of1 see ,nevill ,whatton 7,notts71 effigy at1 #gc ,whatton1 ,sir ,richard1 #gc ,whitchurch 7,oxon71 brass at1 #ij ,whitchurch 7,salop71 #bha ,white hart badge1 #afh ,wilfrid1 saint1 #caa ,willoughby d',eresby1 ,william lord1 #adc ,wilton ,house 7,wilts7 diptych at1 #cji ,wiltshire1 ,edward earl of1 see ,stafford2 ,thomas earl of1 see ,bullen ,winchester1 ,henry bp4 of1 see ,beaufort2 ,john marquess of1 #bhe ,windsor castle1 chapel of ,st4 ,george in1 #fb1 #aab1 #aac1 #aea1 #aib1 #bbd1 #bda1 #bdb1 #bdc1 #cjf1 #cca2 ,king's hall in1 #bch1 #bci2 picture in1 #bie ,windsor1 ,sir ,william1 #bja ,wingfield church 7,suffolk71 #age1 #agf1 #bhc ,woodstock1 ,thomas of1 see ,thomas ,wotton-under-,edge 7,glos71 brass at1 #cji1 #caj ,wreath or torse1 #aef-aeh ,wren1 ,sir ,christopher1 #bdb ,wulcy1 ,thomas1 cardinal1 #ccd1 #cce ,wydvile1 ,richard1 lord ,rivers1 #add1 #adg1 #aeh1 #bbi ,wymington 7,beds71 brass at1 #hb ,wyvil1 ,robert1 bp4 of ,salisbury1 arms of1 #hg ,yale or eale1 the1 #bjf1 #bji ,yarmouth 7,norf71 mayor's chain1 #cae ,york1 #cbh1 #cbi2 chains of lord mayor and lady mayoress1 #cae2 waits' collars1 #cac ,york1 ,alexander abp4 of1 see ,nevill2 ,henry abp4 of1 see ,bowet2 ,robert abp4 of1 see ,waldby ,york1 duke of1 see ,edmund of ,langley2 ,richard duke of1 see ,richard ,york falcon1 #bjf1 #bjh1 #bah2 fetterlock1 #ahh2 house of1 #afh1 #afi2 roses1 #bjj ,york minster1 heraldry in1 #dc1 #ed1 #bei ,yorkist collar of suns and roses1 #cjd-cje1 #cab ,zouch badge1 #ahd ,zouch1 ,william lord1 #bjc ,,printed ,,at ,,the ,,ballantyne ,,press ,,london 99 99 99 99 99 ,,by ,,special ,illustration ,,appointment ,,artists' ,,colourmen ,,to ,,their ,,majesties ,,the ,,king ,,and ,,queen ,,and ,,to ,h4,m4 ,,queen ,,alexandra ,,winsor ,,newton ,,ltd4 ,,manufacturers ,,of ,,finest ,,water ,,colours ,,for ,,heraldic ,,blazoning1 ,,illuminating1 ,,etc4 ,cake ,colours1 ,moist ,colours in ,glass ,pots4 ,gold and ,silver ,shells1 ,saucers and ,tablets1 ,gold ,paper1 ,vellums1 ,brushes1 and all requisites for the ,art ,,boxes ,,fitted ,,with ,,colours ,,and ,,materials ,illustration3 ,,illustration ,,of ,,guinea ,,box ,,of ,,moist ,,colours ,,in ,,glass ,,pots1 ,,with ,,materials ,larger and more complete boxes #a1 #b1 #c and #e guineas ,winsor ,newton's ,colours and ,materials may be obtained from the principal dealers throughout the world4 ,offices3 ,,rathbone ,,place1 ,,london1 ,w4 99 99 99 99 99 ,,government ,,contractors ,w4 ,m4 ,,wheatley ,,sons 7,,established ,a ,,century7 ,,gold ,,and ,,silver ,,beaters ,,and ,,bronze ,,powder ,,manufacturers ,illustration #ch ,devonshire ,street ,queen ,square ,,london1 ,w4,c4 ,gold ,leaf in all ,shades4 ,speciality for ,bookbinders4 ,telephone3 ,,central #gbjf ,,registered ,,trade ,,mark 99 99 99 99 99 ,,new ,,volume ,,in ,,the ,,press ,,costume3 ,,its ,,essentials ,,and ,,possibilities1 ,,based ,,on ,,historic ,,examples4 ,by ,,talbot ,,hughes4 ,a ,handbook on ,historic ,costume from early times1 containing over #fjj ,figures1 #ca ,collotype ,reproductions of #ajj specimens of ,genuine ,dresses1 besides #hj ,scaled ,patterns1 taken from ,antique ,apparel1 together with over #djj ,illustrations of ,head-dresses and ,foot-wear4 ,,john ,,hogg #ac ,,paternoster ,,row1 ,,london 99 99 99 99 99 ,,the ,,artistic ,,crafts ,,series ,,bookbinding ,,and ,,the ,,care ,,of ,,books4 ,by ,,douglas ,,cockerell4 #abb ,drawings by ,,noel ,,rooke4 #h ,pages ,collotype ,reproductions4 #ceb pp4 #es4 net4 7,third ,edition47 ,,extract ,,from ,the ,times4 444 ,a capital proof of the reasoned thoroughness in workmanship1 which is the first article in the creed of those who 444 are attempting to carry into practice the industrial teaching of ,ruskin and ,william ,morris4 99 99 99 99 99 ,,silverwork ,,and ,,jewellery4 ,by ,h4 ,,wilson4 #bhj ,diagrams by the ,author4 #cb ,pages of ,collotype ,reproductions4 #ejj pp4 #fs4 #f;d4 net4 7,second ,edition47 ,containing special chapters1 fully illustrated1 based on demonstrations and with notes by ,professor ,,unno ,,bisei and ,professor ,t4 ,,kobayashi1 of the ,imperial ,fine ,art ,college at ,tokyo1 giving the traditional method of ,casting1 ,damascening1 ,incrustation1 ,inlaying1 ,engraving1 and ,metal ,colouring still practised in ,japan1 also on ,niello1 the ,making of ,boxes and ,card ,cases1 with chapters on ,egyptian and ,oriental methods of work4 ,by the same ,author4 ,,on ,,workmanship4 ,a ,lecture4 #as4 #f;d4 net4 ,,john ,,hogg1 #ac ,,paternoster ,,row1 ,,london ,see following pages4 99 99 99 99 99 ,,the ,,artistic ,,crafts ,,series ,,woodcarving3 ,,design ,,and ,,workmanship4 ,by ,,george ,,jack4 #gi ,drawings by the ,author4 #af ,pages of ,collotype ,reproductions4 #cbj pp4 #es4 net4 ,,extract ,,from ,the ,builders' ,journal4 ,undoubtedly the best guide to ,woodcarving extant4444 ,a practical work1 written with clearness and literary power by a practical man 444 of great artistic talent4444 ,the illustrations are excellent4 99 99 99 99 99 ,,stained ,,glass ,,work4 ,by ,c4 ,w4 ,,whall4 #gc ,diagrams by ,two of ,his ,apprentices4 #af ,pages of ,collotype ,reproductions4 #cib pp4 #es4 net4 ,,extract ,,from ,the ,scotsman4 ,it provides an exposition at once instructive and interesting of the workshop practice of the craft 444 of ,stained ,glass1 animated throughout by an encouraging and cheerful sense of the dignity and the elevating influence of such an occupation4 ,,john ,,hogg1 #ac ,,paternoster ,,row1 ,,london 99 99 99 99 99 ,,the ,,artistic ,,crafts ,,series ,,embroidery ,,and ,,tapestry ,,weaving4 ,by ,,mrs4 ,a4 ,h4 ,,christie4 #agh ,diagrams and ,illustrations by the ,author4 #af ,pages of ,collotype ,reproductions4 #dbj pp4 #fs4 net4 7,third ,edition47 ,,extract ,,from ,the ,pall ,mall ,gazette4 ,mrs4 ,christie has performed her task to admiration1 444 and her lucid explanations of various kinds of stitches 444 should be of value to all workers at embroidery or tapestry weaving and to novices anxious to learn4 99 99 99 99 99 ,,writing ,,and ,,illuminating1 ,,and ,,lettering4 ,by ,,edward ,,johnston4 #bbg ,illustrations and ,diagrams by the ,author and ,,noel ,,rooke4 #h ,pages of ,examples in ,red and ,black4 #bd ,pages of ,collotype ,reproductions4 #eab pp4 7,fifth ,edition47 ,,extract ,,from ,the ,athenum4 444 ,this book belongs to that extremely rare class in which every line bears the impress of complete mastery of the subject4 ,we congratulate ,mr4 ,johnston on having produced a work at once original and complete4 ,,john ,,hogg1 #ac ,,paternoster ,,row1 ,,london ,see next page 99 99 99 99 99 ,,the ,,artistic ,,crafts ,,series ,,hand-,,loom ,,weaving4 ,by ,,luther ,,hooper4 #abe ,drawings by the ,author and ,,noel ,,rooke4 ,coloured and ,collotype ,reproductions4 #cfh pp4 #fs4 net4 ,,extract ,,from ,the ,morning ,post4 444 ,every phase and process in weaving is described with so clear and careful an exactitude1 that1 helped as the text is by the ,author's sketches and diagrams1 the reader should have no difficulty in conquering with its aid the rudiments of the craft4 99 99 99 99 99 ,,portfolios 7in the ,series7 already issued4 ,,school ,,copies ,,and ,,examples4 ,selected by ,w4 ,r4 ,,lethaby and ,a4 ,h4 ,,christie4 #ab ,drawing ,copies 7#a in colours71 with ,descriptive ,letterpress4 #cs4 #f;d4 net4 ,,manuscript ,,and ,,inscription ,,letters4 ,for ,schools and ,classes and the ,use of ,craftsmen4 ,by ,,edward ,,johnston4 ,with #e ,plates by ,a4 ,e4 ,r4 ,,gill1 #af ,plates in all4 ,full ,notes and ,descriptions by the ,author4 #cs4 #f;d4 net4 7,second ,edition47 7,plaster ,casts of the originals of ,plates #ac1 #ad and #ae can be had of the ,publisher4 ,write for ,prospectus47 ,other ,volumes and ,portfolios in ,preparation4 ,,john ,,hogg1 #ac ,,paternoster ,,row1 ,,london 99 99 99 99 99 ,transcriber's ,note ,changes to the text are limited to corrections of typographical errors and are listed as follows3 ,page #bf 7index of text illustrations7 #aje3 changed ,s'afford to ,stafford 7,edward ,stafford bishop of ,exeter7 ,page #cji3 changed ,wootton-under-,edge to ,wotton-under-,edge4 ,this same mis-spelling is also corrected in the caption to ,figure #ahe and in the list of illustrations on page #ca4 ,note that it was spelled correctly in the ,index4 ,page #dbf3 changed ,a to ,,at 7,,printed ,,at ,,the ,,ballantyne ,,press7 ,plate ,,xxix caption3 changed ob1 to ob4 7,justice in ,eyre of ,forests1 ob4 #adfj47