THE SOCIETY OF HERALDIC ARTS Table of Contents

The Shaftesbury Abbey cover Contents, membership and editorial inside cover Offi cers of the Society and Chairman’s Message 1 On a fi eld… Jan Juna, SHA 2 Bidden by what we do Paul Wright 6 Society Ma ers AGM Agenda 7 The Anthony and Margaret Wood Bursary and announcements 8 The Craft of Confi dence Clunie Fre on 9 The of the Temple Bar Tim Crawley, ARBS 10 Sunfi eld Stalwarts Ralph Brocklebank, FSHA 16 Österreich Imperialswappen Jan Juna, SHA back cover Membership of the Society

Associate Membership is open to individuals and organisations interested in heraldic art. Craftsmen new to heraldry whose work is not preponderantly heraldic should initially join as Associate. The annual fee is only £25.00 or equivalent in other currencies.

Craft Membership is open to those whose work comprises a substantial element of heraldry and is of a suffi ciently high standard to suit the Appointments Board. Successful applicants may use the post nominal SHA. Fellowship of the Society is in recognition of outstanding work. Annual craft fee is only £40 with a dedicated page on the Society’s webmarket at a further modest .

Please join us! Look on www.heraldic-arts.com or contact Gwyn Ellis-Hughes, the Hon Membership Secrtary whose details are on the opposite page. The Heraldic Craftsman

‘The ayes have it.’ THE AYES HAVE IT!’ repeated the Deputy Speaker of the House of Commons with great volume and a broad smile. So the motion to ‘maintain the use of vellum to record Acts of Parliament’ was resoundingly passed. And now it goes back to the Lords with considerable weight. Thanks in large part to pressure from members of this Society and other like-minded organisations, the debate was very well a ended. The pro-vellum speakers on both sides of the house well-briefed (modest ahem here) and erudite, conducting themselves with the courtesy borne of unity of purpose and strength of argument; a model of its kind, a quality highlighted by the odd comic interlude such as that from an MP who sought to equate the abolution of vellum with the winding up of a corrupt childrens’ charity. Another stacking irrelevant statistics until like mining tailings, they slid downhill under their own weight in an ill-tempered mumble. Another Anti-Vellumite was totally non-plussed when it was pointed out that the charter of her constituency only survives because it is on vellum. And a fi nal rant came from Mr Angry whose real ire was probably the existence of Westminster parliament itself. As our Chairman says in his message (page 1 opposite), it was gripping, all grand theatre and to great purpose. Vide Hansard 26 Apr 16 pp 1001-1030 (which also contains a list of the righteous and the not-so righteous). Your Executive has received copious thanks from the leading light, James Gray MP and from Paul Wright of William Cowley for ‘the Society’s mounting such a sterling defence for the retention of vellum’. So dear Members, take a bow. Now, Comrades, back to what we are about. Please spare a thought for your Hon Editor. It is not fun to face a blank running as deadlines draw near without a clue as to how I am going to please you this quarter. So the bo om is that I want to thank those who do contribute and to remind those of you who do not that you were not put on this earth to hide your heraldic skills or interest under a bushel basket. Please get in touch. Don’t be shy. We specialise in making silk purses (if you see what I mean). As Al Capone used to say ‘You know where I live…’ Again, get in touch! Front cover: The Rupert Moore Roundel (18’ in diameter). The Abbey Church of St Mary and St Edward, King and Martyr was the fi rst religious house in England solely for women. After King Edward was killed at Corfe in 978, his remains were brought there and the Abbey became one of the principal shrines in England. Vastly wealthy, after 651 years of glorious worship, King Henry VIII’s rapaciousness closed it in 1539. In 1931 the bones of a young man were discovered in the garden in a lead box. They now rest in a Russian Orthodox chapel near Woking. Following the re-discovery of King Richard III, there is considerable interest in them as they might be the mortal remains of King Edward hidden by the last prioress at the dissolution. At the Reformation, the Abbey was wholly despoiled which may explain why the antiquarian movement seems to have largely left Shaftesbury alone and excavations in the 1930s were never completed. After the Second War two philanthropic ladies, Miss Phyllis Carter and Miss Laura Sydenham, bought the Abbey and grounds and began an imaginative restoration. It was in recognition of this eff ort that Rupert Moore made his glorious cartouche in 1970. Given the date, Ms Annabel Turner, Director and Curator of the Abbey suspects Miss Carter commissioned it but as Ms Turner says the corporate memory even over these few short years has dimmed. In any event in 1985 a trust composed of several leading lights of Shaftesbury took over and since then the Abbey & Gardens have made a major contribution to the vitality of Shaftsbury’s tourist life. The Moore Roundel is one of the fi rst objects visitors see, remarkable as it is for conveying so much in so small a space. We hope to publish more of the remarkable Mr Moore and his heraldic glass in a future issue. Grateful thanks to Ms Turner and Mr William Owen, the Chairman of Shaftesbury Abbey Museum & Garden. If you like early mediaeval gardens and history in bite-sized chunks, Shaftesbury Abbey Museum & Garden is a treasure. Open between March and 31 October this year it is on Park Walk, Shaftesbury, Dorset, SP7 8JR. Details on the web or at +44 (0)1747 852910. Anthony Wood, PSHA David Krause, FCA, FSHA President Hon. Treasurer Quillion House, Over Stra on, South Petherton, Somerset 6 Corrance Road, Wyke, Bradford, TA13 5LQ UK Yorkshire BD12 9LH UK +44 (0)1460 241 115 +44 (0)1274 679 272, [email protected]

John J Tunesi of Liongam, MSc, FSA Scot David R Wooten, FSHA Chairman and Hon. Secretary Webmaster 53 Hitchin Street, Baldock, Hertfordshire, SG7 6AQ UK 1818 North Taylor Street, Ste B, +44 (0)1462 892062 or +44 (0)7989 976394, Li le Rock, Arkansas 72207 USA [email protected] 001 501 200 0007, [email protected]

Gwyn Ellis-Hughes. HNDip, BA Hons William Beaver Hon. Membership Secretary Hon. Editor The Heraldic Craftsman Ty Mwyn. Ffordd Tan-y-Bwlch, Llanllechid, 50 Church Way, Iffl ey, Oxford OX4 4EF Bangor, Gwynedd LL57 3HU UK +44 (0)1865 778061 +44 (0) 1248 601 760 or +44 (0) 7704 073 439 [email protected] [email protected] Chairman’s Message

As readership of The Heraldic Craftsman know, your Society has been in the vanguard of the campaign for Parliament to retain the use of vellum for the preservation of Public Acts of the UK Parliament. This issue touched a nerve with scores upon scores of you and our thanks for your contacting your MPs. Li le surprise therefore that the Chamber was remarkably full on Wednesday, 20th April when the debate took place and the rest as they say is history. The vote was won by 117 votes to 38, a handsome majority of 79. We are in debt both as a Society and nation to Paul Wright, General Manager of William Cowley, James Gray, MP, Sharon Hodges, MP and not least the performer during the debate, the Paymaster General, Ma hew Hancock, MP. He said ‘I want us to continue recording the laws of this land on vellum for future generations-it gives our laws a sense of permanence and we have a duty to pass this tradition on to the next generation. [It] provides a durability we cannot guarantee in the digital world as we simply cannot know how easy it will be to read today’s data in a decade, let alone in a millennium.’

The day following the debate we dispatched the following which I think sums it up for us. On behalf of the several hundred members of the Society of Heraldic Arts (and, I am sure on the behalf of all the other art and preservation societies) may I thank you for all you did yesterday. The intelligent, well-mannered debate (including the set-piece interventions by a few Mr Grumpys on either side) was a total class act and an important one as well. A triumph for common sense. We had never mounted a write-in campaign before and I would like to think that as you entered the fray you knew of the Society of Heraldic Arts’ commitment to your cause, our best wishes and steadfast support for all that you were about to do - and did magnificently. Thank you so much.

Back to the future, please note the AGM coming up at which I would be delighted to see you all. We can report on our new Bursary scheme for young heraldic craftsmen and the, dare I say, unheralded and breath-taking off er by Ralph Brocklebank, Hon FSHA to sponsor our becoming armigerous at long last. Details of the AGM will be found in ‘Society Ma ers’ on p.7. Finally, please remit your 2016-17 fee today. We are only as strong as your commitment.

John J. Tunesi of Liongam Chairman

The Heraldic Craftsman No. 91 www.heraldic-arts.com 1 On a fi eld… The military heraldry of Jan Juna, SHA C M

It always helps to have more than one string to your bow. After which would not easily tear or fade and so that twenty years of distinguished service as an offi cer in the Czech immediately ruled out most silks in favour of satin Army, Jan Juna SHA, made the hobby he loved into his business, and other textiles which I found I could easily obtain that of making 18th and 19th century military heraldry come through Jessgrove in Bedford, England, although I alive again in all its forms: in standards, colours and even – think they would be surprised to know what I want wait for it – cake decoration. In this article we take a glimpse at it for! Then I undertook a lot of experimenting in my the world of reenactment where we see his fl ags, standards and studio in Olomouc with paints which would not fade colours in action. nor run, but would continue to look resilent ba le after ba le. I now have a range of such colours which, I am Like so many of you, painting and military history have pleased to say, stand up to the inevitable wear and tear been hobbies of mine since childhood. I started painting you would expect of heraldry used this way. tin fi gurines and my favourite historical period was during the Napoleonic era. As an adult, wherever Each fl ag, standard or colour takes about I was stationed, I kept up painting and I 300 hours of solid research, drawing, suppose I acquired a bit of a reputation as I painting and fi nishing before I am able to became the Army’s representative to work hand it over to the requesting unit. That is in co-operation with the Military History a moment when I allow myself a moment Institute in Prague preparing unit badges of pride. And then it is back to the studio and a commemorative medal. This was to work on the next commission! Happily, I not a stress-free time, as the powers that be am an early riser. decided that competitions were to be the order of the day but happily I was able to Like so many other SHA craft members, my succeed there, too. life is in my art and I hope you will enjoy some of the pictures which accompany this When I retired, I did not so much stumble Jan, one of our newest SHAs, is widely article. And please do not hesitate to visit into my new career as much as march into acknowledged within the re-enactment my website. it. About twenty years ago I began meeting world as the consumate historian and creator of central European Napoleonic people who not only shared my passion for era heraldry in a fl ourishing practice military history but who looked up from based in Olomouc in the Czech Republic. Pictures on opposite page their books and began to live it – albeit His scholarship is prodigeous, his output in various media almost overwhelming. at a safe distance! These were the ‘active Upper left: historians’ who were instrumental in His website is an Aladdin’s cave of Here I am introducing a new standard, fostering military re-enactments. interesting and varied work. Jan can be an Austrian Ordinärfahne M1805, at a re- contacted at [email protected] and www.historickeprapory.cz] enactment in Sacile-Porcia, Italy where it Now I know this is not, as the English received its baptism of fi re! are supposed to say, everyone’s cup of tea, but I found it fascinating and began to actively participate in Upper right: reconstructions of ba les from the Napoleonic era up Other French, Russian and German re-enactment through the Austro-Prussian War of 1866, which was groups and military historical clubs saw my work and Bismarck’s rehearsal for taking on the French in 1870 commissions followed by requests from ‘the other side’! and the bindungsglied of the several Germanic states into This necessitated much more study. Here are French modern Germany. For good or ill, it was a fascinating infantry, marine and Imperial Guard standards including period to study and re-create. that of a Demi-Brigade. I was obviously pleased that the Emperor himself approves! And create is the word. The unit to which I belonged had no standard or colour and knowing I painted, I was Bo om: asked to make one. This plunged me into the study of My fi rst fl ag was a Liebfahne M1805 used by Kauni - , handmaid of heraldry, and soon I was pouring Rietberg Regiment No. 20, a grenadier unit of Austrian over dusty books relating to Austrian military fl ags from infantry (1805 to 1816) featuring the Blessed Virgin Mary 1816-1859 and visiting museum after museum, especially trampling a snake! I painted it on silk in actual size exactly the Heeresgeschichtliches Museum in Vienna, a gold mine as the original which, by a miracle, still exists. That is for my purposes. me, by the way, on the end of the fi rst fi le at the ba le of It also plunged me into experimenting with fabrics Austerli .

2 www.heraldic-arts.com The Heraldic Craftsman No. 91 The Heraldic Craftsman No. 91 www.heraldic-arts.com 3 It was not long before I was asked to do 18th and 19th century Russian standards. This illustration above shows the Apsheron Infantry Regiment c. 1812 advancing in line abreast. Note some of my other art work carried by troops in the background of this shot.

A montage of various clock faces. I did one and suddenly With heraldry of this size it is not easy deciding which plane to was asked to do several more, Austrian, Prussian, Russian, work on. This unusual fl ag is for the Italian 2nd Ba alion, 18th French and in the lower right the arms of the famous Joseph, Infantry, an Italian demi-brigade in French service. It was fi rst Graf Rade ky. paraded in Milan on 17th July 1797.

4 www.heraldic-arts.com The Heraldic Craftsman No. 91 A typical regimentswappen, here for the 7th Company Detail from an Austrian fl ag M1792. (Königgrä ) of the First Guards Infantry Regiment of the Prussian Army.

Restoring ceremonies from the past is important in the modern Czech Republic. Here is the sacring or consecration of a new unit fl ag at St Maurice in Kromeriz according to service regulations from the 18th and 19th centuries. The priest drives in the fi rst three nails in the name of the Holy Trinity, then the colonel and staff offi cers drive in nails for the Emperor, the commanding general, the regiment itself. Important guests do likewise followed by every offi cer and NCO.

The Heraldic Craftsman No. 91 www.heraldic-arts.com 5 Bi en by what we do

Paul Wright, the General Manager of William Cowley, the Based on its predecessors, this map will still be as fresh in 6016 world’s leading parchment and vellum makers, greets the Hon as it is today. The Dead Sea scrolls are as readable today as Editor with a cup of tea and leads the way across a lawn beside when the Essenes buried them 2,000 years ago. If Magna Carta a brook to the works gazebo where we bask in the warm spring of 1215-17 had been wri en on paper absolutely no original light and he introduces himself and the fi rm. ‘I am basically an copies would have survived beyond the reign of Henry VII.’ engineer, an atomic engineer, as it happens’ Paul says ‘and the ‘With vellum you can dispense with microbiological or insect great, great, great grandson of the founder recruited me. How he control. There are no harsh chemicals needed in its preparation. picked on me I have never found out, but I fell in love with the It is non-combustible and requires minimal care. It is one of craft and the business the day I fi rst came and here I am today.’ the reasons that no country on earth has as many mediaeval records as Britain does. Not because people took loving care of them, but because everything was recorded on a medium which would last, a medium that was trusted. A medium you could not easily erase or alter: vellum. Resilient vellum.’ Paul’s small offi ce teems with rolls ready for mailing that day to chanceries, libraries and artists all over the world, and anticipating my next question, he points to a small photograph of the founder. ‘We have been producing vellum here, on this site, for almost 150 years. Our business philosophy is to produce a superior product at an aff ordable price, no more. You will meet Lee and Steve. They are highly skilled, as you might imagine, working with tools which would have been recognisable a thousand years ago. We do not do staff turnover. Our succession planning is in place (Julia Visscher, great, great, great granddaughter of the founder is in the next room completing orders. We briefl y say hello and leave her as she swims through a sea of stiff milk-white sheets of all diff erent sizes and purposes carefully marked order by order). I wonder if it all gets too much. ‘No’ says Paul. ‘Our saving Momentous Day. Graduating from four arduous years at West grace is that we cannot work any faster than nature allows. Point and being commissioned in the Regular United States Basically when a hide is at the right state of decomposition, Army is a mammoth acknowledged in… vellum. which we can only tell by smell, then and only then do we take Vellum from Newport Pagnell. it to the next step.’ Nothing is rushed. ‘Once when I fi rst came’, Paul said, ‘I suggested to Wim Visscher (Julia’s father) that we Our tea reluctantly fi nished, we climb the steep narrow creaking could increase our output if we worked on Saturdays. He held steps in the early Victorian farm co age which leads to the small up a fi nger and said “No. Weekends are for family.”’ general offi ce. Paul bids me to watch my head as he fl uently Over the last few months, Namila, who shares Paul’s offi ce and explains the unique role his fi rm has in the world of heraldic art, now has her own computer, has become used to a seemingly of calligraphy, of illumination, furniture and drum heads. never-ending stream of television crews from all over the world. ‘We trade with virtually every country in the world and are ‘They can never understand a critical part of any mechanic of real recognition. If you are why anyone would want about to become a Regular Offi cer in the US Army from West to throw over this priceless Point, the evidence is on our vellum. A knight anywhere in the heritage’ she says. ‘And, Commonwealth? A peer? A judge? Every major national library, thankfully, many members every law from every parliament in the Commonwealth? of Parliament agree. We shall Higher degrees from the most prestigious universities, see.’ Paul is grateful for the certifi cates of appreciation, recognition and, of course, support of this Society, but achievements awarded by heraldic authorities around the at time of writing another world, not to mention heraldic library pictures all beautifully ba le looms, this time on the painted, le ers into art, calligraphy crisp and proud and, even fl oor of the Commons. Will the sound you hear from bass and snare drums. All require this be it? Not sure. vellum or parchment. Our vellum invests any form of artwork Time to leave after a with longevity and a real regard for the recipient. If there were fascinating visit and Paul ever a material more than fi t for purpose, it is vellum. This is escorts me to the boundary what is so exciting about what we do.’ We reach the top and line between his measured walk into his Dickensian offi ce. ‘It is a burden of honour’ and world where time is of li le he means it. ‘We are bi en by what we do.’ value and the outside world Paul Wright So what does he make of this dumbing-down idea from a of rush and bother populated General Manager, House of Lords commi ee to use paper to record laws on. by Know-Nothings. He says William Cowley & Co. ‘We cannot understand it and neither can almost anyone else. he is glad to stay on his side E: [email protected] Vellum lasts thousands of years. See this map of the Caribbean? of the line and I told him T: 01908 610038 It is 16 more times more durable than the highest quality rag that I, and I suspect, all our M: 07880 645596 paper you can make or buy. members wish we could too.

6 www.heraldic-arts.com The Heraldic Craftsman No. 91 The Heraldic Craftsman No. 91 www.heraldic-arts.com 7 10-13 August 2016

THE SHA ANTHONY and MARGARET WOOD MARKETING BURSARIES

Named in honour of the President of the Society of Heraldic Arts, Anthony Wood, PSHA, and his late wife Margaret, a Queen’s Scribe, these marketing bursaries will be awarded annually to selected students of the City & Guilds of London School of Art who have shown a particular ability to design and create beautiful heraldry. The bursary is designed to assist these talented new artists to establish a presence in the international heraldic marketplace. It consists of:  The designation AssocSHA for two years  A presence on the SHA website for two years  One to one mentoring by an established SHA in marketing and sales of work  Assistance in publicising work already done. The selection will be the responsibility of the School who will then pass on the administration of the scheme to the Hon Editor in the fi rst instance. Tim Crawley, head of historic carving at the School says: ‘This is an imaginative and potentially valuable, practical assistance at a critical moment in a student’s career. The SHA is to be commended on this initiative.’

8 www.heraldic-arts.com The Heraldic Craftsman No. 91 The craft of confi dence Young artists in the burgeoning world of heraldry Clunie Fre on C F, C G L A S A, S H A On the faculty of The City & Guilds of London Art School with them as they tackle handling the client brief and you will fi nd the post of Carving Fellow. Established by the managing the process from start to fi nish. head of historic carving, Tim Crawley, ARBS, the purpose of the Carving Fellow is to give current students learning the As soon as the students start ge ing a portfolio, we work arduous art of carving a successful role model near their age with them to help shape an external reputation based and background. Clunie Fre on, is the current Carving Fellow. on their achievements. This is easier than they think for She is both a proper Fellow of the School and an Associate of three reasons: fi rst is that our students really are gifted this Society. You can see her work in issues 89 and 90 of this and historic carving is a rare craft which few can do. journal and on the SHA website. She combines teaching by Secondly, they are coming from a School which numbers example, advice-giving, all whilst undertaking a steady stream the best carvers in the UK amongst its alumni and thirdly, of commercial commissions. To the students, the technology. Carving Fellow is, in eff ect, half way between being an art student and a practising, successful artist. Before, few people knew how to fi nd a And in Clunie’s case, the wisdom of Polonius is heraldic artist, much less explore possibilities. thrown in for good measure. Now, with the net, each heraldic artist can build his or her own gallery. The Society of For me, here, I think I have the best job in the Heraldic Arts’s new bursary scheme will world at City & Guilds. I have great colleagues allow our best students to set up their stalls in diff erent disciplines on the faculty and in the SHA’s own international marketplace. wholly commi ed students. I have space When their two year bursary fi nishes we to work and am surrounded by energetic, would like to think our ex-students will be imaginative carvers in the making. It is an suffi ciently established to petition to join the inspiring place to work, seeing how people SHA properly on the basis of business gained develop their skills and ideas over the course from architects, preservation bodies, restorers of their years on the course. At the same time, and individuals – whoever! they can see that I am also embarking on a Besides her Diploma in career in commercial carving, so all of us are Ornamental Woodcarving & Ms Clunes Fre on (Clunie to you and me) on a journey. Gilding from City & Guilds comes from a distinguished artistic family. of London Art School, Clunie also holds the Taylor Pearce When she was 13 she read her fi rst book When a couple of years ago I was selected to Drawing Prize for Carving on heraldry and was hooked. ‘Le ing my be the Worshipful Company of Fishmongers’ and Conservation and was a imagination go within the parameters of well- Chosen Carver, I knew I would include it recent Worshipful Company of understood rules was amazingly liberating.’ on my CV but, frankly, marketing myself Fishmongers’ Chosen Carver. She is now recognised by some of the best Clunie can be found at www. was downstream in my mind’s eye as I was cluniefre on.com. antique restorers in England as a valued having so much fun teaching golden resource. Her business goal? ‘Easy. It is to to swim. It did not take me long, however, to keep my grandmother in gin.’ realise that I needed to think about my future, because every day I was one day nearer to being out of that door and on the street.

As many a parent has asked: ‘This art stuff is all very well, but will it pay the bills?’ In my experience, it can. It’s a diffi cult thing, to put yourself out there and try to price your work appropriately, but the college is instrumental in supporting students as they do this and giving them the confi dence to value their work correctly.

This support is very real as the School puts as many commission possibilities as it can in the way of students commensurate with their skill and the limited amount of time they have. Then Tim, the other tutors, and I stand

The Heraldic Craftsman No. 91 www.heraldic-arts.com 9 The Heraldry of the Temple Bar Tim Crawley ARBS A SHA

One of the seminal cultural enhancements of Temple Church. For much of its history the the City of London Corporation in the past two gate was a simple arrangement of posts and decades was the restoration of Temple Bar, the chains, but as relations between the penurious most signifi cant landward gate into and out of and the rich City were never chummy, the City of London. The Temple Bar of fact and Temple Bar became symbolically important fi ction was designed by Wren (1673) and it stood in 1580, when an annual ceremony was on the traditional barrier between the commercial instituted in which the Lord Mayor would heart of the nation (the City, the Square Mile) present the visiting Sovereign with a Sword and Westminster (the political centre). Kings and of State (the Pearl Sword), a mark of loyalty, queens went to their glory or death underneath it but as the Soveriegn immediately gives it and it featured in the work of Dickens and many back, it is also a ritual recognition of the City’s other writers. It also became a bo leneck to traffi c historic and mercantile rights which remained and the building of the nearby Law Courts gave independent of the Crown. the Corporation all the excuse they needed to remove it in1878. Carefully taken down, Wren’s The crowning glory of the Temple Bar A wooden structure associated with the Bar Temple Bar was acquired by the third Lady Meux, are the new heraldic beasts and arms survived the Great Fire in 1666, but as part of which were lost but yet again reign a strong-willed woman who, in the parlance of the supreme. To carve them afresh was the great rebuilding which followed it, in 1669 day, ‘enjoyed a past’. She wanted it as a gatehouse a most sought after commission and the Corporation of London decided to erect for her newly acquired estate of Theobald’s Park it was awarded to Tim Crawley, an a grandiose stone gateway completed to a in Hertfordshire. There it remained, increasingly Associate of this Society. His success design by Christopher Wren in 1673. Baroque neglected until it was purchased from the estate was acknowledged by the City splendour replaced the quaint utility of the Heritage Award and the Worshipful for £1 in 1984 by the Temple Bar Trust. After Company of Chartered Architects original modest structure, as Wren conceived years of hard campaigning to and by lord mayors, natural stone commendation. of the Bar as a triumphal, tripartite archway aldermen and common councilmen, Temple Bar Tim can be reached at: with stately rustication forming the lower was reinstated hard by St Paul’s in Paternoster www.cityandguildsartschool.ac.uk storey, whilst above a second storey consisted Square where it fi ts its new se ing like a glove. It or www.timcrawley.co.uk. of a small chamber, roofed with a curved was rededicated by Colonel Sir Robert Finch, then pediment supported by classical pilasters and Lord Mayor, in 2004. The doing of it is an excellent example of framed by powerful decorative consoles. Sculpture was what is now being called more and more: ‘preservation’ which is an important part of the design. Pairs of niches to either to say a sensitive combination of restoration and conservation. side of the central windows were eventually peopled by monarchical statues of James I, Anne of Denmark and For many centuries, the boundary between the City of the two Charles all represented with Baroque swagger, London and Westminster was controlled by a gate known fl u ering drapery and imperious posturing. as the Temple Bar, in reference to its location adjacent to

Temple Bar in an unusually well-mannered illustration c. 1770. Often it was completely blocked by traffi c. By 1878 when it was removed, it was in such a parlous state that a support had to be inserted, in the middle of the arch. Childs Bank stored its records in the upper room and you could walk unimpeded between Westminster and the City through a barber shop located on the right. The 1968 illustration in the middle shows it in a dilapidated state in the Meux grounds, Theobalds Park. The far right shows it preserved in Paternoster Square.

10 www.heraldic-arts.com The Heraldic Craftsman No. 91 Reinforcing the symbolism of the structure, heraldry still conforming to heraldic rules. I knew it would be played a critical role. On the eastern façade the Royal inaccurate to replicate the current used by the City Arms informed those passing below that they were of London Corporation which is a very distinctive, elegant leaving London and entering Westminster. Above the and refi ned c.19th model, with long legs and larger wings; central arch was placed a cartouche with the arms of but sources for the late C17th treatment of the Dragon are Charles II, whilst to either side of the consoles were set not so numerous. Then two examples caught my a ention. a and rampant, displaying their own sets The fi rst are the scary by Caius Gabriel Cibber of royal arms on subsidiary cartouches. To balance this (1630-1700) at the base display, on the western façade a display of the arms of the of the Monument, also City denoted the border between royal fi at and mercantile designed by Wren, used to independence, supported to the left and right by City of commemorate the Great London dragons rampant. Fire. What distinguishes these ugly Dragons from The Restoration the modern type is their more reptilian, serpentine Despite its two centuries long exposure to the fi lthy and and lizard-like form, with polluted London air and being taken down and put up a heavier, more cylindrical three times, the fabric of the Temple Bar itself survived and less waisted body, a in remarkably good condition. But even before its fi rst heavier and longer tail, deconstruction its heraldry had disappeared. Where it shorter legs and smaller went remains a mystery but it needed replacing. wings with the cross of St George bolted on as a bit In the absence of any physical evidence of the heraldic of an afterthought. carvings, my fi rst task was to collect as much evidence as possible showing the form of the original carvings as Another possible prototype are the gilded wood dragons they appeared on the building. There were a number of on the upper suspension bars of the Lord Mayor’s Coach, prints and paintings showing Temple Bar, but few with dated 1757. In the light of these discoveries, I was able to the detail I needed. What I did secure from the prints and create in my mind’s eye a dragon close to these c. 17-18th paintings was the approximate size and proportions of models, introducing scales on the upper surfaces of the the missing animals, relative to the architectural location body. and their heraldic a itude, the form of the shields that the animals supported, and the angle at which they were held, Apart from the heraldic both vertically and frontally. But there were also plenty of beasts, the cartouches inconsistencies. For example, some illustrations showed displaying the arms were the unicorn rampant, some rampant guardant, whilst the another feature that merited height of the central cartouche relative to the window careful research. There varied considerably. As for the cartouche containing the are plenty of examples royal arms of Charles II, size was the major problem. In the of the period in the City end, the size I selected was what looked right within the churches, but they are context of the whole structure, vertically and horizontally. usually incorporated into complete achievements I then had to consider style so I could create beasts and rather than standing alone arms into an acceptable and plausible new design. I as on the Bar. There are also thereupon set out to research surviving heraldic carving many diff erent treatments of the period in wood and stone. There is a wealth of to be seen as architectural surviving heraldic sculpture of the later 17th century due ornament on the exterior of to the legal requirement that all new churches built after the St. Paul’s Cathedral and, not surprisingly, a particularly fi re should display the Royal Arms. Many achievements interesting example in stone on the pediment of Pembroke still survive, carved in wood to the highest quality, and College Chapel, Cambridge, dated 1664. This was Wren’s are a wonderful source of reference. The supporting Lions fi rst architectural commission, and the College actually and are ornamentally elaborate, vigorously possesses original drawings for this detail. muscled and full of energy and dynamism. An example outside Pembroke College in Cambridge dated c.1663 As with the dragons, these examples greatly infl uenced demonstrates how close in style heraldic carving in stone my approach to designing a cartouche of the right size was to those produced in wood. This gave me all the and shape, one that would allow the incorporation of the background I needed. details observed in the ornamental surfaces and scrolls, based loosely on the the appearance of a grant on vellum. The next problem was the City’s dragons. Being mythical, As today, these would have been rolled onto rods and tied they were more subject to varying interpretations, whilst with ribbons. The way in which the parchment would curl

The Heraldic Craftsman No. 91 www.heraldic-arts.com 11 around the rods when unrolled became the basis for the Carving form of the scrollwork, whilst the ribbons provided further decorative elaboration. The strange bubble-like forms so Once in the carving studio, it was necessary to preserve the characteristic of cartouches from this period (accentuated models by making plaster casts. This is a long process, but to varying degrees), are a stylised ornamental treatment of essential, as the models must be available for measuring the uneven surface of the vellum. and close reference by my carving team to follow. As all the models were made exactly half scale, they were easily Design and Drawings enlarged to full size by the carvers using a system known as pointing, as well as by using simple proportional I then put all this information together in a set of calipers for checking measurements quickly. drawings. Apart from the purely aesthetic considerations of style, expression and form, I had to incorporate other Another technique I trialled on this project was to model more mundane and technical consideration such as scale, the main planes of the forms back onto the surface of the legibility and structure. The architect and client could plaster in order to help the carvers to easily visualize and now see where I was going and I moved on to making measure the boundaries, allowing them to confi dently three dimensional models in clay. rough out using grinders. I also devised a number of ways to speed up the laborious process of roughing out. From the drawings I had established the height of the Looking at the design models I saw that it would be full-size carvings at about 5 feet, and so chose to produce possible to create accurate profi les of each animal from models at a scale of 1:2. At this size, they could be modelled the front and side elevations, and these were used to allow relatively quickly, and the various technical and structural the preliminary roughing out to be done on the saw. A issues worked through, as well as the expressive and wire saw was used to cut out the profi le from the front stylistic elaboration. Given that the animals are shown and following this the stones were further milled on the rampant the weakest points in the design were the legs of circular saw to rough out the other two cardinal sections. the beasts. If these were too weak, the potential problems This process saved considerable labour. for production in stone are self-evident. I sought to make the carvings as strong as possible at this point by making The illustrations accompanying this article show how use of the detailing of the shield at the base to provide a each element of the scheme evolved and it was immensely strong extra ‘foot.’ The proportions of the limbs needed to satisfying for me and my team as we saw the results of be heavier than designs for other materials, and this was our work installed on the Bar, again playing their part in particularly the case for the legs of the unicorn, which I making the City of London one of the most interesting also strengthened by incorporating an extra support at places on the planet, all under the protection of our the base in the form of an outcrop of rocks, an old trick heraldic beasts. that has been used in stone and marble sculpture since the classical period. I then brought the feet and knees of the animals forward where possible. The ornamental design of other potentially weak areas such as the tails and wings were also considered in this light but in the end I knew that I had achieved strength and durability without compromising their essential reality.

Design models and completed cartouches of the Royal and City arms. Each is about 6 feet tall surmounted by crown or .

12 www.heraldic-arts.com The Heraldic Craftsman No. 91 The Heraldic Craftsman No. 91 www.heraldic-arts.com 13 Here the preliminary roughing out is done with a wire saw to cut out the profi le from the front, then milled on the circular saw to rough out the other two cardinal sections. This saves considerable labour.

14 www.heraldic-arts.com The Heraldic Craftsman No. 91 The clay model lion ready to be cast.

The Heraldic Craftsman No. 91 www.heraldic-arts.com 15 Sunfi eld Stalwarts Ralph Brocklebank, Hon FSHA F SHA

‘For some there will be no memorials, who are perished as if children with special needs at Arlesheim in Swi erland. they had never been and are become as though they had never Having spent his early years in London, he spoke good been born; and their children after them. But these were English, and when the followers of Steiner in this merciful men whose righteousness hath not been forgo en.’ country asked for somebody to be sent to explain what Ecclesiasticus, xliv, 9 had come to be known as Curative Education, he got the job. Here he met Michael Wilson and seeing a vast But too many have and are forgo en. Indeed, for every one need which was not being met, together they set up who is honoured offi cially, thousands equally worthy leave Sunfi eld, the name a blend of Sonnenhof and Elmfi eld. no visible legacy, their contribution but li le recognised Fried said that his family in Germany had used a blue even by those whom they have reached. In western culture, shield with silver stars in a triangular pa ern, but not schools are an excellent example of this, especially schools being able to prove the descent, his grandson Andrew working with children and young people with needs which Geuter was granted similar arms which we may use for require special a ention and perseverence month in, year Fried. out. One such is Sunfi eld in Clent, Worcestershire where eight mullets of six points conjoined in . Ralph Brocklebank, Hon FSHA, aided by the vibrant artwork of David Perks, SHA is using heraldry to remind the pupils, David Clement had been Michael Wilson’s co-director parents and especially the faculty of today, of those who since early days, and when Michael died, succeeded dedicated their lives to Sunfi eld but until now have been him as Chairman of the Board. He had been using unsung in their lives’ achievement. the arms engraved on a silver dinner service given to his grandfather as a wedding present, belonging to a ‘My family was long associated with Sunfi eld, but this Clement family in Norfolk in the 17th century ( is not about us. It is about fuelling the imagination of three garbs a border bezanty), but when we members of the Society of Heraldic Arts to look out found that no descent could be proved, David decided for opportunities to use heraldry to invest any worthy to petition for a new grant. Watching John Brooke-Li le commitment with a visible legacy, imparting for changing one detail after another until he was satisfi ed audiences today and in the future an awareness of past that the diff erence was great enough whilst keeping strivings as an exemplar.’ some family resemblance, was a lesson for us all! Gules in chief two garbs and in base two bars triple-arched Sunfi eld is a special residential school in Clent, Worcs Or on a border Azure eight mullets of six points Argent. and to commemorate its fi rst eighty years of existence, it was decided to paint six ten inch shields with the Adrian Parsons, David Clement’s son-in-law, was one arms of those people who were mainly responsible for of several Chairmen who followed David when he the establishment and development of the School. retired. His arms were newly granted and loosely refer to the post of Parson. First was Michael Wilson who came from a Quaker Per Sable and Argent within an counterchanged family living at Elmfi eld in Birmingham. He insisted four Ivy Leaves their stems inwards those in Or veined that Quakers did not arms, but we persuaded and those in Vert veined Or. him that the phrase on our lips referred to painted shields and crests. The proposed design for his arms Gladys Morison followed Fried Geuter as Principal was based on the traditional Wilson family coat with a when he retired. As Gladys Blyth, she had joined wolf and three estoiles on a chief, but modifi ed to fi t his Sunfi eld in its fi rst years as an art teacher, and later personal achievements. He had approved the design, married another art teacher there, Alec Morison. but was taken ill and died before they could be granted. Because in those days the children were offi cially Nothing loath, they were used for his memorial and so classifi ed as uneducable, we were not allowed to say appear again. that we had a school or that we gave education, so Vert a Wolf rampant Argent on a chief indented Sable the term “educational therapy” was used, but in fact fi mbriated Argent a Sun Or between to the dexter an Gladys had become head teacher in the school. Burke’s increscent and to the sinister a mullet of six points both also General Armory has only one entry for Blyth and only Argent. one of many for Morison (with one r) that happily sits nicely with Blyth. Fried Geuter came from Germany where as a young Argent a fess Gules between three Moors’ heads Sable banded man his talent was spo ed by Rudolf Steiner, who of the second (Morison) impaling Argent on a fess between invited him to work at the Sonnenhof, a home for three crescents Gules as many Garbs Or (Blyth).

16 www.heraldic-arts.com The Heraldic Craftsman No. 91 Ralph Brocklebank, FSHA was Vice Principal to And now we come to Fred Perks, SHA whose robust Gladys when she asked him to change places. One of and vibrant style is well known to readers of this his achievements, following the new Education Act was journal and much further afi eld. Not one to sit around, to get Sunfi eld registered as a residential special school, he commissions these convex heaters in mdf from a thus removing an artifi cial barrier that Steiner had retired cabinet maker. Fred says he would be happy to always argued against. His arms, a Victorian grant to assist members who would like to order them to paint an ancestor, have been fully described both in The Double on themselves. They are about £10 apiece less packaging Tressure and in Aspects of Heraldry. and post. He applies oil paint directly on the mdf surface Azure an Escallop Or between three Brocks Argent on a chief and, as we can see, it works well. Fred can be contacted engrailed of the second a Cock proper between two Escallops at [email protected] of the fi rst. Ralph Brocklebank is the editor of Dragonlore, a fascinating journal of all things dragonny. It is sent out free, gratis and for nothing but a donation of £10 up front each year will ensure you actually receive it. He is at [email protected].

Back cover: Austrian Imperial arms from the time of Emperor Franz II, c. 1804. The crazed eff ect is achieved during the application of the two fi nal coats of varnish.

The Heraldic Craftsman No. 91 17