,,heraldry ,,as ,,art ,,heraldry ,,as ,,art ,,an ,,accovnt ,,of ,,its ,,development ,,and ,,practice ,,chiefly ,,in ,,england ,,by ,g4 ,w4 ,,eve ,illustration ,b4 ,t4 ,,batsford1 #id ,,high ,,holborn ,,london #aijg ,,butler ,,tanner1 ,,the ,,selwood ,,printing ,,works1 ,,frome1 ,,and ,,london4 ,preface ,the intention of this book is to assist the workers in the many arts that are concerned with heraldry1 in varying degrees1 by putting before them as simply as possible the essential principles of heraldic art4 ,in this way it is hoped to contribute to the improvement in the treatment of heraldry that is already evident1 as a result of the renewed recognition of its ornamental and historic importance1 but which still leaves so much to be desired4 ,it is hoped that not only artists but also those who are1 or may become1 interested in this attractive subject in other ways1 will find herein some helpful information and direction4 ,so that the work of the artist and the judgment and appreciation of the public may alike be furthered by a knowledge of the factors that go to make up heraldic design and of the technique of various methods of carrying it into execution4 ,to this end the illustrations have been selected from a wide range of subjects and concise descriptions of the various processes have been included4 ,and although the scope of the book cannot include all the methods of applying heraldry1 in ,bookbinding1 ,pottery and ,tiles for example1 the principles that are set forth will serve all designers who properly consider the capabilities and limitations of their materials4 ,for many facilities in the preparation of the work ,i here beg to tender my very sincere thanks4 ,to the ,countess of ,derby for the gracious loan of her bookplate2 to the ,earl of ,mar and ,kellie for permission to reproduce the shields at ,alloa ,house2 to ,mr4 ,w4 ,h4 ,weldon1 ,norroy ,king of ,arms1 for the enamel plaque of his crest2 to ,mr4 ,w4 ,brindley for a cast of the ,warren shield2 to ,mr4 ,n4 ,h4 ,j4 ,westlake for the ,arms of ,queen ,jane ,seymour1 from his ,history of ,stained ,glass2 to ,messrs4 ,hardman of ,birmingham for the loan of the ,pugin drawings2 to ,messrs4 ,e4 ,c4 and ,t4 ,c4 ,jack for a reproduction of an embroidered shield4 ,my best thanks are also due to ,monsieur ,emil ,levy for leave to use illustrations from the ,catalogue of the ,spitzer ,collection2 to the ,society of ,antiquaries for the ,black ,prince's shield2 to the ,society of ,arts for the loan of sundry blocks2 and to the officials of the ,victoria and ,albert ,museum and the ,national ,art ,library for their usual and invariable helpfulness4 ,finally ,i am especially indebted to my publishers1 ,messrs4 ,batsford1 who have spared neither time nor trouble on my behalf4 ,g4 ,w4 ,e4 #bc1 ,,sheen ,,gate ,,mansions1 ,,east ,,sheen1 ,s4,w4 ,october1 #aijg4 ,contents ,,page ,,chapter ,i4 ,,introductory #a ,the ,origin of ,heraldry--,its ,uses--,symbolism--,artistic ,development--,the ,character of ,mediaeval ,treatment--,the ,personal ,quality--,fourteenth century ,examples--,the ,influence of the ,tournaments--,renaissance ,heraldry--,decadence--,gothic ,revival--,the ,use of ,examples--,the ,aims of ,heraldic ,design4 ,,chapter ,,ii4 ,,the ,,evolution ,,of ,,shield ,,forms #af ,the ,achievement--,its ,composition and ,proportions--,modifications of ,proportion--,the ,design of the ,heraldic ,group--,essential ,qualities--,variability of ,grouping--,the ,shield--,its ,structure and ,shape as a ,fighting ,defence--,the ,norman ,shield and its ,successors--,shields 8for ,peace0--,pageant ,shields--,how they were ,made--,the ,tournament ,shield--,evolution of ,decorative ,forms--,foliated ,shields--,fifteenth and ,sixteenth ,century ,examples--,freedom in ,shield ,design--,heraldic ,accuracy--,what is ,essential4 ,,chapter ,,iii4 ,,heraldic ,,rules #ci ,a ,simple ,manual of ,heraldic ,facts--,the ,shield ,surface--,the ,tinctures--,divisions of the ,field--,ordinaries--,sketches 8in ,trick0--,charges and their ,arrangement4 ,,chapter ,,iv4 ,,animals ,,and ,,monsters #ff ,the ,heraldic ,lion as a ,type--,examples of ,various ,periods--,heraldic ,character--,obligatory ,poses and ,decorative ,distribution--,methods of ,spacing--,characterization--,imaginary ,creatures--,unicorns1 ,dragons and ,griffins4 ,,chapter ,v4 ,,heraldic ,,birds ,,and ,,other ,,figures1 ,,animate ,,and ,,inanimate #hi ,eagles--,early ,types--,plan of ,distribution--,other ,birds--,bird ,monsters--,human ,figures--,inanimate ,charges--,crosses of many ,forms--,fleurs-de-lis--,examples of ,various ,periods--,the ,rose--,the ,irish ,harp--,surface ,treatment--,diaper1 its use in ,sculpture1 ,painting and ,engraving--,diapers of ,badges4 ,,chapter ,,vi4 ,,helm1 ,,crest ,,and ,,mantling #aag ,the ,helm--,its ,structure--,ceremonial ,use--,development as ,armour--,helmets and their ,mechanism--,tourney ,helms--,the ,crest--,how ,made and ,fixed--,examples of ,actual ,crests--,influence of ,practical ,conditions on their ,pose--,difficulties in ,design and ,how to ,deal with ,them--,the ,pose of ,helmets--,the ,torse--,mantling--,its ,evolution from ,simple ,drapery--,its ,treatment in ,relation to ,shield and ,crested ,helm--,colour--,certain ,restrictions4 ,,chapter ,,vii4 ,,armorial ,,accessories #aci ,supporters--,derivation from ,badges--,special ,conditions of their ,pose--,non-,heraldic ,supporters--,amorini--,angels--,symboli c ,figures--,the ,eagle of the ,holy ,roman ,empire--,and of ,prussia--,the ,imperial ,crown--,authorized ,type for ,present ,use--,the ,coronet of the ,prince of ,wales--,coronets of ,peers--,the ,question of the ,cap--,baronets' ,badges--,insignia of ,knighthood--,the ,garter--,the ,collar and ,george--,other ,orders--,relation of ,orders to the ,shield--,their ,importance as ,indications of ,relative ,rank--,typical ,examples4 ,,chapter ,,viii4 ,,methods ,,and ,,materials #afd ,illumination--,practical ,directions--,methods of the ,early ,illuminators--,colour ,treatment--,heraldry in ,enamel--,champlev ,enamel1 ,personal and ,monumental--,the ,cloak ,clasp of ,queen ,eleanor--,the ,shield of ,william de ,valence--,stall-plates of the ,garter--8,limoges0 ,enamel--,heraldic ,enamel by ,nardon ,penicaud--,bassetaille--,plique-a-jour --,heraldry in ,metal--,application of ,old ,examples to ,present ,use--,bronze--,monumental ,brasses--,cast ,iron ,firebacks--,pierced and ,chiselled ,iron ,lock-plates--,keys--,repouss--,engraved ,metal--,ceremonial ,weapons and ,implements--,lead-work--,deposited ,metal4 ,,chapter ,,ix4 ,,architectural ,,decoration #bjd ,badges at ,blois--,and at ,hampton ,court--,sculpture--,sgraffito--,gesso as a ,material for ,heraldic ,relief--,methods of ,preparation--,a ,series of ,shields in ,painted ,gesso--,poker ,work--,schemes of ,decoration--,stained ,glass--,technical ,conditions--,colour ,scheme--,working ,drawings--,pugin's ,designs for the ,houses of ,parliament--,powell's ,drawings--,armorial ,windows at ,ockwells ,manor--,painted ,windows in ,florence--,the ,swiss ,painted ,glass--,holbein4 ,,chapter ,x4 ,,embroidered ,,heraldry #bdf ,surcoats--,bardings--,embroidered ,linen--,banners--,appliqu ,work--,embroidered ,badges--,the ,toison d'or of ,charles the ,bold--,standards--,the ,proportions of ,banners from ,early ,times--,the ,direction of their ,charges and the ,reasons therefor--,the ,composition of the ,union ,jack--,practical ,explanation of its ,construction--,painted ,banners--,how ,prepared--,trumpet ,banners--,heraldic ,lace4 ,,chapter ,,xi4 ,,some ,,miscellaneous ,,charges #bfg ,heraldic ,crowns--,chaplets--,roundels--,knots4 ,,chapter ,,xii4 ,,marks ,,of ,,cadency #bhf ,the ,origin of the ,label--,its ,shape and ,varieties--,ordinary ,marks of ,cadency--,their ,significance--,how ,displayed--,royal ,cadency--,the ,distinguishing ,marks of ,cadency of ,present ,personages of the ,blood ,royal4 ,,index #bic ,,analytical ,,index ,,to ,,illustrations #cjc ,,heraldry ,,as ,,art ,,chapter ,i ,introductory ,in dealing with heraldry from the artist's point of view1 as a decorative subject which offers interesting scope for technical effort1 it will not be necessary to go overmuch into the question of its origin1 nor to elaborate its history beyond what is needed to give such knowledge of its methods as may help the doing of present work or the intelligent appreciation of the old4 ,nevertheless1 the archaeological aspect of the subject1 the conditions and rules of its existence1 must also be carefully studied in order to ensure the correctness of the statement that heraldry makes and of which heraldic art is the expression4 ,as for its origin1 we may safely say that heraldry1 in its essence1 began when man first used natural forms to symbolize1 and ascribe to himself1 those qualities--strength1 courage1 cunning--which he had full cause to recognize in the beasts with whom he struggled for existence2 when he reproduced1 as well as he could1 their ferocious aspect1 to strike terror into his human enemies while satisfying his own warlike vanity1 and so adopted them as badges or even as totems4 ,in ,europe heraldry began to be systematized 7as we know it7 somewhere about the eleventh century1 and it flourished exceedingly until about the middle of the sixteenth century1 the period thus indicated being that of its greatest strength and beauty4 ,the development of defensive armour dictated the placing on it of the badges that had for long been used in other ways1 so that1 being depicted on the shield1 they became the arms1 and became the crest when displayed on the head-piece4 ,the device worked on the garment which covered the body armour made it a veritable coat of arms1 and this term1 as well as that of coat armour1 came in time to be also applied to the similar armorials of the shield4 ,the ,crusades1 in their aggregation of troops of various nationalities1 helped to extend1 in showing the necessity for1 a regular system of heraldry as a means of distinguishing one party from another1 and the feudal system itself with its numerous groups1 each under its knightly or noble head in ever-extending subordination1 conduced to the same end4 ,the ,tournaments which played so brilliant a part in the splendours of the ,middle ,ages also afforded fresh and greatest scope for heraldic magnificence4 ,being restricted for the most part to competitors of noble birth1 many of whom were attracted from distant places1 they afforded opportunity for observation and comparison of the various bearings4 ,they naturally suggested the inclusion of foreign as well as native armorials in the heraldic ,,ms4 of the times1 as we find them depicted in the ,rolls of ,arms4 ,the necessity for well-ordered arrangement soon made itself felt1 and thence was evolved systematic heraldry as it now exists4 ,the rules thus originated1 being based on the ever-present difficulties which arose in the actual use of coat armour1 were admirable for their purpose1 for they were devised with a common-sense regard for the conditions under which they were to be applied1 were at first simple and therefore easily understood4 ,the manner in which the arms were displayed was the most conspicuous that was possible1 every suitable space that offered itself being employed to bear them in one form or another4 ,thus in time they appeared on the shield1 helmet and surcoat1 and also on the ailettes1 those flat pieces of steel which were used to still further deflect a blow which had slid from the helmet and might otherwise have injured the shoulder4 ,the use of heraldry in battle or tournament by no means exhausted its possibilities1 however1 for even in the warlike ,middle ,ages armorials were used by priests and women1 and by statesmen whose services were those of the council chamber rather than of the field4 ,in every case their strong personal and allusive quality was felt to the full1 and intensified the human interest in ordinary things4 ,so that the enamelled brooch of ,queen ,eleanor1 with its arms of her warrior husband ,edward ,i linked with her own1 becomes something more than a mere fastening2 and the armorial robes of the noble wife who wears her husband's armorials on her mantle1 covering and protecting her own arms embroidered on her gown1 are made beautiful expressions of a chivalrous idea4 ,heraldry was made especially interesting by the symbolic meanings which it embodied1 thus expressing in its own way a very universal desire for significance in decorative forms4 ,in the ,middle ,ages1 especially full as they were of militant fervour and chivalric mysticism1 symbolism entered into everything4 ,not the heraldry alone but every part of a knight's armour had a mystic meaning1 the knowledge of which was an important part of a knightly education4 ,many of these meanings are quaintly set forth in one of the books that ,caxton printed1 ,the ,order of ,chivalry4 ,therein the shield is considered as the especial emblem of its bearer and of his knightly duty1 for 8like as the stroke falleth down upon the shield and saveth the knight right so the knight ought to apparel him and present his body tofore his lord when he is in peril hurt or taken40 ,even the manner of doing things was underlaid by beautiful ideas4 ,so he who bore the sword of ,justice in a ceremony was enjoined to bear it truly upright1 for ,justice should lean neither to one side nor the other1 but be impartial between the two4 ,besides the creatures 7lions and so forth7 which were taken to signify strength1 courage1 fidelity and other virtues1 there were also those which symbolized the great mystery of the perpetuation of life1 which has appealed to the imagination of man throughout historic times4 ,the ,peacock1 in the periodical renewing of his splendour of plumage2 the ,swan1 emerging in spotless beauty from the dusky obscurity of its cygnet state1 both expressed this universal idea4 ,to ,christian chivalry the ,peacock typified the ,resurrection and therefore ,immortality1 and the ,swan became the emblem of that cult of womanhood which was so beautiful and characteristic of knightly regard4 ,the symbolism of the ,cross and the emblems of saints and martyrs form a large part of heraldry1 as is natural4 ,plants and flowers were naturally taken to express beautiful qualities--constancy1 purity1 love--as with similar intention they may still be acceptably employed in the wreaths and garlands which are1 on occasion1 associated with armorials4 ,symbolism of this kind has been lost to heraldry1 not1 however1 leaving it without significance2 for arms have also allusive meanings that are no less interesting as records of incidents that are thought worthy of remembrance4 ,many mediaeval bearings originated in this way1 the belt and buckles of ,pelham1 which commemorate the capture of the ,french king at ,poitiers1 for instance4 ,the more modern kind of heraldic symbolism occurs in the arms of the great ,admiral ,sir ,cloudesley ,shovel1 who commemorated his victory over the fleets of ,turkey and ,france at the end of the seventeenth century by adding two crescents in chief1 and a fleur-de-lis in base to his existing coat1 gules a chevron ermine4 ,in our own time successful generals embody in their armorials the badges of regiments with which they have been connected1 or bear allusions to places where their successes have been won4 ,in a more peaceful field the skill and assiduity of a distinguished physician may be rewarded by the addition to his arms of some part of the ,royal insignia1 to mark for all time the services he has rendered to the ,state4 ,such arms are conferred by special grant1 and are called ,arms of ,augmentation or ,augmentations of ,honour4 ,in this way the inherent qualities of heraldry are seen to be very stable and to remain constant through the ages in spite of changes of manners and of general environment4 ,our heraldry1 which quickly reached a high degree of decorative excellence1 developed as a system1 in a natural way1 on the line of its own necessities2 as did its artistic expression in a great measure1 though the latter owed much to transmitted designs and 7mainly through the influence of the textiles and other importations7 helped to perpetuate in ,western art the beasts and birds and strange composite conceptions of the ,east4 ,these ancient prototypes of familiar heraldic forms are singularly interesting1 as sometimes possessing in a very marked degree qualities1 such as vigorous expression and characteristic generalization of form1 which teach valuable lessons in their application to modern use4 ,although at first the mediaeval draughtsman followed the drawing of his imported or traditional motives very closely 7as in the lions of some of the thirteenth century ,,mss4 and seals71 he soon began to treat them in his own way1 the way that came to be considered peculiarly heraldic4 ,in thus handling his motives he was entirely himself1 and the outcome was the natural result of the splendid sense of design which characterized him4 ,the style is rightly considered purely heraldic because it arose from its own heraldic conditions1 and was the result of the very sane intention that the thing done should be suited to the use to which it was to be put1 viz4 to serve as a distinctive badge which could be seen1 and easily read at a distance or when in motion4 ,such conditions dictated simple directness of treatment and resulted in that bold clear definition which combined with good distribution and the fine balance of colour that results from it1 to produce a very decorative whole4 ,thus1 as so frequently happens in other ways1 the treatment at first suggested by reasons of practical convenience resulted in an effect of great decorative value4 ,the method of depicting the pattern-like figures varied1 as was natural1 with the materials employed and with other varying circumstances1 and1 where opportunity served1 a high degree of elaboration was reached2 but whether the treatment was simple or elaborate1 breadth of effect and decorative quality are nearly always conspicuous4 ,the various methods of working1 each satisfactory in its own way1 are extremely interesting1 as giving historic sanction to the choice of treatment in heraldic expression1 and in opposition to the narrow view that as a certain kind of work admirably suits its purpose in its own place that same treatment should be obligatory in all other cases4 ,the old work confirms the broader view1 so that when a flat treatment1 for example1 in harmony or in contrast with surrounding decoration1 seems desirable1 the armorials may be done flatly2 and when1 on the other hand1 a more elaborate treatment seems fit1 modelling in relief or any other means of decorative expression may be properly employed4 ,nevertheless1 the broad-minded advice to 8do as you like0 has been sometimes taken too literally4 ,order as well as freedom is necessary to the doing of good work1 and that can only be secured by study of the subject from the systematic or archaeological1 as well as from the artistic side4 ,heraldic art reached its greatest strength in the fourteenth century1 as appears in what was perhaps the most beautiful example of the work of the period1 the shield of arms in ,canterbury ,cathedral1 said to be that of ,edward the ,black ,prince 7,fig4 #a74 ,it is probably one of the shields that were used for his funeral4 ,here the lions of the ,english coat are admirably distributed and are full of power and spirit4 ,the fleurs-de-lis of ,france are beautifully free and graceful1 and are equally well-designed to occupy their spaces and as well proportioned to them4 ,the whole work1 which is so valuable a lesson in the best qualities of heraldic design1 has suffered from the wear of the centuries2 but sufficient remains to show that when uninjured it must have been superb4 ,heraldic art continued finely decorative and expressive for a very considerable time until the forms which had shown so much spontaneity became more pattern-like1 reverting in a measure to the character of such of the earlier figures as more nearly reproduced those of the textiles2 for the fourteenth century examples1 such as that to which we have just referred1 show a conscious effort to express the attributes of strength and vitality which were associated with and were symbolized by the animals that were depicted4 ,in the late mediaeval work this vivifying force became weakened under the numbing influence that is inseparable from the reiterated use of forms that have become stereotyped4 ,in respect to the appeal which visible expression makes to the ordinary mind as opposed to mere diagrammatic indication1 the best work of the fourteenth century in its effort to depict recognized attributes links itself in intention with the work of the ,renaissance1 although the methods that were employed differed so greatly4 ,illustration3 ,,fig4 #a4--,shield of the ,black ,prince in ,canterbury ,cathedral4 ,fourteenth ,century4 ,at the end of the fifteenth century the personal bearing of heraldry in war had almost ceased1 but it remained an important feature of the tournaments during the whole period of their existence4 ,besides satisfying the martial sense which ever delights in brilliance and colour1 it also gratified the desire for the expression of meaning in decoration1 a mental attitude which heraldry exactly fitted4 ,and heraldry thenceforward became mainly decorative1 while retaining the allusive and symbolic qualities that are hardly separable from it4 ,in ,tudor times the number of armorials increased in a very marked degree1 no doubt sharing in the impetus given to the arts in ,england by the much-needed peace which followed the dynastic wars of ,york and ,lancaster4 ,as though to link it with that welcome event1 beautiful and simple flowers added their charm to heraldry in notable quantity1 and gillyflowers1 columbine1 marygold1 and many more1 appear on shields of arms and in crests1 as well as in the garlands which were so admirably used as decorative accessories to the armorials4 ,the ,gothic heraldry1 in common with the other decorative arts1 having become formalized into a style from which the human interest had to a great extent gone1 a change took place in harmony with the new feeling2 but in the revolt from the formalism of late ,gothic art heraldry frequently went to the opposite extreme1 and employed naturalistic forms in an unsuitable way4 ,much of the ,renaissance work1 however1 retained some of the best qualities of the ,gothic1 in the pose of the figures and in the general composition1 while in addition it attempted a more detailed characterization than before4 ,in many respects it was very admirable and seems1 in its suggestion of individual thought working on the traditions of an older style1 to suggest the lines on which modern heraldic design might develop4 ,german heraldry has followed these lines to a large extent1 and though it has perhaps become over-florid1 is still full of proofs of the advantage which results from continued touch with the ,gothic4 ,in this country there had been a constant succession of foreign masons and sculptors1 from the time when1 in the twelfth century1 the ,frenchman ,william of ,sens came to restore ,canterbury ,cathedral1 and the ,renaissance style probably received its most effective impetus in ,england from ,torregiano and his fellow ,florentine artists when they superseded the native workers in the designing and carrying out of the tombs of ,henry ,,vii and others in the beginning of the sixteenth century4 ,the king's tomb was begun in #aejc1 and is a useful landmark in the history of the evolution of heraldic style4 ,from this and similar works the ,english sculptors and designers learnt the methods of that revival of art on classic lines which had become developed in ,italy for nearly a century before it made so definite an impression here4 ,the work that was produced under these influences was marked by great vitality1 variety and grace1 until it1 in its turn1 became weak and uninteresting1 so that by the seventeenth century it had degenerated into sheer stiff ugliness that it is almost impossible to connect with the graceful strength of its prototypes4 ,holbein1 who worked here 7except for a short interval7 from #aebf until his death1 executed1 besides his paintings1 many designs for goldsmith's work and so forth1 and has left some few heraldic drawings1 probably designs for the decoration of books1 such as dedicatory plates1 or for stained glass2 but the ,italian influence was overpowering1 and he left little permanent impression on heraldic style4 ,an example of his heraldry may be referred to in ,fig4 #bba1 p4 #bdc4 ,as time went on1 and the practical use of heraldry in the field became more remote1 the sense of proportion became weakened1 the decorative distribution of the early work was no longer sought after1 and the general loss of grip is everywhere perceptible in the design2 while in the execution1 especially in later times1 minute finish of detail took the place of the earlier breadth of treatment4 ,the marked inferiority of the heraldry to the other decorative work of its time 7a fault that is frequently visible in the work of the present day7 points to a general loss of interest in the expression of heraldry1 although its use was tenaciously adhered to1 and it is abundantly evident that in the period which extended from the early seventeenth century until recent times regard for heraldry 7when such regard existed at all except as a mere desire of display7 was mainly directed to its systematic side and to the ever-increasing detail of its rules and precedents4 ,however1 the ,gothic revival in the early part of last century again directed attention to heraldry1 and the work of ,williment1 ,pugin1 ,powell1 ,burges and others1 showed once more how decoratively and expressively it could be handled when it was seriously studied and applied4 ,with reference to the old examples1 a study of which is absolutely necessary in order to understand the principles which underlie all heraldic design1 it will be well to sound a note of warning against making a fetish of the work of any period1 however good2 against mere copying of old examples however excellent1 except1 of course1 for purposes of study4 ,to merely copy and piece together bits of precedent is not the way to make an artistic thing at all4 ,a copy can have no vitality of its own1 and cannot even reproduce that of its original4 ,even ,pugin and ,powell cannot be said1 in spite of all their sympathy and power of draughtsmanship1 to have altogether succeeded in suggesting the intense vigour which characterized the work of the originals that were followed4 ,a broad view must be taken if new work is to harmonize with new conditions or be anything more than a mere shadow of a preceding style4 ,heraldry in order to be expressive and interesting ought to be original1 or perhaps one should rather say individual1 in treatment2 an effort to express itself by means of the artistic qualities that the old work possesses and teaches us to admire1 rather than a copy of its forms4 ,by original is meant something that the artist thinks out for himself1 his individual expression of what he wishes to convey1 with all the help that he can obtain from his knowledge of previous work1 but without feeling himself bound to imitate it4 ,points of resemblance are inevitable4 ,it is hardly possible to avoid showing the influence of the examples from which the artist has learnt his craft1 nor does it matter2 but when the copy is intentional and the intention stops at that1 the work ceases to interest as individual design4 ,all styles should be studied for the sake of the lessons they may teach in the application of the ordinary principles of design to correct heraldic motives1 for1 after all1 that and fitness are what constitute good heraldry4 ,composition1 the balance of mass and arrangement of line1 with all their various possibilities1 may be learned from all forms and styles of art1 pictorial as well as ornamental1 that is itself based on sound principles4 ,the appreciation of such points and their satisfactory application constitute what we know as the sense and power of design1 and they must be understood before one can pretend to practise or discuss it4 ,heraldry in its setting forth may be regarded in two ways4 ,as the depicting of an actual shield1 crest1 helm and so forth1 as they would be shown in a picture of a tournament1 for instance2 or1 as a presentation of the heraldic facts in the way that is thought most expressive without having too much regard to preceding renderings4 ,the former way seems more suitable to the execution of ancient and historic arms or of such as are to accompany ,gothic surroundings1 and the latter to be more likely to harmonize with modern decorative conditions1 as well as to possess more vitality and variety in itself4 ,this harmony with surrounding decoration1 whether on a wall or in a book or in any other way1 is one of the essentials of good design and must be continually kept in mind4 ,another1 equally important1 is that work should be designed with direct regard to the materials and methods by which it is to be done4 ,these very obvious points cannot be too often insisted upon1 however wearisome the reiteration1 for neglect of them is at the bottom of most bad work4 ,careless treatment of the heraldry1 with which it is1 nevertheless1 obliged to deal more or less1 sooner or later1 seems to pervade applied art and to spoil what is otherwise meritorious work4 ,doubtless much of the mischief arises from fear lest improving the drawing or composition may violate heraldic rules2 and this brings us to the necessity of acquiring so much knowledge of the systematic side of heraldry as will suffice to show what points are really essential 7and therefore to be carefully preserved and if need be accented71 and what1 on the other hand1 may be modified or ignored4 ,this may best be done by study of the system of heraldic description known as blazon1 which is described further on4 ,but before proceeding to do so it will be necessary to deal first with an heraldic composition as a whole4 ,,chapter ,,ii ,evolution of ,shield ,forms ,the armorial group1 called an 8,achievement0 of ,arms1 principally consists of the shield and the crest1 the latter supported on its helm1 and accompanied by the mantling or lambrequins1 and in addition1 mottoes1 coronets1 supporters and other accessories proper to the occasion may form part of its composition4 ,the term 8achievement0 7sometimes corrupted into hatchment7 may be applied to any heraldic group whether it be a complete presentation of full armorials or only a selected part of them4 ,in the simple arrangement of shield1 helmet and crest1 the proportion of the parts to each other remained fairly constant from the end of the thirteenth century down to the ,renaissance1 that is to say throughout the whole mediaeval period1 and may be taken roughly to be rather more than two-fifths of the whole height for the shield and rather less than three-fifths for the helmet and crest4 ,this1 it need hardly be said1 must not be taken for actual measurement1 but only as suggesting the relative weight in the design of its component parts4 ,the result of these proportions is to bring the helm a little above the actual middle of the composition1 and its place is then found to be a very satisfactory one1 in which it serves as a central point on which the other objects group themselves4 ,there is also seen to be due scope for the clear definition of the details of both arms and crest1 while there is an appropriate suggestion of dignity in the whole effect4 ,the principal artists of the ,renaissance1 ,drer above all1 appear to have fully appreciated this1 similar proportions appearing in the best type of ,renaissance work as in that of the ,gothic period4 ,such proportions were no doubt suggested by those of the actual things themselves1 but not wholly so2 for in other cases the object of the artist was rather to display the armorials to the best effect than to copy their appearance when they were being used in another way4 ,fig4 #b1 the reverse of the ,great ,seal of ,henry ,,iv1 a splendid example of the seal engraver's art1 is an interesting illustration of how armorials were borne by man and horse1 as well as of their approximate proportion4 ,an example of the influence of local considerations in modifying proportion is the group which occupies the middle of the canopy of the tomb1 in ,westminster ,abbey1 of ,louis ,robsart1 ,lord ,bourchier1 who was standard-bearer to ,henry ,v4 ,the shield is minimised as much as possible because its bearings appear large and bold on the carved banners at the sides2 the crest1 however1 not occurring elsewhere on the monument1 is comparatively enormous4 ,in this case the shield that is associated with the crest is destitute of charges1 which may1 however1 have been modelled in gesso on the stone and have disappeared4 ,illustration3 ,,fig4 #b4--,seal of ,henry ,,iv4 ,reverse4 ,in a similar way the arms in the group over the point of the arch of the chantry of ,henry ,v near by are extremely small1 a part of the mantling is even allowed to fall over them1 because they are fully displayed on the shields supported by angels in the spandrils below4 ,the shape of the space that is available for displaying the achievement and the character of the bearings also influenced proportion1 so that a crest may be exaggerated1 or a shield may be comparatively enlarged1 in the latter case in order to accommodate quarterings perhaps1 and the sense of proportion may still be satisfied because of the evident reason for the treatment4 ,the object of an achievement being to display the armorials in the most distinctive way1 it follows that the subordinate parts of it1 especially the helmet and mantling1 should all be designed to that end1 that their lines should compose in such a way as to concentrate the attention on the more important subjects1 and that their details1 however intricate1 should not detract from a broad effect4 ,in short1 they should be so arranged as to support the central motive and not to compete with it4 ,whatever the style of the design it should first of all express the subject in the most explicit way1 and carefully avoid letting scrolls outshine the crest or mantling distract attention from the shield which is encompassed by it4 ,choice of method should naturally be based on the desire to represent things in the most direct way and by the simplest means that are suitable to the purpose in hand1 using exactly the right amount of elaboration1 from the perfect simplicity demanded by a figure in perforated iron1 through the varying detail of different forms of applied art1 stained glass1 enamel1 modelling1 carving1 painting and engraving4 ,there is always great charm about simple treatment that is at the same time expressive1 but the right simplicity can only be reached through knowledge1 and is a very different thing from the emptiness which ignorance hopes to have mistaken for it4 ,clearness of statement expressed by vigour of drawing1 beauty of line1 balance of mass and harmonious coherence of composition1 are obviously essential qualities2 and when to these are added suitability to environment and material1 the result will be that expression of rightness which constitutes style1 whatever the style may be4 ,heraldic accuracy is assumed as a matter of course1 for heraldry that is not accurate stultifies itself4 ,the usual grouping of an achievement was suggested1 no doubt1 by the method of displaying armorials in processions and other ceremonials1 when the crested and mantled helmet was placed on a lance staff or some similar support1 and the shield was hung below by its guige4 ,that the grouping was also a natural one is visible in the seal of ,henry ,,iv 7p4 #ah71 especially if we imagine the figure to be seen from the opposite side4 ,there is nothing heraldically essential in arranging the armorials in this order1 for the crest may be placed in any other relation to the shield that circumstances may render preferable4 ,when1 for instance1 it is undesirable to pile up the design in height the crest is placed at the side of the shield4 ,the earliest instance of which ,i am aware is that of ,lord ,basset of ,drayton1 whose arms thus appeared on his stall-plate as a ,knight of the ,garter4 ,in such cases it is usually most convenient to pose the crest on the true right of the shield because the swing back of the mantling serves admirably to tie up the whole design1 but there is no reason why the positions should not be reversed if the lines can be made to compose satisfactorily2 that is to say1 it is only a matter of ornamental design and not in any way of heraldic right or wrong4 ,,the ,,shield4--,in the application of badges to the distinctive decoration of armour1 whence arose the term armory for the science of heraldry1 the shield naturally singled itself out to be made of especial importance as the most suitable space on which to display the device2 for not only was it most conspicuous from its position with regard to the rest of the armour1 but its detachability1 and the facility with which it could be hung by its guige from some suitable support1 rendered it a ready means of representing its master in ceremonials and pageants4 ,as such a representative it became the principal vehicle of honourable distinctions1 and conversely was also made a means of punishing misconduct4 ,the decorative value of shields had been recognized from the earliest times2 on the ,greek pottery1 for example1 they appear bearing the symbolic representations of birds1 lions and other animals1 which are there drawn with all the vigorous beauty and sense of design that we should naturally expect from such a source4 ,in the ,roman sculptures also shields frequently occur1 of whose shapes some were to reappear at the ,renaissance4 ,illustration3 ,,fig4 #c4 ,back of ,fig4 #d4 ,illustration3 ,,fig4 #d4 ,norman ,shield4 ,illustration3 ,,fig4 #e4 ,eleventh ,century4 ,illustration3 ,,fig4 #f4 ,back of ,fig4 #e4 ,the ,norman shields1 as they are represented in the ,bayeux tapestry1 in early carvings and in seals1 were long and narrow1 and the leather guige by which they could be suspended from the neck was already in use1 as well as the other thongs which served as arm and hand holds 7,figs4 #c and #f71 and were so arranged as to permit the grasp to be applied in a variety of ways as the positions of the shield might demand4 ,the two sets of grips1 called enarmes1 that are here shown will serve to make clear the general arrangement1 but their placing varied considerably1 and was naturally adapted to individual requirements and peculiarities4 ,the shields were strongly curved in a horizontal direction1 partially encircling the body and1 in many instances1 had in the centre a projecting boss or umbo4 ,they were rounded at the top1 as in ,fig4 #e1 or the top was straight with rounded comers1 as in ,fig4 #d4 ,being pointed at the base they were capable of being thrust into the ground1 so as to be easily held in position by men fighting on foot1 to whom they formed a very efficient defence1 being about #d feet high1 in combination with the hedge of lances that accompanied them4 ,their width was about #b feet or perhaps a little more4 ,they usually consisted of a foundation of wood covered with strong thicknesses of leather1 additionally strengthened with bands and bosses of metal1 and were often richly painted1 and even1 it is said1 sometimes adorned with gems4 ,the round-topped pointed shield appears on the seals for a considerable length of time1 and in ,italy has never gone out of decorative use4 ,throughout the eleventh and twelfth centuries the ,norman shield remained with very little modification1 and was therefore the first shape to which regular heraldry was applied4 ,the subjects1 besides the armorials which were gradually increasing in number and in regularity of arrangement1 were at first little more than fanciful decoration1 the signs of the zodiac and similar devices1 as well as the badges1 which long continued to be used from time to time in a more ephemeral way than the regular armorials1 though nearly approaching them in character4 ,very early in the thirteenth century the height of the shield began to decrease1 and continued to do so until by the middle of the century an almost equilateral form was arrived at 7,figs4 #g1 #h1 #i74 ,this was probably the effect of the progress in the making of defensive armour1 whose improvement ultimately resulted in the disuse of the shield altogether4 ,by the end of the thirteenth century heraldry had become general1 and the triangular shields bore coats of arms which showed in their composition the influence of the shape that contained them4 ,the fact that a single lion was depicted as rampant rather than in another pose1 was probably due at first to the greater ease with which it could thus be adapted to the space and so satisfy the decorative sense of distribution4 ,and the attitude was already in existence in the designs of the textiles and in other works of ,eastern origin4 ,illustration3 ,,fig4 #g4 ,illustration3 ,,fig4 #h4 ,illustration3 ,,fig4 #i4 ,until the beginning of the fourteenth century the curves which describe the sides of the shield commenced quite at the top1 but soon afterwards 7the shape becoming rather narrower in proportion to the height7 the side lines began straightly at right angles with the top and1 at about one-fourth of the height1 began to develop into the curve which formed the point 7,fig4 #aa74 ,this is known as the heater shape from its resemblance to the heater of a smoothing iron4 ,soon afterwards the straight part of the sides extended downwards and the shield1 thus becoming wider at the base1 more nearly approached the square form1 as in ,fig4 #ab4 ,the shapes here given are designed to explain the varying forms from time to time1 and not the relative size of actual shields4 ,illustration3 ,,fig4 #aj4 ,illustration3 ,,fig4 #aa4 ,illustration3 ,,fig4 #ab4 ,the pointed shield was one of the most satisfactory shapes for the display of a single coat of arms1 but it became inconvenient1 in most cases1 when two coats were impaled together or when quarterings were involved1 the restricted base rendering it extremely difficult to deal with objects in that part of the shield4 ,the seals and monuments naturally represent shields as very flat1 but they were not actually so1 but were almost always curved in section to a greater or less extent1 and in one or more directions2 for armour was designed to deflect a blow rather than to directly resist it1 this being one of the ordinary principles on which most kinds of defence are based4 ,as we have seen in the ,norman shields1 the curve was at first simply from side to side1 afterwards1 in order to prevent a blow from glancing downwards1 the lower part of the shield was made to project1 and finally the top was brought forward so that the shield had a double curvature1 convex from side to side and concave perpendicularly 7,fig4 #ac74 ,a large shield called a pavoise was used for fighting on foot1 a partial reversion1 for definite practical reasons1 to the long shield of the ,normans4 ,like the ,norman shields1 it in some cases had a pointed or rounded base1 while in others it was roughly rectangular1 its most marked characteristic being the large and projecting rib whose hollow served on occasion to accommodate a supporting stake 7,figs4 #ad and #ae74 ,it was provided with handgrips and1 in most cases1 with a guige by which it could be slung on the shoulders or carried on the back when not in use4 ,besides those which were painted with subjects which extended over the whole surface in the usual way1 others were decorated with small painted shields drawn on the larger one4 ,illustration3 ,,fig4 #ac4 ,illustration3 ,,fig4 #ad4 ,pavoise4 ,afli4 ,violet-le-duc4 ,illustration3 ,,fig4 #ae4 ,back of ,fig4 #ad4 ,the term pavoise is sometimes given to the large decorative shields 7of various shapes7 which were made in considerable numbers in the sixteenth and seventeenth centuries1 especially in ,italy2 but there is no doubt that the term1 in strictness1 should be confined to this special defence of the foot-soldier4 ,a shield with a sharp arris or ridge and a round base is said to have been the last form to be used in actual war 7,fig4 #af71 and is interesting as the prototype of the ridged ,renaissance shield1 which became of such decorative value1 especially when modelled in relief1 because of the play of light and shade which it afforded 7,fig4 #af;,a4 ,see also ,figs4 #bj and #ba74 ,illustration3 ,,fig4 #af4--;,fifteenth ,century4 ,it will1 of course1 be understood that the various shapes of shields1 as they were gradually evolved one from the other1 did not in representation supersede their predecessors altogether1 however more or less completely they may have done so as actual defence1 and a considerable amount of overlapping took place in this as in other heraldic fashions4 ,the armorials themselves having been influenced in their composition by the shield shape that was in vogue when they were devised1 the choice of a form that is equally convenient for all the arms of a series presents considerable difficulty1 and therefore should not be decided upon until the nature of their whole contents has been properly considered4 ,shields were used in the tournament in a variety of ceremonial ways4 ,froissart describes1 in his account of the meeting that was held near ,calais in #acij1 how they were hung outside the pavilions of the defenders1 so that by touching them the challengers could signify their intention as to the kind of encounter that was to ensue4 ,for this purpose two shields were displayed1 one 8for peace0 and another 8for war10 and according as one or the other was touched the encounter took place with blunt or pointed weapons4 ,similar shields are referred to by ,edward the ,black ,prince in his will1 dated #acgf3 8l'un pur la guerre1 de nos armes entiers quartelles0 7those represented in ,fig4 #a at p4 #i71 8et l'autre pur la paix1 de nos bages des plumes d'ostruce0 7,fig4 #ag71 both of which decorate his tomb4 ,illustration3 ,,fig4 #af;,a4--,ridged ,shield4 ,fifteenth ,century4 ,martin ,schongauer4 ,together with the banners and pennons of the chief personages1 shields were hung from the windows of the knights' lodgings in the neighbouring town to where the lists were set4 ,they also adorned the walls of the banquet hall1 and in every way the actual shields contributed to the pageantry of the time1 and naturally suggested their representation in tapestries and in other permanently decorative ways4 ,the treatment of the bearings on the actual shield was1 no doubt1 by means of painting in flat colours1 the charges being drawn in the simplest and most direct way2 for although there are examples in the illuminated manuscripts of knights armed with shields whose charges are in relief1 such treatment was probably exceptional owing to its cost and to the difficulty of repairing damage1 or may even have been due to the elaboration of the illuminator4 ,so that although relief was employed in cases of unusual magnificence the ordinary treatment was probably flat4 ,illustration3 ,,fig4 #ag4--,shield 8for ,peace0 of ,the ,black ,prince4 ,after ,stothard4 ,shields for great ceremonial purposes being more purely decorative were naturally more elaborate1 and of these the shield at ,canterbury must be again instanced4 ,such a shield after serving in the funeral procession was suspended over the tomb1 together with the sword and crested helmet1 as was done for ,edward ,,iii and ,henry ,v in ,westminster ,abbey and for ,humphrey1 ,duke of ,gloucester1 8the ,good ,duke ,humphrey10 in old ,st4 ,paul's2 but of these only the insignia of ,henry ,v remain1 and they are by no means in such interesting preservation as those at ,canterbury4 ,a similar trophy adorned the tomb of ,edward ,,iv at ,windsor1 and is said to have been embroidered with pearls and gold4 ,the shields that were intended for ceremonial or decorative purposes were very carefully made of layers of various materials1 such as canvas and leather1 which were stretched over and glued down to the wooden understructure in order to afford a key to the material that formed a surface for the subsequent work1 in much the same way that panels were prepared for other kinds of painting at that time4 ,the charges were then modelled in gesso1 afterwards gilt and painted1 or else were fashioned in modelled leather and pinned down to the surface4 ,the spaces were often diversified with diapered patterns in raised lines of gesso or by means of punches1 and when the gold and colour were added the whole effect was extremely rich and beautiful4 ,of such pageant shields excellent specimens were in the great ,bardini collection1 now dispersed4 ,illustration3 ,,fig4 #ah4--;,italian ,decoration ,shield4 ,fourteenth ,century4 ,fig4 #ah1 a kite-shaped shield of the fourteenth century1 bears bendwise the word ,libertas1 the motto of the republic of the town of ,luroques1 in beautiful letters1 whose treatment is perfectly appropriate to the gesso in which they are executed4 ,the shape of the shield follows closely one of the early ,norman forms1 and is somewhat of the same proportion1 being #dd inches high by #ba inches broad4 ,the square pavoise 7,fig4 #ai7 of wood covered with vellum is painted with the arms of the ,buonamici1 and over them as crest is the portrait of the head of that family1 ,bienheureux ,buonamici4 ,illustration3 ,,fig4 #ai4--;,florentine ,decoration ,shield4 ,fourteenth ,century4 ,at the time that the use of shields in actual combat was becoming less and less frequent1 the invention of engraving on metal plates1 the improvement in wood-engraving1 and finally the production of printed books1 opened a fresh field for heraldic art in the making of the plates of arms which marked the patronage of a literary work1 or in the more familiar bookplate which signified the ownership of the book4 ,then began that long series of beautiful little works by ,martin ,schongauer1 ,israel van ,meckenen1 and by ,drer and their successors4 ,in the large number of designs thus produced the shields1 in many instances1 became much less simple1 ceasing to be a representation of the real defence1 though some of them were developments from it4 ,the cusped forms such as ,figs4 #bj and #ba1 which came into use in the latter half of the fifteenth century1 and became still more frequent in the ,tudor period1 perhaps have some affinity with the elaborate fluted armour of the time1 but others were frank adaptations of the contemporary decorative scrolls and were really cartouches more or less in place of a shield4 ,illustration3 ,,fig4 #bj4--;,fifteenth ,century4 ,illustration3 ,,fig4 #ba4--,sixteenth ,century4 ,the special tournament shield1 the shield bouche1 had a marked influence on subsequent forms4 ,in order that the shield might1 during the joust1 fit closely to the shaft of the lance a semi-circular opening was made1 sometimes at the top but more usually at the side1 as in the example 7,fig4 #bb71 and from this simple expedient a very great variety of shape resulted1 of which the manner of evolution is interesting4 ,in the ornamental forms that were based on the actual ones this embouchure was sometimes plainly indicated1 as in the shield from the group of ,drer's coat of arms 7,fig4 #bc7 and in the ,french wood-carving 7,fig4 #bd72 in others the lower point of the opening was merged into one swinging line1 as in the shield of the well-known ,death's ,head coat of arms4 ,the next step was to duplicate the curve suggested by the bouche1 and from the resulting form proceeded an endless variety of similar shapes1 the addition of foliated or scroll ornament completing the transition from the practical shield to the ornamental one4 ,an interesting instance of this duplication of form occurs in the shield from a fifteenth century monument in ,st4 ,gatien ,cathedral 7,fig4 #be74 ,with the recognition of the purely ornamental character of the shield-form the placing of the spear opening on the naturally correct side1 the dexter1 ceased to be thought important1 and it was placed indifferently on one side or the other1 and when such shields occur in pairs1 as in those on the ,pirckheimer bookplate by ,drer1 the bouche-derived curves are placed symmetrically on opposite sides4 ,illustration3 ,,fig4 #bb4--,tournament ,shield4 ,fifteenth ,century4 ,illustration3 ,,fig4 #bc4--;,drer's ,arms4 ,early ,sixteenth ,century4 ,illustration3 ,,fig4 #bd4--;,french ,wood-carving4 ,fifteenth ,century4 ,illustration3 ,,fig4 #be4--;,fifteenth ,century4 ,illustration3 ,,fig4 #bf4--aecj4 ,foliated decoration applied to the duplicated tournament form is well exemplified in the shield from the plate of the arms of ,herr ,kress1 who was the friend of ,drer1 though the plate is not ,drer's work 7,fig4 #bf74 ,illustration3 ,,fig4 #bg4 ,,fig4 #bh4 ,,fig4 #bi4 ,,fig4 #cj4 ,shields by ,aldegrever4 #aeeb4 ,among the work of ,drer's school the beautiful plates of his pupil ,hans ,sebald ,beham will well repay study for their excellent composition and for their extreme beauty of draughtsmanship and engraving4 ,beham's shields were often scrolled at the edge1 but not extravagantly so1 and he frequently employed plain shields1 which1 like most others at the time1 however plain in outline1 were shown more or less concave in some or all directions3 a well-known device to obtain relief for the light side of the charges by means of the adjacent shadow that is formed by the concavity of the shield4 ,the shields that accompany the figures of the ,virtues and ,vices1 engraved by ,aldegrever in #aeeb1 are most unusual in their curiously shaped edges1 and show very emphatically the complete departure from the character of the defence shield 7,figs4 #bg-cj74 ,the ,italian form derived from the tournament shield took a longer shape1 still retaining the bouche1 and often had the base divided into three parts1 and many examples of this shape occur on the walls of the ,palazzo del ,podesta1 ,florence4 ,the surface was generally kept whole and not fluted1 as in the analogous ,english form4 ,the most characteristic ,italian shield1 however1 was that derived from the angular ,roman ones1 such as those on ,trajan's column1 with the outlines curved into cusps4 ,this is sometimes called the champfrien shape from its resemblance to the face-plate of horse-armour1 but the appearance of the form at the time of the revived interest in classic art leaves little doubt of the source from which it was taken4 ,among others were oval shields1 also of classic origin2 and the round-topped ,norman shape also occurs very frequently4 ,triangular shields with concave outlines were also used4 ,in the use of more or less elaborate decoration the ,german artists participated4 ,virgil ,solis and ,jost ,amman among others frequently used the scrolled shield1 as ,beham also had done4 ,that ,english heraldry felt all these influences is evident in the examples from ,st4 ,alban's ,abbey 7,figs4 #ca and #cb71 sculptures whose forms are directly derived from the tournament shield and were carved in the early sixteenth century4 ,the application of foliated ornament occurs in the ,garter ,plates early in the fifteenth century1 in that of ,henry1 ,prince of ,wales1 afterwards ,henry ,v 7,fig4 #cc71 and more completely in the sixteenth century shield1 which bears the arms of the ,abbey of ,st4 ,alban's 7here omitted71 ,fig4 #cb4 ,in the ,elizabethan and ,jacobean decoration there is a reversion to the plain square shield1 which usually occurs as a centre for scrolls and strapwork1 the corners becoming slightly pointed1 a feature which developed into the hideous eared shields of later times1 when also the decorated form had become the clumsy 8ornamental0 shield that was so long endured4 ,illustration3 ,,fig4 #ca4--,sixteenth ,century4 ,illustration3 ,,fig4 #cb4--,sixteenth ,century4 ,illustration3 ,,fig4 #cc4 ,these various forms point to the useful fact that the shape of a shield is only limited by the invention and judgment of the designer4 ,the only1 and unfortunate1 exception is the lozenge1 on which the arms of ladies are placed in certain cases3 an unfortunate shape because in most instances it is extremely difficult1 if not impossible1 to accommodate its bearings to it in a satisfactory way4 ,usage says that an unmarried lady must bear her father's arms1 and a widow must bear her father's and husband's arms together on a lozenge4 ,this is a point that cannot be ignored1 for an isolated lozenge containing but one coat is an heraldic statement that the owner is unmarried3 except the statement be modified by the association of other arms1 as in the case of peeresses in their own right4 ,again the necessity of being clear about the heraldic facts before attempting to depict them is evident4 ,in one instance1 at least1 the arms of ,her late ,majesty ,queen ,victoria were drawn on a lozenge1 in spite of the undoubted fact that 8the ,royal state is masculine40 ,it is also for this reason that a ,crest is borne by the ,sovereign even when a lady occupies that exalted position4 ,the immense scope that is afforded by the variety of shield shapes is extremely valuable in adapting heraldry to general design1 in fitting a shield to its space1 in adapting it to its bearings1 and in bringing its lines into proper relation to those of accompanying figures or ornament4 ,it may also help in the expression of a general idea1 as in the burnt wood panel on p4 #bah1 where there is a suggestion of rose-leaves in the edges of the shield4 ,it is obvious that as the statement which heraldry makes is a very definite one1 its accuracy should be the first care1 and that this vital consideration is frequently lost sight of is but too evident from the fact that even the ,king's ,arms are as frequently maltreated as the ,king's ,english4 ,it will be needless to specify instances--they are not few--of works of great public as well as artistic interest wherein the arms have no real connexion with the matter they are supposed to illuminate1 though doubtless the intention was right1 and if it had been accurately carried out would have been appropriate enough4 ,sometimes the arms that are ascribed to the family of ,fitzjames appear on the shield on which the artist thought he was depicting the ,royal ,arms of ,england4 ,from the ,royal ,arms of ,scotland the distinctive tressure flory counterflory which encloses the lion is left out1 and this occurs on the walls of a public library which happens to be the gift of a ,scottish philanthropist4 ,errors are also due to faulty intention1 for if we have to deal with a subject which applies to the whole country it is manifestly wrong to use the lions of ,england only1 to the exclusion of the armorials of the rest of the ,united ,kingdom1 and yet this is constantly done4 ,careful observance of customary rules by no means precludes variety of treatment1 however1 but1 on the contrary1 affords ample scope for excellence of design in stating the heraldic facts with perfect accuracy4 ,as already said1 it is this symbolic statement that gives heraldry its peculiar value in decoration1 for a similar effect of mass and line could doubtless be got in another way1 but not the same quality of personal allusion4 ,it will therefore be necessary to ascertain how to distinguish in some way between the unessential1 and therefore available1 variation which is so valuable to design1 and such departure from accurate rendering of the subject as constitutes heraldic mis-statement that may stultify the whole work4 ,in this important respect guidance may be found1 as already intimated1 in the system of description called ,blazon1 in which should be expressed all that is essential1 and from which everything that is not essential should be omitted4 ,,chapter ,,iii ,heraldic ,rules ,with the regular establishment of heraldry the need for a technical method of describing the various bearings at once made itself felt1 and the system of ,blazon was the result4 ,like the heraldry which it described it was admirably adapted to its purpose1 being simple1 perfectly explicit of the character1 pose1 and position of its subject1 without excessive minuteness in detail4 ,in time1 however1 it not only became more complicated1 as was natural1 but it at last became a vehicle for the pedantry which1 succeeding the artistic feeling of the ,middle ,ages1 expended itself in the making of unnecessary rules4 ,by the time the seventeenth century was reached it seemed to be thought to show the height of heraldic knowledge to insist on every insignificant detail1 and so prevent the artist from deviating into anything more excellent than was customary at the moment4 ,indeed this pedantic affection for exactness in trifles sometimes makes one wonder that in blazoning a maiden's face it was not thought necessary to mention that it included a nose between two eyes in chief and a mouth in base ppr4 ,as a guide to the degree beyond which freedom of treatment may not go without destroying the heraldic validity of the subject1 blazoning should be assiduously practised1 however irksome and pedantic it may appear1 until a technical note of any armorials can be written with precision and such a description be translated into a sketch with equal certainty4 ,after studying the system as explained herein1 ,i would recommend as practice the endeavouring to properly describe the armorials in an illustrated work1 a ,peerage for instance1 with subsequent reference to the authentic blazon for confirmation or correction4 ,conversely a sketch should be made from a blazon1 and then compared in a similar way with the illustration4 ,for this purpose ,foster's ,peerage and ,baronetage1 #ahha-c1 with its beautiful woodcuts after drawings by ,dom ,anselm and ,forbes ,nixon1 will be of admirable service1 and at the same time will familiarize the student with excellent heraldic design4 ,the achievements in that work are represented with great strength and directness1 and have much affinity with the spirit of the mediaeval work1 and are therefore worthy of careful study4 ,at the same time any tendency to make a style 7which may easily become an eccentricity7 into an aim rather than an incident should be carefully avoided4 ,blazon is not intended to enable two persons to depict a coat exactly alike in petty detail1 but rather that each in rendering the subject in his own fashion may be correct in essentials1 so that there can be no question of what coat is intended4 ,similarly1 when a ,patent of ,arms refers to those 8in the margin0 thereof 8more plainly depicted0 7i4e4 more legibly than in the technically worded blazon71 it is not meant that the treatment 7it may be bad7 or the exact quality of tincture 7it may be discoloured7 is to be copied1 and this is by no means an unnecessary warning1 as experience has shown4 ,in naming the parts of the field or general surface1 it must be remembered that the shield of arms is regarded as being held in position in front of its bearer3 the side towards the right shoulder being called the dexter1 and that towards the left the sinister4 ,of these the former is 8more worthy0 than the latter2 that is to say1 a charge that is not centrally placed would be to the dexter rather than to the sinister side of the shield2 this1 it may be remembered1 being the reverse of the manner of wearing medals and orders on the breast4 ,the upper part of the shield is the chief and the lower part the base1 the former naturally taking precedence over the latter4 ,this is important in relation to the blazon of parti-coloured fields4 ,illustration3 ,,fig4 #cd4 ,in order to facilitate the accurate placing of objects in their intended positions on the field its various parts were thus named 7,fig4 #cd73-- ,a4 ,dexter ,b4 ,middle ,chief4 ,c4 ,sinister ,d4 ,the honour point1 probably so named from its relative position to that of the heart in the human body4 ,e4 ,the fess point1 named after the ordinary which passes through it horizontally1 as hereafter described4 ,f4 ,the nombril or navel point1 another fanciful allusion to the human body4 ,g4 ,dexter ,h4 ,middle ,base4 ,i4 ,sinister ,most of these terms have now become obsolete1 but it is still necessary to know them with regard to their application in old blazon4 ,in modern blazon when it is necessary to specify the part of the field that is occupied1 the terms in chief1 or in base1 in dexter chief1 in sinister chief1 in dexter base1 or in sinister base1 or1 if in the sides of the shield1 the dexter or sinister side simply1 as the case may be4 ,it will be rarely necessary1 however1 to use any other than the first two of these phrases1 for the position of charges is in most instances understood from other circumstances4 ,every blazon begins by describing the field1 its divisions 7if any7 and colour4 ,the partition lines by which it may be divided are named like the ordinaries1 and may therefore be most usefully considered in connexion with them 7see p4 #dg74 ,heraldic tinctures1 as they are all called1 consist of metals1 colours and furs4 ,the metals and their technical names are3 ,or gold1 and ,argent silver4 ,in painting1 yellow is equivalent to gold and may be substituted for it2 as white may be1 and generally is1 substituted for silver4 ,it may be noted1 however1 that when an animal is naturally yellow1 and is blazoned proper 7ppr47 it must be painted yellow and not gold4 ,the colours are3 ,gules1 signifying red2 ,azure for blue2 ,vert for green2 ,purpure1 purple2 and ,sable1 black4 ,though the terms are more immediately derived from ,norman-,french1 the early language of chivalry1 some of them at least are believed to have been derived from ,eastern1 probably ,persian1 sources4 ,in practice they are considered to be completely anglicized and are pronounced accordingly4 ,this also applies to most heraldic terms1 but not to all1 the practice in this respect being somewhat arbitrary4 ,tinctures are sometimes indicated by means of lines and other marks1 a system which arose in the beginning of the seventeenth century1 and was derived from the line tints which had long been used in engraving to distinguish contiguous spaces from each other1 and used in this way they were valuable and unobjectionable because they were under control4 ,when1 however1 a colour meaning was given to the lines the designer was no longer able to restrict their employment to where they were artistically useful1 but must use them throughout or not at all4 ,and the latter is1 on the whole1 the more satisfactory way4 ,on flat spaces1 if the lines are sufficiently pronounced to be legible1 they may lead the eye in a direction that is not helpful to the composition1 and on modelled charges or crests they have a flattening and confusing effect that is very disagreeable4 ,in some instances the tincture lines have been used only in small patches1 such as in shadows1 and this is least objectionable1 but is only possible in very simple cases4 ,the signs of the tinctures are as follows3-- ,argent is shown by a plain surface4 ,or is signified by spots and sometimes by slight pecks which produce the appearance of a grain4 ,gules by perpendicular lines4 ,azure by horizontal lines4 ,vert by oblique lines drawn downwards from dexter to sinister4 ,purpure by oblique lines from sinister to dexter1 and ,sable by horizontal and perpendicular lines hatched across each other 7,fig4 #ce74 ,illustration3 ,or4 ,argent4 ,gules4 ,azure4 ,vert4 ,purpure4 ,sable4 ,,fig4 #ce4--,the ,tinctures4 ,the tinctures are usually contracted into arg41 gu41 az41 vt41 purp41 and sa4 for convenience4 ,it will probably be found that errors of memory are most likely to occur from confusing the direction of the lines which signify blue and red respectively2 this may be avoided to some extent by connecting the letters ,h4,b41 which distinguish what is perhaps the most used grade of lead-pencil1 with the fact to be remembered3 ,horizontal ,blue4 ,also the fact that objects on the horizon are blue may assist the memory4 ,illustration3 ,,fig4 #cf4 ,the furs are as follows3 ,ermine1 it is hardly necessary to say1 is white with black spots 7,fig4 #cf74 ,ermines is black with white spots1 and is probably a purely heraldic inversion of ermine4 ,erminois is ermine with a gold ground instead of white1 and ,pean1 which is inverted erminois1 has a black ground spotted with gold4 ,the actual ermine being composed of many small skins sewn together1 the black-tipped tails formed a regular powdering of spots4 ,these1 however1 have from the earliest heraldic times been represented by conventional forms of immense variety1 which usually consist of a divided central portion with the addition of three spots above1 the latter being sometimes embellished with diverging lines4 ,the conventional version of ermine was even used in costume1 being painted on the material which was used by those to whom the wearing of real ermine was forbidden by sumptuary law4 ,it will be observed that the body of the spot has become turned upside down in its transition from the form of the natural tail4 ,illustration3 ,,fig4 #cg4 ,illustration3 ,,fig4 #ch4 ,illustration3 ,,fig4 #ci4 ,by a similar combination of small skins1 in this case grey and white1 ,vair was formed 7,fig4 #cg71 and this fur also acquired a generally conventionalized shape1 which became1 in its late variety1 somewhat like a series of the hideous eared shields of the eighteenth century4 ,vair is understood to be argent and azure in alternate spaces1 the blue representing the grey part of the natural fur1 and it is only when other tinctures are employed that they need to be mentioned in the blazon4 ,in the latter case the term changes to vairy1 or vair1 of such and such tinctures4 ,one of the older forms of vair was made with undulating lines alternating with straight ones 7,fig4 #ch71 and is obviously better than the modern form4 ,another early variety carried the curved lines up to the straight ones1 and was drawn somewhat as though the angles of the modern vair were rounded into curves1 the result being a pleasant form that is shown in ,fig4 #ci4 ,vair may be of three tinctures or even more1 and instances are mentioned1 by ,gerard ,leigh for example1 but such cases are very rare4 ,potent is a fur similarly built up whose skins are in the shape of crutch-heads1 and it is subject to the same colour conditions as vair 7,fig4 #dj74 ,illustration3 ,,fig4 #dj4 ,illustration3 ,,fig4 #da4 ,illustration3 ,,fig4 #db4 ,counter-vair and ,counter-potent have pieces of the same colour opposed to each other1 as in the example of counter-vair 7,fig4 #da71 and it will be noticed that these variations of the simpler furs are inferior to them in that they lose the completeness of the counter-change4 ,in both vair and potent the colour pieces are more frequently than not placed point upwards in relation to the metal ones1 but there is no definite rule about this4 ,an ancient form of vair which somewhat resembles potent is ,fig4 #db4 ,illustration3 ,,fig4 #dc4 ,illustration3 ,,fig4 #dd4 ,illustration3 ,,fig4 #de4 ,illustration3 ,,fig4 #df4 ,illustration3 ,,fig4 #dg4 ,illustration3 ,,fig4 #dh4 ,illustration3 ,,fig4 #di4 ,illustration3 ,,fig4 #ej4 ,having described the tinctures it will now be convenient to return to divisions of the field1 the simplest possible variation from a plain shield4 ,a surface is party per pale 7,fig4 #dc7 when it is divided by a perpendicular line into two halves1 party per fess 7,fig4 #dd7 when the line which equally divides the shield is a horizontal one1 party per bend 7,fig4 #de7 when it goes diagonally downwards from dexter to sinister1 and party per bend-sinister when the diagonal is reversed4 ,the word party1 however1 has now fallen into disuse1 and the terms per fess1 per pale and so forth are considered sufficient4 ,per chevron1 per saltire and quarterly are as represented 7,figs4 #df1 #dg1 #dh74 ,gyronny 7,fig4 #di7 is a combination of the two last named1 and the number of its pieces being normally eight1 any variation from that number must be expressly mentioned4 ,barry 7,fig4 #ej7 is composed of repeated horizontal lines1 which are odd in number1 so that the spaces begin and end with different tinctures4 ,paly 7,fig4 #ea7 and ,bendy 7,fig4 #eb7 are similarly composed of perpendicular and oblique lines respectively4 ,chequey 7,fig4 #ec7 is1 of course1 made into squares by perpendicular and horizontal lines1 and ,lozengy 7,fig4 #ed7 similarly results from crossing oblique ones4 ,varieties of the latter form arise from a combination of perpendicular with oblique lines1 called paly bendy1 and of horizontal with oblique1 which is called barry bendy4 ,both are of rare occurrence and perhaps resulted from bad drawing of lozengy4 ,illustration3 ,,fig4 #ea4 ,illustration3 ,,fig4 #eb4 ,illustration3 ,,fig4 #ec4 ,illustration3 ,,fig4 #ed4 ,the field being the first part of a coat of arms to be described1 the character of its division1 if any1 precedes the mention of its colour4 ,for example3 per pale ,or and ,gules4 ,here it may be noted that a field may be party of two metals or of two colours1 for the general rule against colour being placed upon colour or metal on metal does not apply in these cases1 the spaces being but divisions of one plane and not parts that are superposed one on the other4 ,nor does it apply to objects that are charged on a party field1 for in that case it is inevitable that the tincture of the charge must interfere with one or other of the tinctures of the field4 ,nevertheless1 when confusion would be very pronounced counter-change is resorted to1 as for example 7,fig4 #ee73 per pale arg4 and az4 three roses counter-changed4 ,illustration3 ,,fig4 #ee4 ,in blazoning party fields the tinctures count from the dexter side when the divisions are perpendicular1 and from the chief when they are horizontal4 ,in cases of diagonal division it must be remembered that the chief has precedence over the dexter side1 and therefore in a field 8per bend or and gules10 for instance1 the space above the diagonal counts first and is therefore or4 ,if this point is kept in mind1 the difficulties that are frequently experienced in such blazon disappear4 ,thus in per saltire the divisions count from the uppermost space1 and in gyronny1 this space being again divided by the perpendicular line1 the alternation begins with that part of the chief which is nearest the dexter1 or in other words1 the first quarter of the shield is per bend4 ,in bendy the space next above the middle diagonal may be taken for the first tincture as the key to the alternation4 ,barry1 ,paly and ,bendy are each understood to be composed of six pieces unless it is otherwise mentioned4 ,when chequey is applied to ordinaries1 at least three rows or tracks are considered essential2 so that when there is but one row it is called ,gobony or ,compony1 and is ,counter-compony when there are two4 ,the two latter varieties occur most frequently in bordures4 ,the objects that are borne on the shield are divided into two main groups that are respectively called ,ordinaries and ,charges4 ,ordinaries comprise those simple flat figures which are in most cases formed by divisions of the shield and generally extend to its edges4 ,they are the ,fess1 the ,bend1 the ,chief1 the ,pale1 the ,chevron1 the ,cross and the ,saltire4 ,some of these have diminutives1 similar figures drawn distinctly smaller and having separate names1 and these will be found under their principals4 ,other forms1 sometimes called sub-ordinaries are the ,pile1 ,quarter1 ,canton1 ,gyron1 ,bordure1 ,orle1 ,tressure and ,flanches4 ,other objects1 animals1 flowers1 trees1 anything depictable1 animate or inanimate1 may be borne as ,charges on the field1 on ordinaries1 or on each other4 ,the ,fess 7,fig4 #ef7 is drawn horizontally across the shield and occupies the middle of it from side to side1 and the blazon might be1 for example1 ,or1 a fess gules1 i4e4 a red fess on a golden shield4 ,where more than one occurs in the same coat they are necessarily smaller and are called ,bars1 e4g4 ,argent three bars sable4 ,when bars are distinctly arranged in pairs each pair is called a ,bar-gemelle1 thus ,az4 three bars-gemelles ,or1 means three pairs of bars4 ,the proportion of the ordinaries to their fields varies very considerably1 and this for many reasons4 ,when the ordinary is alone1 when it is between charges or where it is itself charged1 the proportion will change with the conditions4 ,the character of such charges and therefore their weight in the composition must also be taken into account1 for the adequate display of all the constituents of the coat is the object in view4 ,as an approximate proportion the width of an ordinary may be taken as somewhat less than one-third of the field when neither1 or both1 are charged2 as a full third when itself charged and on a plain field2 and as rather more than one-fifth when the field only is charged4 ,by similar niceties of design the sense of lightness or weight may be conveyed1 so that for decorative purposes the shield may be brought into due relation with the character of surrounding ornament4 ,colour also will affect the apparent proportion1 a dark object on a light ground appearing smaller than it really is1 and vice versa1 and this requires careful attention in the counter-change which occur in heraldry as in other forms of design4 ,illustration3 ,,fig4 #ef4 ,illustration3 ,,fig4 #eg4 ,illustration3 ,,fig4 #eh4 ,illustration3 ,,fig4 #ei4 ,the ,bend is drawn from the dexter chief to the sinister base 7,fig4 #eg71 and is sometimes accompanied by a smaller bend on either side1 when it is said to be cotised and must so be distinctly described1 as arg4 a bend cotised sa42 if1 however1 the cotises were of another tincture to the bend the blazon would be1 for instance1 arg4 a bend sa4 cotised gu41 that is1 a black bend between two smaller red ones on a white shield4 ,the word cotise is also used for other diminutives that accompany their ordinaries on either side1 and there are instances of shields being said to be cotised by their supporters4 ,where two or more bends of equal width occur they are called bendlets1 and when they are raised above their normal position as in the ,arms of ,byron and of ,birmingham they are said to be enhanced4 ,the ,bend-sinister is a bend reversed2 that is to say1 descending from the sinister chief to the opposite base2 indeed1 it sometimes occurs in wood-carving merely by reason of the carver having inadvertently turned his tracing over4 ,the bend-sinister is sometimes used as a mark of illegitimacy4 ,one of its diminutives1 the ,baton 7a small bend-sinister1 whose ends stop considerably short of the edges of the shield71 is especially used with this intention4 ,a bend-sinister is not necessarily a mark of illegitimacy4 ,the old heralds indeed do not seem to have marked a coat in this way in order to hold up its bearer to obloquy1 but simply employed the ordinary as a difference4 ,a diminutive of the bend called a ,ribbon occurs in the ,arms of ,abernethy--,or a lion rampant gules1 debruised1 i4e4 passed over by a ribbon sable4 ,the ,chief occupies the top of the shield from side to side and has no diminutive 7,fig4 #eh74 ,the ,pale is drawn perpendicularly down the centre of the coat 7,fig4 #ei71 and when one of a number is called a ,pallet1 which again is sometimes called an ,endorse when it accompanies the pale as the cotise does the bend4 ,the ,chevron 7,fig4 #fj71 usually drawn as a right angle1 may be varied to a very large extent as conditions of space require2 it becomes unpleasant1 however1 when more obtuse than a right angle4 ,in later ,french and ,italian heraldry it is frequently drawn remarkably acute1 its point often extending to the top of the shield1 and this form is usually found associated with very small and weakly drawn charges4 ,when more chevrons than one are used together they are called ,chevronels4 ,illustration3 ,,fig4 #fj4 ,illustration3 ,,fig4 #fa4 ,illustration3 ,,fig4 #fb4 ,the ,cross 7,fig4 #fa7 and its diagonal variety the ,saltire 7,fig4 #fb7 are sometimes voided1 as in ,fig4 #fc1 so that the field shows through1 and may also be interlaced1 as arg4 a cross voided and interlaced sa 7,fig4 #fd74 ,parted and fretty is an equivalent term4 ,its proportion1 even in shields of which it was the only bearing1 was much narrower in mediaeval times than later4 ,illustration3 ,,fig4 #fc4 ,illustration3 ,,fig4 #fd4 ,the great variety of its form as a charge is referred to under that head1 and some of its less usual forms as an ordinary are3 ,fig4 #fe1 a cross quarter pierced2 ,fig4 #ff1 a cross quadrate2 ,fig4 #fg1 a cross nowy2 and ,fig4 #fh1 a cross couped4 ,illustration3 ,,fig4 #fe4 ,illustration3 ,,fig4 #ff4 ,illustration3 ,,fig4 #fg4 ,illustration3 ,,fig4 #fh4 ,the ,pile is represented in ,fig4 #fi4 ,when more than one occur they point towards the base1 unless their position is otherwise specified1 and their points may either be in a line perpendicular to their widest part or they may converge towards the centre2 in the latter position they are blazoned 8piles in point40 ,sometimes three piles are alternated so that there are 8two in chief and one in base10 the latter1 of course1 being point upwards between the other two4 ,illustration3 ,,fig4 #fi4 ,with the important exception of the chief all the foregoing ordinaries1 as bearings occupying the principal parts of the shield1 are mentioned in blazon immediately after the field and before the charges1 if any1 as3 ,argent a bend between two fleurs-de-lis ,gules1 for example4 ,the chief1 on the other hand1 is not blazoned until after the rest of the shield has been fully described4 ,ordinaries may themselves be charged1 and in that case the sequence in the blazon is3 7#a7 the field2 7#b7 the objects immediately on it2 and lastly1 the charges with which the latter are charged4 ,for example3 ,az4 on a chevron between three roses ,or1 as many fleurs-de-lis of the field4 ,it will be noticed that the fact that the ordinary is charged is mentioned early in the blazon1 though the description of the charges is left till later in accordance with the sequence already stated4 ,also that the chevron and roses being of the same tinctures the word ,or only follows the last of the objects to which it refers4 ,another point that is here exemplified is the avoidance of tautology by the use of the words 8as many0 instead of the repetition of the number three1 and again in describing the fleurs-de-lis by tincturing them 8of the field0 instead of repeating az4 ,this extreme objection to tautology is very characteristic of heraldic language1 and where it is impossible to otherwise avoid repeating a tincture the ordinary word will be used in place of the technical one1 as ,gold in place of ,or4 ,illustration3 ,,fig4 #gj4 ,having proceeded so far with the subject of blazon1 two very convenient methods of noting heraldic facts may now be described4 ,that which is called a 8trick0 is a slight sketch1 in which simplification is carried to the ultimate extent by indicating with numbers the charges which are repeated4 ,as an instance1 the coat blazoned above would appear in trick thus 7,fig4 #gj74 ,in the other method1 which is a sort of heraldic shorthand1 the blazon would be written3 ,az4 on a ,shape #a bet #c ,shape #b ,or #c ,shape #c ,az41 the niceties of ordinary blazon in avoiding repetition being ignored4 ,,various ,,lines4--,the lines with which simple objects are drawn and fields divided are1 normally1 plain ones2 but various others are also employed1 and constitute important differences between one coat and another4 ,those in ordinary use are as follows 7,fig4 #ga73-- ,illustration3 ,engrailed ,invected ,wavy ,nebule ,indented ,dancette ,embattled ,raguly ,dovetailed ,potenty ,rompu ,fig4 #ga4 ,engrailed may be drawn with cusps of any suitable size or quality of curvature4 ,its points must turn outwards from an ordinary1 and when used as a party line they point to the dexter in per pale and upwards in per fess and per chevron4 ,all lines other than plain ones must be mentioned in the blazon in immediate connexion with the objects to which they refer and before the tincture1 as1 ,gules a bordure engrailed ,or4 ,as the only party line that appears to face in one direction1 engrailed follows the general heraldic feeling in turning its point to the dexter or to the chief unless there is special reason to the contrary4 ,invected is engrailed reversed1 so that the points turn inward4 ,its use is comparatively rare and the effect is not very pleasing4 ,in wavy any form of regular undulation may be employed so long as there is no possibility of confusion with nebule4 ,nebule is usually drawn in some modification of the two forms given above1 but there is an old and interesting treatment in which a nearer1 though still conventional1 suggestion of clouds covers the ordinary1 as in ,fig4 #gb4 ,this is a bordure nebuly equally with that drawn in the ordinary way4 ,illustration3 ,,fig4 #gb4 ,indented is composed of small serrations1 while ,dancette usually consists of not more than three chevrons which1 in the case of a fess1 for instance1 may be complete1 or the series may begin and end with a half chevron as in the example4 ,in early instances the angles are very acute1 and in the case of party lines extend well across the field4 ,in such a case the line should begin on one side of the shield and finish on the other in order to equalize the direction of the points4 ,embattled1 when applied to fesses and chevrons1 is confined to the upper line unless the ordinary is blazoned 8embattled counter embattled10 in which case both lines are similarly treated4 ,when applied to a chevron the sides of the crenellations are usually kept vertical1 as though in the wall of a sloping way1 rather than at right angles to the ordinary1 though the latter form also occurs4 ,raguly1 especially when applied to a fess or a pale1 is suggestive of stumps of branches that have been lopped from the parent stem1 and this probably indicates its origin4 ,thus the projections on both sides of the ordinary slope the same way1 and1 in many examples1 they alternate4 ,in the case of a cross they point along the limbs outwards from the centre4 ,many of the heraldic lines are of very ancient usage1 and the popular idea that they are signs of modernity is quite an erroneous one1 some of them occurring as early as the reign of ,edward ,i4 ,a line is ,rompu when it is interrupted as in ,fig4 #fb1 and an instance of this occurs in the ,arms of ,allen1 which is per bend rompu4 ,,sub-,,ordinaries4--,the ,canton1 ,gyron1 ,inescutcheon1 ,orle1 ,tressure1 ,bordure and ,flanches are classed as ,sub-ordinaries4 ,the fusil or lozenge 7q4v47 and some others are also sometimes included in this division1 but classification of this kind is of little practical importance4 ,the ,canton 7,fig4 #gc7 is frequently a means of displaying an augmentation1 a special distinction added to a previously existing coat1 as in the arms of the family of ,lane and others4 ,it is drawn of any convenient size short of being possibly confused with the ,quarter1 the latter occupying the proportion of the shield that its name implies4 ,the fact that even in modern coats the canton partially covers1 if necessary1 a charge near the same part of the shield suggests that it was in its origin an added mark of honour2 and also because like the chief1 it is mentioned in the blazon only after the main part of the shield has been described4 ,the ,orle 7,fig4 #fi7 becomes a ,tressure 7,fig4 #gj7 by the addition of fleurs-de-lis1 and when doubled and decorated with alternating fleurs-de-lis on both sides the beautiful 8double tressure flory counterflory0 of the ,royal arms of ,scotland is formed4 ,illustration3 ,,fig4 #gc4 ,illustration3 ,,fig4 #gd4 ,illustration3 ,,fig4 #ge4 ,illustration3 ,,fig4 #gf4 ,other ordinaries may also be made flory in a similar way1 and a partition line may be flory counterflory1 so that each division of the field interpenetrates the other in a very beautiful counter-change4 ,the ,bordure 7,fig4 #ga7 was extensively used in the ,middle ,ages as an addition to the arms of a family by which to distinguish its individual members from each other1 as it still is in ,scotland1 and in its application to historic personages is a subject of great interest2 for example1 the shield of ,john of ,eltham bore the arms of his father1 ,edward ,,ii1 the lions of ,england1 differenced with a bordure charged with fleurs-de-lis1 in allusion to his mother1 ,isabella of ,france4 ,the shield 7,fig4 #gg7 appears on the tomb of his nephew1 ,prince ,edmund1 at ,kings ,langley1 but a much finer example is that from ,prince ,john's own monument in ,westminster ,abbey1 at p4 #gg4 ,this part of the subject will well repay pursuit1 though space forbids its further consideration here4 ,illustration3 ,,fig4 #gg4 ,arms of ,prince ,john of ,eltham4 ,from the ,monument to ,prince ,edmund of ,langley at ,kings ,langley4 ,it should be noted that when a chief or a canton occurs in the same arms with a bordure it surmounts the latter1 or rather the bordure stops when it touches the other1 for both are usually represented as in the same plane4 ,also1 when a coat with a bordure is impaled with another1 as in the arms of husband and wife1 the bordure stops at the junction with the other coat4 ,nevertheless1 the charges on the bordure1 if any1 and of specified number1 remain1 with the rest of the arms1 unaffected by its diminution4 ,the fact that the chief surmounts a bordure lends probability to the assertion that chiefs like cantons were at first honorific additions to pre-existing arms4 ,flanches are represented in ,fig4 #gh1 and their diminutives1 ,flasques and ,voiders1 are sometimes met with in old works4 ,illustration3 ,,fig4 #gh4 ,a shield of arms is said to be charged with the figures upon it1 but the term charge is usually understood to mean some object other than the ordinaries just described4 ,before proceeding further1 however1 it will be well to consider the various ways in which charges may be arranged with regard to the shield1 to the ordinary and to each other4 ,a single charge whose position is not otherwise fixed by the blazon naturally occupies the whole shield1 but when charges are repeated the arrangement is1 of course1 more complex4 ,the most usual number of repeated charges in a coat of arms is three1 two in chief and one in base1 an arrangement obviously suggested by the space available on a pointed shield1 and in blazoning they are said to be two and one4 ,as a rule1 however1 this distribution is assumed to exist unless another is specified4 ,when the charges are more than three their disposition must always be mentioned1 as3 ,gules six horse-shoes1 three two a one1 ,arg4 and so on for ten or more1 counting always from the chief or top of the shield4 ,an indefinite number of charges equally distributed over a surface1 whether of field1 ordinary or charge1 is said to be ,seme1 as in the ,arms of ,france that were assumed by ,edward ,,iii and his successors1 az4 seme-de-lis or4 ,as in this instance1 a field seme of anything was depicted as though cut from a large surface similarly decorated1 so that here and there at the edges a part only of the figures remained4 ,this early method has been relinquished in favour of what was anciently called ,geratting1 by so arranging the powdering of charges that they do not touch the sides of the shield or any other object with which they are associated4 ,considerable management is required to so arrange them that they shall be equally distributed1 and care must be taken that they do not appear to be in orle1 as is explained below4 ,illustration3 ,,fig4 #gi4 ,somewhat similar to seme is what is known as gutte or gouttee 7,fig4 #gi71 a means of covering a field or other object by means of a kind of seme of drops1 which have different names according to their tinctures4 ,thus when they are gold they are goutts d'or2 when argent1 goutts d'eau2 when gules1 goutts de sang2 azure1 goutts de larmes2 sable they are goutts de poix2 and goutts d'olive are vert4 ,it is quite permissible to blazon them by their tincture2 thus 8arg4 goutte de sang10 would be equally correctly written1 arg4 gutte gules4 ,the direction of the ordinaries affords another excellent means of placing charges2 thus1 objects in a horizontal line across the middle of the shield are in fess1 when at the top they are in chief1 and so forth4 ,similarly1 charges one above the other are blazoned in pale4 ,here it should be noted that in pale and in fess do not mean occupying the space of a pale or of a fess1 but merely that they are disposed in the indicated direction4 ,thus the lions of ,england are in pale1 but should1 of course1 be drawn right across their field1 and in a similar manner charges in fess extend from chief to base when their character admits of the extension4 ,in some instances a number of charges are placed on the field between others1 as3 three roses in bend between two roundles2 but the result can rarely be made satisfactory as design1 such a coat seeming to need the steadying effect of the lines of an ordinary4 ,charges that are ranged round the field1 as in the enamelled shield of ,william de ,valence at ,westminster1 p4 #agf1 are in orle2 if the number of martlets were specified1 the blazon would be so many martlets in orle2 but if the number were indefinite1 the term would be an orle of martlets4 ,illustration3 ,,fig4 #hj4--;,arms of the ,grocers ,company of ,london4 ,cartoon for mural decoration4 ,geo4 ,w4 ,eve4 ,when a fess or a chevron is between three charges the latter naturally fall into the position of two in chief and one in base1 and that is the most usual number and arrangement4 ,instances of greater numbers so disposed are rare among ancient examples1 for in designing them the pointed shield seems to have been kept always in view with the notable exception of ,berkeley1 ,gu4 a chevron ermine between ten crosses patte ,ar2 but these adapt themselves perfectly to the shield and chevron1 being balanced by the large number above1 as also do the cloves of the ,grocers ,company that are similarly arranged4 ,fig4 #hj shows a rendering of the last-mentioned arms as designed to accompany work of the eighteenth century4 ,,chapter ,,iv ,animals and ,monsters ,among the forms that are characteristically heraldic the ,lion1 the symbol of courage1 power and magnanimity1 is most prominent and typical4 ,illustration3 ,,fig4 #ha4 ,thirteenth ,century4 ,illustration3 ,,fig4 #hb4 ,,fig4 #hc4 ,device ,seals4 ,thirteenth ,century4 ,it has already been mentioned that the earliest heraldic lion1 followed the ,eastern examples with considerable fidelity1 as may be seen by comparing the lions of the early ,,mss41 such as ,fig4 #ha1 with those of the textiles which were the product of ,oriental looms1 and of such as were set up in ,sicily with ,oriental workmen in the twelfth century4 ,these early examples were drawn broadly and simply as was fitting to the material in which they were expressed1 and their shape and proportion approached that of nature4 ,the lion of the early seals1 such as ,figs4 #hb and #hc1 present the same characteristics4 ,the former seal is that of ,alexander ,first in the twelfth century1 and the latter that of ,henry1 son of ,swanus de ,denehy1 in the thirteenth4 ,the attenuation which became so characteristic a feature of the animals in later work arose from the necessity of clear definition of the object which was to serve as a distinctive badge that would be visible at a distance and when in motion1 as has been already pointed out4 ,the device was intended to be easily read under the various conditions of use1 and in complying with those conditions the early draughtsman well proved that splendid sense of design which distinguished him4 ,to this end the object was drawn as large as the containing space would fairly permit1 and its form was attenuated so as to allow the ground to show through in due proportion to complete the necessary clearness of definition4 ,a figure thus treated became a symbol1 rather than a representation of the intended creature1 but was1 nevertheless1 in the best instances1 full of character1 vigour and vitality2 that is to say1 the qualities that were attributed to the animal1 not its mere form1 were the object of expression4 ,the placing of the beasts in the shield and their proportion to it is always satisfactory at this time1 and suggests that too much care cannot be taken in trying to attain a similar excellence in present work1 but by expressing qualities rather than by copying forms4 ,of the examples of lions of various periods1 ,fig4 #hd is taken from the seal of ,henry de ,percy1 #acjj4 ,figs4 #he and #hf1 a lion rampant and passant guardant respectively1 are from the enamelled arms on the tomb of ,edward ,,iii in ,westminster ,abbey4 ,fig4 #hg is from a fifteenth century shield of stained glass that is now in the ,victoria and ,albert ,museum4 ,illustration3 ,,fig4 #hd4--;,end of ,twelfth ,century4 ,illustration3 ,,fig4 #he4--,late ,fourteenth ,century4 ,illustration3 ,,fig4 #hf4--,later ,fourteenth ,century4 ,illustration3 ,,fig4 #hg4--;,fifteenth ,century4 ,the exact proportion which charges should bear to the field cannot1 of course1 be stated with accuracy1 there being no ready means of measurement1 even if such were desirable1 and it must necessarily remain a matter for artistic perception to find the just mean between crowding a space and failing to fill it4 ,it is evident also that the proportion would be modified by circumstances1 such as the character of the charge 7whether condensed or dispersed71 and also to some extent by colour1 with regard to the respective effects of light on dark or dark on light as affecting apparent size4 ,it may1 however1 be suggested that the charges should be insisted upon to the fullest extent that is compatible with the general style of the design1 the field remaining of such weight that the ,scottish quarter of the ,royal ,banner1 for example1 if seen as a mass at a distance1 will tell as gold rather than red4 ,and after all is said1 the actual balance must be left to the decision of the trained eye4 ,when strong outline filled in with colour is the method of working1 due allowance must be made for the tendency of the line to become merged in the darker of the two tinctures2 and the object will therefore need to be drawn slightly larger or smaller accordingly4 ,there are also illusions of an optical nature that are produced by certain combinations of lines4 ,if1 for instance1 three pallets are charged upon a chevron1 it will be found that the middle one must be appreciably wider than those beside it if the three are to appear equal4 ,fig4 #hh shows this1 though the fact is more clearly appreciable in a drawing on a larger scale4 ,illustration3 ,,fig4 #hh4 ,the ,pose of the ,animals must be carefully observed as being of the utmost heraldic importance1 and must in the main be adhered to with complete fidelity4 ,to neglect in this respect is due much of the bad heraldry which too often vitiates otherwise good work4 ,in the early days of the science1 when the bearings were few1 the nature of the creature was1 no doubt1 sufficient for the intended purpose1 for there would be no other near with which to confuse it1 and the pose was probably dictated by the form of the space that the animal was required to fill1 but when it became necessary to distinguish between different bearers of the same animal1 pose assumed a special significance and therefore became one of the principal means of heraldic distinction4 ,of the two principal poses1 rampant and passant1 the former is more suitable to upright spaces and the latter to horizontal ones4 ,when however a passant lion has to fill an upright space1 such as a canton or a quarter of a shield1 or a rampant lion to fill a horizontally flattened one such as the second quarter of the ,royal ,standard when it is constructed in accordance with ,admiralty measurements difficulties occur4 ,one such problem occurs in the arms of ,cambridge ,university1 ,gules a cross ,ermine between four lions of ,england1 a ,bible fesswise of the field clasped and garnished ,or 7,fig4 #hi74 ,illustration3 ,,fig4 #hi4--;,arms of the ,university of ,cambridge4 ,panel in copper silvered and oxidized4 ,g4 ,w4 ,eve4 ,it was the rampant position that was considered the typical leonine one1 however1 and therefore it was that the lions of ,england were called leopards in early times3 not that they differed in their relation to the natural form1 but simply that they were not in the understood leonine posture4 ,it will be seen from the example 7,fig4 #ij7 that rampant signifies an upright pose with all the legs separated in a suggestion of vigorous rage4 ,this arrangement of the limbs is heraldically essential1 for when the hind legs are placed together the position is called salient or leaping 7,fig4 #ia74 ,with regard to the heads of animals1 it must be understood that in heraldry the normal position is in profile1 and then it requires no special mention in the blazon4 ,if1 however1 the blazon is1 for example1 a lion rampant guardant1 the head is turned until it looks straight out of the shield at the spectator 7,fig4 #ib74 ,regardant is when the head is turned still farther so that it looks backward over the shoulder 7,fig4 #ic74 ,in some early works the term regardant is used in the same sense as guardant1 full faced1 but the position first described is what is now understood by the term4 ,illustration3 ,,fig4 #ij4--,rampant4 ,illustration3 ,,fig4 #ia4--,salient4 ,illustration3 ,,fig4 #ib4--,rampant ,guardant4 ,illustration3 ,,fig4 #ic4--,rampant ,regardant4 ,the tail of the rampant lion1 which in early examples was elaborated into a highly ornamental appendage1 is usually held in an erect position1 but there is no heraldic reason why it should not occupy any other position which the shape of the field might render desirable4 ,it seems to have been always believed that the rage of a lion was indicated by the agitation of the tail1 and ,leigh1 writing in the sixteenth century1 says3 8,when the lion is angry1 first he beateth the earth and then his own backe with his taile40 ,on the other hand1 it is now asserted by wild beast tamers that a lion is most dangerous when his tail assumes the rigidity of an iron bar and possibly the first draughtsman to depict the ,howard or the ,percy lion1 in his well-known and now stereotyped attitude with the tail extended horizontally1 was aware of this4 ,it is sometimes said that the tail passing between the legs constitutes a definite heraldic variation1 but this is extremely unlikely4 ,the term ascribed to it of 8coward0 is much too dangerous to have been intentionally borne on a shield which symbolically stood for its owner1 except with some other symbol in a position of superiority1 such as the eagle over the dragon in the ,guelph arms4 ,most probably it was one of the trivial inventions by which the later heraldic writers sought to fix and give meaning to an accidental and unessential detail4 ,there are numerous instances of this free treatment of the tail when there could be no possible heraldic intention1 and in every case it is apparent that some difficulty in arrangement was overcome1 as in both the ,great ,seals for ,scotland of ,charles ,i the lion supporter has the tail between the legs1 and it is not possible to consider this a ,scottish joke1 though the animal looks singularly mild and cheerful4 ,however this may be1 the tail may certainly go anywhere outside the legs4 ,a lion's tail may be double or forked1 and in that case the blazon says double queued or queue forche4 ,both terms mean the same thing1 for the double tail issues from but one root4 ,in rare instances it is twisted into a knot1 and is then said to be nowed4 ,although the lion has been conventionalized1 more or less1 into a pattern1 and his positions are always the subject of careful regulation1 he is still susceptible of considerable variation of pose1 within heraldic limits1 based on the facts of anatomical structure2 so that while the possibilities of animal movement are observed1 it may be designed to cover its field pattern-wise whatever the shape of the shield may be1 and at the same time retain great vitality and power4 ,the effort to express vigorous action without suggesting progression out of the space is not easy perhaps1 but the contrary effect is very ludicrous1 as is often apparent in modern mural decorations that are based on heraldic motives1 rampant lions seeming to be walking placidly up a wall in a procession of their fellows4 ,the lion passant is depicted with all the limbs separated and the right forepaw raised 7,fig4 #id71 and when its head is full faced1 affronte1 it is passant guardant1 the position of the lions in the ,royal arms of ,england1 viz4 ,gules three lions passant guardant in pale ,or4 ,the most frequent error in rendering this coat is the turning the heads in profile1 and it cannot therefore be too often insisted upon that lions so treated are not 8lions of ,england0 at all4 ,illustration3 ,,fig4 #id4--,passant4 ,illustration3 ,,fig4 #ie4--,statant4 ,the shield at ,canterbury that is ascribed to ,edward the ,black ,prince has been already described as a most satisfactory example1 which is in brilliant contrast to the modern instances wherein the lions occupy a central column in a broad field with a wide blank space at either side of them4 ,this perhaps arose from a mis-reading of the words 8in pale0 of the blazon1 which were perhaps taken to mean 8in place of a pale10 whereas they mean 8in the direction of a pale10 i4e4 one over the other but without lateral limits other than those of the field4 ,passant regardant has the head looking backwards as in rampant regardant4 ,the lion statant 7,fig4 #ie7 stands on all four feet1 and may be statant guardant or statant regardant1 according to the position of the head as before mentioned4 ,sejant is in the position of ,fig4 #if and couchant that of ,fig4 #ig4 ,illustration3 ,,fig #if44--,sejant4 ,illustration3 ,,fig4 #ig4--;,couchant4 ,the expression of vigour is the most important individual quality to strive after in the treatment of heraldic animals1 the line of the back and loins may be made to express lithe strength1 and power be suggested by the massive shoulder1 with the powerful fore-leg tapering to the wide-stretched and vigorous paw4 ,dignity and life should be in the pose of the leonine head and mane1 and broad harmonious effect in the whole treatment4 ,the widely spread toes were sometimes very much exaggerated1 as in the ,arms of ,john of ,eltham 7,fig4 #ih71 but in character and drawing were much nearer the natural facts than the foot of a quiescent lion might lead one to imagine4 ,this may be seen on a small scale in the domestic cat when she stretches her leg with her claws protruding4 ,when the lions of the later ,gothic type lost the vigorous qualities of the earlier examples the toes lost their power and became like radiating leaf-forms4 ,illustration3 ,,fig4 #ih4--;,arms of ,prince ,john of ,eltham4 ,westminster ,abbey4 ,the setting-on of the tail may also help the expression of vigorous life1 its junction with the body being well marked instead of being allowed to flow softly out of the line of the back4 ,this is well shown in ,drer's lion at ,fig4 #ii1 that splendid example of the best kind of ,renaissance heraldry whose fine drawing1 well-balanced design and beautiful technique have caused its frequent instance as a striking work of heraldic art4 ,the illustration is reproduced from the very fine impression in the ,national ,art ,library at the ,victoria and ,albert ,museum4 ,both these examples are excellent for their good decorative distribution1 the former shield being probably the best extant instance of that necessary quality4 ,in the lions of various periods it will be seen how the type altered from time to time1 from that of the thirteenth century ,,mss41 which possesses a considerable amount of a natural leonine shape1 through the attenuated beast of the later mediaeval period down to the ,renaissance form in its two somewhat dissimilar styles3 that of ,germany1 from which modern ,german heraldry is derived1 which shows a strong survival of ,gothic influence2 and that of ,italy1 from which appears to have been drawn the heraldry of the rest of ,europe until the still recent ,gothic revival here4 ,in modern ,german heraldry the lions have become so over-elaborated that in many instances the prevalent effect is one of fluffiness4 ,too much is made of the hair1 especially in the legs1 which are sometimes much more suggestive of the well-feathered legs of a dorking fowl than of the clean and powerful1 though hairy1 limb of a lion2 and with the lost suggestion of vital energy goes any symbolic dignity that it expresses4 ,illustration3 ,,fig4 #ii4--,the ,coat of ,arms with a ,cock4 ,a4 ,drer4 ,the later ,italian heraldry and the style which followed it ultimately dispensed with attenuation in the animals together with most of the other decorative qualities of the hated ,gothic1 and the efforts at naturalistic representation resulted in forms which at a little distance became mere undistinguishable blobs1 to the complete defeat of the object of their existence4 ,the rampant lions became tame and therefore ludicrous in the upright pose which1 deprived of any suggestion of rage and strength becomes meaningless1 while in what may be called the decorative treatment the suggestion of the creature and of its attributed qualities in a broad and simple way sanctions an arrangement which makes for decorative distribution as well as for symbolic expressiveness4 ,vigour also makes for the dignity that is an important consideration in serious design1 for when once a ludicrous suggestion is attached to a thing it becomes inseparable from it4 ,probably the most frequent accompaniment of such want of vigour is the production of a feebly human expression which inevitably suggests the connexion with it of some trivial or ludicrous phrase4 ,now the grinning jaws of the early lions are never imbecile4 ,with regard to the strong characterization that is required valuable lessons may be learnt from the lions of the ,assyrian bas-reliefs1 one of which is represented here 7,fig4 #ajj74 ,the accentuation of the principal muscular forms and masses is very striking1 and presents suggestions of a method that lends itself well to the expression of heraldic character4 ,it is not1 of course1 intended to import an ,assyrian lion bodily into the shield1 or that the ,assyrian style should be visible in the resulting work1 but only that the method should be studied and applied as a special means to a definite end4 ,illustration3 ,,fig4 #ajj4--,lion from ,assyrian ,bas-relief4 ,the degree of detail and the amount of its elaboration will depend on the size and general character of the work4 ,sometimes mere outline will suffice1 though on a larger scale or in other conditions it would look empty4 ,thence to complete modelling embraces a wide field of choice in which to find methods suitable to all purposes4 ,under ordinary conditions a simple broad treatment is much to be desired1 definition being obtained by few but accurately placed lines1 such as those of ribs and loins in the body1 and of brow1 jaw and mane in the head4 ,the degree of relief of charges should1 of course1 stop short of any suggestion of detachment from the field4 ,this might seem too obvious for remark1 but an example to the contrary1 a large1 and in many respects beautiful1 work in coloured leather was recently to be seen in which1 the arms of the ,medici being the principal motive1 the charges appeared to be suspended in front of the shield from which they seemed to be so distant as to cast full round shadows4 ,in adjusting a rampant lion or other beast to its field a skeleton sketch of the main lines of distribution may be usefully employed as a guide in first blocking out the animal1 in the same way that similar diagrammatic forms are sometimes used in figure composition4 ,on this the figure will be drawn1 the head being thrown well back and the hindmost leg being brought towards the centre line so as to help the spacing in the dexter base of the shield4 ,care should be taken not to make the higher of the forelegs too short1 or the value is lost of the strong forward reach from the shoulder1 which expresses the action while it helps the distribution4 ,in posing animals on a shield it must never be forgotten that not only is a pattern being arranged but that it is made with the body and limbs of a supposedly living thing4 ,fig4 #aja is one of the methods that suggest themselves1 and passant lions may be spaced in a similar way 7,fig4 #ajb74 ,illustration3 ,,fig4 #aja4 ,illustration3 ,,fig4 #ajb4 ,a lion's claws and tongue1 of which he is armed and langued respectively1 are gules except when he or the field is of that tincture1 and in either of the latter cases he is armed and langued azure1 as in the ,royal coat of ,scotland4 ,this is taken as of course1 and need not be mentioned in the blazon1 though it very often is4 ,demi-lions are usually demi-lions rampant1 and in this form they were largely used as crests1 which will be discussed later on4 ,they are depicted as severed low down at the loins1 and the tail is retained in most cases1 though not always4 ,when1 as a charge1 they are in contact with a line of an ordinary1 as though arising from it1 they must be described in the blazon as issuant4 ,demi-lions passant or passant guardant are of more rare occurrence1 the latter generally in conjunction with another object1 as in the arms ascribed to the ,cinque ,ports on the seal of ,sandwich 7,fig4 #ajc71 where the demi-lions are joined to the hulls of ships4 ,this evidently arose from the joining together by dimidiation or halving of two separate coats1 viz4 the ,arms of ,england with one of local allusion3 ,az4 three hulls of ships ,or4 ,by a similar method were evolved the ,arms of the city of ,chester1 wherein the lions of ,england are conjoined with the wheatsheaves of the ,earldom4 ,illustration3 ,,fig4 #ajc4--,seal of ,sandwich 7,mayor's ,seal74 ,among the separate parts of animals used alone or in repetition a lion's head is a frequent charge1 and it follows the general rule of being represented in profile unless otherwise described4 ,the lion's leg1 called a jamb1 is also separately used as a charge1 the tail being likewise thus employed4 ,it must be remarked1 that whenever a separate part of an animal is used as a charge the method of its severance must be carefully distinguished1 whether couped1 cleanly cut off1 or erased1 roughly torn away4 ,in the latter case the erasure generally consists of three points or tufts1 though not necessarily of that exact number so long as the erasure is sufficiently marked4 ,it may1 however1 be noted here that a demi-lion as a crest is considered to be couped unless it is otherwise described1 the junction with the helm usually disappearing within the torse that encircles it at that point4 ,animals that can neither be described as actual nor purely imaginary are the so-called 8heraldic0 tiger and 8heraldic0 antelope1 which have little apparent relation to their natural namesakes1 but were perhaps evolved in the effort of an early artist to realize the wonderful description of some marvellous traveller4 ,they have a family likeness1 however1 in their armed snouts and in their leonine tails1 the latter being an appendage with which the mediaeval artist was fond of finishing off his creatures in default of more accurate information4 ,the poses of the lion are followed in a general way by other animals1 both natural and 8heraldic02 but in many instances the attitudes are called by different names for different creatures1 a practice that was usual in mediaeval times1 and also has its present examples1 such as that two partridges are a brace and two hounds a couple1 which need hardly be further specified4 ,the ,stag1 emblematic of speed and sport rather than of combative virtues1 has a special set of terms1 which were naturally borrowed in part from those used in hunting4 ,thus he is 8at gaze0 when standing with his head affronte1 but when he stands with his head in profile he is statant like any other beast2 springing when in the salient position1 trippant when he is walking1 at speed when running1 and when couched he is lodged1 and so he must be described in the blazon4 ,his antlers1 which are called attires1 must1 if they are of a different colour1 be carefully mentioned and also his hoofs in a similar case1 e4g4 ,azure a stag trippant ,arg4 attired and unguled 7i4e4 hoofed7 ,or4 ,a distinction is made between the stag and other horned animals in that the latter are said to be armed with their horns1 as in the crest of the ,duke of ,bedford1 a goat statant ,arg4 armed ,or4 ,horses and other maned animals1 real and imaginary1 are crined of their manes4 ,thus1 the supporters of the ,goldsmiths ,company 7,fig4 #ajd7 are unicorns or1 armed1 crined and hoofed arg4 7in some examples purpure74 ,this treatment of the ,goldsmiths' arms was designed1 like those of the ,grocers ,company at p4 #fd1 to harmonize with early eighteenth century decorations4 ,the unicorn has a horse's head and body with the legs and cloven hoofs of a stag4 ,its twisted horn issues from the middle of its forehead1 and its tail is that of a lion1 the foregoing examples which have horses' tails being extremely rare exceptions to the general rule4 ,illustration3 ,,fig4 #ajd4--,the ,arms of the ,goldsmiths ,company of ,london4 ,cartoon for mural decoration4 ,geo4 ,w4 ,eve4 ,illustration3 ,portion of a ,pageant ,car1 with ,heraldic ,monsters4 ,by ,albert ,drer4 ,illustration3 ,griffin from the ,triumphal ,arch of the ,emperor ,maximilian ,i4 ,drer4 ,of other imaginary animals the ,griffin or ,gryphon is probably the best known next to the unicorn1 seeing that its name is that which is popularly applied to most non-natural beasts4 ,evidently derived from one of those creatures by which early eastern art expressed the conjunction of various attributes1 it came1 like many other monsters1 to be implicitly believed in as an actual beast until a comparatively late date4 ,thus ,gerard ,leigh has something to say of griffins which 8bear great enmity to man and horse1 though the man be armed and on horseback yet they take the one with the other quite from the ground and carry them clean away4 ,i think they are of great hugeness10 he goes on1 8for ,i have a claw of one of their paws which should show them to be as big as two ,lyons60 ,in another place ,leigh refuses to believe something that he had heard because he 8had not seen the proof thereof06 ,the griffin is half eagle and half lion1 the head forepart and wings being those of an eagle and the rest of the body with the hind legs and tail are leonine4 ,the head of a griffin has ears1 and these serve to distinguish it from that of an eagle when it is used alone4 ,a curious variety of griffin1 borne by the ,marquis of ,ormonde1 is wingless1 has two horns on its head and groups of rays issuing from its body1 and is termed a male-griffin1 for some inscrutable reason4 ,it should be noted that the term for a griffin in a rampant position is segreant1 all other poses being described in the ordinary way4 ,the treatment of the composite animals naturally followed that of the creatures which entered into their composition1 while the ,dragons1 more purely imaginary creatures1 have suggestions of a snakelike character in their scales and annulations4 ,in continental heraldry the dragon has but one pair of legs and behind them the body diminishing into a snakelike tail1 which sometimes terminates in a barbed end4 ,this form we term a ,wyvern1 reserving the word dragon for the four-legged variety4 ,the conception of a dragon varied greatly1 the prevailing characteristic in many instances being a hard scaliness somewhat suggestive of the ,chinese and other oriental types4 ,in other examples greater sinuosity and a more leathery texture is apparent1 recalling to mind the idea of the 8loathly worm0 of some of the mediaeval dragon legends4 ,as a symbol of evil1 terrible but overcome1 it is associated with ,st4 ,george and with ,st4 ,michael1 and also appears1 with more personal allusion1 in the well-known device of the ,guelphic faction in their contest with the ,ghibellines4 ,illustration3 ,arms of the ,city of ,london4 ,wallis4 #afgg4 ,illustration3 ,wyvern 7so-called 8,dragon07 ,from ,paradin1 8,devices ,heroiques10 #aeeg4 ,illustration3 ,privy ,seal of ,henry ,,viii4 ,,chapter ,v ,heraldic ,birds and other ,figures1 ,animate and ,inanimate ,in the same way that the lion asserted its pre-eminence among heraldic beasts the ,eagle1 the most powerful of birds of prey1 was adopted as the symbol of victory from a time so early that one hesitates to set a period to it1 for in ,chaldea and ,assyria1 #djjj ,b4,c41 the eagle typified conquest1 even as it did in the ,middle ,ages4 ,the especially characteristic attitude of the heraldic eagle when it is said to be displayed is first found in these early picture writings of the ,east1 and from thence through countless stages comes to adorn the surface of the shields1 to whose decoration its spreading form and radiating lines so admirably lend themselves4 ,the pose is1 of course1 a natural one1 as one may see when a gull hovers and backs in the air2 but its decorative power and its adaptability to a shield shape are so striking as to suggest its invention for the purpose4 ,the same necessity for clear definition that influenced the drawing of the mediaeval lion caused the eagle to be treated in a somewhat similar way1 and the feathers of the wings being wide spread with ample clear space between them1 while the body became to some extent attenuated1 made the figure as conventional as the lion1 and similarly adaptable to decorative distribution on a surface4 ,illustration3 ,,fig4 #aje4--,shield of the ,emperor from the ,tomb of ,prince ,edmund at ,kings ,langley4 ,early ,fifteenth ,century4 ,a good example of the heraldic eagle of the ,middle ,ages is on one of the shields that decorate the tomb of ,edmund ,plantagenet at ,kings ,langley1 ,herts 7,fig4 #aje74 ,this1 the eagle with two heads of the ,holy ,roman ,empire1 alludes to ,richard1 ,earl of ,cornwall1 who though he was never actually ,emperor1 got so far as to be elected ,king of the ,romans in #abeg1 and the arms of the ,empire are constantly ascribed to him4 ,the skeleton sketch that is useful in blocking out an eagle in its space will take some such form as ,fig4 #ajf4 ,illustration3 ,,fig4 #ajf4 ,in the mediaeval period eagles were always shown on shields in the pattern-like displayed position1 whether they were single or double headed1 until ,renaissance heraldry in its reversion to classic types introduced the eagle of the ,roman ,ensigns and ,monuments1 which thenceforth has had to be taken into account when eagles are described in blazon4 ,thus it is now necessary to state whether the bird is displayed1 is close or is rising4 ,an eagle is close when it stands in profile with its wings folded1 and is rising when it stands in the same general position but with its wings raised4 ,an eagle in the position of that of the ,roman ,ensign is sometimes blazoned 8an eagle with wings displayed10 and must not1 of course1 be confused with 8an eagle displayed40 ,when they are flying they1 like other birds1 are said to be volant4 ,they are armed and membered as to their beaks and feet when difference of colour renders it necessary to mention those details4 ,other birds are rarely if ever displayed4 ,falcons usually have bells strapped to their legs with thongs called jesses1 and then are blazoned as jessed and belled4 ,they are sometimes hooded also4 ,the hood covering the eyes has an opening for the beak and is usually decorated with a tuft of feathers4 ,a cock is said to be armed with his beak and spurs1 crested as to his comb1 and jowlopped of his wattles4 ,a peacock when it carries its train raised and fully spread is blazoned1 with great and obvious propriety1 8a peacock in his pride10 but simply as a peacock1 without qualification1 when the tail is trailed4 ,the pelican1 the well-known emblem of maternal love1 is shown standing in her nest and feeding her brood with blood from her breast1 and with her wings in a displayed position with the points downward in an attitude of protection4 ,in this position she is called a pelican in her piety4 ,as an imaginary variant of an actual thing it may be convenient to refer here to the martlet1 the very distinctive heraldic bird without feet1 the 8martlette of the sunne10 as old armorists call it4 ,it is shaped like a swallow but without feet1 for it was believed to live entirely in the air4 ,hence it was assigned as a mark of cadency to the fourth son1 who1 being so far from succession to the land1 had only his own powers to sustain him 7see ,fig4 #bid74 ,martlets form part of the arms that are ascribed to ,edward the ,confessor1 though in the example at ,westminster ,abbey the birds distinctly have feet and may perhaps have been meant for some other bird altogether1 perhaps doves1 whose symbolism of peace caused their early appearance among ,royal insignia4 ,illustration3 ,seal of the ,emperor ,sigismund1 as ,king of ,hungary4 ,illustration3 ,seal of ,charles ,,iv4 as ,emperor4 ,illustration3 ,seal of ,dauphiny1 #adid4 ,illustration3 ,italian ,medal by ,pisano1 #adda4 ,illustration3 ,italian ,medal1 attributed to ,bartolo ,talpas1 ,x,vth ,century4 ,of imaginary birds the phoenix is most interesting as a symbol of the perpetuation of life1 and early writers never tired of describing in elaborate detail how the fabled bird1 which they1 however1 accepted and believed in as a natural fact1 effected his rejuvenescence through fire of his own kindling4 ,therefore the phoenix is represented in heraldry as resting upon its pyre4 ,in recent times it has been customary to depict the bird as shaped like an eagle1 but in earlier examples the head was crested like a peacock4 ,its proper colour was purely fanciful1 some examples of great beauty being blue and gold1 the preponderance of tincture varying with the fancy of the artist4 ,the ,harpy of classic story appears in heraldry in the shapes of eagles with the faces and breasts of women1 and this appears to have been the only figure1 with one exception1 which combines the human form with that of a bird1 for the bird-headed beings of the ,assyrian bas-reliefs and other forms of ,eastern art were not among those adopted into our heraldry1 though there are a few instances in ,german work4 ,the exceptions are the swans with women's faces that in the fourteenth century decorated some of the hallings1 of hangings of tapestry or embroidery1 as especially emphasized versions of the chivalric symbol of womanhood that the swan was considered to be4 ,for this reason it was adopted as a badge at a time which assiduously fashioned its manners after the traditionary chivalry of ,king ,arthur and his knights1 and when every kind of poetic and symbolic heraldry reached its fullest development4 ,,fish4--,of heraldic fish the ,dolphin may perhaps be considered the most distinguished1 mainly from its association in former times with the heir to the throne of ,france2 but it is occasionally met with in our heraldry1 generally perhaps as typical of fish in general1 as in the arms of the ,fishmongers ,company of ,london4 ,it is represented with its body curved1 and is then said to be embowed1 and it also occurs in the other position referred to below4 ,when it is blazoned proper its colour1 heraldically1 is green with red fins and tail4 ,other fish occur as punning allusions to their owners' names1 e4g4 the ,lucies 7pike7 of the family of ,lucy1 whose arms are one of the quarterings of the ,duke of ,northumberland4 ,a fish when placed horizontally across the shield is blazoned naiant1 or swimming1 and when perpendicular as though breathing on the surface it is hauriant4 ,,human ,,figures4--,the human figure appears heraldically as representing religious or symbolic persons1 and in combination with other forms it makes those composite figures which express a conjunction of symbolic ideas4 ,a woman's head and breasts joined to the body of a lion made the well-known ,sphinx1 a figure closely associated with ,egypt1 to which country and to services rendered therein it usually alludes in modern heraldry4 ,the ,greek sphinx is composed of the head and bust of a woman joined to the body and legs of a dog1 and in addition is winged4 ,its occurrence is rare in heraldry1 a recent instance being the ,greek sphinx sejant1 which is the crest of the ,university of ,leeds4 ,illustration3 ,printer's ,mark of ,grimm ,wirsung1 ,augsburg1 #aeba4 ,from a volume by ,erasmus4 ,hans ,weidlitz4 ,illustration3 ,arms of ,schwingshrtein1 a ,nuremberg family4 ,german1 ca4 #aehj4 ,the device is a punning one1 the figure waving hair being in allusion to the name of the family4 ,illustration3 ,bookplate by ,albert ,drer4 ,circa #aebj4 ,in conjunction with a fish's tail the body of a woman forms the ,mermaid1 the beautiful ,syrena of old writers1 who never tire of telling how1 like the harpy1 she charms the shipmen with her song4 ,nevertheless1 she was of sinister character1 8glad and merry in tempest and heavy and sad in faire weather40 ,she is usually represented holding a looking-glass in which she regards herself while she combs her long hair4 ,the male of the species is called a ,triton1 and usually holds a trident as the symbol of naval dominion4 ,indeed he is sometimes called ,neptune1 and crowned with a spiked crown1 the form known as an ,eastern crown that is described and illustrated under that head4 ,another semi-human form is the ,centaur1 the favourite badge of ,king ,stephen1 the classic monster1 half man and half horse and armed with a bow1 that is sometimes called a ,sagittarius4 ,male figures were frequently described as ,savage ,men1 and were represented rough and shaggy with hair1 and with wreaths of oak about their loins1 the blazon being3 a savage man ppr4 wreathed about the loins with an oak wreath vert4 ,in some instances they were wreathed about the temples also4 ,heads of both sexes1 arms and legs1 are used as charges and more frequently as crests1 and are described as couped or erased1 at the shoulder or the neck1 as the case may be4 ,the whole ,arm from the shoulder is shown bent and is then blazoned1 an arm embowed4 ,it should also be stated in the blazon whether the arm is dexter or sinister1 and whether1 if not naked1 it is vested 7and if so of what colour71 or in armour1 when it is described as an arm vambraced4 ,in armour is often substituted for the later term4 ,pairs of arms grasping an object1 drawing a bow or wielding a hammer1 are also met with4 ,when the arm does not extend beyond the elbow it is blazoned a cubit arm1 and its position1 whether erect or otherwise1 must be specified4 ,human hands are borne by several families into whose name 8,main0 enters1 either as ,tremaine1 ,maynard1 etc41 and among other families by the ,o',neils1 and in the well-known badge of ,ulster1 the distinguishing badge of a baronet4 ,they are usually depicted erect and couped at the wrist1 and are assumed to be open unless it is otherwise stated4 ,anything depictable may be used as a charge1 but in this wide field there are still certain particular objects1 that single themselves out for more detailed treatment than the rest1 and of these the cross in its many varied forms1 the rose and the fleur-de-lis are the principal4 ,,crosses4--,in a system of heraldry which took its rise from a military ,christianity the cross naturally became a much-employed symbol under the various forms which the necessities of distinction or decoration suggested4 ,although it has been dealt with to some extent under the head of ordinaries1 it is as a charge that it reaches its greatest variety and beauty4 ,the plain cross with limbs of unequal length1 which is called a passion cross1 is sometimes placed upon steps or degrees1 as in ,fig4 #ajg1 when it may be described as a cross calvary4 ,of the more decorative varieties those which terminate in a manner suggested by the fleur-de-lis are among the most usual and beautiful4 ,probably many of them were decorative before they became distinctive1 for among the early sculptures are many examples of decorated crosses with foliated ends which follow none of the familiar forms and are obviously purely ornamental4 ,illustration3 ,,fig4 #ajg4--;,cross ,calvary4 ,illustration3 ,,fig4 #ajh4--;,cross ,flory4 ,illustration3 ,,fig4 #aji4--;,cross ,fleurett4 ,illustration3 ,,fig4 #aaj4--;,cross ,patonee4 ,illustration3 ,,fig4 #aaa4--;,cross ,moline4 ,crosses in general are drawn with limbs of equal length except where the shape of a shield suggests the lengthening of the lower limb in order to satisfactorily place the object in its field1 but the intention is that the limbs are to be considered equal and not like those of the passion cross4 ,the width of crosses may be considerably varied1 for difference consists not in the proportions of parts to each other but in essential variations of form4 ,the floriated1 or otherwise varied1 cross may therefore be made of any proportion that the arrangement of the shield may suggest2 that is to say1 the same adaptability exists in these crosses as in the ordinaries1 and their proportions may and should be varied in relation to the field they occupy and the charges with which they are associated4 ,though the floriated crosses are all derived from one source1 their various shapes have long become fixed and now constitute heraldic difference4 ,it will be useful therefore to observe that the end of a cross flory 7,fig4 #ajh7 may approach very closely the form of a fleur-de-lis so long as confusion is not caused with the cross fleurett 7,fig4 #aji71 in which the fleur-de-lis appears joined to the cross1 rather than as though developed from it4 ,the cross patonee 7,fig4 #aaj7 differs from the cross flory merely in that the limbs of the former increase in width outwards1 the lines radiating from the centre in a very pleasant way4 ,in early shields the two latter forms are used indifferently for each other1 as in the arms ascribed to ,edward the ,confessor1 and in such cases choice may1 of course1 be made of one or other form2 but it is obvious that when definite distinction between similar forms has been arrived at it should be observed and followed in later renderings4 ,illustration3 ,,fig4 #aab4--,seal of ,anthony de ,bec1 ,bishop of ,durham1 #abhc-acaa4 ,the cross moline 7,fig4 #aaa7 has ends like a fer-de-moline or millrind4 ,a very beautiful example occurs on the seal of ,anthony de ,bec1 ,bishop of ,durham at the end of the thirteenth century 7,fig4 #aab74 ,this form of cross moline was distinguished by writers of a late time from the ordinary form with more pointed ends as a cross recercele1 but it was really the same thing under a different name4 ,illustration3 ,,fig4 #aac4--;,cross ,pate4 ,the cross pate or forme 7,fig4 #aac7 is that which occurs on the ,imperial crown and other ,royal insignia4 ,this is a very graceful form when the limbs are well divided and are drawn with pleasant curves1 as in the crown in ,fig4 #afd4 ,in later examples there has been an unfortunate widening of the ends until they almost touch each other at the corners with the result that the figure has the appearance of a square that is pierced with four radiating vesica-shaped holes and hardly that of a cross at all4 ,illustration3 ,,fig4 #aad4--;,cross ,crosslet4 ,illustration3 ,,fig4 #aae4--;,cross crosslet ,fitche4 ,illustration3 ,,fig4 #aaf4--,maltese ,cross4 ,the cross crosslet 7,fig4 #aad7 becomes 7in ,fig4 #aae7 a cross crosslet fitche by its lower limb being pointed1 in allusion to the temporary cross thrust upright into the ground in order1 it may be1 to serve as a symbol of hope and consolation to a dying soldier4 ,it must not be supposed1 however1 that every coat with a cross crosslet fitche originated in the ,crusades4 ,other crosses may be fitche in a similar way1 the point taking the place of the whole lower limb as in the example1 but in some cases it is made to merely continue the lower limb1 or1 in the case of a cross pate fitche1 to issue from the middle of the lower end1 and in such cases the cross is said to be fitched at the foot4 ,illustration3 ,,fig4 #aag4--;,cross ,bottone4 ,illustration3 ,,fig4 #aah4--;,cross ,pommel4 ,illustration3 ,,fig4 #aai4--;,cross ,urde4 ,the eight-pointed or ,maltese cross1 a development from the cross pate 7,fig4 #aaf71 is one of the forms most used in the insignia of ,orders of ,knighthood1 the ,order of the ,bath1 for example1 and of ,st4 ,john of ,jerusalem among others1 and is one of a group of crosses distinguished from each other by the number of their points4 ,a cross of fourteen points occurs in the badge of the ,order of ,st4 ,michael and ,st4 ,george1 and consists of seven limbs of two points each4 ,the cross bottone 7,fig4 #aag7 is sometimes thought to be a corruption of the cross crosslet1 whose corners are frequently rounded in early examples1 or it may indeed have been designed to represent buds1 as old armorists say1 and if so is a perfectly intelligible and expressive symbol4 ,crosses pomell 7,fig4 #aah71 urde or cliche 7,fig4 #aai71 potent 7,fig4 #abj71 furche 7,fig4 #aba71 are some of a large number of crosses that are but rarely used4 ,the cross tau1 derived from the ,greek letter of that name1 is the cross of ,st4 ,anthony 7,fig4 #abb74 ,illustration3 ,,fig4 #abj4--;,cross ,potent4 ,illustration3 ,,fig4 #aba4--;,cross ,furche4 ,illustration3 ,,fig4 #abb4--;,cross ,tau4 ,crosses may at any time be represented as in relief1 which again may be accented by means of a central arris or ridge which gives lines of light and shade2 and this treatment is especially suitable to metal work1 as is witnessed by many beautiful examples on church bells among other things4 ,care is necessary1 however1 in black and white drawing that the indication of an arris does not suggest that the cross is 8party0 in any way4 ,,the ,,fleur-,,de-,,lis is one of the forms derived from a remote antiquity to become a widespread symbol throughout the whole of mediaeval heraldry4 ,probably derived from the iris or some similar flower form1 it is found in the most ancient and the most modern decoration4 ,even the recent excavations of the palace of ,king ,minos at ,knossos in ,crete disclosed forms of this figure on the wall frescoes4 ,its ornamental beauty as well as its spiritual symbolism easily account for its heraldic prevalence1 and even before regular heraldry was formulated the emblem had a quasi-heraldic existence on the crowns and sceptres of the ,royal seals4 ,its decorative value needs no pointing out1 for its graceful lines are not only beautiful in themselves but are easily adapted to harmonize with almost any form with which they may be in ornamental or heraldic relation4 ,illustration3 ,,fig4 #abc4--;,early ,twelfth ,century4 ,illustration3 ,,fig4 #abd4--,late ,twelfth ,century4 ,illustration3 ,,fig4 #abe4--,late ,twelfth ,century4 ,of the examples that are given here ,fig4 #abc is taken from the seal of ,king ,louis ,,vii of ,france1 early in the twelfth century1 on which it appears as the termination of a sceptre4 ,the more distinctively heraldic form occurs on the oval counter-seal of his successor1 ,philip ,,ii1 on which it appears as a badge without a shield1 about the year #aahj 7,fig4 #abd74 ,a very beautiful form of the thirteenth century 7,fig4 #abf7 is also of ,french origin1 and that which occurs on the shield of the ,black ,prince may be considered typical of the fourteenth century 7,fig4 #abg74 ,as in all these instances1 the fleur-de-lis generally has but three leaves1 but in some early examples the whole five petals of the iris are suggested by the inclusion of intermediate forms between the three principal ones 7,fig4 #abe74 ,these were sometimes leaflike1 as in ,fig4 #abh1 an example of the fifteenth century1 but more usually are thin stems which terminate in small flowerlike forms4 ,a further beautiful example is the common seal of ,godmanchester1 co4 ,hunts 7,fig4 #abi74 ,fleurs-de-lis are then said to be seeded 7a term that was probably made by some late armorist in giving a meaning to a form he did not understand7 or florence1 from the invariable character of the fleur-de-lis1 the 8,lily of the ,city10 in the ,arms of ,florence 7,fig4 #acj74 ,the elaboration of the simple leaflike forms began as early as the middle of the fourteenth century at a time when the decorative sense was untrammelled1 and it is in the freely designed illustrations of the ,,mss4 that the first examples are found4 ,the illustration 7,fig4 #aca7 is after one of a number of them that are repeated in various colours1 but of similar form1 in a book of the poems of ,convenevole da ,prato1 ,petrarch's tutor1 which was made and painted with miniatures and other ornaments for ,robert of ,anjou1 ,king of ,naples1 about the year #acdj1 and was probably executed in ,florence4 ,it is somewhat surprising to find at so early a date an example of the highly elaborated form which became very general in the later ,italian decoration4 ,illustration3 ,,fig4 #abf4--,thirteenth ,century4 ,illustration3 ,,fig4 #abg4--;,fourteenth ,century4 ,illustration3 ,,fig4 #abh4--;,fifteenth ,century4 ,illustration3 ,,fig4 #abi4--,seal of ,godmanchester1 ,co4 ,hunts4 ,illustration3 ,,fig4 #acj4--;,fleur-de-lis from the ,pedestal of the ,lion1 ,florence4 ,donatello4 ,fifteenth ,century4 ,a beautiful example of the decorated fleur-de-lis of the fifteenth century has already been referred to 7,fig4 #abh74 ,illustration3 ,,fig4 #aca4--;,fourteenth ,century4 ,illustration3 ,,fig4 #acb4--;,fifteenth ,century4 ,illustration3 ,,fig4 #acc4--;,eighteenth ,century4 ,about this time also instances occur of fleur-de-lis of the simpler form but with decorated surfaces1 as in that from a fifteenth century book of the hours that is one of the illustrations to the ,comte de ,laborde's treatise on 8,les ,fleurs-de-lis ,heraldiques et les ,fleurs-de-lis ,naturelles10 ,revue ,archaelogique1 in which the conventional fleur-de-lis 7,fig4 #acb7 is decorated with natural lilies4 ,like other decorative details the fleur-de-lis rapidly deteriorated in the general artistic decadence that followed the ,tudor period1 and during and after the latter half of the sixteenth century the beautiful and characteristic grace of line was lost1 and the form became blobby and heavy1 as in the eighteenth century ,french example 7,fig4 #acc71 while the coarse and ugly shapes that are commonly seen in ordinary modern work make it difficult to believe that they could have been derived1 even remotely1 from so beautiful a source4 ,,roses4--,as a ,royal badge a golden rose was used by ,edward ,i1 and was depicted with a stalk and leaves similar to the badge of the ,malatesta in ,italy in later times4 ,in such cases it must be blazoned 8leaved and slipped10 otherwise it would be rendered as the conventionalized flower alone1 the only leaves shown in the latter being those of the calyx1 which appear between the petals and are heraldically called barbs4 ,these are frequently mentioned on the blazon1 e4g4 a rose gules barbed and seeded ppr41 the seeds being the centre4 ,of the conflicting roses that brought such ruin on the gentry of ,england the red rose of ,lancaster had been the badge of ,henry ,,iv1 as the white rose irradiated was that of ,edward ,,iv1 the latter badge resulting from a combination of the rose with the sun1 which was another ,yorkist emblem4 ,henry ,,vii united the red and white rose badges1 as he had united the great rival houses that they symbolized4 ,sometimes a single rose was made per pale gu4 and ar41 or else quarterly of those tinctures 7in the former case the white half retained the rays that usually surrounded the white rose of ,york71 but the method which has come down in general use is that of a double rose1 the white within the red1 or vice versa4 ,in this form ,henry ,,vii made it part of the collar of the ,order of the ,garter1 and thus it appears sculptured on the walls of ,st4 ,george's ,chapel at ,windsor4 ,in many instances the ,york rose retained its rays and the rose of ,lancaster was placed within it1 as in ,fig4 #acd1 which is sculptured on the exterior walls of the choir4 ,in many of these the ends of the petals do not turn over as is most usual1 but the modelling indicates a somewhat similar form4 ,an interesting example of the ,tudor rose as used by ,queen ,elizabeth is that which was found deeply incised in the wood of her coffin in ,westminster ,abbey 7,fig4 #ace74 ,this ,queen signified the union of the ,roses in yet another way in the badge that had been her mother's1 in which the tree-stock which supports the white falcon sprouts with red and white roses on the same stem4 ,illustration3 ,,fig4 #acd4 ,illustration3 ,,fig4 #ace4 ,the ,tudor rose has been united by dimidiation to many other badges1 to the pomegranate and to a sheaf of arrows by ,queen ,mary1 and to the thistle by ,james ,i and his successors1 of whom ,queen ,anne used the two emblems growing from one stem1 as in the present ,union badge of the rose1 thistle and shamrock4 ,the ,tudor rose crowned still remains the ,royal badge for ,england4 ,,the ,,harp4--,as the ,arms of ,ireland as well as for the beauty of form with which it may be invested1 the harp is of the greatest interest both generally 7as the symbol of minstrelsy7 and appropriately2 for the fame of the ,irish as harpists was widespread even in the early ,middle ,ages1 when they were among the finest of the world4 ,and although any symbol1 whatever it may be1 becomes hallowed by association1 it cannot but be felt that the harp is peculiarly fitted to be the emblem of a people so full of artistic and romantic enthusiasm4 ,illustration3 ,,fig4 #acf4 ,illustration3 ,,fig4 #acg4 ,illustration3 ,,fig4 #ach4 ,the heraldic harp was at first very simple and always graceful in form1 following that of the minstrels1 the small harp that was played resting on the knee or held suspended from the neck4 ,examples of the minstrel's harp are ,fig4 #acf from a thirteenth century ,french ,,ms4 and ,fig4 #acg from a ,tudor ,,ms4 ,as a device for ,ireland1 it first appears on the ,great ,seal in that of ,queen ,elizabeth 7,fig4 #ach71 when it was used as a badge and was ensigned with the ,imperial crown1 as are all ,royal badges4 ,this type of harp is the same as that in the ,wappen und ,stammbuch by ,jost ,amman1 #aegi1 and was evidently the shape that was in heraldic fashion at that period4 ,in the next reign it became definitely the ,arms of ,ireland1 as is so quartered on the ,royal ,shield by ,james ,i1 where it has occupied the third quarter unmoved throughout the changes of its fellow quarterings4 ,its form continued to follow more or less that of the minstrel's harp until the time of ,charles ,,ii1 when the familiar winged figure was made its principal characteristic 7,fig4 #aci74 ,this1 however1 has no special heraldic significance1 but is merely a variety of ornamental treatment4 ,while it presents opportunities for the highest efforts of art in the treatment of its figure1 as is evidenced by ,mr4 ,alfred ,gilbert's beautiful harp on the tomb of the ,duke of ,clarence at ,windsor1 in the majority of instances it is altogether without the grace which is its reason for existence1 even when it does not quite descend to the unlovely lumpiness of ,georgian and later times4 ,the possible advantages of its greater weight in the design as compared with the slighter form1 a weight which tends to effect satisfactory balance with the other quarters1 are counterbalanced by its disadvantages1 while the addition of ,celtic tracery to the minstrel's harp makes it more completely allusive and helps the composition at the same time4 ,nevertheless the figure harp may be very beautiful4 ,the simpler form is now very generally reverted to1 and when artistic reasons direct the choice1 there are no heraldic considerations that need fetter it4 ,the ,arms of ,ireland are blazoned3 ,az4 a harp ,or stringed ,arg4 ,illustration3 ,,fig4 #aci4--,the ,great ,seal of ,charles ,,ii for ,ireland4 ,before leaving for a time the further consideration of the shield it will be convenient to refer to the very beautiful method of relieving and enriching surfaces which is called ,diapering1 and is a notable feature of the more elaborate kinds of heraldry4 ,numerous and excellent examples of its use may be found on the sculptured shields of the monuments and chantries1 as well as on incised brasses1 in enamels and in stained glass4 ,coming into heraldic use in the thirteenth century1 it was soon extensively applied to the decoration of armorial shields and especially of their fields and ordinaries4 ,in some instances charges also were diapered1 but only when they were flat in character and when the general treatment and material lent themselves to the method4 ,in most cases it was confined to plain surfaces4 ,the patterns were in many instances derived from those that had been employed from ancient times in textile decoration4 ,whenever diapering is applied to a shield it is purely ornamental in character1 and in many instances is geometrical in plan1 having no forms that could possibly be mistaken for charges1 and so be likely to interfere with the clear statement of the arms4 ,the example is one of the many beautifully diapered shields that decorate the shrine of the ,percies in ,beverley ,minster4 ,in sculpture proper1 when the design was cut out of the surface1 a pattern such as that of ,fig4 #adj was found very suitable to the material and to the method of working it2 when1 however1 the diaper was modelled up1 as in the gesso decoration of ceremonial shields1 or was incised in reverse1 as in a seal1 the design frequently took the form of flowing lines as the readiest means of getting the ornate effect that was required4 ,an example of this latter method may be referred to in the ,great ,seal of ,henry ,,iv at p4 #ah1 ,fig4 #b4 ,illustration3 ,,fig4 #adj4--;,diapered ,shield from the ,percy ,shrine in ,beverley ,minster4 ,fourteenth ,century4 ,in the early examples the diaper1 like the seme already referred to1 was treated as though it were a piece of an ornamental fabric stretched over the shield and passing behind the charges without being affected or displaced by them4 ,the ,renaissance work shows the diaper more especially adapted to the occasion1 as in a ,florentine shield from the ,palazzo ,guadagni and now in the ,victoria and ,albert ,museum1 which is beautifully decorated in raised lines of gesso which follow the outline of the figure at a little distance from it1 and the rest of the decoration accommodates itself to the shape of the spaces in a manner that is especially satisfactory1 as conveying the impression of being carefully designed for its particular purpose1 with each part in due relation to the others4 ,illustration3 ,,fig4 #ada4--;,diapered ,shield in ,painted ,gesso at ,alloa ,house4 ,the ,arms of ,henricus de ,erskine4 #abbd4 ,geo4 ,w4 ,eve4 ,the illuminations of the manuscripts were frequently diapered with designs drawn in lines of gold on the ground colour1 and a lighter or darker tint of the ground colour was similarly employed1 sometimes also in combination with gold4 ,indeed1 the possibilities of diapering as surface decoration are almost without limit if it is reasonably handled4 ,its effect in enriching and adding interest to simple forms and spaces is shown in the treatment of the ,arms of ,henricus de ,erskine 7,fig4 #ada7 and the shield of ,john1 fifth ,lord ,erskine1 and his wife1 ,lady ,margaret ,campbell 7,fig4 #adb71 two of the series of shields executed in painted gesso for the hall1 ,alloa ,house1 ,clackmannanshire4 ,it is very useful in monochrome1 as in engraving for instance1 as a means of distinguishing contiguous spaces2 in the way that line tints were employed to do before a colour value was ascribed to them4 ,being1 of course1 completely under control to be employed or omitted at will1 it has none of the objections of the tincture lines4 ,illustration3 ,,fig4 #adb4--,shield of ,john1 ,fifth ,lord ,erskine4 ,painted gesso4 ,geo4 ,w4 ,eve4 ,the tone effect of diapering must be taken into account1 and the consequent emphasis of the charges1 unless their character is very elaborate and broken up1 and in that case there may be a tendency to confuse their lights and thus obscure and spoil the whole effect4 ,discretion is therefore very necessary in applying that which properly handled is a very useful and decorative device4 ,it has been said that diaper must have no design of heraldic significance1 and this must be so wherever it is employed on the actual armorials4 ,when1 however1 it is used as a background or other extra-armorial decoration the converse is the case1 and badges and charges of an allusive character become the most suitable motives that can be employed4 ,diapers of complete arms occur on a box of champlev enamel in the ,victoria and ,albert ,museum1 whose decorations consist of lozenge-shaped spaces filled with the arms of de ,valence and others1 and in the similar work on the table of the tomb of ,william de ,valence in ,westminster ,abbey4 ,in the portrait medals the background was often enriched with armorial diapers of distinctive charges1 such as the fleur-de-lis background to the head of ,louis ,,xii and the ermine one of ,anne de ,bretagne1 both of which are excellent examples 7,fig4 #adc74 ,similar diapers applied to architectural features are alluded to at p4 #bje4 ,illustration3 ,,fig4 #adc4--,medal of ,louis ,,xii and ,anne of ,brittany4 ,fifteenth ,century4 ,,chapter ,,vi ,helm1 ,crest and ,mantling ,the treatment of the helm and mantling is a matter of especial interest both as a significant part of an achievement of arms and as that part of it which affords a great amount of freedom and variety in artistic arrangement1 for the lines of the helm1 the character of the mantling1 its direction and flow1 and to some extent its colour effect1 are like the shape of the shield1 at the disposal of the designer to do as he will or can with them4 ,with regard to the shield1 which in course of time developed into a merely ornamented surface on which to bear a device1 the sense of personal allusion was always retained1 even when the close association of armorials with a military idea became to a great extent weakened1 but a more essentially warlike character was always ascribed to the helmet and crest1 as is evidenced by their omission from the arms of ecclesiastics and1 in many instances and with great propriety1 from those of corporations4 ,this feeling may also have influenced the small size of the helmets of the later sixteenth century onwards4 ,the intention1 however1 was not strong enough to dispense with them altogether as the mediaeval men did1 and the result was merely to weaken the design in including the helmet and crest in a somewhat shamefaced way4 ,in the stately ceremonial of the tournament1 helm and crest played no less distinguished a part than the shield1 for those military sports which took so firm a hold on the vigorous tastes of mediaeval chivalry were accompanied by brilliant ceremonial1 in which heraldry found its widest field of display in all kinds of sumptuous application to the dress and decoration of the scene4 ,the lodgings of the knights and nobles were distinguished by paintings of their armorials1 and banners and pennons projected from the windows4 ,the tribunes of the ,ladies and of the ,judges of the ,tournament were gay with badges brilliant in colour and of endless variety of form1 while the combatants themselves in surcoats and shields of ,arms and with crested helms and armorial horse trappings1 exhausted the heraldic possibilities of personal adornment4 ,on a day before that which was fixed for the combats the helms and crests of the tourneyers were brought together with much ceremony and were arranged in due order to the satisfaction of the ,judges of the ,tournament4 ,each had its owner's banner suspended over it and1 all being ready1 the ,ladies were conducted round the ,hall1 when if any one of them1 by touching a crest1 accused its owner of any fault or crime against chivalry he was seized1 tried and punished1 according to the magnitude of his offence and the custom of the ,tournament4 ,the helm and crest of the ,chevalier d'honneur1 the knight selected to attend the ,lady of the ,tournament and at her bidding to extend the 8,merci des ,dames0 which forbade further attacks on a combatant unfortunate in the mle1 were the objects of especial ceremonial1 and 7he being withdrawn by his office from active participation in the combat7 were taken from his head with much courtesy by the ,judges and the ,herald and were solemnly given in charge of the ,ladies until such time as his duties should cease at the close of the ,tournament4 ,until that time an esquire or gentleman bore them aloft upon a lance staff near to the ,lady of the ,tournament4 ,illustration3 ,,fig4 #add4--,thirteenth ,century4 ,with regard to the helm1 it will not be desirable to discuss its development as armour through the various forms which preceded those which were employed to support heraldic crests2 and it will suffice to begin with the early form1 which was more or less cylindrical1 as in ,fig4 #add1 and afterwards developed into the more complex curves and projections of the tournament helm4 ,at first1 comparatively short and resting on the camail which covered the head1 in time it was made longer1 until the helm rested on the shoulders1 and being buckled back and front to the body armour became1 as it were1 part of it1 and besides being a better defence was able to support the additional pressure of a crest 7which though fashioned of light material was still of considerable weight7 with a minimum of fatigue to its wearer4 ,the crest was attached to the crown plate of the helm by means of laces1 or by small bolts or other fastenings which passed through holes made for the purpose4 ,it appears improbable that crests were used to any general extent in actual battle1 and for the best of all practical reasons1 that a crest had been found to be a very dangerous ornament which1 at close quarters1 served as a handle1 while the laces held1 by which to pull down the wearer's head1 and ,king ,stephen is said to have been among those that suffered in this way4 ,that they were used in battle to some extent is evident1 and ,viollet-le-duc1 in referring to the abuse of the ,tournament1 points out that the feudal nobility attempted to treat war itself like a grand tournament and appeared on the field extravagantly arrayed with long surcoats and lambrequins that encumbered their movements and gave them an easy prey to simple archers and similar workmanlike troops4 ,the shape of the helm was naturally susceptible of much variety but its essential structural character remained the same throughout1 and consisted principally of three parts1 the crown plate and two others for the front and back of the helm respectively4 ,sight was provided for in one of two ways1 either by leaving an opening between the crown and front plate or by piercing the latter with horizontal openings which were strengthened by an additional piece1 generally in the form of a cross1 and so splayed as to deflect a point that had struck near the opening4 ,both opening and reinforcing piece may be of value in design1 the former from its strong line which must always be reckoned with1 and the latter for the opportunity it affords of introducing decorative detail where it may be useful4 ,it is interesting to observe that the back of the helm is of thinner plate than the front1 thus dispensing with weight where it was possible to do so4 ,in the later forms of helm1 which were fastened by straps to the breast and back1 the buckle and the methods of rivetting it to the plates afford other opportunities for utilizing structural details ornamentally4 7,fig4 #ade47 ,illustration3 ,,fig4 #ade4--;,fifteenth ,century4 ,tilting ,helm4 ,the perforations which facilitated breathing were generally on the right-hand side1 and though there were instances of their being on both sides it was very unusual in view of the fact that the tournament attack was from the left1 and that although the tilting spear had a coronal instead of a point1 care would still be taken to give as little hold as possible to the weapon4 ,this refers to breathing holes1 spiracula1 in the front plate1 but there were also openings1 sometimes of considerable size1 in the backplate behind the vertical joint1 through which the knight could hear and perhaps1 by turning his head1 see and speak to the squire who attended him4 ,in the fifteenth century the demand for greater mobility and less weight in the armour that was used for actual battle had produced the ,helmet or small helm1 having a front which opened and a more or less flexible neck1 the ,bascinet1 the ,salade and other forms of head armour2 and thenceforward the great helm was reserved for the uses of the tournament4 ,illustration3 ,,fig4 #adf4--;,helmet4 ,fifteenth ,century4 ,an example of helmet at ,fig4 #adf1 after ,viollet-le-duc1 will serve to explain its structure4 ,the vizor1 in two parts1 opens upwards on a pivot1 and the front opens sideways by means of a hinge to permit the helmet to be put on1 and though there was a great variety in shape and construction they were all modifications of the methods of the example4 ,the head was capable of movement1 the laminated plates of the gorget giving a certain amount of flexibility from side to side as well as up and down1 provision being also made for some amount of turning movement4 ,as pieces of defensive mechanism helmets were very excellent1 but were rarely associated with crests in the time of their actual use--though they were frequently so represented in the later times when heraldry had become out of touch with the armoured period and did not trouble to go farther back for its crest support than the most recent form of closed defence for the head4 ,in all armour1 and much besides helms is used in heraldry1 it will be found useful to acquire a practical knowledge of its structure and method of working and also the practical reasons for the form of its various parts4 ,by so doing it will become unnecessary to search for a model for every need1 rather it will be possible in the case of a figure to draw the man and put the armour on him in the form that seems most suitable4 ,forms of greater or less simplicity can thus be designed as circumstances may dictate1 as it may be desirable in the interests of light and shade to elaborate or minimize the details4 ,armour should be so designed that its principal lines help the composition and express the form in the most forcible1 suitable and simple way4 ,in an arm1 for instance1 which is of frequent occurrence as a crest1 it should be observed how the gauntlet has its defence added to the glove1 how its wrist fits over the arm piece1 the arrangement of the elbow piece1 the cubitiere1 on its inner and outer sides with regard to the hollow of the arm1 and so forth4 ,by thus familiarizing oneself with the essential structure1 it becomes possible to handle the subject with confidence in design1 so that perspective1 light and shade and the harmonious relationship of lines may be helped1 while the structure appears convincingly right4 ,besides the closed helm which was used in the joust1 the mimic duel with lances1 a more open variety was used in the tourney1 for in the latter1 which was fought by opposing parties of men armed with blunted swords and with wooden maces1 there was no attack with the point to be provided against1 and it was therefore possible to lighten the armour by means of perforations and to open the face by substituting bars for plates4 ,in the helm shown at ,fig4 #adg it will be noticed that not only is the face open1 but there are numerous holes in the upper part of the gorget1 and the breast-plate and other parts of the armour were also plentifully perforated4 ,such armour for tourneying was frequently modelled in leather instead of metal1 the lighter material being a sufficient defence against sword and mace1 though it would have fared badly against the more concentrated lance shock of the joust1 and therefore when the lance was also permitted in the tourney more efficient armour was worn4 ,illustration3 ,,fig4 #adg4--,tourney ,helm1 after ,viollet-le-duc4 ,fifteenth ,century4 ,fig4 #adg shows a form of appliance for fixing the crest by means of a sort of skull cap1 which was laced to the helm through the holes provided for the purpose4 ,the earliest decoration of symbolic though still merely general significance on the helms of the ,middle ,ages was the reinforcing piece surrounding the two sight openings1 that was made in one of the many forms of cross2 and the coronets and decorative fillets which denote high rank4 ,these latter were succeeded about the beginning of the fourteenth century by the actual crests1 which were sometimes repetitions1 modified or not1 of the device on the shield1 sometimes of a different nature altogether4 ,illustration3 ,,fig4 #adh4--,panache ,crest4 ,french4 ,fourteenth ,century4 ,the first attempt to decorate the top of the helm appears to have been by panaches of feathers1 perhaps also of horsehair1 for which representations in gilded leather or other more permanent material were afterwards substituted4 ,as early as the ninth century movable crests of coloured leather had decorated the head armour1 being fastened back and front to the bronze or iron cap4 ,these were purely ornamental1 except so far as difference of colour may have made them personal to some extent4 ,an example of the middle of the fourteenth century appears as ,fig4 #adh4 ,some of the panache crests retained their feathery character and ultimately became crests that were in every way heraldic1 while others were developed into a fan-like form which itself served as a field for the display of a device or even of the whole arms as in the case of ,sir ,geoffrey ,louterelle's crest that is quoted by ,boutell4 ,these ornaments appear to have been purely decorative additions to the helmet1 and could have had no defensive value2 on the contrary1 the angle formed by the base with the crown of the helmet would1 if rigid1 have provided lodgment and purchase for a blow which might otherwise have slid off4 ,heraldic crests came into definite use about the beginning of the fourteenth century and soon became of very general application on seals and in other armorial ways4 ,the ,tournament crests were large and boldly designed and were constructed of various light materials such as leather1 paper and canvas1 worked over a wicker frame2 the surface details were modelled in fine plaster1 and the whole was painted and gilt4 ,few ancient examples exist in this country1 the most notable being that of ,edward the ,black ,prince which accompanies his shield at ,canterbury4 ,abroad they are more numerous and ,fig4 #adi is an excellent example of them4 ,this spirited dragon's head1 of ,florentine work of the fifteenth century1 is modelled in gesso over a wood core1 and was painted and gilt4 ,it is noteworthy that in this instance the torse is modelled with the crest4 ,when a device became a crest it was generally modified to some extent in order to fit it practically for its position4 ,hence the frequency of the demi-animals1 which1 while admitting of more secure adjustment to the helm1 retained all the vigorous and symbolic qualities of the whole figure4 ,animals' heads were also largely used and are equally satisfactory from the point of view of design1 because of the ease with which their lines may be made to harmonize with those of the supporting helmet4 ,when a lion or other animal was used whole it was generally in a statant position1 as it is in the ,royal ,crest of ,england1 ,percy and others1 for that was the most stable posture in which such a modelled object could be fixed to a helm4 ,in such cases the animal looked directly in front of it and faced as the helm did4 ,illustration3 ,,fig4 #adi4--;,dragon's ,head ,crest from the ,bardini collection4 ,florentine4 ,fifteenth ,century4 ,flat objects1 the sun in splendour for example1 were placed edgeways to the front1 so that they were best seen from the sides1 but in some crests1 the device1 especially when a fleur-de-lis1 was formed of two planes which intersected each other at right angles1 so that the complete form was visible from every point of view4 ,the mantling1 or lambrequins1 hung from the top of the helmet1 being fastened to it by laces1 and over it the torse1 formed of twisted silk of two or sometimes more tinctures1 encircled the crown of the helm below the crest4 ,the artistic treatment of the crested and mantled helm was nearly always satisfactory during the whole period of the tournaments until they ceased in the sixteenth century1 but about the middle of that century began the unfortunate increase of restrictive rules that were devised with so little regard to their practical artistic application4 ,in place of the great helm which had previously been used in the way that was best suited to the display of the crest1 that is to say in profile or nearly so1 the lighter helmet was substituted1 and it was also decreed that it should be varied in shape1 twisted about and opened and shut1 according to the rank of its owner1 but with total disregard to the crest4 ,so that we have a lion standing sideways on its helmet and even looking down the back of it4 ,for in the worst cases a helmet may be seen turned completely round1 while its crest remains in the original direction4 ,this arose from the stupid application of the excellent rule that helms when more than one are employed should be posed with regard to some common centre of interest2 an obviously proper and artistic method1 but it should be equally obvious that when the helm turns the crest must turn too4 ,although it will in most instances be possible to ignore these rules1 for the bearer's rank will usually be sufficiently indicated in some other way1 it is1 of course1 necessary to know them1 and the present rules for helmets of rank are as follows3--,an ,esquire or gentleman has a helmet of steel with gold ornaments and it is posed in profile with the vizor closed4 ,the position is not interpreted very strictly1 however1 and the helmet may be three-quarter face or may make an even nearer approach1 in reason1 to the full affronte position4 ,this fortunate latitude affords a way by which1 when the use of the small helm is insisted upon1 the crest and its support may be brought into intelligible relationship4 ,a ,knight's or ,baronet's helmet is similar to that of an ,esquire1 but is borne full faced with the vizor open4 ,it is difficult so see any reason for multiplying indications of rank which is already marked in other ways1 though the difficulty certainly exists in the case of a ,knight 7with a ,baronet there is of course none71 but it would be easy to devise some distinguishing mark on or about the shield or on the helmet itself if the authorities would give a ruling in this sense4 ,the helmet of a ,peer is of steel or silver and gold1 the front having bars or grilles instead of a movable vizor1 and its pose is profile wise1 similar to that of the ,esquire's helmet4 ,its bars are usually five in number1 and attempts to signify exact rank by the number of bars have not resulted in any rules that are observed4 ,the ,sovereign and ,princes of the ,blood ,royal have barred helmets of gold which are placed affronte4 ,the modern reversion to the tournament helm as a support for the crest was begun in the illustrations to ,foster's ,peerage by ,dom ,anselm and ,forbes ,nixon in #ahhj and with what advantage may be seen by inspection of that admirable work4 ,there can be no question of the superior value of the great helm from an artistic point of view4 ,its strong simplicity makes it especially suitable as a support for a crest that is treated in a bold and expansive manner and its bold curves compose well with the lines of the mantling and shield4 ,the central position which the helm occupies is necessarily an important one1 and in order to avoid over-accentuation it should be so designed as to be a link between the shield and the crest1 and not be permitted to concentrate attention on itself4 ,the avoidance of such undue prominence is helped by the tilting forward of the helm1 a position which tends to make the horizontal lines1 of the 8sight0 for instance1 curve upwards and so help the composition1 with respect to the crest1 while the strong line of the front ridge coming down in the direction of the shield is also valuable4 ,the forward lean of the helm is always noticeable and probably points to its being carried on a staff as already mentioned1 for its highest part1 which would be the point of support1 being usually behind the centre1 would tend to throw it forward and so bring it into some approach to the degree of inclination that it would have when it was on the head of a charging knight4 ,the difficulty of dealing with modern crests usually arises from their having been designed with regard only to their representation on flat surfaces1 but the problem may be solved to some extent--it is frequently impossible to do so completely--by carefully adjusting the crest and helm to each other and by placing them in the aspect that produces the best effect and at the same time expresses their character most fully2 and for this a sketch model in clay or other plastic material will be found very helpful4 ,the leaving out of sight of all methods and materials other than those employed for the immediate purpose in hand has resulted in most unfortunate1 and in some cases ridiculous1 crests which could never have been used in the ancient way1 and now if they have to be carved in relief or in the round1 as mural decoration or as the newel of a stairway1 show themselves wholly inadaptable to reasonable treatment4 ,on the other hand the early crests are always 8possible10 for the mediaeval herald was naturally familiar with the appearance of an actual crest modelled in the round1 though he may never have modelled one himself1 and so his design is always structurally right4 ,but what can be said for some modern examples1 a dove flying over water for instance8 ,it seems to have been forgotten until recently that heraldry ever had a real existence or could possibly be carried out in more than one way1 and the result was that anything that was suitable to a flat shield was thought equally appropriate for a crest so long as it was sufficiently differenced from other bearings4 ,a few experiments with a lump of clay would have shown the fallacy of this idea1 and incidentally might have saved many a family1 often in spite of itself1 from being labelled for ever with an absurd bearing4 ,as1 however1 we cannot always choose the heraldic motives with which we have to deal we must make the best of the refractory ones1 as well as of the rest1 and the structural side of the subject may be regarded as the direction in which the solution of difficult problems may be found4 ,as an example1 let us take a rampant lion and pose it on a helm1 and it becomes obvious that if it is taken from a shield without modification it will look ridiculously insecure on one leg as it is generally posed1 ,fig4 #aej1 but that it is much improved if arranged in firmer relation to its base1 the helm1 as in ,fig4 #aea4 ,illustration3 ,,fig4 #aej4 ,illustration3 ,,fig4 #aea4 ,another difficult kind of crest is that which is differenced with a row of objects in front4 ,for instance3 ,in front of a tower between two wings three fleurs-de-lis2 which is usually drawn as ,fig4 #aeb1 although wings would never have been modelled fore and aft in that way4 ,if the solidity of a crest is kept in mind the model would come out something like ,fig4 #aec1 and on similar lines the most unpromising material may with a little pains be made presentable by the use of sketch models in the round4 ,illustration3 ,,fig4 #aeb4 ,illustration3 ,,fig4 #aec4 ,when two helmets and crests occur together they turn towards each other and so naturally help the unity of design1 and when there are three1 the outer ones turn similarly towards that in the centre4 ,if1 however1 the crest be of such a nature that it cannot be turned about1 it will of course be preferable for the crest to dictate the position of the helm rather than to repeat the senseless fault of the helm and crest facing different ways4 ,the arrangement about the helmet of the ,torse or ,wreath is of considerable importance4 ,it should always be treated as a silken favour wreathed round the helmet1 and not as a support for the crest1 to which it is merely a decorative accessory4 ,an unfortunate phrase which has been used in blazoning crests1 from as early as the sixteenth century1 may be answerable for much ridiculous treatment of the wreath as a solid object1 viz41 ,on a wreath1 etc41 which suggests a material connexion between it and the crest1 and resulted in the stiff rods which were balanced on their centres1 or1 when two crests were used1 were treated as platforms on which the crests stood on either side of1 and away from1 the helmet4 ,that this method of blazoning a crest is not unavoidable is evident in a draft of the grant of a crest to the ,grocers ,company of ,london in which the formula is 8uppon the healme a camell golde bryded sable berynge two bagges of peper10 etc4 ,in early times the colours of the torse had no relation to those of the shield1 being adopted in a purely fanciful way1 but in the course of time the present custom was arrived at1 namely1 that the wreath should consist of the principal metal and colours of the arms1 as shown by their priority1 in the blazon4 ,illustration3 ,,fig4 #aed4 ,as the torse was composed of pieces of silk of different colours twisted together1 the colours appear alternately1 six spaces being generally shown1 their alternation beginning on the dexter side with the metal1 as most heraldic alternations do1 for the idea was that metal was more 8worthy0 than colour1 but there is nothing essential in this4 ,in some instances the torse resembles drapery cut into leaves1 as in ,fig4 #aed1 a fifteenth century example from the ,palazzo del ,podesta1 ,florence4 ,its place is sometimes taken by a decorative circlet called a crest coronet1 which1 however1 is no indication of rank1 though it is probably derived from the practice at a time before coronets signified specific degrees of nobility1 when it often appears encircling the helmets of personages of high rank4 ,later1 when coronets were beginning to take the form that soon became regular1 the crest of a ,peer was made to issue from a coronet1 as in that of ,richard ,earl of ,warwick1 on his tomb4 ,an excellent practice1 and one quite in harmony with heraldic feeling1 that there has been some attempt to revive in modern times4 ,other coronets that occur in crests and are also used as charges are described at p4 #bga4 ,the ,,mantling or ,,lambrequin1 that depends from the helmet1 and is a most valuable asset to the designer1 was derived from some such protection to the helmet as the surcoat was to the body armour1 and like it was soon made to serve decorative purposes4 ,the surcoats1 mantles and other garments of the fourteenth century1 being ornamented with dagged edges cut into various tongue-shaped patterns1 the mantling naturally followed their example and thence proceeded to other ornamental development1 very simply at first1 but continuing with ever-increasing elaboration until it became1 in many instances1 similar to the contemporary architectural tracery4 ,its early form is shown in ,fig4 #aee1 and the beginning of its decorative development in ,fig4 #aef4 ,an even earlier instance of dagged edges to drapery occurs on ,trajan's column1 in the decoration of a tent4 ,illustration3 ,,fig4 #aee4 ,illustration3 ,,fig4 #aef4 ,though the mantling probably remained comparatively simple in actual use its treatment in the illuminated ,,mss4 and on monuments shows a very ready acceptance of its ornamental possibilities1 both as a decorative adjunct to the armorials and also as a link between them and other decoration4 ,during the ,middle ,ages it followed the method of the ,gothic tracery in dividing and sub-dividing in groups of three1 which curved and interlaced in infinite variety4 ,in addition to being laced to the helm it was1 in some cases1 secured by two straps which were rivetted to the helm on either side and buckled at the back4 ,it was also frequently decorated with badges1 and in some cases the coat of arms was wholly repeated on it4 ,it sometimes took the form of a cap which fitted over the helm1 and was continued behind1 and a curious example of a tourney helm with such an ornament is ,fig4 #aeg1 after ,viollet-le-duc1 which is part of the equipment of a knight about to tourney1 whose surcoat is charged with a double-headed eagle1 and1 he being about to encounter with swords and therefore having no shield1 the charge is repeated on the helm in the bold and effective manner here shown4 ,on the stall plate of ,gaston de ,foix as a ,knight of the ,garter1 part of whose arms is ,or three pallets ,gules1 the mantling has one side similarly striped with gold and red4 ,examples of mantling charged with badges are also to be found on the ,garter stall-plates4 ,illustration3 ,,fig4 #aeg4 ,the practice of decorating the surface of mantling is still carried out to some extent in that of a ,knight of the ,garter1 as it hangs over his stall in ,st4 ,george's ,chapel1 the coloured side being sewn with a twisted ornament in lace and spangles4 ,the edges are jagged with cuts in accordance with the theory that that was the origin of the ornamental form4 ,a far-fetched reason for what was after all a purely ornamental development4 ,the office of mantling being a purely decorative one suggests that its treatment1 as form1 should be such as to support and supplement the lines of the shield and its contents1 and to assist in linking together the whole composition4 ,it will therefore avail itself of the well-known power of curves to emphasize what they enclose and will find endless variety of design in the way its lines may be made to help each other in direction and force4 ,illustration3 ,bookplate of ,john ,stabius1 ,professor of ,mathematics4 ,drer4 ,illustration3 ,arms of ,kress of ,kressenstein4 ,school of ,drer4 ,illustration3 ,arms of ,don ,pero ,lasso di ,castilla4 ,german1 #afth ,century4 ,illustration3 ,armorials by ,drer4 ,the facility of folding over the edges will be found extremely useful in correcting balance as well in form as in tone and colour1 and its use in this way is practically without limit4 ,such foldings should of course be designed in due relation to the general direction of the mantling1 so as to assist its swing and flow1 or else be obviously and intentionally opposed to it4 ,in other words1 there should be intention in every detail4 ,it will also be noticed how valuable are straight lines1 either in the ,arms or as the top of the shield1 to play against the curves4 ,it has been indicated that the treatment as regards form is practically untrammelled1 but as to colour there are certain rules that must be observed4 ,in the ,middle ,ages there were no rules other than sumptuary laws1 to which it is probably due that ermine came to be painted on mantlings and caps of maintenance in the same conventional way that it appeared on the shield4 ,otherwise1 mantlings were merely governed by fancy until late in the sixteenth century1 except that in the latter part of that period it had become customary for those of ,peers to be doubled1 i4e4 lined1 with ,ermine4 ,with the seventeenth century began a uniform mantling of ,gules2 doubled with ,ermine for ,peers and with ,argent for those below that rank4 ,perhaps the colours were considered national as being taken from ,st4 ,george's cross on its argent field4 ,the present rule is for the mantling to be of the colour and metal first mentioned in the blazon of the arms1 as the torse does1 and it dates from the end of the eighteenth century4 ,the exceptions to this general rule are as follows3--,the ,sovereign's and the ,heir ,apparent's arms are mantled ,or1 and doubled ermine1 as also are those of the other ,princes of the ,blood ,royal4 ,peers formerly used the first colours of their blazon also doubled with ermine1 as they still do in ,scotland1 but otherwise they now follow the general rule4 ,however one may regret the older custom which produced variety of colour in the surroundings of the arms themselves and so gave scope for much beautiful arrangement1 the established custom should certainly be observed1 however reluctantly1 and colour relief be obtained in other ways2 such as by treatment of the background where such is practicable4 ,of course modification of tone still remains available4 ,it is sometimes held that arms that were granted at the time when red and white mantlings were usual1 and were mentioned in the blazon of the ,grant1 should now and henceforth be so accompanied1 and this would seem to be a case when choice of method would be legitimate4 ,the description in the blazon1 usually so binding1 is here of little force1 for it was in such cases a mere routine phrase which conveyed no distinction of one case from another1 and the change of official custom may be taken to have superseded the former rule4 ,certainly it is not permissible nowadays to colour the mantling without reference to the arms or without warrant from properly transmitted custom4 ,,chapter ,,vii ,armorial ,accessories ,the armorial shield1 and1 in a rather less degree1 the crest1 are in an especial sense essential parts of an heraldic achievement1 and have always been considered fully representative of their bearers4 ,therefore they may be used together1 or singly1 without the supporters or other accessories to which their owner may be entitled4 ,on the other hand1 supporters1 though they may be employed without the arms to support badges or monograms1 have1 in that case1 little more than the force of fanciful devices4 ,illustration3 ,,fig4 #aeh4--,seal of ,john de ,segrave 7c4 #acjj74 ,illustration3 ,,fig4 #aei4--,seal of ,anne ,countess of ,devon4 ,illustration3 ,,fig4 #afj4--,seal of ,ralph ,neville1 ,earl of ,westmoreland4 ,supporters were in their origin badges which had acquired permanence by custom in the same way that the arms of the shield had acquired it at an earlier time4 ,thus1 in addition to the regular armorials which so profusely adorned the ,seals1 certain badges were freely used which from association acquired in many cases a permanence by frequent recurrence equal to that of the arms with which they were associated4 ,in this way lions appear in many of the ,great ,seals1 notably in those of ,edward ,,iii and in the beautiful seal of ,henry ,,iv4 ,such emblems were placed decoratively in any spaces that were suitable1 and in the simpler seals the intervals between the circumscription and the more or less triangular shield within it invited their display1 as in ,fig4 #aeh1 the seal of ,john de ,segrave 7c4 #acjj71 which has a garb on either side of the shield4 ,in ,fig4 #aei1 the seal of ,anne ,countess of ,devon1 lions occupy similar spaces1 but with their backs to the shields4 ,the seal of ,ralph ,neville1 ,earl of ,westmoreland1 ,fig4 #afj1 shows greyhounds1 which1 though of subordinate proportion1 have assumed the regular pose of supporters2 while in the splendid seal of ,edmond ,beaufort1 ,duke of ,somerset1 ,fig4 #afa1 the finely designed supporting figures have complete heraldic force4 ,another fine example is that of ,william ,lord ,hastings1 ,fig4 #afb4 ,the connexion between ancient ,badges and the ,supporters in present use is easily traced1 and1 as one instance of many1 it will suffice to mention the white lion ,badge of ,mowbray1 which has become one of the supporters of the ,duke of ,norfolk4 ,the actual recognized use of these accessories appears to have begun at the end of the fourteenth century2 and to have become firmly established in the following one4 ,illustration3 ,,fig4 #afa4--,seal of ,edmond ,beaufort1 ,duke of ,somerset4 ,illustration3 ,,fig4 #afb4--,seal of ,william ,lord ,hastings4 ,fifteenth ,century4 ,the idea that supporters originated in fantastically dressed pages at a tournament seems to have little or no foundation1 and though there may have been some such representation of already established devices1 later statements on the subject have probably been much over-valued4 ,viollet-le-duc quotes an instance of a celebrated tournament1 which was held on ,may ,day1 #acdf1 at ,chambery1 when ,amedee ,,vi of ,savoy had his shield hung on a tree and guarded by two lions4 ,the interesting fact is mentioned that the shields1 helms and crests of the knights who figured at this tournament remained in the ,church of ,st4 ,francis at ,chambery1 until #affj or thereabouts4 ,then the church was redecorated1 and in the disregard for antiquity1 which we find so difficult to understand1 the relics of chivalry disappeared4 ,at first and for a considerable time the proportion of supporters to the arms was very satisfactory1 being bold without over emphasis1 but during the sixteenth and following centuries1 a tendency to increase their size was felt1 and it is in this respect that modern sculptured heraldry is lacking in balance1 for to over-accentuate the supporters is necessarily to minimize the arms1 and so divert interest from the central motive4 ,when the space to be filled by the achievement demands it1 the pose of the supporters may be varied to a considerable extent1 but the rampant position should always be adhered to when it is possible4 ,where1 for instance1 the space is wide1 as on a mantelpiece1 there is no heraldic objection to placing the figures in a couchant position on either side of the shield1 an arrangement that has been frequently resorted to in ,friezes4 ,sanction is given to this freedom of treatment by the fact that it is not usual in blazoning supporters to specify the heraldic attitude1 except in so far as it affects the pose of the head4 ,that is to say1 if the head is in the normal position1 in profile1 the figure is blazoned1 for example1 a lion ,or4 ,if it were guardant or regardant1 the fact would likewise be mentioned but not the general pose1 rampant or anything else4 ,in the fifteenth and sixteenth centuries the supporters were sometimes employed in pairs1 and sometimes singly1 to hold up the banners of arms that were represented in heraldic manuscripts or sculptured on monuments1 and they were then usually placed in a sejant position4 ,in some instances1 more frequent in ,italy and ,germany than in this country1 supporters bear crested helms on their heads in a very curious way4 ,an ,english instance is on the seal of ,edmond ,mortimer1 ,a4,d4 #acgb1 mentioned by ,boutell4 ,on the seals of the fifteenth century onwards1 the supporters were freely adapted to the available spaces1 without much1 if any1 regard for actual physical support to any other part of the achievement4 ,it was heraldically sufficient that they were present1 and the rest was left to the taste and skill of the designer4 ,the variety of supporters has of course increased with the number of those entitled to bear them1 and creatures are now used which1 though perfectly suitable in an allusive way1 are not equally adapted to the ordinary heraldic treatment1 and the result of working in an outworn groove appears when ,troop horses1 ,camels1 ,elephants1 and so forth are seen climbing up the side of a shield1 instead of standing beside it4 ,admit that the rampant attitude in an animal that does not ramp is not obligatory1 and the difficulty is easily overcome with every advantage to the dignity of the composition4 ,the idea of moral support would also be much to the advantage of symbolic human figures that are already burdened in a variety of ways1 for the sight of a figure1 with both hands full1 trying to obey a non-existent law as to touching the shield that it 8supports0 is pathetically ridiculous4 ,nevertheless1 the hold on the shield is of value in linking a design together1 when it can be effected without violence to ease and probability4 ,too great freedom of natural treatment is not desirable1 for it is out of harmony with the especial decorative quality of heraldry1 so that one objects to the natural animal supporters that characterized the illustrations of the eighteenth century1 prowling from behind the shields1 not as heraldic error1 but as wanting in dignity as decorative design4 ,as a general rule1 with some few special exceptions1 the right to bear supporters is confined to ,peers and ,peeresses and to the highest classes1 ,knights ,grand ,cross or analogous ranks1 of ,orders of ,knighthood4 ,knights of the ,garter1 of the ,thistle1 or of ,s4 ,patrick are entitled as such to bear ,supporters1 but as members of those orders are now invariably ,peers1 the question does not arise4 ,illustration3 ,,fig4 #afc4--;,amorini ,supporters from ,venice4 ,figures of ,angels and ,amorini that are not considered to have the technical qualification of heraldic supporters are of constant occurrence in ornamental art1 and symbolical figures holding the shields of arms are posed in the spandrels of arches with admirable effect and perfect propriety1 and the fact that symbolic figures are sometimes adopted as actual heraldic supporters can hardly be allowed to cramp decorative art in so important a particular1 nevertheless the distinction should be recognized4 ,at ,venice there is an admirably designed incised tablet in which ,amorini stand beside the shield1 each supporting on a pole one of the two large crests1 ,fig4 #afc2 and the demi-angels which support the ,royal ,arms on the spandrels of the screen of ,henry ,v4 ,chantry at ,westminster1 and the series of similar figures holding ,badges in various parts of the ,abbey should also be noted4 ,another admirable work in which ,amorini figure is the fine panel of the ,arms of ,cardinal ,wolsey1 which faces the ,crown ,court at ,hampton ,court ,palace1 ,fig4 #afd1 a work that is no less remarkable for the strength and bold relief of its heraldry than for the grace and beautiful modelling of the figures4 ,under the head of supporters reference may also be made to the eagles1 double or single-headed1 on which in certain cases armorials are borne as a mark of special privilege4 ,the arms of ,princes and ,peers of the ,holy ,roman ,empire are borne on the double-headed ,imperial ,eagle1 like those of the ,duke of ,marlborough as ,prince of ,mindelheim1 as a privilege inherent in their rank4 ,the single-headed eagle of the ,kingdom of ,prussia supports in a similar way the armorials of ,the ,countess of ,derby1 to one of whose ancestors1 ,lord ,carnarvon1 ,ambassador at ,berlin at the end of the seventeenth century1 the privilege was granted by ,frederick ,william ,i4 ,it therefore appears on her book plate1 which ,i am permitted to reproduce here1 ,fig4 #afe4 ,illustration3 ,,fig4 #afd4--,sculptured ,arms of ,cardinal ,wolsey4 ,hampton ,court ,palace4 ,other accessories consist of ,crowns1 ,coronets1 ,insignia of ,order of ,knighthood1 ,mottoes1 ,symbols of ,office1 ,medals or any other emblem of personal dignity or ornament4 ,the principal of these1 the ,imperial ,crown1 was1 in its earliest form1 a decorated circlet which was frequently of a most beautiful and elaborate character1 but whose decoration1 apart from its general form1 had not acquired specific symbolic force1 unless the fleur-de-lis that sometimes appeared as part of it may be so regarded4 ,if so1 it was probably introduced with the same idea of religious symbolism1 as an emblem of the ,resurrection1 or of the ,virgin ,mary1 or of the ,trinity1 which caused it to be used on sceptres and in other ways4 ,the crowns of the early seals show traces of arches in some instances1 but it was only in the time of ,henry ,v that the crown1 the one that succeeded the 8golden care0 of ,shakespeare1 finally became arched4 ,the number of the arches1 as of the fleurs-de-lis and the crosses patte that were added1 varied from time to time1 but since the restoration of ,charles ,,ii the essential details have remained constant1 though the general shape has changed with the contemporary taste in other ornament4 ,a considerable variety of form is also found in the same period1 the arches in ,tudor times having sometimes the ,gothic pointed character1 as it appears in ,fig4 #aff1 on the reverse of the beautiful golden ,bulla with which ,henry ,,viii sealed the treaty of the ,field of the ,cloth of ,gold4 ,in this instance it will be observed that the number of arches is doubled1 and the fleurs-de-lis and crosses patte proportionately increased4 ,in a similar way the ,scottish ,royal ,crown is represented with an unusually large number of crosses and fleurs-de-lis on the rim4 ,illustration3 ,,fig4 #afe4--,the ,countess of ,derby's ,bookplate4 ,geo4 ,w4 ,eve4 ,in other examples1 notably those sculptured on ,st4 ,george's ,chapel in ,windsor ,castle1 the arch is much flattened and the crosses and fleurs-de-lis stand high on the rim1 thus producing a certain squareness which is very happily suggestive of strength4 ,it was this type of crown that influenced the treatment of those on the present ,royal bookplates4 ,in the seventeenth century the arches were depressed where they cross1 and in the ,georgian period the extent of the depression was very considerable1 as may be seen in the maces of that time4 ,illustration3 ,,fig4 #aff4--;,golden ,bulla with which the ,treaty of the ,field of the ,cloth of ,gold was ,sealed4 ,sixteenth ,century4 ,it seems to evidence the want of intention1 and that ignoring of symbolic value that was characteristic of the time1 for otherwise the idea would certainly have suggested itself that the orb1 the emblem of sovereignty1 should be held strongly up1 and the crown be made to suggest its adequacy to its pre-eminent dignity4 ,doubtless this was in sympathy with the somewhat heavy curves of other ornament1 but its effect is common-place1 weak and unfortunate4 ,the general character of the present day shape is a return to the more beautiful pointed arch1 and ,fig4 #afg is the form approved by ,his ,majesty for official use4 ,it is to be understood that this does not refer to the actual crown1 which has remained much as it was in the time of ,charles ,,ii1 but to its heraldic equivalent4 ,illustration3 ,,fig4 #afg4--,the ,royal ,crown as sanctioned for official use4 ,the decoration of the arches may take many forms1 sometimes consisting of large pearls1 as in the usual way1 sometimes of architectural crockets as in much of the carved decoration1 or as jewelled running ornament composed of national ,badges1 or of oak-leaves and acorns as in that which is known as the ,imperial ,state ,crown4 ,a fine example of the ,tudor crown occurs in the stained glass roundel of the ,arms of ,queen ,jane ,seymour1 in which the arches are crocketted1 and the crosses have the cusped character that was prevalent at this period1 ,fig4 #afh4 ,in the jewels on the rim1 no attempt is usually made to copy those of the actual crown and great variety of jewelled decoration is therefore possible4 ,the gems are most often represented of antique form1 that is to say1 cut en cabuchon1 instead of in facets1 thus presenting a decorative simplicity that is very suitable to ornamental effect4 ,illustration3 ,,fig4 #afh4--;,arms of ,queen ,jane ,seymour1 ,stained ,glass ,roundel4 ,sixteenth ,century4 ,with regard to the cross on the orb the former remarks concerning crosses patte are especially applicable1 and in addition it should be observed how much more satisfactory it is for the lines of the lower limb of the cross to be produced from the circumference of the orb than for the corners to be projected beyond it4 ,in the latter case the cross has the unfortunate effect of being balanced on the orb instead of rising from and being part of it4 ,the essential form of the crown1 then1 is a circlet heightened with crosses and fleurs-de-lis alternately1 from which rise two arches that spring from behind the crosses patte and uphold the orb1 which is itself surmounted by a cross4 ,care is necessary in order that the curves of the arches may be kept sufficiently flat1 for otherwise too much tendency to a half-circle may result4 ,the crosses and fleurs-de-lis offer remarkable opportunities for strong1 graceful1 and varied treatment1 and if they are kept fairly high1 and well defined1 the dignity of the design is much enhanced4 ,the cap which is enclosed in the actual crown is of purple velvet1 but is represented heraldically as of crimson1 and is lined with ermine1 which being turned up at the edge1 appears round the lower rim4 ,the ,coronets of the sons and daughters of the ,sovereign have similar circlets to that of the crown1 but are not enarched1 except in the case of the ,prince of ,wales1 who has one arch supporting an orb4 ,the latter coronet is usually drawn from a point of view from which the complete arch is seen spreading from side to side4 ,fig4 #afi4 ,other ,princes and ,princesses bear coronets that are varied according to nearness to the ,throne1 the grandchildren of the ,sovereign having ducal leaves in place of two of the crosses1 while nephews have similar leaves in place of all the fleurs-de-lis4 ,this must not be taken as an invariable rule of heraldry but as an indication of the system that is observed in framing the ,royal ,warrants by which alone the right to these coronets1 and also to the ,royal marks of cadency 7q4v47 is conferred4 ,illustration3 ,,fig4 #afi4--;,coronet of the ,prince of ,wales4 ,royal coronets1 other than that of the ,prince of ,wales1 do not change automatically as private marks of cadency do1 but being arranged under the same ,royal ,warrant by which the arms are assigned1 they remain as so designated until they are changed by the same authority4 ,the ,coronets of ,peers were definitely assigned to the various ranks by warrant of ,charles ,,ii1 having by that time become developed into distinctive forms1 as the ,crown had been1 from the circlets which in themselves were marks of high rank and were so used ceremonially in conferring a title4 ,the coronet of a ,duke is composed of eight ornamental leaves of equal height1 wrongly called strawberry leaves1 set on a rim which is ornamented with jewel-like tracery but not with actual gems4 ,eight being the full number of leaves1 five of which are visible in representation4 ,a ,marquis's coronet has four leaves alternately with an equal number of silver balls1 called pearls1 which are set on points to the height of the leaves1 and the coronet is always represented as so posed that three leaves and two balls are visible4 ,it is directed that in all coronets the balls shall be of silver and not counterfeit pearls4 ,an ,earl's coronet has eight balls raised on high points and showing between them leaves which are set low down4 ,five balls and four alternate leaves are usually shown4 ,this form is evidently derived from the beautiful coronet that is sculptured on the tomb of ,thomas ,fitzalan1 ,earl of ,arundel1 #adde1 and in the same way that the coronet of another ,earl of ,arundel 7,a4,d4 #adhg7 foreshadowed that of a duke4 ,the former of these is very fine1 having groups of three pearls on alternate points1 and with the leaves also on points to the same height as the others4 ,a ,viscount's coronet is a circle with surface decorations which1 like all the preceding1 is as in that of a ,duke and has sixteen silver balls set close on the rim1 and of them nine are shown4 ,a ,baron's coronet has six silver balls1 also set directly on the rim and not on points1 the circlet in this instance being plain1 i4e41 without indications of jewel forms4 ,in the warrant of ,charles ,,ii it is directed that all the coronets shall be worn over a cap of crimson velvet lined with ermine1 and having a tassel of gold at the top4 ,this cap1 however1 is not an essential part of the coronet1 although a head covering of considerable distinction in itself4 ,during the greater part of the ,middle ,ages the temporal peerage consisted principally of earls and barons1 the former distinguished by the circlet of gold1 which was variously decorated1 and the latter by a cap of crimson lined with fur4 ,for military purposes1 the coronet was fixed to the helmet1 and at other times it was placed1 for practical reasons of comfort among others1 round the cap which formed part of contemporary costume1 as may be seen in many of the beautiful ,french and ,italian medals of the fifteenth century1 notably in one of ,louis ,,xii at the end of that period4 ,fig4 #adc4 ,in another composition of about the same time1 a head of ,king ,herod has a crown which encircles a cap of the shape usually ascribed1 in modern times1 to a ,cap of ,maintenance4 ,the last-named head covering is one of much interest as an early subject of privilege1 although but little appears to be known about it4 ,its shape was obviously not its distinctive quality1 and it must therefore have been the material or colour which constituted its especial value2 and having regard to the sumptuary restrictions concerning the wearing of ermine1 among other things1 it seems probable that its lining of this fur was its distinctive quality1 and that being prohibited to those of inferior rank1 it would naturally be the cap that would be associated with a coronet when it was actually worn4 ,thus was formed the prototype of the coronets as described in the warrants of the end of the seventeenth century1 when caps of this character had ceased to be part of the ordinary costume of people of position4 ,the cap is therefore a means of wearing the coronet and no indication of definite rank and may certainly be omitted in heraldic design1 since it adds nothing to what is signified by the coronet itself and is not an essential part of it4 ,this view would appear to have been the contemporary official one1 for many of the ,garter plates subsequent to the warrant of ,charles ,,ii have no caps to the coronets1 and that of ,john1 ,duke of ,argyle1 #agjj1 may be cited as an example1 among others4 ,by the before-mentioned warrant1 the use of the ermine-lined caps was extended to barons equally with other ranks of the peerage4 ,the rank of ,baronet1 also hereditary1 is of two classes1 one of which was instituted in #afaa to encourage the plantation of ,ulster1 and the other in #afbd for the plantation of ,nova ,scotia4 ,all new creations of the rank of baronet are of the former kind1 and the ,badge consists of the well-known red hand of ,ulster on an argent field4 ,this is borne on the coat of arms either on a canton or on a small escutcheon1 whichever is most convenient1 and if the latter it may be anywhere on the main shield in the same way that a mark of cadency is placed4 ,the ,badge of a ,baronet of ,nova ,scotia is an actual jewel like that of an order and usually appears below the shield pendent from its ribbon of orange tawny silk4 ,it is also worn round the neck like the insignia of an order1 and consists of an oval medallion on which is the ,cross of ,st4 ,andrew behind a shield ensigned with the ,imperial crown and charged with the ,arms of ,scotland1 and on the margin of the badge is the motto 8,fax mentis honest gloria40 ,the ,insignia of ,orders of ,knighthood are also among the most important and decorative accessories1 either surrounding the shield1 such as collars1 the ,garter1 and the motto circle of other orders2 or suspended below it as crosses and jewels4 ,illustration3 ,,fig4 #agj4--;,arms of ,john second ,earl of ,mar1 ,k4,g41 #afcd4 ,modelled gesso1 afterwards painted4 ,geo4 ,w4 ,eve4 ,knights of the ,garter surround the shields of their arms with representations of the ,garter inscribed with the motto of the order1 8,honi soit qui mal y pense10 in the well-known way4 ,it was formerly light blue1 but since the time of ,george ,i has been of the dark rich colour to which it has given the name of ,garter ,blue4 ,the buckle1 motto and other embellishments are of gold and it is now edged with the same4 ,this last1 however1 is purely decorative1 but has become usual from about the sixteenth century4 ,the motto begins above the buckle1 which is always placed in the dexter side1 and may be in any character of lettering that seems fit4 ,fig4 #agj shows a gartered shield from the series at ,alloa ,house4 ,the collar consists of twenty-six small garters 7in allusion to the ,sovereign and twenty-five ,knight ,companions71 each enclosing a rose1 alternately with an equal number of knots1 the whole being joined together with links of gold4 ,it is notable that the roses are ,tudor ones1 the collar having been added to the insignia of the great ,order by ,henry ,,vii1 and are a red rose within a white one and a white within a red alternately4 ,depending from the collar is the representation of ,st4 ,george slaying the ,dragon1 the jewel which is known as the ,great ,george4 ,composed of gold and enamel it was frequently richly jewelled1 and otherwise treated as a splendid subject for artistic elaboration4 ,when the collar is used with the arms it is placed outside the ,garter4 ,these constitute the insignia that are immediately associated with the shield1 but there are in addition the ,star1 the ,ribbon and the ,lesser ,george4 ,the ,star is worn on the left breast1 consists of groups of rays1 in silver or diamonds1 arranged in eight points1 and bearing in the centre the enamelled ,cross of ,st4 ,george encircled with the ,garter4 ,the ,lesser ,george1 the jewel which is worn pendent at the side from the ribbon of the order which is worn over the left shoulder1 consists of an oval badge of a similar group to that of the ,great ,george1 but placed within the ,garter which forms a frame to the badge4 ,it will be noticed that the ,great ,george has no containing form4 ,the ,collar when it surrounds the shield is placed outside the ,garter1 and either one or both may be used to enclose a crest or other device4 ,in thus using the collar of an order in a decorative way1 it will not be necessary to represent the actual number of pieces in it1 but only their nature and the proper order in which they occur1 and a considerable latitude may be taken in treating the details so long as their essential character remains clear4 ,the custom of encircling arms with the ,garter has influenced the whole ,british practice with regard to orders of knighthood1 other orders using in a similar way the motto circle which forms part of their badge4 ,the foreign practice is to use the collar with its badge to surround the arms1 or in other cases to suspend a badge from its riband below the shield4 ,a knight of several orders uses principally that which is of superior rank either alone or in conjunction with others4 ,in the latter case the emblem of the superior is innermost in surrounding the shield2 and is the dexter of two1 or the most central of a greater number1 when dependent from it4 ,when1 however1 some special allusion is intended the insignia of an inferior order may be used alone4 ,thus in the case of an achievement that was to be used in connexion with a specific order1 the insignia of that order would be properly used to the exclusion of one of superior rank4 ,it will be understood that the heraldic bearing of such insignia is a privilege that need not always be exercised1 and when it is1 may be used in a variety of ways4 ,thus the ,garter may closely surround the shield in the familiar way or may encircle the whole achievement as in some coins and medals1 or even be straightened out as in the design of some of the ,tudor bookbindings4 ,in view of cases that have actually occurred1 it should be noted that stars of orders must not be suspended below a shield as a badge may be1 though they may be embodied in accessory design in a suitable way4 ,that is to say1 that only those decorations should hang below the shield which actually have a pendent character and hang from collars1 ribbons1 and so forth1 while stars may decorate panels1 be enclosed in tracery1 or be employed in any other way that is not unsuitable to their naturally appliqu character4 ,the ,order of the ,thistle has a ,collar composed of thistles alternating with a badge made of four sprigs of the ancient rue interlaced1 the whole being enamelled in the proper colours4 ,depending from the centre thistle of the collar is the ,badge1 a star of eight points bearing the figure of ,st4 ,andrew supporting his white cross4 ,his gown is green and the surcoat purple1 and he stands on a mount of green4 ,when not used with the collar the ,jewel hangs from the dark green ribbon that is worn over the left shoulder4 ,fig4 #aga from the series at ,alloa ,house shows a method of treating the collar in gesso photographed before painting4 ,the star of the order consists of a silver ,st4 ,andrew's cross having rays issuing from its angles and bearing in the centre a thistle within a circle of green enamel1 that is edged with gold and bears in golden letters the motto1 8,nemo me impune lacessit40 ,it is this circle and motto that are placed round the shields of the knights of the order and sometimes with the collar in addition4 ,illustration3 ,,fig4 #aga4--,shield with ,collar of the ,order of the ,thistle4 ,arms of ,john1 sixth ,earl of ,mar1 ,k4,t4 ,gesso1 before painting4 ,geo4 ,w4 ,eve4 ,the ,knights of the ,order of ,st4 ,patrick surround their arms with the sky-blue circle of that order inscribed with the motto1 8,quis separabit10 and the date ,,mdcclxxxiii4 ,the ,collar is composed of roses and harps alternately1 tied together with knots of gold4 ,the roses are double and are white within red1 and red within white alternately1 like those of the ,garter collar4 ,in the centre is an imperial crown ensigning a harp from which hangs the badge of gold1 oval in shape1 and surrounded with a wreath of shamrocks which encloses the circle of light blue enamel on which is the motto and the date ,,mdcclxxxiii in golden letters4 ,within the circle is the cross of ,st4 ,patrick1 ,gules on a field ,argent1 surmounted with a trefoil slipped and with each of its leaves charged with an imperial crown1 ,or4 ,the star is of eight points1 the perpendicular and horizontal rays being larger than the diagonal ones1 and bears the device within a motto circle exactly similar to those of the badge1 but without the shamrock wreath4 ,these are the three principal orders which form a group that is somewhat apart from the rest4 ,in the foregoing orders consisting1 as was customary in earlier times1 of a ,grand ,master and of ,knight ,companions ranking equally among themselves1 the amount of insignia associated with their arms is unimportant as a mark of rank1 the simplest being equally efficacious heraldically with the more elaborate4 ,in the case1 however1 of orders which are divided into classes1 the different parts of the insignia have acquired a special importance as indications of rank within the order which must be very carefully observed4 ,taking the ,order of the ,bath as typical1 the lowest rank1 that of ,companion 7,c4,b471 is shown by suspending the badge below the shield4 ,the next grade1 ,knight ,commander 7,k4,c4,b471 in addition to the suspended badge1 encircles the shield with the motto of the order4 ,and finally1 a ,knight ,grand ,cross 7,g4,c4,b47 adds to the preceding the collar of the order round his arms1 outside the motto circle4 ,it must be noted that the order has two divisions1 civil and military1 whose badges differ4 ,the rest of their insignia is identical1 except that a wreath of laurel accompanies the motto circle of the ,military ,division4 ,,chapter ,,viii ,methods and ,materials ,the methods of painting heraldry have changed very little from those that were employed in the early ,,mss4 ,in the unfinished ,bible at ,winchester ,cathedral1 of which the illuminations are in every stage of progress from the sketch to the finished work1 the sequence is clearly shown4 ,first1 the design lightly sketched in with fine charcoal or a leaden stylus1 then carefully gone over with a black line4 ,the gold masses put in and burnished and then the colour4 ,shading and correction of the outline followed1 and finally the high lights put a finish to the work4 ,vellum1 a fine parchment made of calf skin1 is the most suitable surface for heraldic painting in water-colour1 although paper1 which includes various 8boards10 is useful for students' work and for preliminary drawings4 ,the colours bear up1 and gold acquires an appearance of solidity on vellum which cannot be obtained on paper4 ,no doubt the surface is somewhat difficult to deal with at first and painting on it has a technique of its own1 but there is nothing that cannot be overcome if it is approached in a practical way4 ,the colour of vellum varies from a yellowish white to darkish ivory colour1 a variety that is due to the natural colour of the skin4 ,it can also be obtained in positive colours1 the kind that is used in book-binding4 ,it is somewhat thickly coated on one side with a chalky preparation1 and if this side1 the front1 is used it requires delicate handling1 for it is easily injured by the scraping that may be necessary for erasure1 so that a rough spot of skin appears through the preparation and the surface can only be restored with great difficulty4 ,unless1 therefore1 it is necessary to use both sides as for a leaf of a book1 the back of the skin will be found preferable4 ,it is a little darker in tone and not quite so smooth1 is tolerably hard and bears erasure well1 but the knife requires deft handling1 and then small corrections can be made with it successfully1 for colours do not penetrate vellum very far1 though when properly prepared they adhere to the surface with ample tenacity4 ,it will be found very desirable to keep vellum clean rather than to trust to subsequent cleaning4 ,as it is difficult to properly remove pencil marks except with the knife1 the design should first be made as fully as necessary on paper or other surface1 and transferred to the vellum by tracing or rubbing down or by pouncing4 ,the best way of transferring a design is to go carefully over the back of a tracing of it with a sharp pencil and having carefully placed it in position on the vellum to rub it down with a knife held slanting1 a palette knife will do very well1 and in that way the lines are clearly transferred to the vellum without the depression on the surface that a point is likely to make4 ,tracing down the design with a style and coloured transfer paper is less satisfactory owing to the blurring of the line1 unless the point used is very sharp and then it is likely to cut through4 ,in making the preliminary design the colour composition with regard to such parts as are susceptible of free treatment 7such as the mantling7 should be carefully noted so that nothing experimental need be tried on the vellum4 ,unless both sides of the skin are to be used it is well to strain the vellum over an ordinary frame by means of glue or with small tacks at frequent intervals1 first well damping it on the reverse side to that which is to be used4 ,a piece of cardboard should be placed between the vellum and the frame to give support to the surface and help to throw up the colour1 care being taken1 however1 that the vellum though damp is not actually wet or it will stick to the cardboard in patches with disastrous effect4 ,having the design traced on the vellum the next step is to lay in the gold4 ,this is provided in shells or cakes and is painted on very evenly with a sable brush and when dry is burnished with an agate burnisher1 or a tusk does very well4 ,burnishing is facilitated by first gently passing the finger tip over the gold1 and a piece of card or other firm substance should be placed behind the work during the whole process1 or1 when a high degree of polish is desired1 a piece of plate glass may take the place of the card4 ,but it must be remembered that over-burnishing deprives the gold of its beautiful colour and tends to blackness4 ,the principal colours are then laid in their places and their quality will depend of course on the taste and intention of the artist1 but in the absence of necessity for modification1 the traditional strong brilliance will probably be sought after and the colours will be used in their fullest strength and purity4 ,for red1 ,vermilion is unapproachable in its place1 has great body and is therefore easy to use4 ,for blue1 ,cobalt is very beautiful but is somewhat difficult to lay from its want of opacity1 a quality which is not improved by the glycerine which is used in 8moist0 colours4 ,french ultramarine or ,french ,blue 7it is known under various names7 forms when mixed with white a fairly efficient substitute for cobalt and presents no difficulties in laying4 ,green4 ,the most brilliant is of course ,emerald ,green1 but as it is extremely difficult to lay and easily works up it is much feared and avoided4 ,it is very useful in combination with greens of lower tone mixed with white to lighten them4 ,green oxide of chromium 7not chrome green7 is excellent in this way and possesses good body4 ,the white will be ,chinese ,white1 made from oxide of zinc1 which does not change colour as the lead whites do4 ,the latter1 however1 are extremely useful for temporary work1 such as for design that is to be carried out in other materials1 when the drawing is no longer of consequence after it has served its purpose4 ,the difficult colours ,cobalt and ,emerald ,green can nevertheless be laid satisfactorily by means of patient trial1 the result depending on that skill of manipulation which can only come by much practice as well as on the exact degree of moisture with which the colours are used4 ,indeed1 it may be well to point out1 especially for the benefit of those who are familiar with water-colour sketching1 how comparatively dry all the colours are worked in illumination4 ,tints1 even1 are best put on with a sparely filled brush in a manner that approaches a scumble much more nearly than a wash4 ,this will be found most troublesome in tints that are painted on the vellum itself1 as in white mantling1 for instance1 or in objects that are 8proper10 and anything like a wash with a full brush being impossible1 a certain amount of stippling will probably become inevitable4 ,the work is certainly somewhat difficult1 and too much disappointment1 therefore1 should not be felt at the failure of first efforts4 ,shortly1 the effort should be directed to getting the colour on with as little moisture as will suffice1 so that the surface of the vellum may not become wet and disturbed4 ,the principal masses of colour being in1 such dividing or other strong lines as occur will be drawn with black4 ,a drawing pen will probably be used for straight ones and in this also care must be taken that the black1 lamp black or ivory black1 is not too diluted1 or it will probably spread1 especially when in contact with colours that contain glycerine or waxy constituents4 ,this done1 the next stage of the work1 if it is to have the elaboration of the real illuminated ,,mss4 rather than of the diagrammatic ,rolls of ,arms1 will be to model up the forms with shadow colour1 using carmine or crimson lake to shade vermilion with the addition of a little sepia when stronger colour is required4 ,blue will be shaded with ,french blue to the required tone1 and green with darker green4 ,the lights may then be put in with light tones of their respective colours4 ,gold is shaded with a low tone of yellow as a general shadow colour and with umber1 and is sometimes high lighted with ,naples yellow and white4 ,in accessory decoration gold may be shaded with green and finished with a darker tint of the same colour4 ,in the colour treatment of mantling the tone may well be kept low in relation to that of the shield to which it will thus lead up and give value4 ,instead of lighting with tones of their own colour the parts in which modelling is suggested1 a very beautiful and decorative effect is produced by the mediaeval practice of heightening the whole design with gold in lines which coalesce into masses on the high lights and trail off into the shadows where also they help to define the form in a very effective way4 ,this use of gold throughout the work serves at the same time to harmonize and pull the whole thing together into unity4 ,it is a method which requires considerable skill of hand and clearness of intention1 for the lines must be drawn with firm certainty1 but when successful is most effectively beautiful4 ,in the treatment of the helmet its relative importance in the composition must not be forgotten1 nor its brilliancy in combination with its central position be allowed to attract undue attention4 ,the broad shadow which its body takes in its forward tilted position is very useful in keeping down the general tone1 in colour work as well as in black and white4 ,also it may be remembered that helmets were themselves painted and their rivets gilt4 ,in painting on paper1 where yellow is substituted for gold1 ,cadmium will be found to be the most useful kind of that colour4 ,until the invention of moist colour the pigments were obtained in powder and mixed with gum water1 a great deal of small knowledge being required in order that the colours should not rub off the surface on the one hand1 or crack or otherwise misbehave on the other4 ,gold was mixed in the same way1 but if with too little gum it rubbed off and if with too much it refused to burnish4 ,nevertheless1 the colours when so mixed have a certain advantage in having more body1 and a better because less waxy surface4 ,however1 the greater convenience of moist colour is undoubted and in some of them the surface is very good4 ,so-named luminous body colour made by ,newman of ,soho ,square has been recently tried with very satisfactory results1 the cobalt among the 8difficult colours0 being particularly good4 ,the notable revival of ,enamelling has restored to heraldry a very beautiful means of expression1 one which has proved from the twelfth century downwards to be especially suitable to its subject1 as well from its broad simplicity of treatment as from its permanence and beauty4 ,in this connexion one's thoughts inevitably turn to the stall-plates of the ,knights of that ,most ,noble ,order of the ,garter in its ,chapel in ,windsor ,castle1 and one is led to hope that they may once again be done in a way not unworthy of their splendid and monumental predecessors of the old days4 ,enamel entered to an enormous extent into the decorative metal work of the ,middle ,ages4 ,altars1 ,church vessels1 and crosiers1 caskets1 nefs and other domestic objects1 the girdles and clasps for ladies' use1 as well as the details of military trappings were among the many things that were adorned in this manner4 ,the massive military belts that were worn below the hips and were indicative of high rank were especially rich in goldsmiths' work and enamels1 infinite pains and enormous sums being spent on their execution4 ,illustration3 ,,fig4 #agb4--,queen ,eleanor's ,cloak ,clasp4 ,champlev ,enamel4 ,thirteenth century4 ,of the various methods of enamelling that which is known as ,champlev is especially associated with ,gothic art4 ,among the most interesting of the personal ornaments is the cloak clasp of ,queen ,eleanor1 wife of the warrior ,king ,edward ,i 7,fig4 #agb74 ,here the arms of her husband1 ,england1 with those of her own blood1 ,castile and ,leon1 unite to make a unique fastening to the ,royal mantle of that ,queen 8of ,good ,memory40 ,this clasp was probably made at ,limoges1 where ,champlev enamel was certainly produced as early as the latter half of the twelfth century and probably earlier1 the art having been imported1 it is said1 from ,venice1 whither it had come from the ,east4 ,at this same time heraldry was coming into systematic form1 and enamel was soon employed to display it on the ,royal and other monuments1 beginning perhaps with the memorial slab to ,geoffrey ,plantagenet1 ,count of ,anjou 7father of ,henry ,,ii71 who died in #aaea1 which is now in the ,museum at ,le ,mans4 ,the succeeding centuries are increasingly rich in heraldic enamels1 the shields in the monuments of ,edward ,,iii and his ,queen1 ,philippa of ,hainault1 and on the magnificent tomb of ,william de ,valence1 ,earl of ,pembroke1 in ,westminster ,abbey1 may be taken as examples4 ,the shield on the latter monument is reproduced by ,boutell and others and will well repay study1 especially when it is rendered in the colour which is necessary to a full appreciation of its beauty 7,fig4 #agd74 ,towards the end of the mediaeval period began the ,garter stall-plates already alluded to as still to be seen on the panels of ,st4 ,george's ,chapel1 which date from the early fifteenth century1 though some of them relate to personages of an earlier time4 ,these have most fortunately been brought within reach of study in the valuable facsimile reproductions in the work by ,mr4 ,st4 ,john ,hope1 which includes in its scope the plates which were executed down to nearly the end of the fifteenth century4 ,as examples of heraldic composition they are invaluable1 for although the deterioration of the ,gothic was already begun1 they possess to a remarkable extent those decorative qualities that their modern successors so unfortunately lack4 ,enamel itself consists of a rather dense glass coloured with metallic oxides1 and must not be confused with the enamel colours which are employed in painting on porcelain4 ,the latter are vitrifiable but not vitrified material2 that is to say1 in them the metallic colours in powder are mixed with powdered glass1 and the whole becomes fluxed together when the work is fired in the kiln or muffle1 while in true enamel the glass and its colouring are intimately combined from the first4 ,by way of definition it may be said that enamel work is therefore an arrangement of one or more layers of coloured glass on fused metal4 ,in ,champlev work the design is first outlined on a metal plate1 usually copper1 and then1 by means of gravers and chisel-like tools called scorpers1 the space which is to receive the enamel is cut out to the necessary depth1 from to of an inch1 the rather rough surface that is left by the scorper serving as an additional key to the enamel 7see ,fig4 #agc71 which having been ground to a powder and moistened with water1 is then placed in the cavities prepared for it1 and1 after being carefully dried1 is put into a muffle raised to a red heat1 and thus fired until the enamel is fluxed4 ,the work is then allowed to cool1 is smoothed and polished1 and the metal parts may then be gilt4 ,champlev is usually executed in opaque enamel2 that is1 in glass made opaque by an admixture of oxide of tin4 ,in very early specimens two or more colours are found in contact in one space1 but this is extremely difficult to do1 and the resulting line is a somewhat ragged one in ,european work1 though wonderful effects of opaque colours are produced by the ,japanese4 ,since the thirteenth century each colour1 in ,western work1 fills its own space4 ,illustration3 ,,fig4 #agc4--,plate prepared for ,champlev ,enamel4 ,the design1 must1 from the nature of the work1 be kept very simple without too much subtlety of line that might be lost in the cutting1 and the laying of the enamel will be facilitated if the angles of small spaces are not made too pointed4 ,the principal qualities of form will consist in good distribution and well-balanced masses rather than in expression of detail4 ,the outlines of charges which are in colour on metal1 or vice versa1 are formed by the edges of the sunk spaces and such further definition that maybe required1 such as the marking of the junction of the further legs with a lion's body1 is effected with a line of the ground colour laid in a groove cut for the purpose4 ,this perfectly natural method of drawing with the materials that are immediately concerned has resulted in some singularly inept modern examples of heraldry1 where the limbs are deliberately represented as detached from the bodies1 as though there were something mysteriously mediaeval in such an unreasoning travesty of a perfectly simple expedient4 ,where one colour approaches another1 as in the de ,valence shield 7,fig4 #agd71 it will be necessary to leave a narrow rim of metal as an outline1 and where the work is sufficiently large other details of form will be shown in a similar way4 ,diaper also may be thus drawn in lines of metal among colour1 as is shown here in the running ornament1 or by lines of colour in metal1 as the case may be4 ,the gilt outlines of the de ,valence ,champlev shield somewhat suggest the effect of ,cloisonn work1 the way in which the ,byzantine enamels were executed2 but this method has been little1 if at all1 employed heraldically4 ,in it the spaces to be filled are made of flat wires that are bent to the requisite form and soldered into their places on a metal plate1 and the work then proceeds as in ,champlev4 ,illustration3 ,,fig4 #agd4--,shield on ,champlev ,enamel from the ,monument to ,william de ,valence1 ,earl of ,pembroke1 in ,westminster ,abbey4 ,in the fifteenth century1 when ,renaissance art was beginning to look at things in a new way and was discovering new methods by which to express itself1 a new kind of enamel work took the place of the more formal ,champlev1 just as a freer kind of heraldry was about to supersede the decadent ,gothic4 ,this became known in time as 8,limoges ,enamel10 though1 as we know1 that place had been celebrated for enamel in another form for hundreds of years4 ,this painted enamel did not1 however1 take the place of ,champlev on monuments1 rather the use of enamel in that way died out4 ,probably the painted plaques were too tender for the purpose1 and in any case the treatment would have had to be much modified to bring them into harmony with monumental conditions4 ,although the method was new the treatment of the subjects was largely that of the missal paintings1 and figure compositions1 both sacred and secular1 were accompanied by decorative borders into which heraldry naturally entered4 ,fig4 #age is an heraldic example of this method as it was practised by the celebrated ,nardon ,penicaud4 ,illustration3 ,,fig4 #age4--;,arms in ,limoges ,enamel4 ,part of a ,triptych by ,nardon ,penicaud4 ,this kind of enamel is done on a smooth plaque of thin copper or other metal which has been slightly domed for the purpose4 ,it is covered with a coat of enamel which forms the ground1 the back also being enamelled in order to equalize the contractile strains1 and fired4 ,the design is then painted in white of suitable thicknesses1 which on being fired form tones with the ground colour according to their relative opacity1 and the result is called grisaille4 ,this is a very charming form of decoration in itself1 and is frequently done with that intention4 ,usually1 however1 coloured enamel is painted over it1 the work being carefully fired at each stage1 a very anxious process1 and finally it may be heightened with gold after the manner of the illuminations4 ,an additional method of obtaining decorative effects1 in diapers1 etc41 presents itself in the power of scratching the painted gold with a needle before firing4 ,fig4 #agf1 executed in this manner1 is a plaque that is the property of ,w4 ,h4 ,weldon1 ,esq4 ,from the capacity of painted enamel to imitate the effects of the illuminations it presents few technical difficulties as design4 ,its practice1 however1 is another matter1 as may be imagined when the risk of the numerous firings is taken into account4 ,a form of enamel that is occasionally used for badges and similar heraldic subjects is that which is called bassetaille4 ,in this method the subject1 usually in the form of a medallion1 is carved in low relief and the transparent enamel fluxed completely over it1 the surface being afterwards ground and polished4 ,the varying thickness of the enamel1 from the deepest part of the relief to the highest1 gives a quality of gradated colour that is extremely beautiful4 ,in a badge or jewel of this kind there is1 of course1 a rim raised to the height necessary to contain the enamel and extending above the highest point of the carved subject4 ,illustration3 ,,fig4 #agf4--;,enamelled ,plaque4 ,crest of ,w4 ,h4 ,weldon1 ,esq41 ,c4,v4,o41 ,norroy ,king of ,arms4 ,geo4 ,w4 ,eve4 ,still another method is that which came into use in the fifteenth century for jewels1 and is known as plique-a-jour1 a kind of transparent ,cloisonn which is said to have been produced by ,cellini1 who certainly knew of it4 ,it is an extremely difficult process1 but the effect is remarkably precious and jewel-like1 the enamel being fired into a design which has been built up of bent wire and soldered together like ,cloisonn without the bedplate1 so that the work looks like a miniature piece of stained glass 7as indeed it is7 and of great beauty4 ,in a similar way a design may be cut out or saw pierced through a plate of metal and filled with enamel jour4 ,in all methods of enamelling1 a drawing of the design must of necessity be first made1 and it is of course essential that the designer should have a practical knowledge of the methods that are concerned1 the design and the finished work being necessarily interdependent1 and though written descriptions are useful to indicate the nature of the processes nothing can supply the place of actual experiment under competent instruction4 ,familiarity with the practical side of art craftsmanship need not imply an intention to produce the work itself1 but is absolutely necessary to adequately designing for it4 ,enamel is increasingly employed in commemorative tablets and in objects of ceremonial use1 and is also used with equally charming effect on the decoration of cabinets1 jewel caskets1 and other boxes to which as wedding gifts or other presentations1 heraldry1 properly marshalled and well executed1 is peculiarly appropriate4 ,to such purposes the 8,limoges0 painted method readily lends itself1 especially when the general design is of somewhat ornate character4 ,with regard to the mounting of enamels1 metal as framework seems especially suitable to their perfect display1 as the setting to the gem1 and so when a plaque is used to decorate a wooden panel it is well to introduce metal as an intermediary4 ,but1 nevertheless1 ,i have found a well-cut ebony frame very satisfactory in itself1 and the matter is clearly one for experiment4 ,champlev and ,cloisonn go well with the more severe styles of design1 both ornamental and heraldic1 in fact1 enamel goes best with styles similar to those with which it was associated in the early practice4 ,the one with the freedom of the ,renaissance1 the others with the greater severity and strength of the ,gothic4 ,for salvers1 inkstands1 lamps and other utensils heraldry in ,champlev enamel is very suitable and it is somewhat remarkable that it is not more often employed in place of the engraving which is usually inappropriate because of its lack of decorative quality4 ,,metal4--,although heraldry in metal work has so wide a range1 from the massive bronze gate to the badge worked on a buckle1 that it can only be partially dealt with in a general work1 it is desirable to touch upon such parts of so large a subject as may help the student to find in early work good examples for present application4 ,the value of the beautiful metal coffret1 the jewel case of the ,middle ,ages1 for instance1 to the designing of the modern box1 whether it be intended for a similar use or as the repository of a city's thanks to a hero1 is obvious4 ,even the obsolete weapons of early times may be made useful for their decoration1 as admirable models for the making of trowels and other ceremonial implements whose after character as souvenirs of interesting occasions renders them suitable to1 if indeed it does not demand1 heraldic or symbolic decoration4 ,of the large work the stately bronze doors of ,henry ,,vii's ,chapel in ,westminster ,abbey are among the most distinguished examples in their perforated design of work whose duty is rather that of a gate than a door4 ,the panels are filled with badges in pierced work1 the ,beaufort ,portcullis1 ,henry's favourite badge1 the ,falcon and ,fetterlock of ,york1 the entwined roses of ,york and ,lancaster1 and the ,royal ,monogram1 all telling their story in terms of beautiful metal work4 ,within is the monument with the effigies of the ,king and ,queen recumbent on the tomb1 while at the foot amorini support a shield of arms and at the corners are placed angels who once held crowns4 ,designed by ,torregiano and executed by him or under his direction1 it is without doubt the most splendid and complete heraldic metal work of its time and style in this country4 ,over the gates in the grille which surrounds the tomb are the ,royal ,arms1 ,france and ,england quarterly with the dragon and greyhound supporters4 ,the latter was the badge of the ,nevilles1 but the former1 the ,dragon of ,cadwallader1 was of especial value in the ,king's eyes4 ,it denoted his descent from ,llewellyn and ,king ,arthur1 and perhaps he liked to feel that his greatness was not wholly dependent upon ,york and ,lancaster4 ,it had been flown1 on a flag of the ,tudor colours1 argent and vert1 on the field of ,bosworth when the 8,white ,boar0 was slain and his crown was plucked from the hawthorn bush into which it had fallen and placed on the head of the victor4 ,as badges1 the dragon and the greyhound are repeated on the upper part all round the grill and in its parapet portcullises and roses alternate in the cuspings of the tracery4 ,one of these dragons is shown in ,fig4 #agc4 ,even the great candle sconces are ,tudor roses placed horizontally1 which support crowns whose crosses and fleur-de-lis form a decorative rim4 ,as heraldic design the proportion of the parts1 the vigour of the animals and the excellence of the spacing 7and this may be especially seen in the supporters over the gates7 leave nothing to be desired1 while the general arrangement of the repeated heraldic motives in a decorative and yet reticent way is as admirable an example as can be found4 ,illustration3 ,,fig4 #agg4--;,dragon from the ,grills in ,henry ,,vii's ,chapel1 ,westminster ,abbey4 ,sixteenth ,century4 ,illustration3 ,,fig4 #agh4--,memorial ,brass to ,sir ,j4 de ,brewys1 ,wiston ,church1 ,sussex4 ,relief in metal work1 cast or wrought1 was very fully employed in the ,renaissance monuments in place of the flatter treatment which preceded it4 ,the mediaeval memorials more frequently employed the flat decoration done in ,champlev enamel fixed into the spaces of sculptured stone1 or else the incised metal slab1 somewhat similar in its method of production1 which is known as a ,monumental ,brass4 ,these are so comparatively numerous and of such admirable workmanship as to form one of the most interesting and instructive means of studying most that pertains to good heraldry4 ,they were executed with great care1 and afford examples of almost every kind of application of arms and badges to costume4 ,their wealth of heraldic lore is ably set forth in the works of ,creeny1 ,waller1 and others1 and a single illustration must suffice here4 ,fig4 #agh is the interesting brass to the memory of ,sir ,john de ,brewys1 which is in many respects typical4 ,the figure of the knight in his armour1 his hands in an attitude of prayer1 his head resting on his great helm1 which bears his crest1 and his feet on a couchant lion4 ,around him are shields of his arms six times repeated1 and between them on little scrolls the words 8,jesus0 and 8,mercy0 many times occur4 ,the method of work is very similar to that of the ,champlev enamels1 allowing for the difference in scale1 the lines being boldly incised in the metal with chisel-like tools and then filled in with black or colour much after the way of the niello and enamel of the smaller and more precious work1 a hard waxy composition being used as the colouring material4 ,among the smaller metal work of domestic use1 the firedogs1 firebacks1 hinges1 locks and other parts of furniture1 there is no lack of examples4 ,the slabs of cast iron that are known as firebacks were very generally used as spaces for heraldry1 the emphatic central position which they shared with the chimney-piece making them similarly appropriate4 ,with the revival of dog-grates the accompanying fireback has also returned to favour1 and a study of old castings therefore becomes additionally necessary4 ,the ,tudor examples are usually very excellent and bold in design1 as in that illustrated here 7,fig4 #agi71 which displays the ,royal ,arms1 probably of ,henry ,,viii4 ,in a form of work which is to be subjected to the action of fire1 and even to be seen for the most part through lighted fuel1 a design is obviously fitting in proportion to the degree of elimination of unessential detail that is effected1 and in the case in point this has been most efficiently done4 ,the arms1 and the lower part of the centre generally1 are much fireworn1 but anything of this nature simpler and finer in pose and modelling than are the supporters it would be difficult to find1 while the proportion and spacing of the whole composition leave nothing to be desired4 ,fig4 #ahj is another well-designed ,tudor example1 the arms being those of ,queen ,elizabeth1 who sometimes used the greyhound for a supporter as her father had done1 instead of the dragon4 ,illustration3 ,,fig4 #agi4--;,armorial ,fireback4 ,english4 ,sixteenth ,century4 ,illustration3 ,,fig4 #ahj4--;,armorial ,fireback4 ,english4 ,sixteenth ,century4 ,it must be remembered1 in designing firebacks1 that the work is to be carried out by casting and should therefore be of suitable character4 ,casting is necessary because every time that wrought iron becomes red-hot and cools again it scales1 and so loses a considerable thickness of material in a comparatively short time1 a disadvantage that does not exist in the cast metal4 ,the design in most cases is treated panel-wise within a raised border1 but in the later backs the outline of the design1 of the mantling and crest1 sometimes formed the edge of the fireback without a containing rim4 ,a space at the bottom1 the part that was most embedded in the fire1 is frequently left plain1 or simply fluted4 ,illustration3 ,,fig4 #aha4--,mortar in ,cast ,bronze4 ,fig4 #aha is also interesting as heraldry in cast metal1 which in this case is bronze2 and an ,italian example is found in the arms of the ,martelli1 cast in bronze by ,donatello 7,fig4 #ahb71 which has much spirit1 but lacks the excellent distribution of the same creature on the decorative shield for the ,palazzo ,guadagni now in the ,museum at ,south ,kensington4 ,illustration3 ,,fig4 #ahb4--;,arms of the ,martelli1 by ,donatello4 ,the elaborate hinges1 clasps1 and locks of doors and coffers that were often enriched still further with coats of arms are also of great interest and appear to have been made subjects of lavish decoration before the larger domestic belongings were so treated4 ,of the decorations of lock-plates the ,german example of the ,imperial ,eagle from the ,town ,hall1 ,nuremberg 7,fig4 #ahc71 is interesting as an instance of great simplification of form to suit the material in which it is expressed4 ,fig4 #ahd is another but more ornate example of the treatment of pierced and chased metal4 ,illustration3 ,,fig4 #ahc4--,lock-plate4 ,german4 ,from the ,town ,hall1 ,nuremberg4 ,illustration3 ,,fig4 #ahd4--;,decorated ,hinge in ,pierced and ,chiselled ,metal4 ,german4 ,seventeenth ,century4 ,illustration3 ,,fig4 #ahe4--,lock-plate4 ,chiselled ,iron4 ,french4 ,fifteenth ,century4 ,the ,french lock-plate in chiselled iron 7,fig4 #ahe7 was in the ,spitzer ,collection1 and is decorated with the crowned ,arms of ,france1 and with ,navarre1 ,aragon1 ,bearn and ,bourbon quarterly and with a coat at top repeated on either side1 consisting of three pommes de pin1 or pine cones4 ,the fleur-de-lis in ,gothic tracery on the hasp is also notable4 ,fig4 #ahf bears the crowned ,arms of ,france surrounded by the beautiful collar of ,st4 ,michael4 ,below is the well-known monogram which combines the initials of ,henry ,,ii and of ,diana de ,poitiers1 and her badge of crescents forms a circular device interlaced within the guilloche border1 and a further allusion to her goddess namesake occurs in the bows and arrows at the sides4 ,a fellow bolt-plate in the same collection has the ,arms of ,france dimidiating those of ,medici and ,dauphiny on the shield at top1 and in place of the crescent badge below1 is a rainbow in clouds and surrounded by laurel2 and the monogram1 a double ,k for ,queen ,katherine1 is several times repeated4 ,illustration3 ,,fig4 #ahf4--;,bolt-plate4 ,french4 ,sixteenth ,century4 ,illustration3 ,,fig4 #ahg4--,panel in ,chiselled ,iron4 ,sixteenth ,century4 ,a very beautiful work1 also in chiselled iron1 is the panel of the armorial insignia of the ,emperor ,charles ,v1 the ,arms with the ,columns the latter rising from waves of the sea1 being the device that represented the ,pillars of ,hercules and the motto 8plus oultre0 7,fig4 #ahg74 ,the arms are encircled with the collar of the ,toison d',or very boldly treated4 ,the work is ,spanish of the early sixteenth century1 and is notable for its exquisite finish as well as for its general excellence of design and drawing4 ,illustration3 ,,fig4 #ahh4--,key with the ,arms of an ,archbishop4 ,eighteenth ,century4 ,illustration3 ,,fig4 #ahi4--,key4 ,eighteenth ,century4 ,examples of keys1 also from the ,spitzer ,collection1 are given in ,figs4 #ahh and #ahi4 ,the former bears the arms of a ,cardinal ,archbishop1 and the latter1 which is excellently pierced and chiselled1 has two lions supporting a badge1 a crowned castle4 ,each is of good design1 its use and material having been well considered so that it is of a decorative shape that does not impede its usefulness4 ,the latter is full of minute and exquisite detail1 indistinguishable in the illustration4 ,besides the decoration of the barrel with a spiral band1 there are eagles' heads on its wards and the words 8vive le roi0 are twice inscribed on it in letters of gold4 ,illustration3 ,,fig4 #aij4--,repouss ,buckler in the ,royal ,armoury1 ,stockholm4 ,the beautiful and elaborate repouss and engraved work that was very largely employed in the decoration of metal in the ,middle ,ages and the ,renaissance1 found full scope in the magnificent armour in which the greatest artists and the most skilful craftsmen combined their forces to make a gift that should be worthy of a princely hand4 ,repouss decoration consisted for the most part of the allegorical and mythological subjects that were so fashionable at the period1 and comparatively little heraldry was done in that way4 ,engraving and etching1 on the other hand1 were extensively used to decorate metal with arms and badges4 ,in the execution of repouss work a metal plate is fixed down to a bed of pitch1 a material which affords an efficient support while being soft enough to yield to the shaping metal as it is hammered and punched into the designed form4 ,the work is afterwards chased and finished on the face1 but the essential quality is1 of course1 that of being modelled into relief from behind4 ,a very beautiful piece of repouss work is the quadrangular buckler1 of late sixteenth century work1 in the ,royal ,armoury at ,stockholm1 which was bought in ,holland by ,charles ,,xv of ,sweden 7,fig4 #aij74 ,the design is a fine bold treatment of the ,arms of the ,visconti1 and the workmanship is probably ,italian4 ,there is a backplate with repouss arms in the same collection4 ,illustration3 ,,fig4 #aia4--,powder-horn with ,armorials4 ,the ,royal ,armoury1 ,dresden4 ,sixteenth ,century4 ,the powder horn 7,fig4 #aia7 in the ,royal ,armoury at ,dresden is a very good example of the treatment of heraldry on a small object1 and incidentally shows the practice of placing helms on the heads of supporters in order to display some of the crests4 ,illustration3 ,,fig4 #aib4--;,bill or ,glaive1 ,german 7#afbj74 ,engraving being extensively used to cut decorative bands of ornament on the armour1 was naturally the method adopted for ornamenting the blades of weapons and other flat surfaces4 ,indeed1 it was from the engraving for ornament's sake that engraving for the purpose of reproduction by printing was evolved by ,finiguerra1 the famous ,florentine goldsmith1 in the middle of the fifteenth century4 ,this interesting experiment1 if it were an experiment and not a practice whose application had been before unnoticed1 is said to have been made on a piece of plate1 a pix1 of which the only impression is said to be in the ,bibliothque ,nationale1 ,paris4 ,engraving was also preliminary to niello work and to damascening1 two somewhat analogous methods of decoration1 that are peculiarly suitable to the ornamentation of metal4 ,in the former the lines of the engraving are filled with a sort of black enamel which is fixed in its place by heat1 while in damascening the design1 drawn with boldly cut lines on the steel1 is filled in with gold or other metal hammered in with mallets1 and the whole surface is then polished4 ,the halberds and partisans that were of the nature of ceremonial weapons1 the arms of body guards1 for example1 were usually decorated in some such way4 ,the bill or glaive 7,fig4 #aib7 is a good example of ,german work of its period1 and the halberd 7,fig4 #aic7 is a very interesting specimen of ,french work of a little earlier date4 ,these examples will be found valuable in their bearing on the decoration of ceremonial tools such as the trowels with which foundation-stones are laid4 ,in engraving a surface for subsequent treatment with another metal or with enamel the process itself will dictate the use of a strong and suitable method of cutting4 ,when1 however1 the engraving is to stand on its own qualities it is important to bear in mind the difference between engraving that is employed as decoration and that intended for printing4 ,this distinction has frequently been lost sight of1 with the result that there is much engraving of the sort that1 however well it might print1 and in some cases this is more than doubtful1 it certainly does not decorate2 while fine bold cutting that is done in the right way will realize the value of the play of light on the incised line1 and the consequent ornamental effect4 ,in this connexion it may perhaps be permitted to define shortly the technical distinction between etching and engraving4 ,in etched work1 then1 the design is bitten into metal with an acid mordant1 while engraving is done with a cutting tool4 ,illustration3 ,,fig4 #aic4--;,halberd1 ,damascened4 ,french 7#aeif74 ,etching is largely evident in the decoration of metal1 frequently taking the form of lowering the background by biting-in with acid1 and thus leaving the design to appear in masses of polished surface in contrast with the darkened colour of the bitten metal1 and the details are put in with lines that are etched or engraved1 as may be most convenient4 ,illustration3 ,,fig4 #aid4--;,cistern in ,cast ,lead4 ,an important quality of this kind of treatment is that while the objects are enriched and very expressively decorated their practical efficiency for work is in no way impaired1 and this may fairly be taken to be a conclusive test of right decorative treatment4 ,illustration3 ,,fig4 #aie4--;,fountain in ,cast ,lead4 ,dutch4 ,seventeenth ,century4 ,interesting features of ,renaissance dwellings were the rainwater heads1 cisterns1 fountains1 statues and other garden accessories that were cast in lead2 architectural fashions which are again coming into vogue with the returning regard for the style of the ,renaissance4 ,the cistern 7,fig4 #aid7 is an heraldic example in cast lead1 and ,fig4 #aie is a fountain in the same material4 ,the latter is ,dutch work of the early seventeenth century1 and was brought from ,bois-le-duc4 ,the motives1 eagles displayed1 lions' heads and the lion rampant of ,holland which holds in its paws a sword and a sheaf of arrows1 are thrice repeated round the central pipe1 which is surmounted by a crown4 ,illustration3 ,,fig4 #aif4--;,arms of ,oxford ,university4 ,panel1 ,copper1 silvered and oxidized4 ,g4 ,w4 ,eve4 ,yet another method of metallic production is shown in electro deposited replicas of modelled designs such as ,fig4 #aif1 a panel treatment of the ,arms of ,oxford ,university1 which may be considered in connexion with its fellow of ,cambridge1 ,fig4 #hi4 ,,chapter ,,ix ,architectural ,decoration ,in its application to architectural decoration heraldry put forth some of its finest work as became one of the family of the 8mother of the arts10 and it was in architecture too that the modern revival of heraldic art began1 much in the same way that the ,renaissance had first made its influence felt in the decoration of the monuments of an earlier time4 ,the sculptured heraldry of the ,middle ,ages was confined to the monuments and chantries1 such as those of ,westminster ,abbey1 ,peterborough1 ,kings ,langley1 ,canterbury1 ,beverley and many other places whose sculptured shields are memorials no less of the personages whose arms they bear than of the vigorous art of their time4 ,certain it is that even in the worst periods the heraldic decoration of architectural objects continued to show a greater degree of excellence than was generally evident in other forms of heraldic expression4 ,with the growth of the ,renaissance1 domestic architecture and its attendant decoration1 in which armorials were displayed1 increased enormously in extent and beauty1 and the colleges which were founded or rebuilt in the early sixteenth century followed in the decoration of the chapels and halls the excellent examples of their predecessors1 but in the new and adaptable style that had come into fashion4 ,henry ,,viii patronized art with enthusiasm as a part of his general rivalry with the magnificent ,francis ,i1 and his example was followed by the new families who were taking the place of the old nobility that civil war and the scaffold had nearly exterminated1 in building stately mansions1 many of which stand as present examples of the skill and thoroughness with which the work was done4 ,in ,france the beautiful chteaux which still remain as store-houses of heraldic and other artistic wealth were built during the same period under ,charles ,,viii1 ,louis ,,xii and ,francis ,i1 and it is difficult to describe in adequate language how perfectly they displayed their characteristic devices with a dignity that was without one touch of obtrusiveness4 ,fontainebleau1 ,blois1 ,chambord and many another stately building testify to the taste and magnificence of their owners as well as to the skill that was lavished on their making4 ,fig4 #aig1 the ,gateway of the ,chteau de ,blois1 is especially interesting for the employment of badges and heraldic diapers4 ,the porcupine badge of ,louis ,,xii appears over the doorways as it does within1 while the main archway is flanked by columns ornamented with a diaper which encloses in its reticulations the fleur-de-lis of ,france and the ermine spot of ,brittany4 ,a range of similar columns is in one of the interior courts4 ,fig4 #bjb is an example of the badge-adorned fireplaces in the chteau4 ,the whole is a restoration1 very little indeed of the original work having remained4 ,illustration3 ,,fig4 #aig4--;,gateway of the ,chteau de ,blois4 7,restored47 ,fifteenth ,century4 ,in ,spain extremely bold and vigorous heraldic sculpture was placed over doorways and under windows1 but it was often executed with magnificent effect in large rectangular panels at the sides of the principal entrance4 ,fine examples are at the doorway of the ,hospital at ,santiago and at that of the ,university ,library at ,salamanca4 ,italian examples are found in the ,florentine wall decoration in the ,palazzo ,vecchio and ,palazzo del ,podesta1 in the composition of which small shields bearing the symbols of ,saints and the arms of cities were usually associated with the principal device4 ,heraldic groups were also employed with excellent effect on angles of buildings1 breaking the straight line in profile in a very satisfactory way4 ,in the scheme of heraldry for a house the principal position on the exterior was over the main entrance1 and there the armorials of the owner were boldly displayed1 arms of alliance and genealogical trees being reserved for the more intimate surroundings of the interior4 ,other parts of the exterior were ornamented with less elaborate insignia such as seemed to fit the spaces that offered themselves1 badges being freely used in this way as well inside as out4 ,chimney stacks and other flat spaces were relieved with panels1 and ridges and pinnacles were adorned with figures of heraldic significance in relation to the family of the house4 ,in arms in relief1 whether in large mural decorations or in the minute workmanship of a seal1 contiguous spaces1 which in flat painting would be considered divisions of the same plane1 are distinguished from each other by sinking the surface in parts or by means of diapering4 ,the quarterly shield of ,henry ,,iv on his great seal 7,fig4 #b1 p4 #ah7 has the field of the ,english quarter sunk so that the edge of the ,french quarter being higher takes light or throws a shadow which defines the space4 ,additional emphasis is given to ordinaries by strongly bevelling their edges which then reflect light in the same way4 ,and diapering1 which has been already referred to1 may have the effect of raising or lowering the tone of the decorated surface1 according to the amount of light it reflects or of shadow that it includes4 ,the mantling that occurs in sculpture1 especially when done in wood1 does not hesitate to go to the fullest extent in the direction of free ornamental treatment1 and in thus seizing upon the decorative possibilities of its so lightly fettered character it may form a connecting decoration between the constituents of an heraldic scheme which might otherwise have a certain effect of spottiness4 ,the pose of the heraldic elements of the design may also be made to help materially the general unity of effect4 ,thus the helmets of a series of armorials may be faced towards a central point1 such as the altar in a church1 or the hearth or the das of a secular apartment4 ,shields may be inclined in a common direction with similar intention and all the heraldry have definite relation to its surroundings4 ,it should be remembered1 however1 that in thus posing the elements of a series1 a shield must be treated as a whole1 and the contents must not be altered in sympathy with the direction of its regard4 ,illustration3 ,,fig4 #aih4--;,frieze in ,sgraffito4 ,a form of external decoration which has been but little used for heraldry1 though it is one which is readily adapted to the purpose1 is that kind of cement work in layers that is known as ,sgraffito4 ,examples of this method of work are shown in the friezes1 ,figs4 #aih and #aii1 in which the heraldry adds interest to very graceful design1 and in the panel of the ,armorials of ,pope ,paul ,,iii 7,fig4 #bjj74 ,illustration3 ,,fig4 #aii4--;,frieze in ,sgraffito4 ,in ,sgraffito work the design is drawn through a coat of moist plaster on to a lower one of another colour1 much as etching is drawn through the ground on to the copper1 and like it is1 in its simplest form1 a line art4 ,illustration3 ,,fig4 #bjj4--;,arms of ,pope ,paul ,,iii 7,farnese74 ,panel in ,sgraffito4 ,heraldry in interior decoration found its first application in the actual shields1 which were hung on the walls of the great ,halls of mediaeval strongholds1 was closely followed by the similar use of the more ornate ceremonial ones and continued in the tapestries and embroidered hallings which were the wall coverings of the halls and chambers4 ,some of these are still extant1 and many others are mentioned in the wills of great personages and in the household accounts of the time4 ,illustration3 ,,fig4 #bja4--;,armorial carving in the ,gallery of the ,vyne1 ,hampshire4 ,at the end of the fifteenth century panelling was superseding the decorative draperies and sculpture was taking the place in domestic buildings that it had long held in ecclesiastical ones1 the heraldry which had been displayed in beautiful needlework being executed in carving that was no less beautiful in another way4 ,plaster work also came largely into use for interior decoration4 ,many instances of beautifully applied heraldry are given in ,mr4 ,gotch's admirable work#a and notably the doorway and panelling of the ,gallery of the ,vyne1 ,hampshire1 ,fig4 #bja1 which ,i am permitted to reproduce here4 ,the doorway is adorned by arms supported by amorini and the panelling is full of shields and badges2 the appropriateness of the work is immediately felt1 and there is nothing obtrusive1 everything 8occurs0 with an inevitableness that is delightful4 ,,footnotes3 #a ,early ,renaissance ,architecture in ,england4 ,in the decoration of a room the fireplace is naturally the central feature1 to which in some cases the heraldry is confined2 in others1 and the larger number1 it covers the panel above1 the decoration varying in amount from a carving in the centre of the frieze of the chimney-piece1 or on comparatively small centres of panelling1 to the whole armorials fully displayed4 ,fig4 #bjb is an example of badges employed in this way1 and is another of the many representations of the devices of ,louis ,,xii and his ,queen1 ,anne of ,brittany4 ,these large chimney-piece achievements are produced in a variety of ways1 being sometimes sculptured in stone or wood1 but they are also cast in plaster or modelled in situ in the same material4 ,illustration3 ,,fig4 #bjb4--;,fireplace in the ,salon ,louis ,,xii ,chteau de ,blois4 7,restoration in the style of the ,fifteenth ,century47 ,in the decoration of ceilings complete armorials and even shields of arms are by no means so much used as are badges and other fanciful devices1 the intersections of ribs and the centres of panels being naturally selected for the purpose4 ,two examples of ceiling bosses consisting of wreaths enclosing a shield of the ,royal ,arms and a fleur-de-lis badge respectively are from ceilings at ,hampton ,court 7,fig4 #bjc71 for which also ,i am indebted to ,mr4 ,gotch's work4 ,illustration3 ,,fig4 #bjc4--;,ceiling ,bosses from ,hampton ,court ,palace4 ,sixteenth ,century4 ,the upper divisions of wall panelling are especially suitable for a series of shields and badges when they are at a sufficient height to bring the heraldry above the line of the eye4 ,this will probably be in carved work1 the most direct and natural way of decorating wood1 but shields in colour1 flat or in relief1 may occupy the panels with very satisfactory effect4 ,a frieze is also an obviously suitable space for such a purpose1 whether the decoration be modelled or painted1 or both4 ,among the materials suitable for interior decoration gesso is an excellent means of obtaining relief in work that is to be painted1 and it is more readily handled than modelled plaster1 from the ease with which it can be kept moist4 ,in early work the smaller details of monuments were frequently modelled in this material1 as were the arms on some of the stone shields in ,westminster ,abbey2 and on the decorative panelling1 on which jewels and enamels were also modelled and painted4 ,gesso is simply the ,italian name for ,plaster of ,paris1 burnt gypsum1 but is technically understood to mean a preparation of plaster or other material which depends for its hardening on the solidifying of some cohesive medium1 usually a form of glue1 and not on chemical action in the material4 ,methods of making gesso are described by ,cennino ,cennini in the ,,ms41 written in #adcg1 in which he describes minutely the technical practices of his time4 ,first the plaster is to be 8well washed and kept moist in a tub for at least a month0 and is to be stirred up well every day until 8it almost rots and is completely slaked and it will become soft as silk40 ,it was then made into cakes1 dried and kept for use4 ,by this process it became what was called gesso sottile1 though the term is also applied to the similar preparation of whiting1 to be mentioned presently4 ,as to its use1 it is directed to 8,put some cakes of gesso sottile into a pipkin of water and let them absorb as much as they will4 ,grind it fine1 mix it with fine glue in a pipkin1 put the pipkin in water so that it becomes hot but does not boil1 for if it did it would be spoiled40 ,a very important point is the thorough slaking and tempering of the plaster1 which continues to improve the longer it is kept4 ,the glue that was used was made from hides1 size being made from the fine kinds of skin1 vellum and parchment1 as the finest kind is made now4 ,fish glue was also used from very early times4 ,very useful gesso is made with whiting 7calcined chalk7 instead of the plaster4 ,the latter is said to be tougher1 but whiting is certainly easier in working4 ,the whiting should be soaked in water for at least twenty-four hours 7like the preceding preparation this kind of gesso is all the better the more thoroughly it is prepared71 and mixed in a vessel1 with the fine thin glue1 the whole being placed in a saucepan of water and kept hot4 ,by keeping the pot of gesso in the water while it is being used it will be kept liquid for some time 7though the top will skin over rather soon7 and it may be remelted by again heating it from time to time4 ,i find ordinary gelatine a good adhesive and melt it into the consistency of a not too strong size before adding it to the whiting1 together with a few drops of oil or glycerine as a preventive from cracking4 ,the gesso is best used with a long-haired brush1 such as those called riggers1 from which it is allowed to flow in a blobby way1 the lights being first loaded on and afterwards joined down by subsequent painting4 ,it may at this stage be modelled to some extent1 and for this a stiffish brush moistened with warm water is an efficient tool4 ,when it is dry the gesso may be carved and shaped with knives and riffles with the same facility as plaster4 ,it may then have a coat of gelatine 7which should be very thin1 as otherwise it will form a skin that is likely to blur detail71 and the work is ready for painting or other treatment4 ,in the treatment of wooden shields in this way care should be taken that they are well seasoned1 and unless they are sufficiently thick they should have transverse pieces at the back to prevent warping2 a coat of gesso on the back is also useful for the same purpose4 ,if the wood is well stopped by being sized several times and is slightly roughened the layers of linen or other keying material may be dispensed with4 ,gesso work is well adapted for treatment in colour1 and of this the quality may be much improved by the use of underlying metal1 gold under red1 and silver under blue4 ,these metals are applied by the ordinary gilders' methods and are then painted over4 ,very beautiful effects may also be obtained in monochrome on modelled gesso1 when the gradations of tone may be made to help the relief and vary the colour4 ,pyrography1 or burnt word etching1 is also employed in heraldic decoration1 a notable instance being the series of shields on the fireplace of ,lord ,leven and ,melville at ,glenferness4 ,an example of this method of work is shown in ,fig4 #bjd1 a fanciful composition designed for the door of a cabinet4 ,in arranging a scheme of heraldic decoration1 the field of choice is a very large and varied one1 from the simplest shield or badge on the frieze of a mantelpiece to the carefully planned series decoration of a whole building4 ,illustration3 ,,fig4 #bjd4--;,burnt ,wood ,panel1 8,love's ,armorials10 executed by ,mrs4 ,geo4 ,w4 ,eve after design by ,geo4 ,w4 ,eve4 ,illustration3 ,,fig4 #bje4--;,arms of the ,earl and ,countess of ,mar and ,kellie4 ,painted ,gesso4 ,geo4 ,w4 ,eve4 ,as an example of one form of genealogical scheme maybe instanced the series of arms and devices in painted gesso now in the hall of ,alloa ,house1 ,alloa1 which were done to fill a range of panels in a dado1 and beginning with the simplest shield of ,henricus de ,erskine in #abbd 7,fig4 #ada71 extend round the apartment and end1 on the opposite side of the fireplace1 with the quartered and impaled arms of the present ,earl and ,countess of ,mar and ,kellie 7,fig4 #bje74 ,alternating with the arms of each generation are repetitions of three devices1 designed for the purpose and consisting of the crest and motto of the ,earldom of ,mar1 those of ,kellie 7,fig4 #bjf7 and the monogram and motto with the supporters 7,fig4 #bjg7 respectively4 ,these devices were of course capable of any necessary amount of repetition1 and when a knighthood of an order necessitated a group of two or more shields the devices serve to mark the grouping1 and as it were to punctuate the whole scheme4 ,the gesso was made of whiting and gelatine as already described1 and the surface was varied by the use of different textures4 ,the colour was applied over metal which was allowed to show through on the ridges of the diaper that was also introduced to give variety and interest to the simpler forms4 ,others of this series are illustrated in ,figs4 #ada and #adb4 ,illustration3 ,,fig4 #bjf4--;,device4 ,crest of the ,earldom of ,kellie4 ,gesso1 before painting4 ,geo4 ,w4 ,eve4 ,illustration3 ,,fig4 #bjg4--;,device4 ,monogram and ,supporters of the ,earl of ,mar and ,kellie4 ,gesso1 before painting4 ,geo4 ,w4 ,eve4 ,another method of arranging a scheme of decoration is that which traces the advent of quarterings into the shield of a family1 by picking from the pedigree the matches by which the various coats of arms came in1 and making them the motives of the work1 to the exclusion of intermediate matches1 proceeding in regular order from the simple arms to the final shield of complete quarterings4 ,many other schemes will readily suggest themselves4 ,the visits of guests of distinction may be marked by panels of their arms in the chambers they occupied1 perhaps by an enamel plaque in the centre of a panel4 ,the arms of ,schools1 ,colleges and ,universities1 and of other corporations and institutions1 motives that are allusive rather than personal1 are yet of the keenest interest to those concerned1 an interest that is too often tempered by the unworthiness of the heraldic treatment4 ,the practice of hanging on the wall shields of arms of the stationers' shop type may be necessary for commercial reasons1 but is much to be deplored4 ,it seems impossible to get them improved1 the feeling that they are 8good enough0 7and perhaps they are67 appears to be sufficient recommendation4 ,even when the arms are well treated1 as is rarely the case1 and ,i am not now referring only to the kind which satisfies the aesthetic perception of the casual schoolboy1 the effect of the hanging shield in an ordinary room suggests at best a kind of ,strawberry ,hill ,gothic that is out of keeping with any probable surroundings4 ,when heraldry that can be treated as a movable picture is needed1 and something of this kind is made necessary by the want of permanence in our dwelling-places1 a framed panel of arms is probably the most suitable form that modern heraldic wall decoration can take4 ,it may be in wood or metal1 in colour or monochrome1 of any quality and interest that may be found most pleasing1 and being framed1 it will take its place in the adornment of an ordinary room in the same way that a picture does4 ,,stained ,,glass4--,of all methods of heraldic expression stained glass is perhaps the most appropriate as purely decorative treatment of the subject1 for not only is the splendour of colour peculiarly fitting1 but even the commemorative quality of heraldry assimilates in feeling with the memorial character which is rarely absent from a stained window4 ,the temptation which it naturally offered to partisan fury has left comparatively little of the early work1 but sufficient has remained to show how perfectly it could be made to serve its purpose4 ,in a form of design which is carried out with pieces of coloured glass cut to the necessary shapes and held together by strips of grooved lead1 which is soldered into position1 this structural lead-work presents considerable difficulty4 ,it follows the lines of the composition wherever possible1 but when the shape of the glass makes another course desirable1 it does not hesitate to go across a space1 and in that case1 being frankly used for structural reasons1 it must not clash with those lines that help to define form4 ,in short1 design in this1 perhaps more than in other arts1 must conform to the dictation of the material4 ,thus it is important that the pieces of glass should be designed of cutable shape without too small re-entering angles1 and the limits of bending in the lead must also be recognized4 ,its passing across objects is vindicated by structural necessity1 and by that alone1 and narrow places are leaded across1 not only because of any difficulty that there may be in the cutting1 but because the glass would probably break there when being fired in a kiln1 or when under the strains that are set up in a window by wind pressure4 ,the tendency of outline to lose itself in the darker of the colours that it divides has already been referred to1 and is very notable in this connexion4 ,when therefore the objects are light on dark1 the lead-work will sink into the background1 and although it may leave small space for the glass1 it is sometimes surprising how efficiently that little lights up and expresses the colour4 ,if the charges are inconveniently small for the leading1 resort is had to what is called flash glass1 which consists of two layers1 of which one only is coloured1 and is made by dipping a piece of molten white into a coloured glass1 when the mass is about to be blown into the bulb which1 shaped and expanded1 ultimately becomes a sheet of glass4 ,the desired shapes are pierced through the coloured layer of the composite sheet by means of grinding1 or by etching with hydrofluoric acid1 and are left white1 or stained yellow with a solution of silver1 as the case may be4 ,in addition to the lead-work1 which defines the general forms with more or less accuracy1 details are depicted by means of a brown enamel colour1 which serves also as a general shadow tint1 being painted on the glass1 and then fired4 ,the brown enamel is also used for the diapering which is so especially valuable in glass decoration1 and for this purpose it may express the design in lines drawn with the colour or1 being applied as a broad wash2 the diaper pattern may be scratched out of it with a point4 ,as a general rule over-painting should be used as sparingly as possible for the purpose of defining or emphasizing form4 ,the silver stain can be similarly put on1 either in lines or in washes1 these materials1 either alone or in combination1 serving to express surface decorations of all degrees of elaboration4 ,in addition to the accurate and expressive drawing which goes to make good heraldry1 the principal feature of glass design is obviously its colour effect1 the grouping of the colour masses in such a way as will best express the subject in beautiful coloured light4 ,in view of the obligatory nature of heraldic tinctures1 though not of their exact quality1 the harmony of colour may be helped by suitable treatment of the background 7which is susceptible of variation that is only limited by the nature of the materials7 in combination with the prescribed colours of the heraldry4 ,and here occurs that temptation to alter the tinctures of mantlings which has proved too much for the correctness of some heraldic compositions4 ,the design is usually made on a small scale1 showing the colour scheme and the general composition1 and a full-size drawing in black and white is then prepared1 in which the arrangement of the leading and the character of other details are carefully indicated4 ,on this the various coloured glass is laid and cut into the required shapes1 which are then arranged in due order with the lead1 and the whole is securely soldered together4 ,the lead having a double groove is in section like the letter ,h1 the inside surfaces being milled1 to afford a better key for the glass and for the cement which is added for additional security4 ,pugin1 whose influence on architecture was so impressive1 had no less strong an effect on the heraldry which accompanies it so appropriately1 and the beautiful armorial decoration of the ,houses of ,parliament1 for which he is answerable1 is a wonderful mass of fine work in glass and stone and other materials4 ,no less remarkable in that it succeeded a long period of such extreme weakness1 and was itself but the firstfruits of the revived interest in the subject4 ,in this work ,pugin was fortunate in the efficient assistance that was at his command1 and the drawings by his son-in-law and pupil1 ,john ,powell1 by ,burgess and others1 show how admirably the master mind was served4 ,the drawings reproduced here were probably designed by ,pugin1 but the actual work is that of ,john ,powell4 ,however imbued with the mediaeval spirit ,pugin was1 the ,renaissance feeling unmistakably asserts itself in these designs1 and in spite of the ,gothic detail of the tracery they seem to associate themselves naturally with the ,tudor heraldry rather than with that of an earlier time4 ,indeed1 it is possible that ,pugin was not unmindful of this1 for there is little doubt that he had studied the ,renaissance work that is to be found1 as well as that of the ,middle ,ages1 in the neighbouring ,abbey4 ,illustration3 ,,fig4 #bjh4--;,cartoon for ,stained ,glass4 7,upper ,part7 ,royal ,gallery1 ,houses of ,parliament4 ,tudor heraldry marked the close of the ,middle ,ages4 ,in character it was a combination of the mediaeval style with that of the ,renaissance2 that is to say1 it was the expression of what remained of mediaeval regard for its subject1 in a form that was strongly influenced by the new feeling in ,art4 ,besides the technical knowledge and the power of draughtsmanship there is ample evidence of individual design working through various influences1 handling and assimilating them1 a further proof that no one possessing real artistic power1 in whatever degree1 is content merely to reproduce the dry bones of any period4 ,however that may be1 they are very beautiful drawings1 serving admirably as models of working drawings1 in which is set forth all that is necessary to the carrying out of the work1 and ,i am much indebted to ,messrs4 ,hardman for permission to reproduce them4 ,the disposition of the lead is very carefully shown throughout1 and the smaller details are drawn just so far as is necessary for the direction of the painter4 ,repetitions of figures being similarly finished only when they differ in some important respect from the initial shape1 as in the case of the lion in the base of the shield of the ,royal ,arms 7,fig4 #bjh71 when the pose is sufficiently varied from the upper ones1 by the field space1 as to warrant its separate treatment4 ,these arms occupy the upper part of the light in the ,royal ,gallery1 ,fig4 #bji being the lower part of the same window4 ,perhaps the most remarkable for vigour is the little white horse which so admirably occupies its space1 a quatrefoil opening 7,fig4 #baj74 ,all the animals are full of vitality1 but none have quite so much as this4 ,in this respect it may well be contrasted with the much inferior ,dragon of ,cadwallader in ,fig4 #bji4 ,the character of the unicorn 7,fig4 #baa7 is altogether unusual in ,english heraldry1 and follows the foreign type which derives its form from that of a goat with one horn1 instead of that which is the combination of a horse's body with the legs of a stag and the tail of a lion1 a form with which other examples have made us familiar4 ,the wild boar of ,richard ,,iii 7,fig4 #bab71 for all his enormous tusks1 seems not unworthy of the irreverent way in which he is referred to1 in a working note pencilled on the cartoon1 as 8the pig40 ,illustration3 ,,fig4 #bji4--;,cartoon for ,stained ,glass4 7,lower ,part7 ,royal ,gallery1 ,houses of ,parliament4 ,illustration3 ,,fig4 #baj4--;,design for ,stained ,glass in the ,houses of ,parliament4 ,drawn by ,john ,powell4 ,illustration3 ,,fig4 #baa4--,unicorn4 ,cartoon for ,stained ,glass1 ,royal ,gallery1 ,houses of ,parliament4 ,illustration3 ,,fig4 #bab4--,the ,white ,boar of ,richard ,,iii4 ,cartoon for ,stained ,glass4 ,royal ,gallery1 ,houses of ,parliament4 ,illustration3 ,,fig4 #bac4--,the ,royal ,crest4 ,cartoon for ,stained ,glass4 ,royal ,gallery1 ,houses of ,parliament4 ,the comparative smallness of the ,royal ,crest in ,fig4 #bac is due to the designer's intention to bring the head into the central line of the composition with a view to upstanding effect1 and in this respect is of course a reasonable problem to have solved4 ,whether1 however1 it was worth while so to sacrifice the larger proportion which the lion would have had to the crown in mediaeval design is another matter4 ,nevertheless1 the whole series of work is finely designed and beautifully drawn with clearly thought-out intentions as a whole1 and with much delightful fancy in the variation of the decorated detail1 and to conclude this very interesting series ,fig4 #bad is from a coloured drawing of the white swan of the de ,bohuns that was one of the badges of ,henry ,,iv4 ,illustration3 ,,fig4 #bad4--;,cartoon for ,stained ,glass4 ,coloured4 ,royal ,gallery1 ,houses of ,parliament4 ,in domestic stained glass conditions that were different from those that were involved in church windows had to be considered1 and especially excessive obscuration of the light was to be avoided1 this being effected by the use of plain1 or slightly decorated1 quarries1 the stronger colour being confined to a centre roundel or medallion1 a very suitable space for heraldic treatment1 and to decorated borders4 ,in addition1 from the time of the ,middle ,ages such stained windows had been made movable by being enclosed in frames which could be temporarily fastened into window spaces1 as is still done1 and for a similar reason armorial roundels may remain detached from the window and be suspended by wires 7see ,fig4 #afh74 ,of such roundels there are many excellent examples1 that were originally in ,netley ,abbey1 in the ,hartley ,museum at ,southampton4 ,illustration3 ,,fig4 #bae4--;,arms of ,henry ,,vi1 ,ockwells ,manor1 ,berks4 ,illustration3 ,,fig4 #baf4--;,arms of the ,earl of ,warwick1 ,k4,g4 ,ockwells ,manor4 ,from the second half of the fifteenth century onwards armorial stained glass increased greatly in extent and freedom4 ,the shields became square and in many instances have the form 7derived from the tournament shield bouche7 which became associated later with the name of the ,tudors4 ,probably the finest examples of domestic stained glass that we have are the splendid heraldic windows at ,ockwells ,manor1 ,berks4 ,in these the shields are much curved1 the helmets and mantlings are very elaborate1 and the figures are drawn with great vitality and beauty4 ,each light has an achievement1 consisting of arms with mantled helm and crest1 in the middle1 upon a background of quarries placed diamondwise and bearing the ,norreys ,badge1 three distaffs1 in yellow stain4 ,in diagonal lines1 the motto in text letters1 8,feyth fully serve10 is several times repeated in all but two of the lights1 the exceptions being the ,royal ones1 where 8,dieu et mon droit0 accompanies the ,arms of ,henry ,,vi 7,fig4 #bae7 and 8,humble et ,loiall10 the motto of his ,queen1 ,margaret of ,anjou1 is with her armorials4 ,in both these lights the ,norreys ,badge appears as in the others4 ,below the ,king's ,arms are his two supporters1 heraldic antelopes ,argent1 which are spotted1 as well as armed1 crined and unguled 7i4e4 horned1 haired and hoofed7 ,or4 ,the series1 which included twelve lights that are now vacant1 was erected by ,sir ,john ,norreys1 the builder of ,ockwells ,manor ,house1 and consists of his arms and those1 to quote ,mr4 ,everard ,green1 8of his sovereign1 patrons and kinsfolk4 ,in short a liber amicorum in glass1 a not unpleasant way for light to come to us40 ,the arms here illustrated are those of ,sir ,edmund ,beaumont1 ,k4,g41 and ,sir ,james ,butler1 ,k4,g4 7,figs4 #bag and #bah71 of ,sir ,henry ,beauchamp1 ,earl of ,warwick 7,fig4 #baf71 and the ,royal ,arms1 to which reference has already been made4 ,the heraldic particulars of those and others that remain will be found amply set forth in ,archaeologia1 vol4 lvi41 #ahii4 ,it will be observed that the arms of such as were ,k4,g4 are not encircled with the ,garter1 that practice not having as yet come into full general use4 ,some attention should be given to the badges on these windows as being good examples of the practice in domestic glass of decorating transparent quarries with devices1 badges and monograms1 floral and other running patterns1 in stain and grisaille1 as admirably serving its purpose without too much sacrifice of light1 and therefore as affording suggestions for modern work which has to comply with similar conditions4 ,the lights herein illustrated are from the excellent drawings by ,mr4 ,w4 ,t4 ,cleobury1 in the ,victoria and ,albert ,museum4 ,illustration3 ,,fig4 #bag4--;,arms of ,sir ,edmund ,beaumont1 ,k4,g41 ,ockwells ,manor4 ,illustration3 ,,fig4 #bah4--;,arms of ,sir ,james ,butler1 ,k4,g41 ,ockwells ,manor4 ,the glass that has been hitherto mentioned is that which1 like the true enamels1 is coloured in the making with metallic oxides1 the painting on it being confined to the use of the brown shadow colour1 and the yellow silver stain4 ,windows made wholly in that way can be described as painted glass because though the silver is a true stain1 it is used as paint and fired1 instead of being incorporated with the glass in the pot4 ,about the middle of the sixteenth century1 the practice came into vogue of using panes of transparent glass as surfaces for decorative design in painted colours or in grisaille1 and large windows of square panes of white glass with elaborate designs of arabesque ornament were done in verifiable enamel colours and with a minimum of leading1 such as those in the ,laurentian ,library1 ,florence 7,fig4 #bai74 ,the medallion in the centre contains the arms of the ,medici1 the family of ,pope ,clement ,,vii1 whose tiara and keys accompany the arms in another of the same series of windows that has been reproduced in ,mr4 ,lewis ,day's admirable book1 ,windows4 ,a very remarkable school of enamelled glass painting that largely concerned itself with heraldry existed in ,switzerland1 encouraged by the custom which had grown up of persons and guilds presenting painted windows to each other4 ,these largely consisted of portrait subjects accompanied by armorial bearings4 ,into this work the use of the point entered to a surprising extent1 the washes of colour being frequently covered with the scratched lines with which details were drawn or textures indicated with the minuteness of fine engraving4 ,indeed the process of obtaining effects by drawing with a needle in lines of light through a dark medium inevitably suggests the art of etching on metal4 ,illustration3 ,,fig4 #bai4--,painted ,window in the ,laurentian ,library1 ,florence4 ,sixteenth ,century4 ,marvellous as were the effects produced by the needle in the hands of a master the method was a dangerous one under less capable control1 and in any case the effect is altogether different and less glass-like than that of the earlier method1 being characterized by a sharp glittering brilliancy in place of the deep effulgence of pot metal4 ,illustration3 ,,fig4 #bbj4--;,drawing for ,stained ,glass1 ,victoria and ,albert ,museum4 ,this painted glass of the sixteenth century contains much fine vigorous heraldic drawing1 as may be seen in the working drawings that are extant1 as well as in the windows themselves1 ,burgmair and many others1 whose power in heraldic art is well-known in other directions1 having also made designs for the glass painters4 ,fig4 #bae is a characteristic sketch of lions supporting banners and shields1 a favourite method of grouping in compositions of this kind4 ,the vigour and 8go0 of these animals is very remarkable1 and it is unfortunate that the artist's name is not on the drawing4 ,illustration3 ,,fig4 #bba4--;,drawing by ,holbein1 ,victoria and ,albert ,museum4 ,illustration3 ,,fig4 #bbb4--;,drawing for ,stained ,glass1 ,victoria and ,albert ,museum4 ,a4 ,renten4 ,sixteenth ,century4 ,the drawing by ,holbein1 ,fig4 #bba1 is very characteristic of his work1 and of the style of continental heraldry in the sixteenth century when the early simplicity was giving way to great elaboration of design4 ,the helmets in the glass work of this period are useful indications of how structural facts1 reinforcing pieces for example1 and surface ornament may be made available as decorative detail1 and ,fig4 #bbb1 by ,a4 ,renten1 is one of many good examples that are found among drawings of this kind4 ,the mantlings by this artist are particularly well drawn1 as is evident in the illustration4 ,,chapter ,x ,embroidered ,heraldry ,the romantic associations that embroidered heraldry call to mind1 of fair fingers working the devices on battle flags and on knightly surcoats1 render it a subject of the utmost fascination1 and although its adequate treatment would demand more space than can be devoted to it here1 it will still be possible to refer in some measure to an art that1 like the heraldry it embodied1 touched in one way or another all the life of the ,middle ,ages and has transmitted no little of its beauty and charm to the work of our own time4 ,long before heraldry was formulated noble ladies practised the art and found in it a delightful occupation4 ,embroidered heraldry is even alluded to in that dim time where myth and history meet1 as when the ,raven banner of the ,vikings1 the dread ,landeyda1 desolation of the land1 was woven and embroidered in one noontide by the daughters of ,reyner ,lodbrock1 son of ,sigurd4 ,in ,england in the sixth century ,aldelswitha1 a noble ,saxon lady1 taught the art to some young girls and so formed the first school of art needlework of which we have any record4 ,the four daughters of ,edward the ,elder were celebrated embroiderers1 and there was a constant succession of skilled needleworkers whose names and even many of their notable works were handed down as worthy of remembrance2 the altar cloths and vestments1 covered with golden eagles1 that had been worked by ,queen ,aelgitha the wife of ,canute among many others4 ,and the reputation was not merely a local one1 but throughout ,europe the praises are recorded of the ,opus ,anglicum1 whose name1 from being at first a general one1 afterwards acquired a particular technical meaning4 ,the excellence that called forth such universal appreciation continued throughout the mediaeval period1 as when in the thirteenth century ,pope ,innocent ,,iii was enthusiastic in its praise4 ,in the development of heraldry embroidery found a congenial subject1 and ladies busied themselves in depicting with the needle their husbands' armorials1 as their predecessors had pictured the incidents of their own times1 on hallings and banners and emblazoned garments1 such employment being a frequent subject of the beautiful illuminations of the painted ,,mss4 which had so much affinity with fine needlework1 from which it copied and was itself copied in return4 ,ecclesiastical vestments and altar frontals contain much heraldry1 and the ,syon ,cope1 that most interesting work of the thirteenth century1 contains on its orphreys and borders some sixty coats of arms on round or diamond shaped shields4 ,one of those on the orphreys is shown at ,fig4 #bbc1 although it is perhaps more curious than beautiful4 ,illustration3 ,,fig4 #bbc4--;,arms of ,geneville from the ,syon ,cope4 ,among the earliest examples of heraldic embroidery that survive is the surcoat of ,edward the ,black ,prince1 no less admirable in its way than the already mentioned shield1 and on account of its unique character it is necessarily reproduced again and again4 ,it consists of the arms of the shield translated into terms of embroidery1 and if it were but in better preservation a finer model for heraldic work it would be hardly possible to conceive4 ,this is but one of the many splendid heraldic garments of which so little remains1 but which are depicted on the monumental effigies with absolute fidelity4 ,of the latter fact this surcoat is one of the proofs1 for its copy on the effigies was made with such accuracy that even the faults of the needlework are there4#b ,the embroidery of badges on garments instead of the regular arms was also common1 as witness the effigies of ,richard ,,ii and his ,queen1 ,anne of ,bohemia1 in ,westminster ,abbey4 ,,footnotes3 #b ,needlework as ,art1 ,lady ,marion ,alford4 ,illustration3 ,,fig4 #bbd4--;,embroidered ,cap with badges1 ,victoria and ,albert ,museum4 ,sixteenth ,century4 ,a sixteenth century example of embroidered badges1 a cap of fine linen beautifully worked with fleurs-de-lis and roses as the principal motives1 is in the ,victoria and ,albert ,museum1 and is reproduced in ,fig4 #bbd4 ,illustration3 ,,fig4 #bbe4--;,altar ,frontal in ,embroidered ,linen1 ,victoria and ,albert ,museum4 ,another example of embroidered linen 7,fig4 #bbe7 in the ,victoria and ,albert ,museum1 is an altar frontal which is decorated with heraldic motives in appliqu work4 ,illustration3 ,,fig4 #bbf4--;,embroidered ,badge4 ,part of the ,insignia of ,charles the ,bold1 ,duke of ,burgundy4 ,fifteenth ,century4 ,some interesting and instructive fragments of embroidery exist in the ,museum at ,berne1 part of the spoil taken from the tent of ,charles the ,bold1 ,duke of ,burgundy1 after the disastrous ,battle of ,grandson in #adgf4 ,fig4 #bbf is the badge1 the flint and steel1 of the ,great ,burgundian ,order of the ,golden ,fleece1 whose insignia are conspicuous in the decoration of the next century in association with the ,emperors ,maximilian and ,charles ,v4 ,in this instance the steel striker serves as a space for the quartered arms of ,burgundy1 ,limbourg and ,flanders4 ,fig4 #bbg shows the same arms on what was perhaps part of the bardings1 the tournament or other ceremonial drapery of a charger4 ,illustration3 ,,fig4 #bbg4--;,heraldic ,embroidery4 ,part of the ,insignia of ,charles the ,bold1 ,duke of ,burgundy4 ,fifteenth ,century4 ,both show admirably how heraldic embroidery should be done1 namely1 in flat applique strongly designed and simply executed4 ,the sable lions of ,flanders are conclusive proofs of how heraldic vigour and decorative distribution may be attained in embroidery4 ,towards the end of the sixteenth century embroidery began to be padded into relief1 a practice which afterwards developed to a remarkable extent in spite of its inartistic unsuitability to the material and work4 ,it was naturally least offensive in its beginnings1 and the shield of ,eric ,,xiv1 ,king of ,sweden 7,fig4 #bbh71 is a somewhat exceptionally good example of the heraldry of its time 7about #aefj74 ,the arms are well-designed1 the lions of the fourth quarter1 ,denmark1 being particularly spirited1 while the execution is very excellent of its kind4 ,illustration3 ,,fig4 #bbh4--;,arms of ,eric ,,xiv1 ,king of ,sweden4 ,berne ,museum4 ,about #aefj4 ,an instance of domestic embroidery occurs in ,fig4 #bbi1 where the arms of ,james ,i are used as a centre to a design that is1 in the main1 floral4 ,illustration3 ,,fig4 #bbi4--;,arms of ,james ,i4 ,victoria and ,albert ,museum4 ,early ,seventeenth ,century4 ,work of the highest heraldic importance must always have been that of the banners1 as the very concentration of battle heraldry1 but of these1 alas6 there are no very early examples4 ,the banners of the ,knights of the ,garter in ,st4 ,george's ,chapel were doubtless all embroidered formerly1 as that of the ,sovereign still is1 but they have for long been done in an inferior way1 even as the painted stall plates superseded their enamelled predecessors4 ,of the various forms of flag that were in use in the day of the tournament and even survived1 at funeral ceremonies1 until comparatively modern times1 the principal were the ,banner1 the ,pennon and the ,standard4 ,the ,banner1 sometimes called the ,great ,banner1 was square in shape and bore the arms of its lord exactly as they were borne on his shield1 i4e41 occupying the whole surface4 ,its use was confined to such knights as were especially privileged1 and who were therefore called ,knights ,bannerets1 and to nobles of higher rank4 ,although the banner as such bore the whole arms of the shield1 other large and square flags1 even when charged with badges1 were sometimes called by the same name when employed for a special purpose1 as1 for instance1 the banner of the ,red ,dragon of ,cadwallader that was borne at ,bosworth ,field4 ,the ,pennon was a long pointed flag1 which was borne by a knight and was charged with his arms or device4 ,the cutting off of the tail of the pennon1 leaving the flag square1 conferred on its owner the right to have a banner thenceforward1 which ceremony of creating a ,banneret always took place on the field of battle and under the royal banner displayed4 ,the ,standard1 properly so-called1 was also a pointed flag1 though banners were sometimes called standards when they were flown from a mast that was either fixed in the ground or was supported on a solid platform or wagon4 ,from this comes the inaccurate custom of describing the ,royal ,banner as the ,royal ,standard4 ,the ,standard always1 in ,england1 had the national emblem1 the ,cross of ,st4 ,george1 next the staff1 and the remainder of the flag was of the owner's colours1 and was charged with his badges and motto 7,fig4 #bcj74 ,illustration3 ,,fig4 #bcj4--;,a ,standard4 ,sixteenth ,century4 ,the early form of the banner was higher than it was long1 that is to say1 the hoist1 that part of a flag that is next the staff1 was greater than the fly or the length from the staff to the further edge of the flag1 and that shape continued throughout the ,tudor period2 later1 however1 the form became more square and finally extended in the other direction until at the present time the ,admiralty pattern is greater in length than in height in the proportion of two to one4 ,this has1 no doubt1 been arranged as the best suited to naval use1 and for the ,union ,flag and for the ,ensigns it appears satisfactory1 but when a more armorial sort of flag is in question the naval proportion becomes more or less objectionable according to the nature of the bearings4 ,in the ,royal ,banner1 as so proportioned1 the difficulty of designing the rampant lion of the ,scottish quarter1 so that it may be well distributed in its space and still vigorous1 or of the ,irish harp so that it may properly balance with the other quarterings1 is nearly insuperable4 ,when we remember that the whole plan on which armorial bearings are devised is based on filling an upright space1 the shield shape1 it is not difficult to understand how it is that the attempt to adapt such emblems to a horizontal space so frequently suggests the ludicrous effect of a distorting mirror4 ,there is of course no reason why the proportion of flags should be the same whether they are flown on land or sea1 and this is very properly recognized in regimental colours and in the banners of the ,knights of the ,garter at ,windsor1 all of which are more nearly square4 ,animals on flags1 and also on the bardings of horses1 always faced towards the staff in the one case and towards the head of the horse in the other1 and this for a very natural reason4 ,the flag flowing backward would cause the figure that turned towards its staff to face in the direction of advance and the figures on the bardings would1 of course1 have the same direction under the similar circumstances1 while it is evident that if they faced in the opposite direction they would inevitably have given rise to the offensive gibe that they were running away4 ,the banner that concerns us more especially1 the ,union ,jack1 may have its essential construction explained by reference to the diagrams in ,fig4 #bca4 ,first we have two of the three national emblems 7#a7 and 7#b71 the cross of ,st4 ,george and the saltire of ,st4 ,andrew1 as they had long been used by ,england and ,scotland respectively4 ,soon after ,king ,james succeeded to the ,english ,crown a banner was made 7#c7 which combined the two by placing the red cross of ,st4 ,george 7with a narrow line1 taken from its white field1 left round it7 over that of ,st4 ,andrew1 and thence was formed the first ,union ,jack1 under which the great naval actions of the eighteenth century were fought4 ,at the ,union with ,ireland1 in #ahja1 a fresh element1 a red saltire on a white field for ,st4 ,patrick 7#d71 was introduced1 and the red of ,st4 ,patrick and the white of ,st4 ,andrew were united in equal proportions in this manner--7#e71 the red being made to retain a little of its white field as ,st4 ,george had done formerly1 and the result so far appears in--7#f74 ,the cross of ,st4 ,george1 with its white edge1 was then placed over all1 to complete the ,union ,jack as we know it4 ,this will be found quite easy to follow if care is taken to remember the construction1 and that the lines from corner to corner of the flag divide equally the broad white and the red of the saltires4 ,also that in the upper quarter1 next the staff1 the broad white must be uppermost1 and for this reason3 it is heraldically usual to begin a counter-change of two tinctures1 a metal 7silver or white7 and a colour 7red71 by naming the metal first4 ,further1 the tincture that is mentioned first is always placed next above the line of diagonal division4 ,therefore1 as the blazon in the warrant is a 8saltire per saltire quarterly argent and gules10 the white must be where it is4 ,and so any possible question of precedence was automatically avoided4 ,illustration3 ,,fig4 #bca4 ,the form of the flag as shown on the ,royal ,warrant of #ahja is seen in 7#g71 and is that which has been followed in regimental colours4 ,in this it will be observed that in consequence of the narrow white of the saltire being a fimbriation that is added to the red the outline of the saltire does not register across4 ,the ,admiralty pattern1 however1 in what one cannot but feel was an unnecessary effort to avoid this1 seems to place narrow red strips on top of the white saltire1 so that the outside diagonal lines manage to register1 but the result is to reduce ,st4 ,patrick's half of the joint saltire by the width of the narrow white4 ,now1 the evident intention in devising the flag was to effect equal representation of ,scotland and ,ireland in order to lessen the probability of quarrels such as had occurred between the ,scotch and ,english seamen before the first ,union ,jack was made in the early seventeenth century2 and this is perfectly effected by the pattern of the ,royal ,warrant4 ,the intention of equality is also evidenced in the warrant by similar care in designing the ,union badge of ,rose1 ,thistle1 and ,shamrock1 for after the badge has been described as a rose with a thistle on one side and a trefoil on the other1 the description is carefully repeated1 but with the positions of the shamrock and thistle reversed1 the obvious intention being to remove any ground for a claim to priority that might have arisen by assigning the dexter side to one emblem in preference to the other4 ,indeed ,i have known exception to be taken to a perfectly correct rendering of this ,union ,badge1 under the impression that such precedence did in fact exist4 ,another form of banner which survives is that which was1 from a very early period1 used to decorate trumpets and is still so employed by the trumpeters of the ,household ,cavalry and by those of the ,sheriffs of counties for use on occasions of ceremony4 ,such decorations usually contain the arms alone1 as a great banner does1 but there are also instances of badges being borne on them and also complete armorial insignia4 ,they are tied to the instruments by ribbons or laces1 and hang squarely down4 ,the bearings1 whether simple or complex1 are made to read upright1 when the trumpet is held horizontally1 as though they were on a hanging shield4 ,this is1 of course1 the natural way1 though there are instances to the contrary4 ,as we have seen1 flags were generally embroidered and with more or less elaboration according to the circumstances which influenced other heraldic treatment4 ,frequently they were done in cutwork1 sewn down and done over with beautiful needlework and even adorned with gems4 ,the greatest artists were employed to design them1 ,sandro ,botticelli among many others4 ,the methods of the missal painter in his use of gold lines for lights and other definitions and decorations were employed in the needlework1 indeed all the arts of illuminated decoration1 taking the term in its widest sense1 copied from each other1 but each adapted the method to its own needs and materials2 and that is the gist of the whole matter4 ,at the beginning1 in the seventeenth century1 of the period that was so fatal to all decorative art1 when embroidery took what was probably thought to be a wonderful new departure1 its subjects were raised to an increasing height from the ground where before it had been flatly treated4 ,thenceforward the embroidery became lumpy as the heraldry became weak1 and both were alike inartistic until comparatively recently1 until in fact it began to be again recognized that the mediaeval artists were right1 that the right way to use a material was the natural way and not in attempting to make it resemble something else4 ,at the time referred to it seems to have been thought that the more embroidery was made to look like a coloured relief and the less like embroidery the better embroidery it was1 and therefore the lions1 for example1 were stuffed up and raised as high as possible and the whole effect became coarse and clumsy1 an effect that was largely contributed to by the inferior design4 ,the costliness of embroidery helped the introduction of painted banners1 which in time1 assisted by the decay of embroidered as of other decorative arts1 superseded the needlework4 ,however1 the inferiority of the painted banner was always recognized1 and although even the banners of the ,knights of the ,garter had come to be done in the cheaper method1 that which hung over the stall of the ,sovereign continued to be embroidered1 as it is to this day4 ,the present banner is beautifully worked1 and is on the correct lines of flat design4 ,in painted banners1 usually of silk1 the material is strained in a frame1 by means of laces passed through tapes sewn to the edges1 and the design being drawn or pounced on it1 is carefully gone over with size1 which fills the interstices of the silk1 and when dry forms an excellent surface for the subsequent gilding and painting in oils4 ,there can be no doubt1 however1 that embroidery1 now that it has so brilliantly revived1 is the method of all others in which modern banners should be executed1 and if this were recognized there need be no lack of opportunity4 ,among others the trumpet banners of the ,sheriffs who every year are appointed to the respective counties1 are used to display their arms during the year of office1 and afterwards1 their official life being ended1 are frequently made into screens for domestic use4 ,it is in this connexion that their method of production becomes of especial importance4 ,their somewhat tawdry and incongruous appearance is quickly felt1 and they soon disappear into the retirement that they merit4 ,the banners of the ,city ,companies would better decorate their venerable halls if fashioned in beautiful needlework1 and when they were carried in the procession on ,lord ,mayor's ,day would impart a gleam of real splendour into that properties-in-daylight pageant4 ,the painted banners could still serve for bad weather flags4 ,illustration3 ,,fig4 #bcb4--;,bed ,cover1 ,flemish ,work4 ,victoria and ,albert ,museum4 ,in modern heraldic embroidery the design is the weak point1 but improvement would certainly follow the study of good early work and also of good examples of other decorative methods if they were intelligently adapted to the materials employed4 ,the purpose and character of the object must influence the work1 and considerations of weight and substance affect the making of a banner1 which is to wave and flow1 at least to some extent that would not need to be insisted on in a framed panel4 ,not that the treatment need be wholly flat1 like the diagrammatic shield of an early roll of arms1 for it may well have such definition of the charges as are seen on the ,black ,prince's surcoat2 also the complete form of an object may be sufficiently suggested without the employment of methods more suitable to another material4 ,thus1 it is not particularly difficult to indicate that a thing is round without making it as round as possible4 ,illustration3 ,,fig4 #bcc4--;,design for ,lace4 ,arms of ,frederick ,,ii1 ,king of ,denmark4 ,from the pattern-book of the ,duchess of ,brunswick4 ,,lace4--,although heraldry does not appear to have been so extensively practised in lace as in other forms of needlework1 it is still used to a considerable extent1 and generally as a device that is introduced as a personal detail in a large pattern4 ,among the few examples of heraldic lace at ,south ,kensington are a piece of ,english needlepoint and the bedcover of ,flemish work in which the double-headed eagle is well done 7,fig4 #bcb71 which will repay study1 and serve to explain the method of this kind of work4 ,the method of making the preliminary designs for lace is set forth in the pattern-books which began to be produced in the sixteenth century1 and of which very interesting examples are extant4 ,the lace design1 ,fig4 #bcc1 is from a book of patterns which belonged to the ,duchess of ,brunswick and is now in the ,national ,art ,library of the ,victoria and ,albert ,museum1 and represents the arms of ,frederick ,,ii1 ,king of ,denmark4 ,it has the usual characteristics of the ,german heraldry of its time4 ,,chapter ,,xi ,some ,miscellaneous ,charges ,,annulet4--,a simple ring1 as in the mark of cadency of a fifth son1 ,fig4 #bie1 p4 #bhh4 ,a ring in which a precious stone is mounted is called a gem-ring1 and an interesting example occurs in one of the badges of the ,medici1 ,fig #bcd2 another ,medici badge has three gem-rings interlaced4 ,illustration3 ,,fig4 #bcd4--;,badge of ,medici from ,dialogo dell' imprese1 #aeei4 ,,barnacles ,,or ,,breys4--,an instrument that was used to control a restive horse by exerting pressure on his nostrils4 ,they are represented as in ,fig4 #bce1 or open as in ,fig4 #bcf4 7,see also ,geneville1 ,fig4 #bbc1 p4 #bdh47 ,illustration3 ,,fig4 #bce4 ,illustration3 ,,fig4 #bcf4 ,,battering-,,ram4--,a siege weapon consisting of a heavy beam headed like a ram and having hooks or other means of fastening the chains by which it was supported and swung4 ,figs4 #bcg to #bci are some of its forms4 ,when difference of tincture requires it is said to be headed1 or armed1 and garnished of these appliances4 ,sometimes the term purfled is used for garnished4 ,one of the best known examples is the coat of ,bertie3 ,az4 three battering rams barways in pale ppr4 headed and garnished1 az4 ,illustration3 ,,fig4 #bcg4 ,illustration3 ,,fig4 #bch4 ,illustration3 ,,fig4 #bci4 ,,buckles4--,being important part of military equipment were frequently employed as charges or as badges in allusion to battle occurrences or other notable events4 ,thus the ,badge of the ,pelhams commemorates the capture of ,king ,john of ,france at the ,battle of ,poictiers4 ,buckles afford some scope for decoration1 as in ,fig4 #bdj1 a fifteenth century example from ,westminster ,abbey4 ,illustration3 ,,fig4 #bdj4 ,illustration3 ,,fig4 #bda4 ,,bugle ,,horn4--,this1 the most frequent of the charges derived from the ,chase1 forms an interesting subject for decorative treatment1 in its possible grace of line and in the ornamental character of its details4 ,it is usually shown as if suspended from a knotted or twisted cord1 of which it is stringed1 though it is occasionally hung from a flatter form of baldric4 ,its garnishings1 mouth-piece1 rim rings1 etc41 are usually gold 7,fig4 #bda74 ,illustration3 ,,fig4 #bdb4 ,illustration3 ,,fig4 #bdc4 ,illustration3 ,,fig4 #bdd4 ,,chaplet4--,a wreath of leaves or of flowers and leaves4 ,in the latter the flowers are usually four in number 7,fig4 #bdb74 ,when a 8chaplet0 without further qualification is mentioned1 a severely conventionalized form is sometimes employed1 consisting of a ring with four flower bosses1 as ,fig4 #bdc4 ,see ,garland4 ,a chaplet of oak is called a civic crown 7,fig4 #bdd71 and one of laurel a triumphal crown4 ,,chess-,,rook 7,fig4 #bde74--,this is probably the result of a mis-reading of roc1 the coronal of a tilting spear4 ,it is always represented with the cleft shape of the latter and never as a castle1 the usual form of chess-rook4 ,,cinque-,,foil 7,fig4 #bdf74--;,a five membered leaf1 or conventional flower of five petals4 ,illustration3 ,,fig4 #bde4 ,illustration3 ,,fig4 #bdf4 ,illustration3 ,,fig4 #bdg4 ,,clarion4--,a combination of musical pipes in a hand case1 the ,syrinx or ,pan-pipe4 ,it is of frequent occurrence in the heraldry of the ,middle ,ages and in a large variety of more or less elaborate forms1 one of which is here represented 7,fig4 #bdg74 ,it is sometimes called a rest1 with the suggestion that it represents the piece fixed on a breast-plate as a support for the tilting spear1 but this appears to be extremely improbable4 ,,clouds occur as bordures and other ordinaries in various interesting conventional forms and also as points from which emerge arms and other objects4 ,ordinaries composed of clouds in this way are blazoned nebuly equally with the more simplified nebuly line4 ,there are many examples of this treatment of which ,fig4 #gb1 p4 #eg1 will give an idea of a bordure nebuly1 as it appears in one of the representations at the ,heralds ,college of the arms of the ,mercers ,company4 ,illustration3 ,,fig4 #bdh4 ,,cockatrice4--,a wyvern-like monster with a cock's head1 as in the many sixteenth century drawings of the arms of the ,city of ,basle1 to which it was a supporter under its other name of ,basilisk1 as in ,fig4 #bdh1 part of a drawing by ,holbein4 ,,coronets4--,crown and coronets other than those of rank1 already described1 may be considered as of two kinds1 and are of purely symbolic import4 ,illustration3 ,,fig4 #bdi4 ,crowns 7including coronets7 used as charges1 are generally those that are more accurately described as heraldic crowns1 that is1 those which have no allusion to specific rank1 but are emblematic in various other ways4 ,the coronet of decorative leaves set on a rim and sometimes called a crest coronet 7,fig4 #bdi7 is thus borne as a charge in the arms of some of the ,companies of ,london in allusion to events in which kings have been concerned4 ,when1 however1 a specifically ,royal ,crown appears it is usually as an ,augmentation by special grant from the ,sovereign4 ,a fine example of crowns and their distribution as charges on a shield is ,fig4 #bej1 from the tomb of ,prince ,edmund of ,langley1 at ,kings ,langley1 ,herts4 ,the arms are those ascribed to ,st4 ,edmund4 ,illustration3 ,,fig4 #bej4--,shield from the tomb of ,prince ,edmund of ,langley4 ,early ,fifteenth ,century4 ,other heraldic crowns are the mural crown1 representing a fortified wall 7,fig4 #bea71 and the naval crown1 composed of sails and sterns of ships 7,fig4 #beb71 and both are at the present time restricted with care1 in the cases of new grants or augmentations1 to circumstances in which their obvious symbolism applies4 ,illustration3 ,,fig4 #bea4 ,illustration3 ,,fig4 #beb4 ,illustration3 ,,fig4 #bec4 ,the mural crown is usually composed in our heraldry of the simple crenellations shown in the example4 ,abroad1 however1 a more elaborate and picturesque form occurs in the form of a castellated wall showing three towers at intervals4 ,illustration3 ,,fig4 #bed4 ,illustration3 ,,fig4 #bee4 ,the crown vallery is intended to represent palisades1 as in ,fig4 #bec1 and when the palisades are more definite and are fastened to the rim instead of rising out of it1 the crown is palisado instead of vallery 7,fig4 #bed74 ,the ,eastern crown1 sometimes called an antique crown1 is formed of five straight rays 7,fig4 #bee71 and when in addition there is a star on each point it becomes a celestial crown4 ,,crescent4--,this charge1 beautiful as it appears in the badges connected with ,henry ,,ii of ,france and ,diana of ,poitiers1 has come to be drawn clumsily as to look more like a biscuit with a bite out of it than a graceful shape derived from the crescent moon4 ,when it is simply described as a crescent it always has its points upwards1 and it becomes a decrescent if they point to the sinister1 and an increscent when they are pointed to the dexter4 ,still rarer as a charge than these latter is the full moon1 and when she thus occurs she is blazoned a ,moon in her ,plenitude4 ,it is understood that the proportionate thickness of a crescent may be any that is felt to be in harmony with the general character of the design that accompanies it4 ,,escallop ,,shell4--,this beautiful charge1 with its radiating lines within its outline1 appears to have been specially connected with the ,crusades as the pilgrim's badge1 as such being sewn on to the cloak or hat4 ,later the shells so worn were sometimes elaborately painted in the manner of the illuminators1 in memory of the pilgrimage4 ,the escallop is especially associated with ,st4 ,james1 and so frequently occurs in ,spanish decoration such as that of the ,house of the ,shells1 ,saragossa1 the whole front of which is seme of escallops in high relief4 ,also1 an old writer says3 8,the shell thereof is the fairest instrument that can be1 being of nature's making1 which for the beauties sake is put in the collars of ,saint ,michael's ,order40 ,,estoile4--,a star of six wavy points4 ,illustration3 ,,fig4 #bef4 ,,escarbuncle 7,fig4 #bef74--;,is derived from the strengthening bands of the shield which the mediaeval metal worker's decorative instinct made into beautiful ornament even as it did the hinges of a door4 ,the metal plates radiating from the central boss of the shield terminated in foliated forms of great beauty1 the fleurs-de-lis of the present charge1 while the hollow ring in the centre enabled it to fit over the boss4 ,many beautiful examples exist of this piece of armour become the ,badge of ,anjou1 worn by ,henry ,,ii4 ,illustration3 ,,fig4 #beg4 ,,fountain 7,fig4 #beg74--,the symbol of a spring of water1 is a roundle barry1 wavy argent and azure1 wavy lines having been emblematic of water from time immemorial4 ,its occurrence in the arms of ,lord ,stourton 7,sable a bend or between six fountains7 is very interesting as an example of heraldry of which the meaning is well understood4 ,in the admirable account given by ,mr4 ,fox ,davies in ,the ,art of ,heraldry he points out that the manor of ,stourton on the borders of ,wilts and ,somerset obtained its name from the river ,stour which rises within the manor4 ,the sources of that river are six wells which exist in a tiny valley in ,stourton ,park1 which is still called ,six ,wells ,bottom4 ,when ,leland wrote in #aedj to #aedb the whole six were in existence 7some have since disappeared71 for he wrote3 8,the ryver of ,stoure risith ther of six fountaynes or springes1 whereof #c be on the northe side of the ,parke1 harde withyn the ,pale1 and other #c be northe also but withoute the ,parke4 ,the ,lorde ,stourton giveth these #f fountaynes yn his ,armes40 ,in addition1 not only were three springs inside the park and three outside1 but also three were in ,wiltshire and three in ,somerset4 ,the appropriateness of three fountains on either side of the ordinary is therefore manifest4 ,would that all heraldic origins were equally clear6 ,illustration3 ,,fig4 #beh4 ,,fylfot 7,fig4 #beh74--;,a symbolic figure which appears to have been used from the remotest antiquity and round which much literature has been written in common with its ,indian form1 the ,swastica4 ,its presence in heraldry is probably to be ascribed to mere copying from some eastern example1 though even thus a symbolic meaning may have been ascribed to its cross-like form1 or perhaps some one of the transmitted meanings may even have been known4 ,it occurs in the arms of ,sir ,wm4 ,kellaway in a 8,copy of an antient roll of ,arms10 in the ,heralds' ,college4 ,in ,japan it is well-known as the ,mon or badge of the ,matsudaira family4 ,,hammer4--,in heraldry both the workman's hammer1 emblematic of industry1 if it have no more definite symbolism1 occurs as well as the military martel-de-fer4 ,examples of both are given in ,figs4 #bei and #bfj4 ,another instance of the first is in the ,arms of the ,blacksmiths ,company of ,london1 ,sa a chev4 ,or between three hammers ,arg4 handled and ensigned with crowns gold2 and with this is their swinging motto1 8,by hammer and hand all arts do stand40 ,illustration3 ,,fig4 #bei4 ,illustration3 ,,fig4 #bfj4 ,,hawk',s ,,bells ,,and ,,jesses4--,the bells are of the globular kind 7,fig4 #bfa71 and jesses are the leather straps by which they were secured to the falcons' legs4 ,also attached to the jesses were pieces of metal1 called vervels1 that were stamped with the owner's monogram or badge4 ,,hawk',s ,,lure4--,a bird's wing that was attached to a cord by means of which it was thrown in the air in order to attract the falcons to hand4 ,its usual shape as a charge is as in ,fig4 #bfb4 ,illustration3 ,,fig4 #bfa4 ,illustration3 ,,fig4 #bfb4 ,illustration3 ,,fig4 #bfc4 ,,hemp-,,brake ,,or ,,hackle4--,an instrument for bruising hemp4 ,its best known heraldic example is as the badge of ,sir ,reginald ,bray 7,fig4 #bfc71 the architect to ,henry ,,vii1 for whom he built the magnificent ,chapel in ,westminster ,abbey and completed ,st4 ,george's ,chapel at ,windsor4 ,the badge is now used by ,lord ,bray1 who is descended from ,sir ,reginald's brother4 ,illustration3 ,,fig4 #bfd4 ,illustration3 ,,fig4 #bfe4 ,illustration3 ,,fig4 #bff4 ,illustration3 ,,fig4 #bfg4 ,,knots4--,a form of badge that is composed of one or more cords or straps twisted into open knots and used to symbolize the bond of a vow4 ,the best known1 perhaps1 is the ,stafford knot 7,fig4 #bfd71 which from being the badge of the ,earls of ,stafford has been appropriated by many institutions connected with that county4 ,the ,heneage knot1 also on a single line1 is ,fig4 #bfe1 and is sometimes accompanied by the motto1 8,fast though untied10 and ,fig4 #bff is the ,bowen knot of four bows4 ,fig4 #bfg is from among the devices on the robe of the effigy of ,anne of ,bohemia on her tomb at ,westminster ,abbey1 and is thought by ,boutell to convey the idea of a monogram4 ,he also sees in the ,wake and ,ormond knot 7,fig4 #bfh7 the initials ,w and ,o entwined4 ,a modern attempt was made to form a monogram of the silken tags represented as depending from the seal shape of the bookplate 7by ,c4 ,w4 ,sherborn1 ,r4,e47 of the celebrated ,j4 ,robinson ,planch1 ,dramatist and ,somerset ,herald4 ,illustration3 ,,fig4 #bfh4 ,illustration3 ,,fig4 #bfi4 ,illustration3 ,,fig4 #bgj4 ,illustration3 ,,fig4 #bga4 ,the ,bouchier knot is ,fig4 #bfi1 and ,boutell mentions a ,bouchier badge formed of the knot tied to a coudiere or elbow piece1 as from a monument in ,westminster ,abbey4 ,the ,dacre knot is less a knot than a badge1 consisting of an escallop shell linked by a cord with a ragged staff or a billet 7,fig4 #bgj74 ,in the same way a sickle and a garb are tied together in the badge of ,lord ,hastings1 and are suggestive of the way in which initial letters of names were linked with each other and with badges in the splendid pageants of the sixteenth century4 ,the ,lacey knot is shown at ,fig4 #bga4 ,,lozenge4--,fig4 #bgb4 ,illustration3 ,,fig4 #bgb4 ,illustration3 ,,fig4 #bgc4 ,illustration3 ,,fig4 #bgd4 ,,manche ,,or ,,maunche4--,a severely conventionalized form of a sleeve1 derived from the actual sleeve which was worn at a tournament1 as a ladies' favour1 floating from the shoulder of a favoured knight4 ,the illustrations are from the fifteenth century seal of ,lord ,hastings 7,fig4 #bgc71 and from a ,,ms4 of the following century relating to the same family 7,fig4 #bgd74 ,,mullet4--,a five-pointed star-like figure whose name is derived from ,mollette1 the rowel of a spur 7,fig4 #bic74 ,,pall4--,an heraldic figure which occurs in the arms of certain ,archbishoprics1 being indeed a representation of the ,pallium1 which is an especial vestment of an ,archbishop4 ,mr4 ,everard ,green1 ,rouge ,dragon ,pursuivant1 has fully dealt with this in an admirable monograph which is among the ,archaeologia of the ,society of ,antiquaries1 from which it appears certain that the pall is not the arms of a particular see1 but is an ensign of the ecclesiastical rank of an archbishop4 ,,pheon4--,the head of a dart1 the so-called broad arrow of ,government stores4 ,it usually has its inner edges engrailed1 but this is not essential any more than are the rigidly straight lines with which it is generally drawn4 ,there are many other forms in early use that are much more satisfactory1 such as ,fig4 #bge1 which is from an early sixteenth century ,,ms4 ,the pheon is understood to be point downwards as in the example1 unless it is otherwise described4 ,illustration3 ,,fig4 #bge4 ,,roundels4--,circular charges whose names differ according to their tincture4 ,thus a roundel or is supposed to be a flat piece of gold and is called a ,bezant after ,byzantium4 ,a roundel arg4 is a ,plate2 a roundel gules is a ,torteau2 the ,hurt is azure2 the ,pellet or ,ogress is sable2 the ,pomme is vert4 ,ancient armorists also mention ,golpes1 which are purpure2 ,guzes1 sanguine2 and ,oranges1 tenn2 but these are not actually used in ,english heraldry4 ,another roundel1 called a ,fountain1 is barry-wavey arg4 and az41 and is further alluded to under its name 7,fig4 #bej74 ,the use of the heraldic names of the various roundels is not obligatory1 however1 their description by tinctures1 like other charges1 being equally correct4 ,they are frequently themselves charged and may be of ermine or other fur1 and be treated in every way as other flat spaces4 ,their treatment in relief or otherwise is largely a matter of taste1 and whether a roundel be treated as flat or globular must depend on the character of the surrounding work4 ,the frequently made suggestion that bezants and plates1 being derived from flat objects1 should always be flat1 while others should always be globular1 would often be awkward if carried out in practice1 especially in sculpture2 and even if the derivations be correct1 a roundel as a circular object without other qualification is just as conceivable as a roundel derived from a coin4 ,suitability to the general design seems to be the governing factor here as elsewhere4 ,illustration3 ,,fig4 #bgf4 ,illustration3 ,,fig4 #bgg4 ,,portcullis4--,a strong grille for the protection of a fortified gateway4 ,it was made of heavy beams securely clamped together and shod with iron1 and is represented with the chains on either side by which it was suspended4 ,the example 7,fig4 #bgf7 is from the ,chartulary of ,westminster ,abbey1 where it forms part of the painted decoration of the ,,ms4 as one of the favourite badges of ,henry ,,vii4 ,it has given a name to one of the pursuivants of arms1 and as part of the armorials of the city of ,westminster is one of the most familiar charges4 ,,quatrefoil 7,fig4 #bgg74--;,a four-leaved charge1 derived from clover or from a four-petalled flower4 ,,shakefork 7,fig4 #bgh74--;,an unusual charge which occurs in the ,arms of ,cunningham4 ,illustration3 ,,fig4 #bgh4 ,illustration3 ,,fig4 #bgi4 ,illustration3 ,,fig4 #bhj4 ,,spade4--,emblematic of agriculture and industry4 ,it is of great variety of form4 ,figs4 #bgi and #bhj are fifteenth and sixteenth century forms of these implements1 which were usually of wood shod with iron1 as in the examples4 ,illustration3 ,,fig4 #bha4 ,illustration3 ,,fig4 #bhb4 ,,spear4--,is usually described as a tilting spear1 and when its shaft is without swell as a javelin4 ,it is regarded as the emblem of manhood1 as the distaff is the symbol of womanhood4 ,as usually depicted1 without the vamplate1 it appears as in ,fig4 #bha2 but there is no reason against representing the plate in addition if it is thought desirable4 ,although the tilting spear was most frequently used with the blunted head1 the coronel or roc1 it is almost always represented heraldically with a sharp spear point4 ,the shaft is sometimes parti-coloured1 or else grooved into flutings as it was in actual use4 ,in some cases these grooves were so large and deep as to result in a form of the girder principle by which great lightness and strength were obtained4 ,the ,arms of ,shakespeare1 granted in #aedf1 are3 ,or on a bend ,sable a spear ,gold4 ,,spurs4--,as the peculiar symbol of knighthood are naturally of frequent occurrence as charges4 ,they are given star-shaped rowels unless the more ancient form with a single point is intended1 and it is then blazoned a ,prick ,spur4 8,the ,spurs ben given to a knight to signify diligence and swiftness40 ,,sruttle4--,another name for winnowing fan 7,fig4 #bhb74 ,illustration3 ,,fig4 #bhc4 ,illustration3 ,,fig4 #bhd4 ,illustration3 ,,fig4 #bhe4 ,,sword4--,is sometimes borne in allusion to ,st4 ,paul1 as it is in the ,arms of the ,city of ,london4 ,unless otherwise described1 a straight sword with a cross hilt1 an arming sword as it was sometimes called1 is understood4 ,its position--that is to say1 the direction of the blade--whether pale1 wise or fesswise1 and where there are more swords than one1 their relative positions and the direction of their points are duly stated4 ,,trefoil 7,fig4 #bhc74--;,is always represented with a stalk1 as in the example1 but the term slipped is always included in the blazon nevertheless4 ,the form of the charge is usually as given1 but in rare instances it appears as in ,fig4 #bhd1 which is from a fifteenth century ,,ms4 in the ,heralds' ,college4 ,,water ,,bouget4--,this1 like the maunche1 is an instance of the conventionalization of an actual thing into a shape that bears but remote likeness to the original form4 ,although there are instances in which its derivation from water carriers1 its undoubted origin1 is more nearly suggested1 its heraldic form was clearly established in the fourteenth century1 chiefly in connexion with the family of ,bourchier1 which furnished so many persons of note to mediaeval history4 ,,chapter ,,xii ,marks of ,cadency ,illustration3 ,,fig4 #bhf4 ,illustration3 ,,fig4 #bhg4 ,in order to distinguish the various members of a family among themselves certain additions to the shield called marks of cadency are employed2 and in the earliest days of the heraldic system a son charged the arms that he derived from his father with such a mark of difference as he thought fit and effectual1 but by the middle of the fourteenth century some amount of regularity was arrived at1 and by the end of the sixteenth century the present method had become usual4 ,in this system the eldest son is distinguished by a file or label of three points1 which consists of a horizontal part from which depend the lambeaux 7,fig4 #bhf et seq474 ,its origin is extremely obscure1 and whether it represents the points of garments1 or tongues or labels threaded on a cord1 no one can say with certainty4 ,it seems probable that it may have originally been a favour or distinction whose history and original significance have been lost4 ,the effigy at ,artois of ,charles ,count d',eu has a label which passes round the shoulders1 exactly as other collars did1 and consists of large labels charged with castles and suspended from what appears to be a narrow cord 7,fig4 #bhh74 ,illustration3 ,,fig4 #bhh4 ,illustration3 ,,fig4 #bhi4 ,illustration3 ,,fig4 #bij4 ,on a shield the label is borne in chief and passes over any charges that may be in that part of the arms4 ,in early examples the pendant parts are wider than the rest1 in some cases much wider1 as in the ,garter ,plate of ,gaston de ,foix1 ,comte de ,longueville and ,captal de ,buch1 whose label is charged with a complete coat of arms repeated on each point1 a cross charged with five escallop shells1 which are the arms of ,john de ,grielly1 a previous ,captal de ,buch who married ,blanche de ,foix4 ,in later times the points of labels were widened at the ends as in ,fig4 #bhi1 a form which in the eighteenth and nineteenth centuries had become as squat and ugly as the still common type 7,fig4 #bij74 ,in ordinary cadency the label which extends from side to side of the shield is no longer used1 being reserved for members of the ,blood ,royal1 and a shortened form takes its place in ordinary coats of arms4 ,distinctions of cadency are provided to the number of nine1 and no regular provision is made beyond the ninth son2 not because others are to go undifferenced1 but because in old heraldic treatises great importance is ascribed to that mystic figure #i4 ,there were nine tinctures 7including the rare colours tenn and sanguine71 nine ordinaries1 nine partitions1 or methods of displaying charges with ordinaries1 and so forth4 ,the differences are as follows3-- ,the eldest son a label4 second 0 a crescent4 third 0 a mullet4 fourth 0 a martlet4 fifth 0 an amulet4 sixth 0 a fleur-de-lis4 seventh 0 a rose4 eighth 0 a cross moline4 ninth 0 a double quatrefoil4 ,illustration3 ,,figs4 #bia-bii4 ,a mark of cadency is borne on any part of a coat that may be found most suitable for its conspicuous display1 but always in such a manner that it may not be mistaken for a charge4 ,it is generally placed somewhere in chief or sometimes in the centre of the shield1 and its colour may be any that is well seen4 ,bossewell says 7#aegb73 8,every difference ought to be placed in the moste evidente part of the coat armour1 videlicit1 in the place where the same maie soonest be scene or perceived40 ,and another early writer indicates the distance at which a difference should be easily perceived on a banner or other flag as eighteen yards4 ,the sons of the eldest son bear each his own difference charged upon the label of his father1 and in similar manner the sons of the second son of the head of the family charge their differences on their father's crescent1 and so forth4 ,as marking the degree of nearness to the headship of the family such distinctions are disused or changed as circumstances dictate1 but in some cases a second or other junior son continues to use his difference after his father's death in order to prevent confusion with his elder brother who has in due course succeeded to the undifferenced coat1 and in spite of the inevitable clashing with the second son of that elder brother1 who would also bear a crescent for difference4 ,such a method of distinguishing 8,houses0 as well as sons would1 of course1 become impossible in a very few generations1 and this points to the superiority of the mediaeval method of differencing as well as to what is the principal weakness of modern heraldry in ,england as a system1 namely1 the want of distinction between the branches of a family4 ,that1 however1 is more a matter for the scientific herald4 ,the mark of cadency may be placed on the crest as well as on the arms1 but it is not commonly done1 except when the crest is used alone4 ,it should be noted here that though daughters 7other than ,princesses of the ,blood7 do not difference their arms personally1 for they rank equally among themselves1 they do bear their father's difference so long as he bears it4 ,when by impalement or other means the individuality of the bearer is sufficiently pointed out1 marks of cadency are frequently considered to be redundant1 and are therefore omitted2 but their inclusion is preferable4 ,royal cadency follows a method apart1 and when arms are assigned by the ,sovereign to the various members of the ,royal ,family1 as is done by warrant on their arrival at full age1 the proper individual mark of cadency is assigned at the same time4 ,at the present day it always takes the form of a label2 which is plain for the ,prince of ,wales1 and charged in some distinctive manner for other members of the ,blood ,royal4 ,the labels of the other living ,princes and ,princesses to whom arms have been assigned are as follows3 and it should be noted that all these various labels are ,argent4 ,the ,princess ,royal 7,duchess of ,fife7 bears over the ,royal ,arms a label of five points charged with three crosses gules alternating with two thistles ppr4 ,the ,princess ,victoria differences her arms with a label of five points charged with three roses alternately with two crosses gules4 ,the ,princess ,maud 7,queen of ,norway7 bears a label of five points charged with three hearts and two crosses gules4 ,the ,duke of ,connaught has a label of three points1 charged on the centre point with ,st4 ,george's ,cross and on each of the others with a fleur-de-lis ,azure4 ,the ,princess ,christian1 of ,schleswig-,holstein1 bears a label of three points1 the centre of which is charged with ,st4 ,george's ,cross and each of the others with a rose gules4 ,the ,princess ,louise 7,duchess of ,argyll7 bears a label of three points1 the centre point charged with a rose1 each of the others with a canton gules4 ,the ,princess ,beatrice 7,princess ,henry of ,battenberg7 bears a label of three points1 the centre one charged with a heart and each of the others with a rose4 ,in ,royal ,achievements the labels are charged on the crest and supporters as well as the arms1 and in these positions are usually couped at the ends1 though there is no reason why they should be so2 on the contrary1 remembering that these figures are 8in the round0 it would be preferable to follow the ancient usage4 ,a further distinction from the arms of the ,sovereign is made by substituting for the ,imperial ,crown1 which is borne on the heads of the lion crest and supporter and also encircles the throat of the unicorn1 the coronet which is proper to the personage concerned4 ,,index ,,page ,,accessories1 #aci ,,achievements1 #af1 #ai ,,aldegrever1 #cd ,,alexander ,,first1 ,,seal ,,of1 #ff ,,alloa ,,house1 ,,shields ,,at1 #aac1 #aad1 #aae1 #aeg1 #afa1 #bag1 #bai ,,altar ,,frontal1 #bej ,,amman1 ,,jost1 #ce1 #ajh ,,amorini1 #add ,,angels1 #add ,,animals as crests1 #abg2 and monsters1 #ff2 on flags1 #beg2 on the bardings of horses1 #beg ,,anne ,,of ,,bohemia1 ,,device ,,knot ,,of1 #bgh 0 ,,of ,,brittany1 #aaf1 #bab 0 ,,countess ,,of ,,devon1 ,,seal ,,of1 #adj 0 ,,queen1 #ajh ,,annulet1 #bfg1 #bhh ,,anselm1 ,,dom1 #dj ,,anthony ,,de ,,bec1 ,,seal ,,of1 #ih ,,architectural ,,heraldry1 #bjd ,,argent1 #dd ,,argyll1 ,,duke ,,of1 #aee ,,armorial ,,accessories1 #aci 0 ,,garments1 #c ,,armour1 #abc ,,arundel1 ,,coronet ,,of ,,the ,,earl ,,of1 #aed ,,assyrian ,,lion1 #hj ,,attenuation1 #fg ,,augmentations1 #f ,,azure1 #dd ,,badges1 #ada ,,banners1 #bh1 #fi2 of the ,garter1 #bee2 painted1 #bfb ,,bar1 #ej ,,barnacles1 #bfh ,,baronet1 #aef2 of ,nova ,scotia1 #aef ,,baronet',s ,,helmet1 #abi ,,baron',s cap1 #aed2 coronet1 #aed ,,barry1 #dg ,,bars-,,gemelle1 #ej ,,basle1 ,,arms ,,of1 #bga ,,basset1 ,,lord1 ,,of ,,drayton1 #bj ,,bassetaille ,,enamel1 #agh ,,bath1 the ,order of the1 #af2 insignia of various ranks1 #afc ,,baton1 #eb ,,battering-,,ram1 #bfh ,,beaumont1 ,,sir ,,edmund1 ,,arms ,,of1 #bch ,,bedcover1 ,,lace1 #bfd ,,bedford1 ,,duke ,,of1 #he ,,beham1 ,,hans ,,sebald1 #cd1 #ce ,,bells1 #bgg ,,bend1 #ea ,,bendlet1 #eb ,,bend-,,sinister1 #eb ,,bendy1 #dh ,,berkeley1 ,,arms ,,of1 #fd ,,bertie1 ,,arms ,,of1 #bfh ,,bezant1 #bha ,,bible1 #gj 0 ,,winchester ,,cathedral1 #afd ,,bill1 #aig ,,birds1 #hi ,,birmingham1 ,,city ,,of1 #eb ,,black ,,prince1 ,,the1 #h1 #ge2 surcoat1 #ajb1 #bdh ,,blacksmiths' ,,company1 ,,arms ,,of1 #bgg ,,blazon1 #ae1 #ch1 #ed1 #ge ,,blois1 ,,badges ,,at1 #bje ,,boar1 #bcb ,,bolt-,,plate1 #aib ,,bordure1 #ei ,,botticelli1 ,,sandro1 #bfa ,,bourchier1 ,,louis ,,robsart1 ,,lord1 #ag 0 ,,knot1 #bgi ,,bowen ,,knot1 #bgh ,,brass1 ,,monumental1 #ahd ,,bray1 ,,sir ,,reginald1 ,,badge ,,of1 #bgg ,,brewys1 ,,sir ,,john ,,de1 ,,brass ,,of1 #ahd ,,brittany1 ,,badge ,,of1 #bje ,,bronze ,,mortar1 #ahh ,,brunswick1 ,,duchess ,,of1 #bfe ,,buckles1 #bfh ,,bugle ,,horn1 #bfi ,,bulla ,,of ,,gold ,,of ,,henry ,,viii41 #adi ,,buonamici1 #ca ,,burges1 #ac1 #bbf ,,burgundy1 ,,charles1 ,,duke ,,of1 #bea ,,butler1 ,,sir ,,james1 ,,arms ,,of1 #bch ,,byron1 ,,arms ,,of1 #eb ,,cadency1 #bhf ,,cambridge ,,university1 ,,arms ,,of1 #gj ,,canton1 #eh ,,cap ,,of ,,maintenance1 #aee ,,carnarvon1 ,,lord1 #adf ,,cast ,,iron1 #ahe ,,caxton1 #d ,,ceilings1 #bac ,,cellini1 #ahj ,,centaur1 #ie ,,ceremonial ,,shields1 #i1 #bi2 structure of1 #cj ,,champlev ,,enamel1 #aga ,,chaplet1 #bfi ,,charges1 #ej2 flat and in relief1 #bi2 their arrangement1 #fa ,,charles ,i41 ,,great ,,seal ,,of1 #gd 0 ,,ii41 ,,great ,,seal ,,of1 #aaj 0 ,v41 ,,emperor1 ,,arms ,,of1 #aib 0 ,,count ,d',,eu1 ,,effigy ,,with ,,label1 #bhg 0 ,,the ,,bold1 #bea ,,chequey1 #dh ,,chess-,,rook1 #bgj ,,chester1 ,,city ,,of1 #hc ,,chevron1 #eb ,,chief1 #eb ,,chimney ,,pieces1 #bab ,,chivalry1 ,,the ,,order ,,of1 #d ,,choice ,,of ,,treatment1 #g1 #ai ,,cinque ,,ports1 #hc1 #hd ,,cinquefoil1 #bgj ,,cistern1 ,,lead1 #bjj ,,civic ,,crown1 #bgj ,,clarence1 ,,duke ,,of1 #aji ,,clarion1 #bgj ,,clement ,,vii1 ,,pope1 #bdj ,,cleobury1 ,w4 ,t41 #bch ,,cloisonn ,,enamel1 #aha ,,clouds1 #bgj ,,cock1 #gi1 #ib ,,cockatrice1 #bga ,,collar1 of the ,order of the ,garter1 #aeh2 of ,st4 ,patrick1 #afb2 of the ,thistle1 #afj2 of the ,bath1 #afb2 of ,toison d',or1 #aic ,,colours ,,of ,,mantling1 #acg ,,compony1 #di ,,coronets1 #bga2 crest coronet1 #bga2 mural crown1 #bgc2 naval crown1 #bgc2 crown vallery1 #bgc2 crown palisado1 #bgc2 eastern crown1 #bgc2 celestial crown1 #bgd ,,coronets1 ,,royal1 #aeb 0 ,,of ,,peers1 #aec ,,cotise1 #ea ,,counterchange1 #di ,,counter-,,compony1 #di ,,counter-,,potent1 #df ,,counter-,,vair1 #df ,,couped1 #ed1 #hd ,,crosses1 #if ,,cross1 #e1 #ec2 bottone1 #ajj2 couped1 #ed2 calvary1 #ig2 crosslet1 #ii2 crosslet-fitchy1 #ii2 fleurett1 #ig2 flory1 #ig2 furche1 #aja2 interlaced1 #ec2 moline1 #ig2 nowy1 #ed2 parted and fretty1 #ec2 patonee1 #ig2 pate1 #ii2 pomell1 #ajj2 potent1 #aja2 quadrate1 #ed2 quarter pierced1 #ed2 recercele1 #ii2 tau1 #aja2 urde1 #ajj2 voided1 #ec ,,crest1 #cg1 #aah2 ceremonial use1 #aah2 difficulties in treatment1 #acj2 dragon's head1 #abg2 of the ,black ,prince1 #abf2 panache1 #abe2 tourney crest1 #acf ,,crests ,,of ,,queens ,,regnant1 #cg ,,crescent1 #aib1 #bgd1 #bhh ,,crown1 ,imperial1 #adh2 of ,henry ,v41 of ,henry ,,viii41 of ,charles ,,ii41 #adh2 ,georgian1 #adi ,,crusades1 #b ,,cutwork1 #bfa ,,dacre ,,knot1 #bgi ,,damascening1 #aih ,,dancett,e1 #ef ,,day1 ,,lewis ,f41 #bdj ,,demi-,,lions1 #hc ,,derby1 ,,countess ,,of1 #adf ,,devices ,,at ,,alloa ,,house1 #bbj1 #bba ,,diana ,,de ,,poitiers1 ,,badge ,,of1 #aib ,,diapering1 #aaj ,,dimidiation1 #hc ,,distribution1 ,,plans ,,for1 #hb1 #ia ,,division ,,of ,,the ,,field1 #dg ,,dolphin1 #ic ,,donatello1 #ahi ,,dovetailed1 #ef ,,dragon ,,of ,,cadwallader1 #ahb1 #ahc ,,dragon',s ,,head ,,crest1 #abg ,,duke',s ,,coronet1 #aec ,d,,rer1 #ca1 #cb1 #cd1 #gi ,,eagles1 #hi2 plan for distribution1 #ia ,,eagle of the ,emperor1 #ij2 of the ,holy ,roman ,empire1 #adf2 of ,prussia1 #adf2 on lock-plate1 #aij ,,earl',s ,,coronet1 #aed ,,eastern ,,influence ,,on ,,heraldry1 #f ,,edmond ,,beaufort1 ,,duke ,,of ,,somerset1 ,,seal ,,of1 #ada ,,edmund1 ,,prince1 ,,of ,,langley1 #fj1 #ij1 #bgb ,,edward ,,the ,,black ,,prince1 #h1 #ge 0 ,,the ,,confessor1 #ib 0 ,i1 #c 0 ,,ii1 #ei 0 ,,iii1 #bi1 #fb1 #fh1 #adj 0 ,,iv1 #bi ,,eleanor1 ,,queen1 #c ,,electrotype1 #bjb ,,elizabeth1 ,,queen1 #ajg1 #aji ,,elizabethan ,,decoration1 #cf ,,embattled1 #ef ,,embroidery1 #bdf ,,embroidered ,,arms1 #beb 0 ,,badges1 #bej ,,enamel1 #agj2 ,bassetaille1 #agh2 ,champlev1 #aga2 ,cloisonn1 #aha2 designs and drawings1 #ahj2 8,limoges enamel10 #agg2 plique-a-jour1 #ahj ,,england1 ,,arms ,,of1 #h1 #fi1 #ge1 #hc ,,engrailed1 #ef ,,engraving1 ,,decorative1 #aif ,,enhanced1 #eb ,,erased1 #hd ,,eric1 ,,king ,,of ,,sweden1 ,,arms ,,of1 #bec ,,ermines1 #dd ,,erminois1 #dd ,,erskine1 ,,henricus ,,de1 #aac ,,escallop ,,shell1 #bgd ,,escarbuncle1 #bge ,,estoile1 #bge ,,esquire',s ,,helmet1 #abi ,,etched ,,decoration1 #bjj ,,falcon1 #ia ,,fess1 #ej ,,field1 ,,the1 #da 0 ,,of ,,the ,,cloth ,,of ,,gold1 ,,gold ,,seal ,,of ,,treaty1 #adi ,,firebacks1 #ahe ,,fish1 #ic ,,fishmongers' ,,company1 #id ,,fitzalan1 ,,earl ,,of ,,arundel1 #aed ,,fitzjames1 #cg ,,flanches1 #fa ,,flanders1 ,,arms ,,of1 #beb ,,flasques1 #fa ,,fleurs-,,de-,,lis1 #aja ,,florence1 ,,arms ,,of1 #ajc ,,florentine ,,heraldry1 #ce 0 ,,shield1 #aab ,,flowers1 #e ,,foreign ,,influence1 #aa ,,foster',s ,,peerage1 #dj ,,fountain1 #bge2 lead1 #bja ,,france1 ,,arms ,,of1 #h1 #fb ,,frederick ,,ii1 ,,arms ,,of1 #bfe ,,french ,,ch,,teaux1 #bje ,,friezes1 #bji ,,froissart1 #bg ,,fusil1 #eh ,,fylfot1 #bgf ,,gallery ,,of ,,the ,,vyne1 #bab ,,garbs1 #hd ,,garlands1 #e ,,garter1 the1 #aef1 #aeh2 collar of the1 #ajg2 ,knight of the1 #bj2 order of the1 #acf1 #aeh ,,garter ,,plates1 #ce ,,gaston ,,de ,,foix1 #acf1 #bhg ,,geneville1 ,,arms ,,of1 #bdh ,,george ,,the ,,lesser1 ,,order ,,of ,,the1 #aeh ,,geratting1 #fb ,,german ,,heraldry1 #gh2 ,gothic influence in1 #gh ,,gesso1 #ah1 #bad2 its preparations1 #bae2 use1 #aaf2 ,cennino ,cennini1 #bae ,,gilbert1 ,,alfred1 #aji ,,glaive1 #aig ,,gloucester1 ,,duke ,,of1 #bi ,,goat1 #he ,,gobony1 #di ,,godmanchester1 ,,seal ,,of1 #ajc ,,golden ,,fleece1 #aic1 #bea ,,goldsmiths' ,,company1 ,,arms ,,of1 #he ,,golpes1 #bha ,,gothic ,,lions1 #gf 0 ,,revival1 #ab 0 ,,work1 #ag ,,goutt ,d',,or1 ,,etc41 #fb ,,great ,,george1 ,,the1 #aeh 0 ,,seals1 #ag1 #aaj1 #adj ,,greek ,,symbolic ,,figures1 #ba ,,green1 ,,everard1 #bch1 #bhj ,,greyhounds1 #adj ,,grielly1 ,,arms ,,of1 #bhg ,,griffin ,,or ,,gryphon1 #hg ,,grocers' ,,company1 #acc2 arms of1 #fd ,,gules1 #dd ,,gutt,e1 #fb ,,guzes1 #bha ,,gyron1 #eh ,,gyronny1 #dg ,,halberd1 #aih ,,hammer1 #bgf ,,hampton ,,court1 #adg1 #bad ,,harps1 #ajh ,,harpy1 #ic ,,hawk',s bells and jesses1 #bgg2 lure1 #bgg ,,helm1 #aag2 ceremonial use1 #aah2 development of form1 #aai2 its structure1 #abj ,,helmet1 #abb2 as a sign of rank1 #abh ,,hemp-,,brake1 #bgg ,,heneage ,,knot1 #bgh ,,henry ,v1 #ajf1 #adj2 ,great ,seal of1 #ag1 #ah1 #bj 0 ,v1 #ag1 #ah1 #bi1 #ce2 chantry1 #adf 0 ,,vi1 ,,arms ,,of1 #bcf 0 ,,vii1 #aa1 #ajf1 #aeh2 badge of1 #bhb2 tomb1 #ahb 0 ,,ii ,,of ,,france1 ,,arms ,,of1 #aib 0 ,,prince ,,of ,,wales1 #ce 0 ,,son ,,of ,,swanus1 ,,seal ,,of1 #ff ,,heraldry1 origin of1 #a2 eastern influence1 #f2 foreign influence on1 #aa2 ,gothic influence1 #aj1 #aa2 ,italian influence1 #ab ,,heraldic ,,qualities1 #bj 0 ,,shorthand1 #ee 0 ,,antelope1 #hd 0 ,,tiger1 #hd ,,hinge ,,with ,,lions1 #aia ,,holbein1 #ab1 #bdc ,,holy ,,roman ,,empire1 ,,eagle ,,of1 #adf ,,horse1 #he1 #bcj ,,human ,,figures1 #id2 arms1 #ie2 hands1 #ie2 heads1 #ie ,,hurt1 #bha ,,illuminations1 #afd2 methods1 materials1 #afd ,,impaling1 #fa ,,in ,,fess1 ,,etc41 #fc ,,in ,,orle1 #fb ,,indented1 #ef ,,inescutcheon1 #eh ,,insignia ,,of ,,orders1 #aef ,,interior ,,decoration1 #baj ,,invected1 #ef ,,ireland1 arms of1 #aaj2 ,great ,seal for1 #aaj ,,irish ,,harp1 #ajh ,,isabella ,,of ,,france1 #ei ,,italian ,,glass ,,painting1 #bdj 0 ,,influence1 #gh 0 ,,shields1 #cj1 #ca1 #ce ,,jacobean ,,decoration1 #cf ,,jamb1 #hd ,,james ,i1 #ajg1 #aji2 arms of1 #bed ,,jane ,,seymour1 ,,queen1 #aej ,,javelin1 #bhc ,,jesses1 #bgg ,,john1 ,,duke ,,of ,,argyll1 #aee 0 ,,earl ,,of ,,mar1 ,k4,t41 #afa 0 ,,king ,,of ,,france1 #bfh 0 ,,lord ,,erskine1 #aad 0 ,,prince1 ,,of ,,eltham1 #ej1 #agf ,,katherine1 ,,queen ,,of ,,france1 #aib ,,kellie1 ,,device ,,for ,,earldom ,,of1 #bbj ,,keys1 #aid ,,knights helmet1 #abi2 of orders1 #add2 supporters of1 #add2 other insignia1 #aef ,,knots1 #bgh ,,kress1 #cd ,,label1 #bhf ,,laborde1 ,,comte ,,de1 #aje ,,lace1 #bfe ,,lacey ,,knot1 #bgi ,,ladies1 ,,arms ,,of1 #cf ,,lambrequins1 #abg ,,lancaster ,,rose1 #ajf ,,leeds ,,university1 ,,crest ,,of1 #id ,,leigh1 ,,gerard1 #hg ,,leland1 #bge ,,leven ,,and ,,melville1 ,,lord1 #bag 8,,limoges0 ,,enamel1 #agg ,,lines1 ,,various1 #ef ,,lions1 #ff2 ,assyrian #hj2 head1 #hd2 leg1 #hd2 ,renaissance1 #gh ,,lock-,,plates1 #ahi ,,louis ,,vii1 #ajb 0 ,,xii1 #aee1 #bje2 badge of1 #bab2 medal of1 #aaf ,,lozenge1 #eh 0 ,,shield1 #cf ,,lozengy1 #dh ,,luroques1 ,,arms ,,of1 #cj ,,malatesta1 #ajf ,,male-,,griffin1 #hh ,,mantling1 #abg1 #acd1 #bjh2 colour treatment of1 #acg2 rules for various ranks1 #acg ,,mar ,,and ,,kellie1 ,,earl ,,of1 #bai ,,margaret ,,campbell1 ,,lady1 #aad 0 ,,of ,,anjou1 #bcf ,,marks ,,of ,,cadency1 #bhh ,,marquis',s ,,coronet1 #aec ,,martel-,,de-,,fer1 #bgf ,,martelli1 ,,arms ,,of1 #ahi ,,martlet1 #ib ,,mary1 ,,queen1 #ajg ,,maunche1 #bhj ,,meckenen1 ,,israel ,,van1 #ca ,,medal ,,with ,,diapering1 #aaf ,,mediaeval ,,treatment1 #f ,,medici1 ,,badge ,,of1 #bfg ,,mermaid1 #id ,,metal ,,work1 #aha ,,modelled ,,arms1 #aeg ,,mon ,,of ,,matsudaira ,,family1 #bgf ,,monsters1 #ff ,,monumental ,,brasses1 #ahd ,,moon1 #bgd ,,mortar1 ,,bronze1 #ahh ,,motto ,,shield1 #cj ,,mowbray1 #ada ,,mullet1 #bhj ,,nebul,e1 #ef ,,neptune1 #ie ,,niello1 #aih ,,nixon1 ,,forbes1 #dj ,,norfolk1 ,,duke ,,of1 #ada ,,norreys1 ,,badge ,,of ,,sir ,,john1 #bcf ,,ockwells ,,manor1 ,,stained ,,glass ,,at1 #bcf ,,ogress1 #bha ,,or1 #dd ,,oranges1 #bh ,,ordinaries1 #ea2 proportion of1 #ea ,,origin ,,of ,,heraldry1 #a ,,originality1 #ac ,,orle1 #ei ,,ormonde1 ,,marquis ,,of1 #hg ,,oxford ,,university1 ,,arms ,,of1 #bjb ,,painted ,,banners1 #bfb ,,pale1 #eb ,,pall1 #bhj ,,paly1 #dh ,,panache ,,crest1 #abe ,,pan-,,pipe1 #bgj ,,party ,,lines1 #dg 0 ,,per ,,pale1 ,,etc41 #dg ,,pavoise1 #bf ,,peacock1 #d1 #ib ,,pean1 #dd ,,peer',s ,,helmet1 #abi ,,pelham1 #e 0 ,,badge1 #bfh ,,pelican1 #ib ,,pellet1 #bha ,,penicaud1 ,,nardon1 ,,enamel ,,by1 #agg ,,pennon1 #bee ,,per ,,pale1 ,,etc41 #dg ,,percy1 ,,henry ,,de1 #fh 0 ,,shrine1 #aaa ,,pheon1 #bhj ,,philip ,,ii1 #ajb ,,ph,,nix1 #gc ,,pile1 #ed ,,pirckheimer1 #cd ,,planch1 ,j4 ,,robinson1 #bgi ,,plants1 #e ,,plate1 #bha ,,plique-,a-,,jour ,,enamel1 #ahj ,,points ,,of ,,the ,,field1 #da ,,poitiers1 ,,battle ,,of1 #e ,,poker ,,work1 #cg1 #bag ,,pomme1 #bha ,,portcullis1 #bhb ,,pose ,,of ,,animals1 #gj ,,potent1 #df ,,potenty1 #ef ,,powder-,,horn1 #aif ,,powell1 ,,john1 #ac1 #bbf ,,prick ,,spur1 #bhd ,,proportion1 #af1 #ai2 of ordinaries1 #ea ,,pugin1 #ac1 #bbf ,,purpure1 #dd ,,pyrography1 #cg1 #bag ,,raguly1 #ef ,,ralph ,,neville1 ,,earl ,,of ,,westmoreland1 ,,seal ,,of1 #adj ,,renaissance ,,heraldry1 #i1 #aj 0 ,,shields1 #bg 0 ,,work1 #ag ,,repouss ,,buckler1 #aie ,,ribbon1 #eb ,,richard1 ,,earl ,,of ,,connaught1 #ia ,,robert1 ,,king ,,of ,,naples1 #aje ,,robsart1 #ag ,,rolls ,,of ,,arms1 #b ,,roman ,,sculpture1 #ba ,,roman ,,shields1 #ce ,,rompu1 #ef ,,roses1 #ajf ,,roundel1 ,,stained ,,glass1 #aea2 from ,netley ,abbey1 #bcf ,,roundels1 #bha ,,royal ,,arms1 #cg1 #ch1 #adf1 #bbg1 #bcf 0 ,,banner1 #fi 0 ,,cadency1 #aec1 #bij 0 ,,coronets1 #aeb 0 ,,crest1 #bcc 0 ,,crowns1 #adh1 #adi1 #aej2 official type1 #aej ,,royal ,,helmets1 #abi 0 ,,mantling1 #ach ,,sable1 #dd ,,sagittarius1 #ie ,,st4 ,,alban',s ,,abbey1 ,,shields ,,from1 #ce ,,st4 ,,edmund1 ,,arms ,,ascribed ,,to1 #bgb ,,st4 ,,gatien ,,cathedral1 ,,shield ,,in1 #cc ,,st4 ,,george',s ,,chapel1 ,,crowns ,,on1 #adh ,,st4 ,,james1 #bgd ,,st4 ,,patrick1 ,,the ,,order ,,of1 #afb ,,saltire1 #ec ,,sandwich1 ,,seal ,,of1 #hd ,,savage ,,men1 #ie ,,schemes ,,of ,,decoration1 #bag ,,schongauer1 ,,martin1 #bh1 #ca ,,scotland1 ,,royal ,,arms ,,of1 #ch ,,scottish ,,royal ,,crown1 #adh ,,sculpture1 #adg1 #bjh ,,seal1 #hd1 #ih1 #ajc1 #aji1 #aci1 #adi ,,seals1 #fg1 #adj1 #ada ,,segrave1 ,,john ,,de1 ,,seal ,,of1 #aci ,,sem,e1 #fb ,,sgraffito1 #bji ,,shakespeare1 ,,arms ,,of1 #bhd ,,sherborn1 ,c4 ,w41 #bgi ,,shield ,,bearing ,,motto1 #cj2 construction1 #bc2 foliated1 #cc1 #cf2 shapes1 #cb1 #cc1 #cd1 #cf ,,shields1 #ba1 #bh2 ceremonial use of1 #bh2 8for ,peace10 #bh1 #bi2 ,norman1 #bb1 #bc1 #be1 #bf2 ridged1 #bg1 #bh2 square1 #be2 triangular1 #bd1 #be1 #ce ,,ships1 #hc ,,shovel1 ,,adm4 ,,sir ,,cloudesley1 #e ,,solis1 ,,virgil1 #ce ,,somerset1 ,,seal ,,of ,,the ,,duke ,,of1 #ada ,,spade1 #bhb ,,spear1 #bhc ,,sphinx1 #id ,,spurs1 #bhd ,,sruttle1 #bhd ,,stafford ,,knot1 #bgh ,,stag1 #he ,,stained ,,glass1 #aea1 #bbc 0 ,,designs ,,and ,,drawings1 #bbe ,,standard1 #bee ,,stars ,,of ,,orders1 #afj ,,stephen1 ,,king1 #ie1 #abj ,,stourton1 ,,lord1 #bge ,,sub-,,ordinaries1 #eh ,,supporters1 #aci ,,swan1 #d ,,swiss ,,painted ,,glass1 #bdj ,,sword1 #bhd ,,symbolism1 #d ,,syon 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#ed2 crosslet1 #ii2 crosslet fitche1 #ii1 #aae1 #aeg1 #afa1 #bai2 engrailed1 #adg2 fleurett #ig2 flory1 #ig1 #bbi2 forme1 #ii2 ,maltese1 #ii2 moline1 #ig1 #ih1 #bhh2 nowy1 #ed2 pate1 #ii2 patonee1 #ig2 quadrate1 #ed2 quarter pierced1 #ed2 voided1 #ec2 voided and interlaced1 #ec ,,crown1 #hi1 #acf1 #acg1 #ahf1 #ahg1 #aib1 #aic1 #aid1 #bja1 #baa1 #bah1 #bbg1 #bcc1 #bdb2 official type1 #aea2 of a ,king of ,arms1 #agi2 palisado1 #bgc2 ,tudor1 #adi1 #aea2 vallery1 #bgc ,,crowns1 #bgb1 #bgc2 embroidered1 #bec1 #bed ,,cupid1 #bah ,,cups1 #hf ,,dacre ,,knot1 #bgi ,,dauphiny1 ,,seal ,,of1 #ic ,,decoration ,,shield1 ,,italian1 #cj1 #ca ,,device ,,shields1 #bbj1 #bba ,,diane ,,de ,,poitiers1 ,,badge1 #aib ,,diaper1 #aae1 #aeg1 #afa1 #bah1 #bjf ,,diapered medal1 #aaf2 shield1 #aab1 #aac1 #aae ,,dogs1 #ie ,,dolphin1 #bjj ,,dolphins1 #ic ,,donatello1 ,,shield ,,by1 #ahi ,,double quatrefoil1 #bhh2 badge1 #bbi ,,dragon1 #hf1 #hi1 #ahc1 #ahf1 #ahg1 #bbi ,,dragons1 #hh ,d,,rer1 ,,albrecht1 #gi1 #hf1 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#bac ,,flags1 #bei ,,flanches1 #fa ,,fleurs-,,de-,,lis1 #i1 #fj1 #gg1 #hi1 #ic1 #ajb-e1 #ada1 #aea1 #aia1 #aib1 #bjj1 #bja1 #bad1 #bcg1 #bci1 #bhh2 embroidered1 #bdi1 #bea1 #beb ,,florentine ,,glass ,,decoration1 #bda ,,fountain1 #bge ,,france1 ,,arms ,,of1 #i ,,frederick ,,ii ,,of ,,denmark1 ,,arms ,,of1 #bfe ,,frieze ,,in ,,sgraffito1 #bji ,,fylfot1 #bgf ,,garbs1 #aci ,,garter1 #bbg 0 ,,collar1 #adi ,,gartered ,,shield1 #aeg ,,gateway1 ,,ch,,teau ,,de ,,blois1 #bjf ,,gesso1 #bbj1 #bba 0 ,,shields1 #afa1 #bai ,,glaive1 #aig ,,godmanchester1 ,,seal ,,of1 #ajc ,,gouttee1 #fb ,,great ,,seal ,,of ,,charles ,,ii1 #aaj ,,greyhound1 #ahg ,,greyhounds1 #adj ,,griffin1 #ahi1 #bba2 seated1 #hg ,,griffins1 #hf ,,grille ,,of ,,henry ,,vii',s ,,chapel1 ,,westminster1 #ahc ,,grimm1 ,,arms ,,of1 #id ,,grocers' ,,company1 ,,arms ,,of1 #fd ,,gyronny1 #dg1 #aae ,,halberd1 ,,engraved1 #aii ,,hammer1 #bgg ,,harp1 #ajh1 #aji1 #bbg ,,hawk',s ,,bells ,,and ,,jesses1 #bgh2 lure1 #bgh ,,heart1 ,,enflamed1 #bah ,,helm1 #aai2 tilting1 #aba2 tourney1 #abd2 crest for tourney1 #acf ,,helmet1 #ah1 #ca1 #gi1 #hf1 #hh1 #id1 #aai1 #aba-e1 #ace1 #acf1 #acg1 #adj1 #ada1 #ade1 #agi1 #ahd1 #aif1 #bah1 #bbj1 #bcg1 #bci1 #bdd ,,hemp-,,brake1 #bgh ,,heneage ,,knot1 #bgh ,,henry ,,vi1 ,,arms ,,of1 #bcg 0 ,,vii ,,badge1 #ahc 0 ,,viii ,,privy ,,seal ,,of1 #hi ,,heraldic ,,antelopes1 #bcg 0 ,,slab1 #ade 0 ,,tiger1 #ada ,,hinge ,,with ,,lions1 #aia ,,holbein1 #bga ,,holy ,,ghost1 #bdb ,,horns1 #ie ,,horse1 #bbi ,,hounds1 #ie ,,human ,,figure1 #id1 #ie1 #ahd1 #ahi1 #aie1 #aif1 #bdd ,,human ,,figures1 #hf1 #ade1 #bji1 #baa1 #bah ,,imaginary ,,arms1 #bah ,,iron ,,work1 #aij1 #aia1 #aib1 #aic ,,james ,i1 ,,arms ,,of1 ,,embroidered1 #bed ,,keys1 #aid2 papal1 #baj ,,knots1 #bgh1 #bgi ,,label1 #bhf1 #bhg1 #bhh ,,lace1 #bfd1 #bfe ,,lacey ,,knot1 #bgi ,,lasso ,,de ,,castilla1 ,,arms ,,of ,,don ,,pero1 #acg ,,lead ,,cistern1 #bjj 0 ,,fountain1 #bja ,,leopard',s ,,face1 #adg 0 ,,faces1 #hf ,,lettering1 #bbj1 #bba ,,letters1 #bef 8,,limoges0 ,,enamel1 #agg1 #agi ,,lines1 ,,various1 #ef ,,lion1 #hi1 #acg1 #ahf1 #ahh1 #bbj1 #bcc 0 ,assyrian1 #ha2 passant1 #fg1 #ge1 #adg2 passant guardant1 #i1 #ah1 #fj1 #fh1 #ga1 #gg1 #ada2 rampant1 #ff1 #fg1 #fh1 #gb1 #gi1 #acg1 #aci1 #adj2 rampant guardant1 #gb2 rampant regardant1 #gb1 #hi2 salient1 #gb2 sejant1 #gf ,,lions1 #i1 #ah1 #fj1 #hi1 #aea1 #ahd1 #bbg1 #bcg1 #bci1 #bdb1 #bdc2 conjoined with ships1 #hd2 embroidered1 #bdh-ed2 faces of1 #acg2 heads of1 #acg2 in enamel1 #aga1 #agd2 lace1 #bfe2 on hinge1 #aia2 plans for distribution on shields1 #hc1 #hi1 #acg ,,lock-,,plate1 #aia2 with eagle1 #aij ,,london1 ,,city ,,of1 ,,arms1 #hh ,,louis ,,xii ,,medal1 #aaf ,,lozenge1 #bgi ,,lozenges1 #dh ,,lymphad1 #aae ,,man1 ,,savage1 #id1 #ie ,,mantling1 #gi1 #hh1 #id1 #ie1 #ace1 #acf1 #acg1 #agi1 #bbj1 #bcg1 #bdd ,,mar ,,and ,,kellie1 ,,arms ,,of ,,the ,,earl ,,and ,,countess ,,of1 #bai ,,martlet1 #bbi1 #bhh ,,maunche1 #ada1 #bhj ,,maximilian ,i1 ,,emperor1 #hf1 #hg ,,medal ,,with ,,diaper1 #aaf ,,medals1 ,,italian1 #ic ,,medici ,,badge1 #bfg ,,memorial ,,brass1 #ahd ,,mitre1 #bdc ,,monogram1 #bba ,,mortar1 ,,bronze1 #ahh ,,mottoes1 #cj1 #fd1 #hf1 #hh1 #ahd1 #bjb1 #bah1 #bbj1 #bba1 #bcc1 #bcg1 #bci1 #bef1 #bfg ,,mullet1 #bhh ,,mural ,,crown1 #bgc2 decoration1 #fd1 #hf ,,naval ,,crown1 #bgc ,,nebul,e1 #eg ,,ockwells ,,glass1 #bcg1 #bci ,,orle1 #ei ,,ostrich ,,feathers1 #bfg ,,pageant ,,car1 part of1 #hf ,,pale1 #ea1 #aae1 #aeg1 #afa1 #bai ,,pale1 ,,diapered1 #aac ,,pallets ,,on ,a ,,chevron1 #fi ,,paly1 #dh ,,panache ,,crest1 #abe1 #ace ,,panel ,,by ,,donatello1 #ajd 0 ,,in ,,chiselled ,,iron1 #aic 0 ,,in ,,copper1 #ga ,,pan-,,pipe1 #bgj ,,papal keys1 #baj2 tiara1 #baj ,,parted ,,and ,,fretty1 #ec ,,paul ,,iii1 ,,arms ,,of ,,pope1 #baj ,,pavoise1 #bf ,,pelican1 #ic ,,per ,,bend1 #dg 0 ,,chevron1 #dg 0 ,,fess1 #dg2 indented1 #bci 0 ,,pale1 #dg1 #di 0 ,,saltire1 #dg ,,pheon1 #bha ,,ph,,nix1 #ic ,,pile1 #ed ,,pisano1 ,,medal ,,by1 #ic ,,plate ,,prepared ,,for ,,enamel1 #agd ,,points ,,of ,,the ,,shield1 #da ,,poker ,,work1 #bah ,,porcupine1 #bjf1 #bac ,,portcullis1 #bhb ,,potent1 #df ,,powder-,,horn1 #aif ,,prince ,,of ,,wales' ,,coronet1 #aec ,,printer',s ,,mark1 ,,heraldic1 #id ,,pyrography1 #bah ,,quarterly1 #dg ,,quatrefoil1 #bhb ,,repouss ,,shield1 #aie ,,rose1 #ajg1 #adg1 #bhh2 irradiated1 #ajg ,,roses1 #di ,,roundles1 #bda ,,royal ,,arms1 #i1 #ah1 #fj1 #gg1 #hi1 #adi1 #ahf1 #ahg1 #baa1 #bad1 #bbg1 #bcg 0 ,,crest1 #bcc ,,st4 ,,edmund1 ,,arms ,,of1 #bgb ,,saltire1 #ec1 #adj ,,savage ,,man1 #id1 #ie ,,scales1 #hf ,,sculptured ,,arms1 #adg ,,seal1 ,gold ,bulla of ,henry ,,viii1 #adi2 of ,anne1 ,countess of ,devon1 #adj2 of ,anthony de ,bec1 ,bishop of ,durham1 #ih2 of ,charles ,,iv1 #ib2 of ,dauphin1 #ic2 of ,edmond ,beaufort1 ,duke of ,somerset1 #ada2 of ,henry ,,iv1 #ah2 of ,john de ,segrave1 #aci2 ,privy1 of ,henry ,,viii1 #hi2 of ,ralph ,neville1 ,earl of ,westmoreland1 #adj2 of ,sandwich1 #hd2 of ,sigismund1 #ib2 of ,william ,lord ,hastings1 #ada2 ,segrave ,seal1 #adi ,,serpent1 #hi1 #aie2 nowed1 #bef ,,sgraffito ,,frieze1 #bji 0 ,,panel1 #baj ,,shield1 #hh1 #hi1 #id1 #ie1 #acf1 #acg1 #bcg1 #bci1 #bdd2 bronze1 by ,donatello1 #ahi2 cusped1 fifteenth and sixteenth century1 #cb2 decoration1 #cj1 #ca2 diapered1 #aab1 #aac1 #aae2 embroidered1 #bec2 from the tomb of ,prince ,edmund of ,langley1 #ij2 in enamel1 #agf2 in gesso1 #afa1 #bai2 ,italian1 #ade1 #baj2 of the ,black ,prince1 #i2 points of1 #da ,,shields ,,at ,,alloa ,,house1 #aac1 #aae1 #aeg2 decorated1 #cc1 #cd1 #cf2 derived from the tournament form1 #cc2 fourteenth century1 #bd2 heater shape1 #bd1 #be2 in gesso1 #aac1 #aae1 #aeg1 #bbj1 #bba2 ,norman1 #bb2 ridged1 #bg1 #bh2 square1 #be2 tournament1 #bf1 #cc ,,ship1 #aae ,,ships1 ,,conjoined ,,with ,,lions1 #hd ,,snake1 #hi1 #aie ,,spade1 #bhc ,,spear1 ,,tilting1 #bhc ,,sruttle1 #bhc ,,stabius1 ,,arms ,,of1 #acf ,,stafford ,,knot1 #bgh ,,stained ,,glass1 #bbg1 #bbi1 #bcj1 #bca1 #bcb1 #bcc1 #bce1 #bcg1 #bci1 #bda1 #bdb1 #bdc1 #bdd ,,standard1 #bef ,,supporters1 #hf1 #hh1 #hi1 #adj1 #ada1 #ade1 #ahf1 #ahg1 #aif1 #baa1 #bji1 #baa2 royal1 #bcg ,,swan1 #bcd ,,sword1 #hh1 #acf ,,syon ,,cope1 ,,arms ,,from1 #bdh ,,syrinx1 #bgj ,,talpas1 ,,medal ,,by1 #ic ,,thistle ,,collar1 #afa ,,tiara1 ,,papal1 #baj ,,tiger1 ,,heraldic1 #ada ,,tilting ,,helm1 #aba2 spear1 #bhc ,,tinctures1 #dd ,,toison ,d',,or ,,badge1 #hf1 #hg1 #bea2 collar1 #aic ,,torse1 ,,florentine1 #acd ,,tournament ,,collar1 #bhg ,,tourney ,,helm1 #abd 0 ,,helm ,,and ,,crest1 #acf ,,trefoil1 #bef1 #bhd ,,tressure1 #ei1 #bai ,,tricked ,,arms1 #ee ,,tschertts1 ,,arms ,,of1 #ie ,,tudor ,,crown1 #adj ,,unicorn1 #hf1 #bca ,,union ,,jack1 #bei ,,vair1 #de1 #aea2 ancient form of1 #df ,,various ,,lines1 #ef ,,wake ,,and ,,ormond ,,knot1 #bgi ,,warwick1 ,,arms ,,of ,,the ,,earl ,,of1 #bcf ,,water ,,bouget1 #bhd ,,weidlitz1 ,,hans1 #id ,,weldon1 ,w4 ,h41 ,,crest ,,of1 #agi ,,william ,,de ,,valence ,,shield1 #agf ,,wings1 #id2 dragons'1 #hh ,,wings ,,conjoined ,,in ,,lure1 #aea ,,winnowing ,,fan1 #bhc ,,wirsung1 ,,arms ,,of1 #id ,,wolsey1 ,,cardinal1 ,,arms ,,of1 #adg ,,wood-,,carving1 #baa ,,wyvern1 #id ,transcriber's ,note3 ,minor errors and omissions in punctuation1 hyphenation1 and capitalization have been fixed4 ,some words with potential alternative spellings were left as in the text1 including jowlopped1 marygold1 spandrils1 ,poictiers1 applique1 and gouttee4 ,page #ee3 ,three instances of non-,unicode shapes have been designated by ,shape4 ,shape #a is similar to an ,greek lambda 771 but obtuse4 ,shape #b is a circle with a dot in the middle and five lines radiating from it4 ,shape #c is a cross with three arcs on the top4 ,page #eh3 8displaying an augumentation0 changed to 8displaying an augmentation04 ,page #fb3 8known as guttee or goutee0 changed to 8known as gutte or gouttee04 ,page #ii3 8pate or formee0 changed to 8pate or forme04 ,page #ajj3 8,cross ,pomell0 changed to 8,cross ,pommel0 in the ,fig4 #aah caption4 ,page #ajf3 8,maltesta in ,italy0 changed to 8,malatesta in ,italy04 ,page #aaa3 8like the sem0 changed to 8like the seme04 ,page #aai3 8more or less cylindical0 changed to 8more or less cylindrical04 ,page #agc3 8,champlv is usually0 changed to 8,champlev is usually04 ,page #baf3 8in this way car0 changed to 8in this way care04 ,page #bgi3 8,j4 ,robinson ,planche0 changed to 8,j4 ,robinson ,planch04 ,index entry spellings were changed to match the spelling in the text3 ,page #bie3 8furchee0 in the index changed to 8furche04 ,page #bie3 8botone0 in the index changed to 8bottone04 ,page #bie3 8,durer0 in the index changed to 8,drer04 ,page #bif3 8,french chateaux0 in the index changed to 8,french chteaux04 ,page #bih3 8,lambriquins0 in the index changed to 8,lambrequins04 ,page #bih3 8,nebulee0 in the index changed to 8,nebule04 ,page #bih3 8,ogresse0 in the index changed to 8,ogress04 ,pages #bii1 #cjg3 8,earl of ,westmorland0 in the index changed to 8,earl of ,westmoreland04 ,page #cjd3 8crosslet fitch0 in the index changed to 8crosslet fitche04 ,page #cjd3 8patonce0 in the index changed to 8patonee04 ,page #cje3 8,chateau de ,blois0 in the index changed to 8,chteau de ,blois0 in two places4 ,page #big1 #cje3 8,gyrony0 in the index changed to 8,gyronny04 ,page #cjf3 8saliant0 in the index changed to 8salient04