H ctwWb gc M. L. 929.6 Ev2h 1600718 f% REYNOLDS HISTORICAL GENEALOGY COLLECTION ALLEN COUNTY PUBLIC LIBRARY 3 1833 00663 0880 HERALDRY AS ART HERALDRY AS ART AN ACCOVNT OF ITS DEVELOPMENT AND PRACTICE CHIEFLY IN ENGLAND BY G W. EVE BTBATSFORD, 94 HIGH HOLBORN LONDON I907 Bctlkr & Tanner, The Selwood Printing ^Vobks, Frome, and London. 1GC0718 P r e fa c e THE intention of this book is to assist the workers in the many arts that are concerned with heraldry, in varying degrees, by putting before them as simply as possible the essential principles of heraldic art. In this way it is hoped to contribute to the improve- ment in the treatment of heraldry that is already evident, as a result of the renewed recognition of its ornamental and historic importance, but which still leaves so much to be desired. It is hoped that not only artists but also those who are, or may become, interested in this attractive subject in other ways, will find herein some helpful information and direction. So that the work of the artist and the judgment and appreciation of the public may alike be furthered by a knowledge of the factors that go to make up heraldic design and of the technique of various methods of carrying it into execution. To this end the illustrations have been selected from a wide range of subjects and concise descriptions of the various processes have been included. And although the scope of the book cannot include all the methods of applying heraldry, in Bookbinding, Pottery and Tiles for example, the principles that are set forth will serve ;; VI PREFACE all designers who properly consider the capabilities and limitations of their materials. For many facilities in the preparation of the work I here beg to tender my very sincere thanks. To the Countess of Derby for the gracious loan of her bookplate to the Earl of Mar and Kellie for permission to repro- duce the shields at Alloa House; to Mr. W. H. Weldon, Norroy King of Arms, for the enamel plaque of his crest shield to Mr. W. Brindley for a cast of the Warren ; to Mr. N. H. J. Westlake for the Arms of Queen Jane Seymour, from his History of Stained Glass ; to Messrs. Hardman of Birmingham for the loan of the Pugin draw- Messrs. E. C. and T. C. Jack for a reproduction ings ; to of an embroidered shield. My best thanks are also due to Monsieur Emil Levy for leave to use illustrations from the Catalogue of the for Spitzer Collection ; to the Society of Antiquaries the Black Prince's shield ; to the Society of Arts for the loan of sundry blocks ; and to the officials of the Victoria and Albert Museum and the National Art Library for their usual and invariable helpfulness. Finally I am especially indebted to my publishers, Messrs. Batsford, who have spared neither time nor trouble on my behalf. G. W. E. 23, Sheen Gate Mansions, East Sheen, S.W. October, 1907. — Contents PAGE Chapter I. INTRODUCTORY i 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 Ex- amples—The Aims of Heraldic Design. Chapter II. THE EVOLUTION OF SHIELD FORMS . 16 The Achievement—Its Composition and Pro- portions—Modifications of Proportion—The Design of the Heraldic Group—Essential Quali- ties—Variability of Grouping—The Shield Its Structure and Shape as a Fighting Defence —The Norman Shield and its Successors Shields " for Peace " —Pageant Shields—How they were Made—The Tournament Shield Evolution of Decorative Forms—Foliated Shields—Fifteenth and Sixteenth Century Ex- amples—Freedom in Shield Design—Heraldic Accuracy—What is Essential. Chapter III. HERALDIC RULES 39 A Simple Manual of Heraldic Facts—The Shield Surface —The Tinctures—Divisions of the Field —Ordinaries—Sketches " in Trick " Charges and their Arrangement. —— Vlll CONTENTS PAGE Chapter IV. ANIMALS AND MONSTERS 66 The Heraldic Lion as a Type—Examples of Various Periods—Heraldic Character—Obliga- tory Poses and Decorative Distribution Methods of Spacing—Characterization—Im- aginary Creatures—Unicorns, Dragons and Griffins. Chapter V. HERALDIC BIRDS AND OTHER FIGURES, ANIMATE AND INANIMATE . 89 Eagles—Early Types—Plan of Distribution Other Birds—Bird Monsters—Human Figures Inanimate Charges—Crosses of many Forms Fleurs-de-lis—Examples of Various Periods The Rose—The Irish Harp—Surface Treat- ment—Diaper, its use in Sculpture, Painting and Engraving—Diapers of Badges. Chapter VI. HELM, CREST AND MANTLING . 117 The Helm— Its Structure—Ceremonial Use Development as Armour—Helmets and their Mechanism—Tourney Helms—The Crest How Made and Fixed —Examples of Actual Crests—Influence of Practical Conditions on their Pose—Difficulties in Design and How to Deal with Them—The Pose of Helmets—The Torse—Mantling— Its Evolution from Simple Drapery— Its Treatment in Relation to Shield and Crested Helm—Colour—Certain Restric- tions. Chapter VII. ARMORIAL ACCESSORIES .... 139 Supporters—Derivation from Badges—Special Conditions of their Pose—Non-Heraldic Sup- porters—Amorini—Angels—Symbolic Figures —The Eagle of the Holy Roman Empire And of Prussia—The Imperial Crown—Autho- rized Type for Present Use—The Coronet of the Prince of Wales—Coronets of Peers—The Question of the Cap—Baronets' Badges Insignia of Knighthood—The Garter.—The Collar and George —Other Orders—Relation of Orders to the Shield—Their Importance as Indications of Relative Rank—Typical Examples. —- CONTENTS ix VIII. Chapter METHODS AND MATERIALS . .164 Illumination —Practical Directions—Methods of the Early Illuminators—Colour Treatment Heraldry in Enamel—Champleve Enamel, Personal and Monumental—The Cloak Clasp of Queen Eleanor—The Shield of William de Valence—Stall-plates of the Garter—"Limoges" Enamel— Heraldic Enamel by Xardon Peni- caud—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—Repousse—Engraved Metal Ceremonial Weapons and Implements—Lead- work—Deposited Metal. Chapter IX. ARCHITECTURAL DECORATION . 204 Badges at Blois—And at Hampton Court Sculpture—Sgraffito—Gesso as a Material for Heraldic Relief—Methods of Preparation A Series of Shields in Painted Gesso—Poker Work—Schemes of Decoration—Stained Glass —Technical Conditions—Colour Scheme Working Drawings—Pugin's Designs for the Houses of Parliament—Powell's Drawings— Armorial Windows at Ockwells Manor—Painted Windows in Florence—The Swiss Painted Glass—Holbein. Chapter X. EMBROIDERED HERALDRY . .246 Surcoats — Bardings — Embroidered Linen — Banners — Applique Work — Embroidered Badges—The Toisond'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 LT nion Jack—Practical Explanation of its Construction—Painted Banners—How Prepared—Trumpet Banners—Heraldic Lace. Chapter XI. SOME MISCELLANEOUS CHARGES . 267 Heraldic Crowns—Chaplets—Roundels— Knots. CONTENTS PAGE Chapter XII. MARKS OF CADENCY 286 The Origin of the Label—Its Shape and Varie- ties—Ordinary Marks of Cadency—Their Significance—How Displayed—Royal Cadency —The Distinguishing Marks of Cadency of Present Personages of the Blood Royal. Index ...... 293 Analytical Index to Illustrations . 303 — HERALDRY AS ART CHAPTER I Introductory In dealing with heraldry from the artist's point of view, as a decorative subject which offers interesting scope for technical effort, it will not be necessary to go overmuch into the question of its origin, nor to elaborate its history beyond what is needed to give such knowledge of its methods as may help the doing of present work or the intelligent appreciation of the old. Nevertheless, the archaeological aspect of the subject, the conditions and rules of its existence, must also be carefully studied in order to ensure the correctness of the statement that heraldry makes and of which heraldic art is the expres- sion. As for its origin, we may safely say that heraldry, in its essence, began when man first used natural forms to symbolize, and ascribe to himself, those qualities strength, courage, cunning—which he had full cause to recognize in the beasts with whom he struggled for exist- ence ; when he reproduced, as well as he could, their ferocious aspect, to strike terror into his human enemies while satisfying his own warlike vanity, and so adopted them as badges or even as totems. B 2 HERALDRY AS ART In Europe heraldry began to be systematized (as we know it) somewhere about the eleventh century, and it nourished exceedingly until about the middle of the sixteenth century, the period thus indicated being that of its greatest strength and beauty. The development of defensive armour dictated the placing on it of the badges that had for long been used in other ways, so that, being depicted on the shield, they became the arms, and became the crest when displayed on the head-piece. The device worked on the garment which covered the body-armour made it a veritable coat of arms, and this term, as well as that of coat armour, came in time to be also applied to the similar armorials of the shield. The Crusades, in their aggregation of troops of various nationalities, helped to extend, in showing the necessity for, a regular system of heraldry as a means of distinguish- ing one party from another, and the feudal system itself with its numerous groups, each under its knightly or noble head in ever-extending subordination, conduced to the same end. The Tournaments which played so brilliant a part in the splendours of the Middle Ages also afforded fresh and greatest scope for heraldic magnificence. Being restricted for the most part to competitors of noble birth, many of whom were attracted from distant places, they afforded opportunity for observation and comparison of the various bearings.