Heraldry is the science of blazoning or describing, in appropriate and technical terms, all that belongs to the bearing of armorial insignia. It likewise professes to describe the duties of the officers appointed as heralds to perform certain solemnities at coronations, the creation of peers, and such like public ceremonies. The consideration of the subject here will be confined principally to the science of coat-armour, and its various accessories.
Whatever causes led to the introduction of heraldry, it is certain that two circumstances contributed powerfully to its real development—first, the institution of jousts and tournaments in the time of Henry I.; and, secondly, the crusades in the time of Richard I. That its foundation was subsequent to the Norman Conquest may be proved negatively; for, in the Bayeux tapestry of that period, no sign of the heraldic shield is to be found. It was not till the reign of Henry II. that hereditary armorial bearings seem to have been adopted. On the accession of that monarch he assumed the lions of Normandy and Poictou, and added to them the lion of Aquitaine. The shield at Mans of Geoffrey Plantagenet, who married the daughter of Henry I., and who died in 1150, affords one of the earliest specimens extant of heraldic bearings, as used by a subject. In the reign of Richard I. armorial bearings or shields became numerous; and from this period we may safely date the establishment of hereditary heraldry.
One essential principle in heraldry is its hereditary character; but there is reason to believe that neither at the earliest period, nor in several instances subsequently, was it so entirely of this nature. On reference to the oldest rolls of arms, it will be found that those of sons and of collateral relations differed from each other, and from the paternal coat, very materially. Arms first appear on the seals of private families in the reign of Richard I., at the close of the twelfth century. Those attached to the Barons Letter to the Pope in 1300, deposited in the chapter-house at Westminster, afford excellent evidence of the use of armorial ensigns at that period. The prevalence of arms during the reign of Edward I. is shown on the monumental brass of Sir John D'Abernon, 5th Edw. I. Upon encaustic tiles, and in architectural decorations of the thirteenth century, arms form the frequent subject of ornaments. Some of the earliest instances of heraldry may be found on monumental sculptured effigies, as in the Temple Church, London; and there is an instance on that of Sir Richard de Montfort at Hitchenden in Buckinghamshire, of about 1270. Of somewhat earlier date, there is a very fine specimen on an incised slab, in Bitton Church, Somersetshire, over Sir John Bitton, who died in 1227.
Rolls of arms in the reigns of Henry III., Edward I., and Edward II., display the simplest forms of heraldry. The roll of Carlevarock, A.D. 1300, is peculiarly rich and splendid. From these evidences are derived the earliest heraldic ordinaries.
Shields varying in form at different periods are amongst the first recipients of heraldic figures. Arms are found embazoned on the surcoat, a military garment. This practice seems to have originated with the Crusaders to distinguish the many different nations serving under the banner of the Cross, for at first the surcoat was without any mark of distinction, except that of colour. Surcoats were first worn in England in the time of Henry II., but they displayed no armorial bearing till the reign of Henry III. The monumental effigy of De Lisle in Bampton Church, Cambridgeshire, gives an instance of arms emblazoned on a surcoat in the reign of Henry III. (1216–72). The surcoat continued to be worn till about the time of Edward II. (1307), and gave rise to the designation of
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1 See *Abridgement of Scotch Acts*, p. 162, Edin. 1685. 2 Rymer's *Fœdera*, tom. xv., p. 306. Heraldry. "Coats of Arms." The japon and cyclus, which succeeded the surcoat, and continued in use till about the end of the reign of Edward III. (1370), were likewise emblazoned with arms. The effigy of Sir Oliver de Ingham, in Ingham church in Norfolk, A.D. 1345, affords an example of this sort. The tabard was the next military garment, which became general during the reign of Richard II. (1377-99), and continued till that of Henry VIII. (1509-47). The monumental brass figure of Sir George Felbrigge at Playford in Suffolk, A.D. 1400, represents him in his tabard of arms. After the reign of Henry VIII., the tabard ceased to be worn, except by the heralds, who have uninterruptedly continued down to the present time to wear them embroidered with the arms of the sovereign.
Armorial insignia were borne on banners from the earliest date of heraldry; in later times the forms of banners varied according to the degree of the person whose arms were displayed upon them. They were not only used in the field, but floated over the castles of the nobility, and were carried at their funerals, and hung up in churches with other heraldic achievements.
Arms were impressed on our gold coins immediately on their first introduction, in the time of Edward III.; and in the time of Henry VII. on silver coinage.
The first instance of the use of arms on the seals of the sovereigns of England was upon the Great Seal of Richard I., which bore two lions combatant. Henry II. is said to have given these arms to Richard; and to his other son John, two lions passant, which may be seen on his seal. Both Richard and John afterwards bore three lions passant guardant. Alexander II. (1214-1249) is said to have been the first of the kings of Scotland who bore the arms of that kingdom on his seal.
Having thus given an outline of the origin of heraldry, and of the earliest evidence of the period of its adoption, it may be as well to notice that arms have been conventionally attributed to several kings and princes who preceded that period. Thus certain arms have been assigned to the Saxon kings of England, and to the Conqueror and his sons. Without, however, more particularly referring to the arms so assigned by ancient writers on heraldry to various heroes and personages of the first ages, we may feel surprised that so late as the time of James I. of England, Segar, Garter King of Arms, compiled for that sovereign a collection of arms of the kings of England long prior to the twelfth century. And this compilation obtained as settled a notoriety for heraldry of the tenth and eleventh centuries as if it had then existed in all the pomp and splendour it afterwards acquired. It is quite evident, notwithstanding, that long prior to Segar this conventional heraldry was understood, as the arms ascribed to Edward the Confessor appear sculptured in Westminster Abbey as early as the time of Edward II. (1307-27), and were borne by Richard II. (1377-99) in honour of the martyred saint and king, whom he adopted as his patron.
Whatever were the real motives and circumstances that occasioned the display of those specific bearings upon shields, which constitute the ensign armorial, it seems that before hereditary heraldry supplied the charges for the shield, it was usual for knights to have their shields blank till they had achieved some deed which was worthy of being portrayed. In the infancy of heraldry the armorial shield was confined to knights, and was given only by princes or lords paramount. Subsequently, when other classes of the community became important, or possessed influence in the state, arms became the insignia of families generally, without the degree of knighthood being necessary. The earliest charges in heraldry appear to have been adopted in reference to military achievements and deeds of courage. Some had allusion to personal qualities in the bearer; others to the spoils of the enemy; and very frequently to surnames, after they became common. Early authors enumerate arms of dominion, pretension, concession, and patronage, with other similar ramifications. But generally these heraldic ensigns will range themselves into three principal classes—Arms of states, of communities, and of persons and families.
Arms of States are those assumed by sovereign princes, which denote their respective kingdoms, and there is scarcely an European state, however small, that has not displayed some distinguishing heraldic ensign or bearing. We shall briefly notice those which appertain to the United Kingdom.
The Royal Arms of England.—It has been already stated that hereditary heraldry did not originate earlier than the reign of Henry II.; but the arms said to have been borne by the Conqueror and his son William were gules, two lions passant guardant or. Henry II. is said to have borne three lions, though no armorial bearing appears on his seal. These arms, gules, three lions passant guardant in pale or, form those of England, and were so borne by the kings of England till the reign of Edward III., who, in 1340, quartered with them, in the first quarter, the arms of France, azure, semé of fleurs-de-lys or. Thus the arms of the kingdom continued till the latter part of the reign of Henry IV., when the fleurs-de-lys of France were reduced to three or. No alteration occurred in the royal achievement during any of the succeeding reigns till the accession of James VI. of Scotland to the throne of England, when that sovereign introduced the royal arms of Scotland into the second quarter (France and England occupying the first and fourth quarters), and the arms of Ireland into the third quarter. The royal arms were thus borne by all the monarchs of the House of Stuart, till the reign of Anne. It must, however, here be noticed that William III. bore over the quarterings of the royal arms those of his Dutch dominions—the House of Nassau. In the reign of Anne an important change again took place, occasioned by the union of England and Scotland; and the arms of these kingdoms were impaled in the first and fourth quarters (England on the dexter, Scotland on the sinister); France was removed to the second; and Ireland retained its former position. On the accession of the House of Brunswick, in 1714, the fourth quarter in the royal shield gave place to the arms of his Majesty's German dominions, an arrangement which continued till 1st January 1801, when upon the Union of Great Britain and Ireland the arms of France were excluded; England occupied the first and fourth quarter; Scotland the second quarter; and Ireland its old position in the third quarter; over all, on an escutcheon of pretence, were placed the arms of Hanover, ensigned with the electoral bonnet, Heraldry.
The Royal Arms of Scotland are,—or, a lion rampant within a double tressure flory and counterflory, gules. As has been already observed, they appear first on seals in the reign of Alexander II. (1214-49). It is very probable that they had an earlier origin; but they are not so remote as is supposed by an author, who tells us that the fleur-de-lys was assumed by Achaus King of Scotland before the year 819, who is said to have taken them into his imperial ensign to adorn the double tressure, the badge between him and Charlemagne of France.
The Arms of Ireland were said originally to have been azure, three crowns in pale or; and, in support of this supposition, some Irish coins of the times of Edward IV., Richard III., and Henry VII., have been referred to. It is only on one of these coins (of Edward IV.) that the crowns are in a shield, and are there two and one. The augmentation granted by Richard II. to Robert de Vere, Earl of Oxford, whom he had created Duke of Ireland, has been adduced in favour of three crowns being the armorial ensign for Ireland; but in the grant nothing is said about that augmentation having allusion to that kingdom. Azure, a harp or, stringed argent, are given in a MS. in the Herald's College, in the time of Henry VII. or Henry VIII., as the arms of Ireland; and they were, on the accession of James I., so incorporated with the arms of England and Scotland in the royal shield.
The Arms of the Principality of Wales.—On the seals of Edward, son of King Edward IV., and Arthur, son of Henry VII., as princes of Wales, were three lions passant regardant, with their tails between their legs, and reflexed over their backs; the field being argent, with the lions gules, as they appear in several MSS. Other arms, however, are ascribed to the three provinces of Wales—viz., those of North Wales, quarterly gules and or, four lions rampant, counterchanged; South Wales, gules, three chevronels argent, in chief two lions combatant or; and Powysland, or, a lion rampant, gules. None of these arms ever appeared upon any of the royal seals used by the sovereigns of England.
Arms of Communities.—Under this class of ensigns armorial may be comprehended those of ecclesiastical and lay corporations. The former, being those of Bishops' sees, abbeys, monasteries, and other religious houses, were principally derived from the arms of founders, or composed of figures having allusion to the church; the latter those of municipal corporations, cities, and towns, trading companies, and other corporate bodies, had greater variety of origin. The arms of towns were probably derived from some powerful neighbouring family, as in the case of Chester, which bore those of the ancient Earls of Chester, dimidiated with the royal coat of England. The town of Yarmouth and the Cinque Ports, as well as other towns, bore arms having allusion to the principal occupations of the inhabitants, or in reference to their locality. The arms of Yarmouth and the Cinque Ports were dimidiated with those of England, probably as early as Edward I.'s time, and are so borne at the present day. The arms of London, as the principal city of England, are those of the patron saint St. George, with the sword of St. Paul in the dexter canton of the shield. The arms of trading companies, and other inferior corpora-
tions, usually display the instruments of the "craft and Heraldry, mystery," or some other design connected with the object and nature of such incorporations. There are instances of very early grants of arms to such bodies.
Arms of Persons and Families.—It has been already stated how and at what time arms became the distinguishing marks of personal honour. They were frequently granted by the sovereign, or by some one authorized by him. The assumption of arms by private persons was restrained by Henry V.; who, by proclamation in the fifth year of his reign, declared that no man, unless he had borne arms at the battle of Agincourt, should assume arms except by right of inheritance, or under grant by competent authority. For the observance of this regulation, and further to restrain the voluntary assumption of arms, the heralds visitations were instituted, the earliest date of which was in 1528, and the last commission for that purpose was issued in the reign of James II. The crown still retains the power of granting arms, notwithstanding the patents which have been granted to the kings of arms from very early times to the present, and reserves to itself the granting of supporters to commoners, and of permitting persons to use the arms of other families, whose property they may inherit, or whose memory they wish to preserve.
L. OF THE SHIELD.
Shields containing arms varied at different periods in their form. The following are some examples:
No. 1. From the Bayeux tapestry, and introduced by the Normans, c. 1066. No. 2. A similar shield from a font in Wansford Church, Northamptonshire, about the time of Rufus, c. 1087. No. 3. Two shields (a) representing rusted armour, and (b) massed armour, c. 1100.
No. 4. Kite-shaped; in the reign of Henry II. Armorial bearings are first found on shields in his reign. No. 5. From the seal of Richard I. No. 6. From the seal of Adam de Herfurd, c. 1220, but of the time of Richard I. No. 7. From the seal of Alexander II., king of Scotland, c. 1214.
No. 8. From the monument of William Longespee, Earl of Salisbury, who died in 1224. Heraldry. No. 9. Shield of Eudo de Arsic, who died in the latter part of the reign of Henry III.
No. 10. Peter, Earl of Richmond, anno 1248.
No. 11. From the monumental effigy in the Temple Church, c. temp. Edw. I. De Roos.
No. 12. Robert de Vere, Earl of Oxford, who died in 1221.
No. 13. From the effigy of a knight of the Montford family, 1286.
No. 14. A knight's shield, anno 1295.
No. 15. From the monument of John of Eltham, Earl of Cornwall, in Westminster Abbey. He died in 1329.
No. 16. From the brass of Sir John D'Abernon, at Stoke D'Abernon in Surrey, who died in 1327.
No. 17. From the monument of Sir John Harlack at South Acre, in Norfolk, 1384.
No. 18. From the seats in the choir of Worcester Cathedral in the time of Henry IV.
No. 19. From the screen to the monument of Henry V. in Westminster Abbey.
No. 20. A shield of the time of Edward V.
No. 21. A shield from about the time of Edward IV., to the middle of the reign of King Henry VII.
Soon after this period shields ceased to be used as defensive weapons, and the forms of shields for architectural or domestic decoration became entirely subject to caprice and fashion. Some very fine specimens of carved shields may be seen in engravings of private houses and public buildings in works illustrating the topography of the times of the Tudors and Stuarts.
The shield or escutcheon is the field or ground on which are represented the figures that make up a coat of arms; and wherever these figures may be fixed, they are represented on a plane or superficies, the form of which resembles a shield.
Shields (in heraldry called escutcheons or scutcheons, from the Latin word sectum) have been, and still are, of different forms, according to the usages of different times and nations. The modern escutcheon of the English, French, Germans, and other nations are formed in different ways. Those of the Italians, particularly of ecclesiastics, are generally oval. Those of maids and widows are generally of the form of a lozenge. Sir George Mackenzie mentions one Muriel, Countess of Strathern, who carried her arms in a lozenge, in 1284.
Armorialists distinguish several parts or points in escutcheons, in order to determine exactly the position of the bearings they are charged with. Thus, in the annexed Heraldry outline of an escutcheon,
A B C D E F G H I
A is the dexter chief, B the precise middle chief, C the sinister chief, D the honour point, E the fess point, F the nombril point, G the dexter base, H the middle precise base, and I the sinister base.
The knowledge of these points is of great importance, and ought to be well observed, for they are frequently occupied with things of different kinds. It is necessary to observe, that the dexter side of the escutcheon is opposite to the left hand, and the sinister side to the right hand, of the person who looks thereon.
II.—OF TINTURES, FURS, LINES, AND DIFFERENCES.
1. Of Tintures.
By tinture is meant the colours of shields and their bearings. According to the French Heralds, there are but seven tinctures in armoury, of which two are metals. The metals are gold, termed or; and silver, termed argent. The colours are blue, termed azure; red, gules; green, vert; purple, purpure; and black, sable. When natural objects are introduced into arms, they retain their natural colour, which is expressed by the word proper. Besides the five colours above mentioned, the English writers on heraldry admit two others, namely, orange, termed tenny; and blood-colour, termed sanguine. But these two are rarely, if at all, to be found in British bearings.
These tinctures are represented in engravings and drawings by dots and lines, which are the invention of the ingenious Silvester de Petra Sancta, an Italian author of the seventeenth century. Thus, 1, or is expressed by dots; argent needs no mark, and is therefore plain; 2, azure, by horizontal lines; 3, gules, by perpendicular lines; 4, vert, by diagonal lines from the dexter chief to the sinister base points; 5, purpure, by diagonal lines from the sinister chief to the dexter base points; 6, sable, by perpendicular and horizontal lines crossing each other; 7, tenne, by diagonal lines from the sinister chief to the dexter base points, traversed by horizontal lines; 8, sanguine, by lines crossing each other diagonally from dexter to sinister, and from sinister to dexter.
This mode of expressing the colours of heraldry was as early as the time of Charles II., as appears by engravings at that time, but was not adopted upon seals till about the reign of Queen Anne; and not in architectural decorations till our own times, when the fashion of imitating styles of the middle ages has become prevalent. It is amusing to the heraldic eye to discern that, amidst all the care taken to copy the details of the Gothic style in church-building, Heraldry.
The heraldic shield is disfigured by adopting the lines used to denote heraldic tinctures, at once proclaiming a barbarous anachronism, if no other incongruity existed.
Some fantastic heralds have blazoned not only by the ordinary colours and metals, but by flowers, days of the week, and parts of the human body, and have been condemned for it by the heralds of all nations. Others lay it down as a rule that the coats of sovereigns should be blazoned by the planets, and those of noblemen by precious stones. According to this rule, which some think judicious, and others reprobate as absurd, the relative blazonry would stand thus:
| Or | Topaz | Sol. | |--------|---------|------| | Argent | Pearl | Luna | | Sable | Diamond | Saturn | | Gules | Ruby | Mars | | Azure | Sapphire| Jupiter | | Vert | Emerald | Venus | | Purpure| Amethyst| Mercury | | Tenny | Jacinth | Dragon's-head | | Sanguine| Sardoni x | Dragon's-tail |
But in no instance does there occur throughout the official MSS. in the Herald's College this fanciful mode of blazoning arms. The heraldic terms of blazon are derived peculiarly from the French; and necessarily so, as in the twelfth century, when heraldry originated, Norman-French was the language in all proceedings connected with the government and jurisprudence of this country.
Metal should never be upon metal; nor colour upon colour. This rule, however, does not apply if a charge lies over any field composed of metal and colour. The English heralds give different names to roundels, according to their colours. Thus, if they be or, they are called bezants; if argent, plates; if azure, hurts; if gules, torteaux; if vert, pomeis; if purpure, golpes; if sable, pellets; if tenny, oranges; and if sanguine, guzes. The French, and all other nations, do not admit such a multiplicity of names for this figure, but call them torteaux, expressing the tincture.
Bezants were so called from coins struck at Constantinople, the Byzantium of the ancients. Gules bezanté or, was the armorial bearing of Aelyn la Zouche, temp. Hen. III. Torteaux were borne as early as the time of Henry III. Or, two bars gules, in chief three torteaux; —Hugh Wake.
2. Of Furs.
There are three different kinds in general use, namely, Ermine, which is a field argent, powdered with black spots, the tails of which terminate in three hairs (No. 1); Erminois, where the field is sable, and the powdering white; Erminois, where the field is or, and the powdering sable; Pean, where the field is sable, and the powdering or; Erminettes, the same as ermine, with the addition of a red hair on each side of the black. Vair (No. 2), which is expressed by blue and white skins, cut into the forms of little bells, ranged in rows opposite to each other, the base of the white ones being always next to that of the blue ones. Vair usually consists of six rows; if there be more or fewer, the number ought to be expressed; and if the colours be different from those above mentioned, they should likewise be expressed. Counter-vair, when the bells of the same tincture are placed base against base, and point against point (No. 3). Potent-counter-potent, anciently called Heraldry, vairy-cuppy, as when the field is filled with crutches or potents counterplaced (No. 4). Ermine only, was the armorial bearing of the ancient earls of Brittany and Richmond in the twelfth century. Ermines.—Gules, a fess engrailed ermines, surmounted by a pale engrailed ermine. —Dyrwyn in some of the early rolls. Bruges, who was the first Garter, temp. Hen. V., bore ermine, a cross quarter-pierced ermines. Erminois.—Stringer, of Overtorpe in Yorkshire, bore three eagles displayed erminois in 1612. Vair only, was borne by Robert de Beauchamp, temp. Henry III.
3. Of the Lines used in Arms.
The field is sometimes parted by lines either straight or crooked. Straight lines are carried evenly through the escutcheon, and are of four different kinds,—viz., a perpendicular line; a horizontal —; a diagonal dexter, \(\checkmark\); a diagonal sinister, \(\checkmark\). Crooked lines are those which are carried unevenly through the escutcheon.
1. The engrailed; 2, the inverted; 3, the wavy; 4, the embattled, or crenelle; 5, the nebule; 6, the regule; 7, the indented; 8, the dancette; 9, the dove-tail; 10, the battled embattled; and 11, the champaine.
These lines not only vary the disposition of colours in the field, but are also generally used to alter the character of the principal ordinaries; and were adopted in the earliest times of heraldry.
The principal reason why lines are thus used in heraldry, is to distinguish bearings which would otherwise be the same; for an escutcheon charged with a chief engrailed, differs from one charged with a chief wavy, as much as if the one bore a cross and the other a saltier.
As the lines above mentioned serve to divide the field, it must be observed, that if the division consist of two equal parts formed by the perpendicular line, it is called parted per pale; by the horizontal line, parted per fess; by the diagonal dexter, parted per bend; and by the diagonal sinister, parted per bend sinister. If a field be divided into four equal parts by any of these lines, it is said to be quartered. Parted per saltire is made by two diagonal lines, dexter and sinister, crossing one another in the centre of the field, and likewise dividing it into four equal parts.
The escutcheon is sometimes divided into a greater number of parts, in order to place it in the arms of the several families to which the bearer is allied. These divisions may consist of several quarters, as these divisions are termed; an extraordinary instance of which was exhibited at the funeral of the Viscountess Townsbend, whose corpse was brought from Dublin Castle to Raynham-Hall in Norfolk; when one of the principal tenants on horseback carried before the hearse a banner, containing the quar- 4. Of the differences of Coats of Arms.
There are also various differences or characteristic marks, by which bearers of the same arms may be distinguished from one another, and their nearness to the principal bearer demonstrated; and these differences are to be considered as either ancient or modern.
Of Ancient Differences.—Those which are called ancient differences consist in bordures, which is a bearing that goes all round, and parallel to the boundary of the escutcheon. Bordures were used in ancient times also for noting a diversity between particular persons descended of one family and from the same parents. This distinction, however, was not expressly signified by invariable marks; nor were bordures always appropriated to denote the different degrees of consanguinity.
There are bordures of different forms and tinctures, as,
for example,—1. Sable, a bordure argent. When a bordure is plain, it is not necessary to mention it, as it is always so understood in heraldry, though it be not expressed; but if it has any other form, this must be signified. 2. Gules, a bordure engrailed argent in the arms of Lord Gray. This is called engrailed, from the French word engrelé, which signifies a thing the hail has fallen upon and broken off the edges, leaving it with little semicircles struck out of it. In a bordure or ordinary formed of these lines, the points are represented on all sides towards the field, and the semicircles are turned towards the bordure or ordinary. 3. Gules, a bordure invected or. This is quite contrary to the last, which turns its points into the bordure from the field. The word indented requires little explanation, the signification being obvious, from its figure, which is composed of tracks resembling teeth, called in Latin dentes. 4. Ermine, a bordure compony, or gobyony, or and sable. This is so termed from its being composed of equal pieces of one row. Counter-compony is composed of two rows, and no more. Cheeky has a great resemblance to the last bordure, having three rows. Before blazoning, therefore, care must be taken to number them, so as to avoid taking the one for the other. 5. Gules, a bordure argent, charged with eight trefoils slipped proper, that is, vert. 6. Azure, a bordure quarterly ermine and chequy argent and azure.
Of Modern Differences.—The modern differences which the English have adopted, not only for distinguishing sons issued out of one family but also for denoting the difference and subordinate degrees in each house from the original ancestors, are nine,—viz., for the heir or first son, the label; second son, the crescent; third son, the mullet; fourth son, the martlet; fifth son, the annulet; sixth son, the fleur-de-lys; seventh son, the rose; eighth son, the cross-moline; ninth son, the double quatre-foil. By the first six differences the sons of Thomas Beauchamp, the fifteenth Earl of Warwick, who died in the thirty-fourth year of the reign of Edward III., are distinguished in an old window of the church of St Mary at Warwick; so that although they are called modern differences, their usage among the English is ancient.
As to the distinction to be made in the arms of the offspring belonging to each of the above-mentioned brothers, it is expressed by certain figures. For instance, the heir or first son of the second house bears a crescent charged with a label during his father's lifetime only; the second son of the second house, a crescent charged with another crescent; the third son of the second house, a crescent charged with a mullet; the fourth son of the second house, a crescent charged with a martlet; the fifth son of the second house, a crescent charged with an annulet; the sixth son of the second house, a crescent charged with a fleur-de-lys; and so on of the other sons, taking care to have them of a different tincture.
It would be quite impossible to carry out this system in all the ramifications of a family of many generations from any common ancestor. At best, they can only be used for contemporary members of any branch from the original stock. When Dugdale, in his visitations, found a good house descending from a common parent stock, he used to distinguish the junior line by some significant mark, such as a canton or other bearing.
The present marks of cadency are not earlier than the time of Henry VI. In the first stages of heraldry, the distinctions between sons of the same family were of a more definite character; such as an entirely different coat, or the original one differenced by change of tincture, or by the addition of some other charges.
It must be observed, that of all the above-mentioned marks of distinction, none but the label is used for distinguishing the younger sons of the royal family; and this label is varied by additional pendants and distinct charges. The Prince of Wales always bears the plain label argent. The daughters of the blood royal all bear the label of distinction the same. The theory of this practice of differencing the arms of the royal children is, that none of the children of the sovereign is entitled to arms by descent, as the arms of their father are those of the state. When the sons and daughters of the reigning monarch receive permission to use the royal arms, they are assigned to them differenced by a label, charged with some distinguishing mark. This rule was observed in very early times under the Plantagenets, whose arms, so distinguished, are frequently to be found in churches and upon their seals.
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1 Bordures are still introduced into English coats of arms, but for particular reasons, which heralds can best explain. The bordure wavy is now the general bordure used to denote illegitimacy. Bordures are, by the French, frequently taken for principal figures, and numbered amongst the rest of the ordinaries. III.—OF THE CHARGES.
A charge is whatsoever is contained in the field, whether it occupy the whole or only a part thereof. All charges are distinguished by the names of honourable ordinaries, sub-ordinaries, and common charges.
Honourable ordinaries, the principal charges in heraldry, are made of lines only, which, according to their disposition and form, receive different names. Sub-ordinaries are ancient heraldic figures, frequently used in coats of arms, and distinguished by terms appropriate to each. Common charges are composed of natural, artificial, and even chimerical objects or figures.
1. Of Honourable Ordinaries.
These are the chief, the pale, the bend, the bend sinister, the fess, the bar, the chevron, the cross, and the saltier.
Of the Chief.—The chief is an ordinary determined by an horizontal line, which, if it be of any other form than straight, must be expressed. It is placed in the upper part of the escutcheon, and contains in depth the third part of the field. Its diminutive is a fillet, the content of which is not to exceed one fourth of the chief, and it stands in the lowest part of the chief. This ordinary is subject to be charged with variety of figures; and may be of any of the crooked lines.
Examples:—1. Or, a chief intented azure; borne by Viscount Mountgarret. The family of the Butlers is descended from the ancient Counts of Brion in Normandy; but since Henry II. conferred the office of chief butler of Ireland upon one of the family, he and his successors have assumed the name of Butler. 2. Argent, a chief sable; in the lower part thereof a fillet of the field. 3. Argent, on a chief gules, two mullets or; borne by Lord St John of Bletshoe. This ancient family derive their surname from a place called St John in Normandy. 4. Or, on a chief sable, three escallops of the field, for the name of Graham; and borne quartered in the arms of the Duke of Montrose.
Of the Pale.—The pale is an ordinary, consisting of two perpendicular lines drawn from the top to the base of the escutcheon, and contains the third middle part of the field. Its diminutive is the pallet. This ordinary may receive any charge. The pale is sometimes cotised, or accompanied by its diminutives, to which some have given the term of endorse.
The following are examples:—1. Gules, a pale or. 2. Argent, a pale between two endorses, gules. 3. Party per pale.—1st, paly of six argent and sable; 2d, azure; borne Heraldry by the name of Trenchard. 4. Pale of six or and azure.
5. Party per pale, argent and gules; borne by Earl Waldegrave. 6. Argent, a pale flory counter-flory sable.
Argent, a pale lozengy sable. 8. Argent, a pale dancette vert. 9. Argent, on a pale engrailed sable, three crescents or. 10. Argent, two endorses gules, in chief three mullets sable. 11. Party per fess gules and argent, a pale counterchanged.
Of the Bend and Bend Sinister.—The bend is an ordinary formed by two diagonal lines, drawn from the dexter chief to the sinister base, and contains the fifth part of the field in breadth. Its diminutives are—the bendlet, which is the half of a bend; the cot or cotise, when two of them accompany a bend, which is the fourth part of a bend. There is also the bend sinister, which is of the same breadth as the bend, but drawn the contrary way. This is subdivided into a scarpe, which is the half of the bend, and into a baton, which is the fourth part of the bend, but does not extend itself to the extremities of the field, there being part of it seen at both ends.
The examples are.—1. Argent, a bend wavy sable; borne by Wallop Earl of Portsmouth, descended from a Saxon family, who were possessed of lands to a considerable value in Hampshire at the time of the Conquest. 2. Checky or, and azure, a bend ermine; borne by Lord Ward. 3. Azure, a bend engrailed argent, between two cotises or; borne by Earl Fortescue. 4. Paly of six or and sable, a bend counterchanged. 5. Party per bend crenelle argent and gules; borne by the Earl of Cork and Orrery, in Ireland. 6. Argent, three bendlets, enhanced gules (as the English express it, though the phrase enhanced is used by no other nation); borne by Lord Byron. 7. Ermine, a bend voided gules;—Ireton. 8. Bendy of six pieces argent and azure. When the shield is filled with an equal number of bendlets of metal and colour, it is called
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1 The family of Fortescue is descended from Sir Richard le Forte, a person of extraordinary strength and courage, who accompanied William Duke of Normandy in his invasion of England; and bearing a strong shield before the duke, at the battle of Hastings, had three horses killed under him, and from that signal event the name and motto of the family were assumed; for the Latin word scutum, or the old French word creus, a shield, being added to forte, strong, composes their name; and their motto is, Forte scutum salus dux.
2 From Doomsday Book it appears that this family was possessed of numerous manors and lands in the reign of the Conqueror; and that Sir John Byron attended King Edward III. in his wars in France. Heraldry. bendy; but if the number of them be unequal, they are to be blazoned by the name bendlets, and their number specified.
9. Quarterly, or and gules, a bend over all vair; was borne by the Dukes of Dorset (now extinct). 10. Gules on a bend argent, three trefoils slipped proper; borne by the Marquis of Bristol, who derives his pedigree from Robert Fitz-Hervey, a younger son of Hervey Duke of Orleans, who came over with William the Conqueror. 11. Argent, a bend sinister gules.
Of the Fess and Bar.—The fess is an ordinary which is produced by two parallel lines drawn horizontally across the centre of the field, and contains in breadth the third part thereof. The bar is formed of two lines, and contains only the fifth part of the field; but this is not the only respect in which it differs from the fess; for there may be more than one in an escutcheon, placed in different parts of it, whereas the fess is limited to the centre point. When the shield contains a number of bars of metal and colour alternate, of even number, that is called barry of so many pieces, expressing their number.
The examples are,—1. Argent, a fess indented sable; borne by Earl De La Warr. 2. Argent, a fess wreathed azure and gules; borne by the family of Carmichael. 3. Party per fess or and argent, a fess nebule gules. 4. Party per fess indented or and azure. 5. Checky or and azure on a fess gules, a crescent argent for difference; borne by Lord Clifford of Chudleigh, descended from Walter de Clifford of Clifford Castle, in the county of Hereford, who came over with the Conqueror. 6. Argent, on a fess azure, three lozenges or; borne by the Earl of Denbigh and Desmond, descended from the Counts of Hapsburg, in Germany. 7. Sable, a fess ermine, between three crescents or; borne by the Earl of Coventry, descended from John Coventry, a native of the city of Coventry, and afterwards mercer and Lord Mayor of London in the reign of Henry V. 8. Or, two bars azure, a chief quarterly of the second and gules, the first and fourth charged with two fleurs-de-lys of France, the second and third with a lion of England; borne by the Duke of Rutland. 9. Barry of ten pieces argent and azure, over all six escutcheons 3, 2, 1, sable, each charged with a lion rampant of the first, armed, and langued gules; borne by the Marquis of Salisbury, descended from the famous William Cecil Lord Burghley, who left two sons, Thomas and Robert, both of whom were made Earls in one day; Robert, the younger, being created Earl of Salisbury in the morning; and Thomas, the elder, Earl of Exeter in the afternoon. 10. Ermine, two bars gules; borne by the Marquis of Westmeath. 11. Argent, two bars indented sable; formerly borne by the Earls of Athlone (now extinct). 12. Argent, three bars gemelles gules; formerly borne by the Earls of Barrymore (now extinct).
Of the Cheveron.—The cheveron, which represents two rafters of a house well joined together, or a pair of compasses half open, occupies the fifth part of a field. Its diminutive, the cheveronel, contains the half of a cheveron.
The examples of cheverons are,—1. Argent, a cheveron gules between three torteaux; borne by Sherard Earl of Harborough. 2. Argent, a cheveron checky gules, and of the field between three bugle-horns stringed sable, garnished or stringed of the second; borne by the Baroness Sempill. The first Lord Sempill was Sir John, who, being much in favour with King James IV, was by him created Lord Sempill in 1489. 3. Quarterly argent and azure, a cheveron engrailed counter-changed. 4. Party per cheveron engrailed gules and argent, three talbots' heads erased counter-changed; borne by Lord Feversham, descended from the Duncombes of Ivinghoe in Buckinghamshire. 5. Or, two cheveronels gules; borne by Lord Monson, descended from John Monson, who flourished in the reign of King Edward III. 6. Or, on a fess, between two cheveronels sable, three cross-crosettes of the first; borne by the Earl of Orford. This family took their name from Walpole in Norfolk, where they resided before the Conquest.
Of the Cross.—The cross is an ordinary formed by the meeting of two perpendicular with two horizontal lines in the fess-point, where they make four right angles; the lines are not drawn throughout, but discontinued the breadth of the ordinary, which takes up only the fifth part of the field. There is so great a variety of crosses used in heraldry, that it would be a difficult task to treat of them all. Guillim has mentioned 39 different sorts; De la Columbière, 72; Leigh, forty-six; and Upton declares he cannot ascertain all the various crosses borne in arms, as they are almost innumerable. As their different forms cannot be given here, we shall, therefore, only take notice of such as are most commonly seen at present in coats-of-arms.
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1 Of this ancient family, see an interesting account, vol. i., p. 752 of Douglas's Pedigree, 2d ed., 1813. 2 Fair Rosamund, mistress to Henry II., was of this family. 3 Godart, the first earl, was descended of an ancient family in the United Provinces of Holland, where he was Baron de Reede de Ginkel. In 1691, he was a lieutenant-general of King William's forces in Ireland, where, in June the same year, he took Ballymore for the English, and, in July following, the town of Athlone. The first is quarterly, ermine and azure, a cross or; borne by the Duke of Leeds. 2. Gules, a cross argent fretty azure; borne by Viscount Taaffe of Corran, in Ireland. 3. Argent, on a cross gules, five escalops or; borne by the Earl of Jersey, descended from the family of Villiers in Normandy, some of whom came over to England with the Conqueror.
4. Argent, a cross bottony sable. 5. Or, a cross croslet gules. 6. Azure, a cross potent fitchy argent. This ensign is said to have been borne by Ethelred, king of the West Saxons. 7. Party per pale, gules and argent; a cross potent quadrate in the centre, between four crosses patée, all counter-changed; the arms of the episcopal see of Lichfield and Coventry. 8. Azure, a cross moline argent; borne by Bentinck Duke of Portland, descended from a family in the United Provinces of Holland, of which was William Bentinck, who in his youth was page of honour to the Prince of Orange, afterwards William III, king of Great Britain, and, on the accession of William and his consort, was made groom of the stole, lieutenant-general of his majesty's army, and created Baron of Cirencester, Viscount Woodstock, and Earl of Portland, in 1689. 9. Argent, a cross patonce sable. 10. Sable, a cross patée argent. 11. Azure, a cross flory argent. This is said to have also been the arms of Edwin, the first Christian king of Northumberland. 12. Argent, six cross-croslets fitchée, 3, 2, 1, sable, on a chief azure two mullets or; borne by Clinton Duke of Newcastle. 13. Gules, a chevron between ten crosses patée, six in chief and four in base, argent; borne by the Earl of Berkeley, descended from Robert Fitz-Hardinge, who obtained from Henry II. a grant of Berkeley Castle in Gloucestershire, which the family still inherits, and whence they obtained the surname of Berkeley. 14. Azure, three mullets or, accompanied with seven cross-croslets fitchée, argent, three in chief, one in fess, two in flanks, and the last in base; borne by Lord Somerville. 15. Gules, three crosses recercelée, voided or,
a chief vairy ermine and contre ermine; borne by Baron Willoughby de Broke.
Of the Saltier.—The saltier, which is formed by the bend and bend sinister crossing each other in right angles, as the intersecting of the pale and fess forms the cross, contains the fifth part of the field. In Scotland, this ordinary is frequently called a St Andrew's Cross. It may, like the others, be borne enguillied, wavy, &c., also between charges, or charged with any thing.
The examples are,—1. Argent, a saltier gules; borne by the Duke of Leinster, descended from Otho, or Other, a powerful lord in the time of King Alfred. 2. Purpure, a saltier, wavy ermine. 3. Ermine, a saltier, counter-compony argent and gules. 4. Or, on a saltier azure, nine lozenges of the first; the paternal arms of Dalrymple Earl of Stair. 5. Gules, a saltier between four crescents or; borne as the second and third quarters in the coat-of-arms of Lord Kinraid. 6. Gules, a saltier vert fimbriated or. 7. Azure, a saltier quarterly quartered or and argent; the arms of the episcopal see of Bath and Wells. 8. Party per saltier argent and gules, a saltier counter-changed; borne by Sir Claude Scott. 9. Argent, three saltiers couped sable. 10. Argent, a saltier gules, and a chief ermine; quartered by Fitz-Maurice Marquis of Lansdowne, &c. This family is a branch of that of Leinster.
2. Of Sub-Ordinaries.
Besides the honourable ordinaries and the diminutions already mentioned, there are other heraldic figures, called sub-ordinaries, which, by reason of their ancient use in arms, are of worthy bearing; namely, the gyron, quarter, canton, fret, pile, orle, inescutcheon, tressure, annulet, flanches, billet, lozenge, guttes, fusil, rustre, mascle, papillon, and diaper.
The gyron (1.), is a triangular figure formed by two lines, one drawn diagonally from one of the four angles to the centre of the shield, and the other is drawn either horizontal or perpendicular, from one of the sides of the shield, meeting the other line at the centre of the field. Gyronny is said, when the field is covered with six, eight, ten, or twelve gyrons in a coat-of-arms; but a French author contends that the true gyronny consists of eight pieces only. The quarter is a square figure, which occupies the upper dexter Heraldry. quarter of the shield, but is rarely carried as a charge. The canton (2) is a square part of the escutcheon, somewhat less than the quarter, but without any fixed proportion, and possesses the dexter-chief point of the shield; but should it possess the sinister corner, which seldom occurs, it must be blazoned a canton sinister.
The fret is a figure representing a salter, with a mascle in the centre interlaced. Fretty is said when the field or bearings are covered with a fret of six, eight, or more pieces. The pile, consisting of two lines terminating in a point, is formed like a wedge, and is borne engrailed, wavy, &c. It uses in general from the chief, and extends towards the base; yet there are some piles borne in bend, and issuing from other parts of the field. The orle is an ordinary composed of two lines going round the shield, the same as the bordure; but its breadth is but one-half of the latter, and at some distance from the edge of the shield. The inescutcheon is a little escutcheon borne within the shield. The tressure is an ordinary commonly supposed to be the half of the breadth of an orle, and is generally borne flowery and counter-flowery, as it is also very often double, and sometimes treble. The double tressure forms part of the arms of Scotland. The annulet, or ring, is a well-known figure, and is frequently found in arms throughout every kingdom of Europe.
The flaunches (3) are formed by two curved lines, or semicircles, being always borne double. The billet is an oblong square figure, twice as long as broad. The lozenge (4) is an ordinary of four equal and parallel sides, but not rectangular; the upper and lower angles being acute, and the other two obtuse.
Gules, an orle ermine. 2. Argent, three inescutcheons gules; borne as the second and third quarters in the coat of Hay, Earl of Kinnoul. The first of the name of Hay who bore these arms obtained them because he and his two sons, after having defeated a party of the Danes at the battle of Luncarty in the year 942, were brought to the king with their shields all stained with blood. 3. Argent, a fret sable; borne by Tollemache Earl of Dysart. 4. Or, fretty of gules, a canton ermine; borne by Noel, Earl of Gainsborough, descended from Noel, who came into England with William the Conqueror, and, in consideration of services, obtained a grant of several manors and lands. 5. Gironny of eight pieces or and sable; the first and fourth quarters of the coat-of-arms of Campbell, Marquis of Breadalbane, descended in regular succession from Duncan, the first Lord Campbell, ancestor of the Dukes of Argyll. 6. Lozengy argent and gules; quartered by Earl Fitz-William, descended from Sir William Fitz-William, marshal of the army of William the Conqueror at the battle of Hastings. 7. Sable, a mascle within a tressure flowery argent. 8. Gules, three mullets or, within a bordure of the latter, charged with a double tressure flowery, and counter-flowery with fleurs-de-lis of the first; quartered by the Duke of Sutherland, &c. This family is amongst the oldest in Britain, if not in Europe; the title of earl having been conferred on one of their ancestors in 1067. 9. Azure, a pile ermine. 10. Or, on a pile engrailed azure, three cross-croslets fitchy of the first. 11. Or, on a pile gules, between six fleurs-de-lis azure, three lions of England; the first and fourth quarters of the Duke of Somerset, granted him by Henry VIII. on his marriage with Lady Jane Seymour. 12. Ermine, two piles issuing from the dexter and sinister sides, and meeting in base sable. 13. Argent, three piles, one issuing from the chief between the others reversed, sable; borne by Hulse.
3. Of Common Charges borne in Arms.
In all ages men have made use of the representation of
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1 Authors are divided about the resemblance of a mascle, some taking it for the mesh of a net, and others for the spots of certain flints found about Rohan; and as no writer has given a clearer account in support of this last opinion than Colombier, author of La Science Héraldique, we shall transcribe it for the satisfaction of the curious. "Rohan," says he, "bears gules, nine mascles, or, 3, 3, 3. Opinions have varied very much about the origin of the mascles or meshes, as being somewhat like the meshes of nets; but for my own part, having often observed that those things which are remarkable and singular in some countries, have sometimes occasioned the lords thereof to represent them in their escutcheons, and even take them for their arms, I am of opinion, that the lords of Rohan, who, I believe, are the first that bore those figures in their arms, though descended from the ancient kings and princes of Bretagne, took them, because in the most ancient viscounty of Rohan, afterwards erected into a duchy, there are abundance of small flints, which being cut in two, this figure appears on the inside of them; as also the carps, which are in the fish-ponds of that duchy, have the same mark upon their scales; which, being very extraordinary, and peculiar to that country, the ancient lords of the same had good reason, Heraldry, living creatures, and other symbolical signs, to distinguish themselves in war; and these marks, which were promiscuously used as hieroglyphics, emblems, and personal devices, were soon received into heraldry. But nothing shows the extent of human ingenuity more than the great variety of these marks of distinction, since they are composed of all sorts of figures, some natural, others artificial, and many chimerical.
Thus, the family of Rabett bears three rabbits heads; that of Lucy, three luces or pikes, in Latin tres lucios piscis; that of Starkey, a stork; and that of Shuttleworth, three weavers' shuttles.
Besides these natural and artificial figures, there are chimerical or imaginary ones used in heraldry, the result of fancy and caprice; such as centaurs, hydras, phoenixes, griffons, hippocrits, and dragons. This great variety of figures shows the impossibility of comprehending all common charges in a work of this nature; such only shall be treated of as are therefore most frequently borne.
Art. I.—Of Natural Figures borne in Arms.
Amongst the multitude of natural things which are used in coats of arms, those most usually borne are, for the sake of brevity as well as perspicuity, distributed into the following classes—viz., Celestial figures, as the sun, moon, stars, &c., and their parts; effigies of men, women, &c., and their parts; beasts, as lions, stags, foxes, boars, &c., and their parts; birds, as eagles, swans, storks, pelicans, &c., and their parts; fishes, as dolphins, whales, sturgeons, trouts, &c., and their parts; reptiles and insects, as tortoises, serpents, grasshoppers, &c., and their parts; vegetables, as trees, plants, flowers, herbs, &c., and their parts; stones, as diamonds, rubies, pebbles, rocks, and the like. These charges have, as well as ordinaries, various attributes or epithets, which express their qualities, positions, and dispositions. Thus the sun is said to be in his glory, eclipsed, and the moon in her complement, increscent; animals are said to be rampant, passant; birds have also their denominations, such as close, displayed; and fishes are described to be hauriant, naiant, and so forth.
1st. Examples of Celestial Figures.—1. Azure, a sun in his glory; born in the first and fourth quarters of the coat of arms of the Marquis of Lothian. 2. Azure, one ray of the sun bendways gules, between six beams of that luminary argent. 3. Argent, five rays of the sun issuing out of the sinister corner gules. 4. Gules, the moon in her complement, illustrated with all her light proper. This is sufficient without naming the colour, which is argent. 5. Azure, a moon decrescent proper. 6. Azure, a crescent argent. This bearing is also used as a difference, being assigned to the second son, as before mentioned. 7. Gules, three crescents argent; borne by the family of Oliphant. 8. Azure, a crescent between three mullets argent; borne by the family of Tremayne. 9. Argent, a man's heart gules, with two equilateral triangles interlaced sable. 10. Azure, a sinister arm, issuing out of the dexter-chief; upon observing that wonder, to take those figures for their arms, and to transmit them to their posterity, giving them the name of moeles, from the Latin word moeola, signifying a spot; whence some of that house have taken for their motto, Sine moeola moeola, that is, a mangle without a spot." Heraldry, and extended towards the sinister base argent. 11. Argent, a dexter hand couped at the wrist, and erected, within a bordure engrailed sable; borne by the family of Mauley. 12. Argent, a man's heart gules, ensigned with a crown or, and on a chief azure, three mullets of the first. The paternal coat of the name of Douglas, and quartered in the arms of the Duke of Hamilton, the Marquis of Queensberry, and of the Earls of Morton and Selkirk. 13. Gules, a Saracen's head affrontée, erased at the neck proper, environed about the temples with a wreath of the argent and sable; borne by Mostyn Lord Mostyn. 14. Argent, three blackamoors' heads couped proper, handed about the head, argent and gules. 15. Gules, three bezants, each charged with a man's face affrontée proper. 16. Or, a blackamoor's head couped proper, handed about the head argent.
When half of the face, or little more, of human figures, is seen in a field, it is then said to be in profile; and when the head of a man, woman, or other animal, is represented with a full face, it is termed affrontée.
3d. Examples of the different Positions of Lions, &c., in Arms.—1. Or, a lion rampant azure; quartered by Percy Duke of Northumberland. 2. Azure, a lion rampant-guardant or. 3. Gules, a lion rampant-reguardant or; quartered by Cadogan Earl Cadogan. 4. Argent, a lion saliant gules. 5. Azure, a lion statant-guardant or. 6. Azure, a lion passant or, between three fleurs-de-lys argent. 7. Argent, a lion passant guardant gules crowned or; quartered by Ogilvie Earl of Seafield. 8. Gules, a lion sejant argent. 9. Or, a lion rampant double-headed azure; borne by the name of Mason. 10. Azure, two lions rampant-combatant or, armed and langued gules; borne by the name of Carter. 11. Azure, two lions rampant-adossés or. This coat of arms is said to have been borne by Achilles at the siege of Troy. 12. Sable, two lioncels counter-passant argent, the uppermost towards the sinister side of the escutcheon, both collared gules; borne by the name of Glegg.
13. Argent, a demi-lion rampant sable. 14. Gules, a lion couchant between six cross-crosetts, three in chief, and as many in base, argent; for the name of Tynte. 15. Azure, a lion dormant or. 16. Or, out of the midst of a fess sable, a lion rampant naisant gules. 17. Azure, three lions rampant or; borne by Fiennes Baron Saye and Sele. 18. Gules, a tri-corporated lion issuing from three parts of the escutcheon, all meeting under one head in the fess point or, langued and armed azure. 19. Gules, a bezant between three demi-lions rampant argent; borne by Bennet Earl of Tankerville.
It is to be observed that, if a lion, or any other beast, be represented with its limbs and body separated, so that they remain upon the field at a small distance from their natural places, it is then termed Dehaché, or couped in all its parts; of which remarkable bearing there is an instance in armory, namely, or, a lion rampant gules, dehaché, or couped in all its parts, within a double-tressure floyery and counter-floyery of the second; borne by the name of Maitland.
4th. Examples of other Quadrupeds and their parts, borne in Coats of Arms.—1. Sable, a camel statant argent.
2. Gules, an elephant statant argent, tusked or. 3. Argent a boar statant gules, armed or. 4. Sable, a bull passant or.
5. Sable, three nag's heads erased argent; borne by Blayney Baron Blayney of Monaghan, in Ireland, descended in a direct line from the ancient Princes of Wales. 6. Argent, three boars' heads erased, erect proper. 7. Argent, three bulls' heads erased, sable, armed or; quartered by Skeffington Viscount Massareene. 8. Argent, two foxes counter-
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1 Some fanciful heralds say it is the natural disposition of the lion not to bear a rival in the field; therefore two lions cannot be borne in one coat of arms, but must be supposed to be lions' whelps, called Lioncels; except when they are parted by an ordinary, or so disposed that they seem to be distinctly separated from each other. In the two preceding examples they are called Lioncels, because in the 10th they seem to be striving for the sovereignty of the field, which they would not do unless they were of full growth; and in the 11th they are supposed to represent two valiant men, whose dispute being accommodated by the prince, are leaving the field, their pride not suffering them to go both one way.
2 This form of blazon is peculiar to all living things which are found issuing out of the midst of some ordinary or other charge. Heraldry saliant, the dexter surmounted of the sinister gules; for the name of Kadrod Hardd, an ancient British family, from which are descended the Williams-Wynns, who bear these quartered, second and third, for Williams. 9. Argent, three bulls passant sable, armed and unguled or; for Ashley, and quartered by Ashley Cooper Earl of Shaftesbury, descended from Richard Cooper, who flourished in the reign of Henry VIII. 10. Gules, three lions gambes erased argent; for the name of Newdegate. 11. Azure, a buck's head cabossed argent; borne by Legge Earl of Dartmouth. 12. Argent, two squirrels sejant adossée gules. 13. Gules, a goat passant argent. 14. Sable, a stag standing at gaze argent. 15. Azure, three holy lambs or.
5th Examples of Birds, Fishes, Reptiles, &c.—1. Ermine, an eagle displayed gules; borne by Sir Henry Bedingfield. 2. Gules, a swan close proper. 3. Gules, a pelican in her nest with wings elevated, feeding her young ones or, vulned proper; borne by the name of Carne. 4. Argent, three peacocks in their pride proper. 5. Or, a raven proper; borne by the name of Corbet. 6. Argent, three cocks gules, crested and jow-lopped sable, a crescent surmounted of a crescent for difference; formerly borne by the Cockaynes Viscounts Cullen, of Donegal in Ireland (now extinct). 7. Sable, a dolphin naiant embowed or; borne by the name of Symonds. This animal was in former times borne by the eldest son of the French kings, as next heirs to the crown, no other subject in that kingdom being permitted to bear it. 8. Argent, three whales' heads erect and erased sable; borne by the name of Whalley. 9. Gules, three escalops argent; borne by Keppel Earl of Albemarle, descended from Arnold Joost van Keppel, lord of Voorst, Holland, who came into England in 1688, with the Prince of Orange, to whom he was then a page of honour, and was by him created a peer of England, by the title of Earl of Albemarle, from a town of that name in Normandy, 10th February 1696. 10. Azure, three bees, two and one, volant, argent. 11. Vert, a tortoise passant argent. 12. Gules, an adder nayed or. 13. Ermine, a rose gules barbed and seeded proper; borne by Boscawen Viscount Falmouth, whose family have possessed the lands of Boscawen Rose, in the county of Cornwall, since the time of King John. 14. Azure, three laurel leaves slipped or; borne by the name of Leveson, and quartered by Granville-Sutherland-Leveson Gower, Duke of Sutherland, &c. 15. Azure, three garbs or; borne by the ancient Earls of Chester. 16. Gules, three cinquefoils argent; borne by Lambart Earl of Cavan, in Ireland. This ancient family is of French extraction.
It is to be observed, that trees and plants are sometimes said to be trunked, eradicated, fructuated, and raguled, according as they are represented in arms.
Art. 2.—Of Artificial Figures borne in Arms.
After the various productions of nature, artificial figures, the objects of art and mechanism, claim the next rank. They may be distributed into the following classes,—viz., Warlike instruments, as swords, arrows, battering-rams, gauntlets, helmets, spears, pole-axes; ornaments used in royal and religious ceremonies, as crowns, coronets, mitres, wreaths, crosiers; architecture, as towers, castles, arches, columns, plummets, battlements, churches, portcullises; navigation, as ships, anchors, rudders, pendants, sails, oars, masts, flags, galleys, lighters, and so on.
All these bearings have different epithets, serving to express their position, their disposition, or their form. Thus swords are said to be erect, pommelled, hilted; arrows, armed, feathered; towers, covered, embattled; and so of all others, as will more fully appear by the following examples:—1. Sable, three swords, their points meeting in the base argent, pommelled and hilted or; borne by Paulet Marquis of Winchester, descended from Hercules, Lord of
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1 Adders, snakes, and serpents, are said to represent many things, which being according to the fancy of the ancients, and a few modern authors who have adopted their opinions, it is needless to enlarge upon. It is certain they often occur in armory; but the noblest is that of the duchy of Milan, viz., "argent, a serpent gliding in pale azure, crowned or, vorant an infant issuing gules." The occasion of this bearing was as follows:—Otto, first Viscount of Milan, on his way to the Holy Land with Godfrey of Bouillon, defeated and slew in single combat the great giant Velux, a man of extraordinary stature and strength, who had challenged the bravest of the Christian army. The viscount having killed him, took his armour, and amongst it his helmet, the crest of which was a serpent swallowing an infant, worn by him to strike terror into those who should be so bold as to engage him. Heraldry. Tournon in Picardy, who came to England with Jeffrey Plantagenet, Earl of Anjou, third son of King Henry II., and amongst other lands had the lordship of Paulet in Somersetshire conferred on him. 2. Argent, three battering-rams barways in pale, headed, azure and hooped or; borne by Bertie, Earl of Abingdon. 3. Azure, three left-hand gauntlets with their backs affrontée or; borne by Fane Earl of Westmorland. 4. Gules, two helmets in chief proper, garnished or, in a base of a garb of the third; borne by Cholmondeley Marquis of Cholmondeley, an ancient family in Cheshire. 5. Argent, a ship with its sails furled up sable; quartered by Hamilton Marquis of Abercorn. The descent of this family is from that of the Duke of Hamilton. 6. Sable, three spears' heads erect argent, embued gules, on a chief or, as many pole-axes reversed, azure; borne by King Earl of Lovelace. 7. Argent, a maunch sable; borne by Hastings Earl of Huntingdon, of a very ancient and noble family, of which was Walter de Hastings, steward to King Henry I. 8. Azure, a circular wreath argent and sable, with four hawks' bells joined thereto in quadrature or; borne by Jocelyn Earl of Roden. 9. Gules, two keys in saltier argent, in chief a royal crown proper; the arms of the archbishopric of York. 10. Gules, two swords in saltier argent, pommelled and hilted or; the arms of the bishopric of London. 11. Sable, a key in bend, surmounted by a crosier in bend sinister, both or; the arms of the bishopric of St Asaph. 12. Gules, two keys adossée in bend, the uppermost argent, the other or, a sword interposed between them in bend sinister of the second, pommelled, and hilted of the third; the arms of the bishopric of Winchester. 13. Gules, three mitres with their pendants or; the arms of the bishopric of Chester. 14. Sable, two crosiers, in saltier or, and argent; on a chief azure three mitres labelled of the second; the arms of the bishopric of Llandaff. 15. Gules, a sword erect in pale argent, pommelled and hilted or, surmounted by two keys in saltier of the last; the arms of the bishopric of Exeter. 16. Gules, three ducal coronets or; the arms of the bishopric of Ely.
Art. 3.—Of Chimerical Figures.
Are such as have no real existence, but are mere fabulous and fantastical inventions. These charges, griffons, martlets, and unicorns excepted, are so uncommon in British coats, that in order to make up the same number of examples hitherto contained in each collection, several foreign bearings are introduced; which, however, as they are conformable to the laws of heraldry, may also contribute to instruct the reader. Those most in use are the following,—namely, angels, cherubims, tritons, centaurs, martlets, griffons, unicorns, dragons, mermaids, satyrs, wiverns, harpies, cockatrices, and phoenixes.
These, like the foregoing charges, are subject to various positions and dispositions, which, from the principles already laid down, will be easily understood by the following examples:—1. Gules, an angel standing affrontée, with his hands conjoined and elevated upon his breast, habited in a long robe close girt argent, his wings displayed or; borne by Brangor de Cerevisia, a foreign prelate, who assisted at the council of Constance in 1412. 2. Sable, a chevron between three cherubim or; borne by the name of Chancellor of Yorkshire. 3. Gules, a cherub having three pair of wings, the uppermost and lowermost counter-crossed saltierways, and the middlemost displayed argent; borne by the name of Buocasoca, a foreign prelate. This example is copied from Menestrier's Method du Blason. 4. Azure, a griffin segreant or, armed and langued gules, between three crescents argent; quartered by Bligh, Earl of Darnley.
5. Azure, three mullets argent within a double tressure counter-flowerly or, in the centre a martlet of the last; borne by Murray Lord Elibank. The martlet is represented without feet, and is given for a difference to younger brothers, no doubt to remind them that, in order to raise themselves, they must trust to the wings of virtue and merit, and not to their legs, having but little land to set foot on. 6. Sable, a cockatrice displayed argent, crested, membered, and jowopped gules. 7. Argent, a mermaid gules, crined or, holding in her right hand a mirror, and in her left a comb, both proper; borne by the Merioneth family of Ellis. 8. Argent a wivern, his wings elevated, and his tail nowed below him gules; borne by the family of Drake. 9. Or, a dragon passant vert. 10. Gules, a centaur or sagittary in full speed regardant proper. This is said by some to have been the arms of Stephen of Blois, son of Adela, daughter of William the Conqueror, and of Stephen, Earl of Blois; who, grounding his pretension to the crown of England on this descent, was proclaimed king in 1135, and reigned till the 25th of October 1154. 11. Argent, an unicorn sejant sable, unguled and horned or. 12. Argent, a dragon's head erased Heraldry.
vert, holding in his mouth a sinister hand couped at the
Great Seal the arched crown with the crosses and fleurs-de-
lys. Henry VII., however, still continued the open crown
with fleurs-de-lys and pearls on his first money; afterwards
with leaves and pearls with a single arch. The crown on his
Great Seal has crosses patée and fleurs-de-lys, and arched,
surmounted by the orb and cross. This crown, with some
variations in the number of arches, continued to be used by
succeeding sovereigns.
The crown of the kings of Scotland is remarkable for its
elegance and beauty; composed of a circle heightened with
ten crosses flory and ten fleurs-de-lys alternately; from
whence arise four arches surmounted by a globe or mound
ensigned with a cross patée. The cap is of velvet, lined
with ermine, and adorned with four plates of gold, each en-
riched with a large pearl.
The crown of the kingdom of Hanover, as settled in
1816, to be placed over the inescutcheon of the royal arms
of George III., being substituted for the electoral bonnet,
consisted of a circle of gold, adorned on the upper rim with
strawberry leaves, and a cross patée in the centre. From the
circle arose eight arches, closing at the top, supporting a
mound and cross.
The crown of the kings in France, was a circle enamelled,
adorned with precious stones, and heightened
by eight arched diadems, rising from as many
fleurs-de-lys, which conjoined at the top under
a double fleur-de-lys, all of gold.
The crowns of Spain, Portugal, and Poland, are all three
of the same form, and are described by Colonel Parsons in
his Genealogical Tables of Europe. A coronet of strawberry
leaves, heightened by eight arched diadems, which support
a mound, ensigned with a plain cross. Those of Denmark
and Sweden are both of the same form, and consist of eight
arched diadems, rising from a coronet like that of an Eng-
lish marquis, which conjoin at the top under a mound en-
signed with a cross-bottony. The crowns of other kings
are similar.
The Grand Seignior bears over his arms a turban, en-
riched with pearls and diamonds, under two
coronets, the first of which is made of pyra-
midical points heightened up with large pearls,
whilst the uppermost is surmounted with cre-
scents.
The Pope, or Bishop of Rome, appropriates
to himself a tiara or long cap of golden cloth, from which
hang two pendants embroidered and fringed at the ends,
semic with crosses of gold. This cap is enclosed by three
coronets like those of the degree of marquis in England; and
has on its top a mound of gold, on which is a cross of the
same, sometimes represented by engravers and painters po-
mmed, recrossed, flowery, or plain. It is a difficult matter
to ascertain the time when the popes assumed the three
coronets above mentioned. A succession of the supreme
pontiffs, engraved and published by order of Clement XIII.
for the edification of his subjects in Great Britain and Ire-
land, represents Marcellus, who was chosen Bishop of Rome
in the year 310, and all his successors, adorned with such
a cap; but it appears from good authority,
that Boniface VIII., who was elected to the
see of Rome in the year 1295, first com-
passed his cap with a coronet; whilst
Benedict XII. in 1335, added to it a sec-
ond, and John XXIII. in 1411, a third,
with a view to indicate that the Pope is the
sovereign priest, the supreme judge, and the sole legislator,
amongst Christians.
IV.—OF THE EXTERNAL ORNAMENTS OF ESCUTCHEONS.
Ornaments which accompany or surround escutcheons
denote the dignity or office of the persons to whom the arms
appertained, both amongst the laity and the clergy, consis-
ting of crowns, coronets, mitres, helmets, mantles, and
supporters. Wreaths, crests, and scrolls, are common to all
classes.
1. Of Crowns.
The first crowns were only diadems, bands, or fillets;
but afterwards they were composed of branches of various
trees, and then flowers were added to them. Amongst the
Greeks, the crowns given to those who carried off the prize
at the Isthmian games were of pine; at the Olympic, of
laurel; and at the Nemean, of smallage. The Romans also
had various crowns to reward martial exploits and extro-
ordinary services done to the republic. Constantine the Great
first used a diadem of pearls and precious stones over a gold
helmet, somewhat like the close crown of later times, which
seems to have been the example which the sovereigns of
Europe afterwards followed.
The imperial crowns of Austria and Russia consist of a
circle of gold, adorned with precious stones
and pearls, heightened with fleurs-de-lys,
bordered and seeded with pearls, and raised
in the form of a cap voided at the top like
a crescent. From the middle of this cap
rises an arched fillet enriched with pearls,
and surmounted with a mound on which is a cross of pearls.
The crown of the kings of Great Britain, which is a circle
of gold, enriched with pearls and precious
stones, having four crosses patée and four
fleurs-de-lys alternately; from these rise four
arched diadems adorned with pearls, which
close under a mound, surmounted with a
cross like those at the bottom; within is a velvet cap trim-
med with ermine.
The crowns of the kings of England have at various times
assumed different forms; generally consisting in early reigns
of a fillet of gold, ornamented upon its upper circle by leaves,
fleurs-de-lys, and crosses patée placed alternately with fleurs-
de-lys. Edward IV. has first upon his coins the open crown
with crosses and fleurs-de-lys; and presents the first in-
stance of an arched or closed crown with leaves only upon
the Great Seal. Richard III. is the first who placed on the
Great Seal the arched crown with the crosses and fleurs-de-
lys. Henry VII., however, still continued the open crown
with fleurs-de-lys and pearls on his first money; afterwards
with leaves and pearls with a single arch. The crown on his
Great Seal has crosses patée and fleurs-de-lys, and arched,
surmounted by the orb and cross. This crown, with some
variations in the number of arches, continued to be used by
succeeding sovereigns.
The crown of the kings of Scotland is remarkable for its
elegance and beauty; composed of a circle heightened with
ten crosses flory and ten fleurs-de-lys alternately; from
whence arise four arches surmounted by a globe or mound
ensigned with a cross patée. The cap is of velvet, lined
with ermine, and adorned with four plates of gold, each en-
riched with a large pearl.
The crown of the kingdom of Hanover, as settled in
1816, to be placed over the inescutcheon of the royal arms
of George III., being substituted for the electoral bonnet,
consisted of a circle of gold, adorned on the upper rim with
strawberry leaves, and a cross patée in the centre. From the
circle arose eight arches, closing at the top, supporting a
mound and cross.
The crown of the kings in France, was a circle enamelled,
adorned with precious stones, and heightened
by eight arched diadems, rising from as many
fleurs-de-lys, which conjoined at the top under
a double fleur-de-lys, all of gold.
The crowns of Spain, Portugal, and Poland, are all three
of the same form, and are described by Colonel Parsons in
his Genealogical Tables of Europe. A coronet of strawberry
leaves, heightened by eight arched diadems, which support
a mound, ensigned with a plain cross. Those of Denmark
and Sweden are both of the same form, and consist of eight
arched diadems, rising from a coronet like that of an Eng-
lish marquis, which conjoin at the top under a mound en-
signed with a cross-bottony. The crowns of other kings
are similar.
The Grand Seignior bears over his arms a turban, en-
riched with pearls and diamonds, under two
coronets, the first of which is made of pyra-
midical points heightened up with large pearls,
whilst the uppermost is surmounted with cre-
scents.
The Pope, or Bishop of Rome, appropriates
to himself a tiara or long cap of golden cloth, from which
hang two pendants embroidered and fringed at the ends,
semic with crosses of gold. This cap is enclosed by three
coronets like those of the degree of marquis in England; and
has on its top a mound of gold, on which is a cross of the
same, sometimes represented by engravers and painters po-
mmed, recrossed, flowery, or plain. It is a difficult matter
to ascertain the time when the popes assumed the three
coronets above mentioned. A succession of the supreme
pontiffs, engraved and published by order of Clement XIII.
for the edification of his subjects in Great Britain and Ire-
land, represents Marcellus, who was chosen Bishop of Rome
in the year 310, and all his successors, adorned with such
a cap; but it appears from good authority,
that Boniface VIII., who was elected to the
see of Rome in the year 1295, first com-
passed his cap with a coronet; whilst
Benedict XII. in 1335, added to it a sec-
ond, and John XXIII. in 1411, a third,
with a view to indicate that the Pope is the
sovereign priest, the supreme judge, and the sole legislator,
amongst Christians.
2. Of Coronets.
The coronet of the Prince of Wales was anciently a
circle of gold set round with four crosses patée, and as many Heraldry, fleurs-de-lys alternately; but since the Restoration it has been closed with one arch only, adorned with pearls, surmounted by a mound and cross, and having a cap trimmed with ermine like the king's (No. 1).
The following is an extract from the royal warrant of 13th Car. II—
"That the sonne and heire apparent of the crowne for the tyme being shall use and beare his coronett composed of crosses and flower-de-lizes with one arch, and in the midst a ball and cross as hath our royal diadem. And that our most deare and most entirely beloved brother James, Duke of Yorke, and soe all the immediate sonnes of ourselfe and the immediate sonnes and brothers of our successors kinges of England shall beare and use his and their coronetts composed of crosses and flower-de-lizes only, but that all their sonnes respectively having the title of dukes shall beare and use their coronetts composed of crosses and flowers or leaves such as are used in the composition of the coronetts of dukes not being of our royal family."
Besides this coronet, the Prince of Wales has another distinguishing mark of honour, peculiar to himself, namely, a plume of three ostrich-feathers, with an ancient coronet of a prince of Wales (No. 2). Under this, in a scroll, is the motto, Ich Dien, which in the German or old Saxon language signifies I serve. This device was first assumed by Edward Prince of Wales, commonly called the Black Prince, after the famous battle of Cressy, in 1346, where, having with his own hand killed John King of Bohemia, he took from his head such a plume as that here described, and put it on his own. This, however, was doubted by the late Sir Harris Nicolas, who says that the badge of the three ostrich feathers was derived from the house of Hainault. But from a contemporary account which Sir Harris Nicolas subsequently discovered he thought the tradition was somewhat confirmed. (Vide Sir Harris Nicolas's account in Archaeologia, vols. xxxi. and xxxii., for some very interesting notices on the origin and history of the badge and mottoes of Edward the Black Prince.)
The coronet of all the intermediate sons and brothers of the kings of Great Britain is a circle of gold bordered with ermine, heightened with four fleurs-de-lys and as many crosses pâtee alternately, as has been already shown (No. 3). The coronet of the princesses of Great Britain is a circle of gold bordered with ermine, and heightened with crosses-pâtee, fleurs-de-lys, and strawberry leaves alternately (No. 4).
A duke's coronet is a circle of gold bordered with ermine, enriched with precious stones and pearls, and set round with eight large strawberry leaves (No. 5). A marquis's coronet is a circle of gold set round with four strawberry leaves and as many pearls on pyramidal points of equal height alternate (No. 6). An earl's coronet is a circle of gold heightened up with eight pyramidal points or rays, on the tops of which are as many large pearls, which are placed alternately with as many strawberry leaves, but the pearls much higher than the leaves (No. 7). A viscount's coronet differs from the preceding ones as being only a circle of gold, with large pearls set close together on the rim, without any limited number (No. 8). A baron's coronet, which was granted by King Charles II., is formed with six pearls set at equal distances on a gold circle, four of which only are seen in engravings and paintings (No. 9).
All these coronets are worn at the time of the coronation by peers and peeresses; having caps of crimson velvet within them edged with ermine, the ermine being visible below the circle of the coronet. It is difficult to determine at what period the coronet became the distinguishing symbol of peerage for the four superior degrees. In an essay, by Mr King, York herald, on the Stall Plates of the Knights of the Garter, in the Archaeologia, vol. xxxi., it appears that, if those plates are evidence of the use of coronets, the period of their first introduction is comparatively late, as few coronets appear during the reign of Henry VIII. upon the garter plates of the knights of that order; nor did the custom of placing these marks of dignity prevail till about the beginning of the reign of Queen Elizabeth. The first coronet having a cap with ermine, which is exhibited on the garter plate, is that of Lord Godolphin, who was installed in 1704. He was the first baron who became a Knight of the Garter after the coronet was assigned to barons.
By a royal warrant dated at Whitehall, 2d June 1665, a patent was directed to pass the Great Seal ordaining barons of Scotland to wear a velvet cap with a gold circle, decorated with six pearls; and it is said a similar warrant was issued at the same time for barons of Ireland.
The eldest sons of peers above the degree of a viscount are entitled by the courtesy of England to use their father's second title; but they are not entitled to use a coronet, or the supporters annexed to the dignity. Peers of parliament and their wives only can use coronets and supporters. Peeresses in their own right are also entitled to coronets and supporters.
For an account of the coronets of foreign nobility, vide Selden's Titles of Honor. Coronets are not worn in France or other continental states, but merely depicted with other heraldic insignia to which the bearer may be entitled.
The chapeau is a species of cap, usually crimson, turned up with ermine, and is said to be applicable to the ducal dignity only; but there is no instance in English heraldry of its bearing that qualification. It is frequently used to set a crest upon. By the regulations of the present day the Earl-Marshal prohibits the painting of crests issuing from ducal coronets or from chapeaux.
3. Of Mitres.
The archbishops and bishops of England and Ireland place a mitre over the shields of their arms, in lieu of a crest. It is a round cap pointed and cleft at the top, rising from a circle of gold from which are two labels or pendants, fringed at the ends. The Bishops of Durham and Meath only are entitled to use the mitre rising from a ducal coronet, signifying their palatinate jurisdiction. The practice of portraying the mitres of archbishops issuing from ducal coronets is an innovation which arose in the early part of the last century without any authority. Mitres were worn at the coronation of Queen Elizabeth; since which period they have only been used heraldically as episcopal insignia. The ancient Bishops of Durham also wore three feathers in addition to the princely or ducal coronet which so signally graced their mitres. This ornament, with other vestments, is still worn by the archbishops and bishops of the Church of Rome, whenever
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1 The very recent case of Baron Wensleydale, who has been created for life only, must be considered as an exception; his lordship has all the privileges of peerage except sitting in Parliament, the House of Lords having declared that neither his patent, nor the writ under the patent, entitles him to sit. Heraldry: they officiate with solemnity; but it is never used in England, otherwise than over the coats of arms.
4. Of Helmets.
The helmet was formerly worn as a defensive weapon to cover the bearer's head, and is now placed over the arms as a mark of gentility.
The helmets of sovereigns were of burnished gold; those of princes and lords, of silver figured with gold; those of knights, of steel adorned with silver; and those of private gentlemen, of polished steel. As to their form, those of the king and the royal family of Great Britain, are open-faced, with bars (No. 1). The barred helmet in profile is common to all degrees of peerage (No. 2). The helmet standing direct without bars, and a little open, denotes baronets and knights (No. 3); the side-standing helmet, with the beaver close, is the manner of wearing it peculiar to esquires and gentlemen (No. 4).
Such are now the established rules respecting the use of helmets as marks of distinction in the full heraldic achievement; but the origin of these, like many other matters connected with this subject, is involved in some obscurity. It is clear that helmets in heraldry were not always distinguishing insignia, at least, as respects nobility and gentry. The evidence afforded by the garter plates at Windsor, shows that the helmets of knights-subjects on all the stall plates of the Knights of the Garter, till towards the close of the reign of Elizabeth, are in profile, having the visors close like those now used to designate the esquire of the present day. The barred helmet in profile first appears on the garter plate of Henry Radcliffe, Earl of Sussex, who was installed in 1589. And it is remarkable that during the following reign there are two instances of the close helmet being used for peers notwithstanding; so that it appears to have been a matter of indifference whether the close helmet or the barred helmet was adopted for peers at that time. After 1603 the barred helmet became constantly borne on these plates for the nobility above the degree of barons. The first instance of the barred helmet for a baron was in the case of Lord Knolles in 1615. The helmets on the plates of Sir Robert Walpole, who was installed a Knight of the Garter in 1726, and of Sir Robert Stewart (commonly called Viscount Castlereagh, as eldest son of the Marquis of Londonderry) who was installed in 1814, are respectively the open helmet affrontée. It is not improbable that, about the time of the restoration of King Charles II., the full-faced open helmet became a distinguishing one for baronets and knights. In engravings of the arms of baronets and knights in the seventeenth century, the side-standing close helmet is frequently used.
5. Of Mantlings.
The mantling or lambrequin, attached to the helmet, had its origin from the Cointoise, a sort of ornamental streamer or scarf which passed round the body, and over the shoulder. This superb ornament was introduced in the reign of Henry III. It afterwards became an embellishment of the helmet; and, referring to the seals of the barons of 1300, it may be seen upon them passing from beneath the crest, and elegantly flying in graceful folds beyond the helmet. The monument of Sir John Harisc, in the time of Edward III., exhibits his tilting helmet, and is the earliest occurrence of the wreath, which took place of the cointoise as a personal ornament, from which time it assumed more prominently what was afterwards called the lambrequin. In a grant of arms, A.D. 1334, the cointoise with tassels, has a cloak-like appearance, and is there called a mantell. The helmet of William, Lord Hastings, on his seal attached to a deed, A.D. 1469, has a scroll instead of a cointoise. And it has been conjectured that the scroll or lambrequin was an imitation of the cointoise after it had been torn in battle. The mantling, when it became an heraldic ornament, was usually gules lined, or "doubled" argent; but in Elizabeth's time, as now, it assumes the colours of the wreath, being the two first of the coat-armorial, the metal being for the lining or doubling. In many of the old grants of arms this was not, however, always so; and until a late period the mantling was fully blazoned or described. It was sometimes charged with heraldic bearings or other figures. The royal mantling of the present day is gold doubled ermine; and like those of the nobility and gentry forms a species of scroll-work flowing from the helmet, and ornamenting both sides of the shield.
6. Of the Wreath.
The wreath or torse was formed of two pieces of silk of the two first colours of the armorial bearings, twisted together by the lady who chose the favoured individual for her knight. It took place of the cointoise about the time of Edward III. It surrounded the upper part of the helmet as a fillet, and appeared (as a coronet did in some instances) to bind the lambrequin close to the helmet. From the centre of the wreath, or coronet, issued the crest (vide Crest, and Mantling). In blazoning a crest, it is usually said to be upon or within "a wreath of the colours," by which colours are meant the two first of the arms; but sometimes the wreath has been composed of all the colours of the arms when more than two. An example occurs in the grant of a crest to the city of Exeter, A.D. 1580, where the wreath is or, gules, and azure; those colours being in the arms. The liveries of servants should follow the colours of the wreath.
7. Of Crests.
The crest is the highest part of the ornaments of a coat of arms. It is called crest, from the Latin word crista. Crests were formerly great marks of honour, because they were only worn by heroes of great valour, or by such as were advanced to some superior military command, in order that they might be the better distinguished in an engagement. Crests appear to be nearly coeval with the introduction of armorial ensigns upon shields, as there are instances as early as the reign of Henry III. Richard I. is represented with something upon his helmet which may have been the prototype of the heraldic crest, somewhat in the form of a fan charged with a lion rampant or passant upon it. By the Close Rolls (54 Hen. III.), armour was provided for the knights going into the Holy Land, in which, amongst other articles, are mentioned two crests. On the seals, previously quoted from those attached to the Barons Letter to the Pope, A.D. 1300, there are examples of crests.
The first English monarch who introduced his crest upon his Great Seal was Edward III., which he wears on his helmet. Crests were soon assumed by private families. Edward III., in 1333, granted a crest to William Montacute, Earl of Salisbury, and by a further grant made it hereditary; and in 1334, Guyen, king of arms, granted a crest to Thomas Andrews. Crests were also called cognizances, a very obvious term when considering their use—that the bearers might be known by them.
Crests, therefore, are as equally significant of the lineage of persons entitled to use them as arms are; and, as such, are inseparably annexed to individual families. The popular notion that crests are assumptive at pleasure, has no foundation in the nature or practice of heraldry; nor that the crest of a maternal ancestor may be borne. Heiresses do not convey the crests of their families to their descendants who are entitled to quarter their arms.
The crest was placed upon the helmet, within the wreath, not upon the wreath, as described in modern times; or might be issuant from a ducal or other coronet, or placed on a chapeau; and, although governed by the same laws as paternal arms with respect to hereditary masculine descent, it does not necessarily have any allusion to, or derivation from the bearings upon the shield. The crest represented without the armorial shield is usually placed on a wreath, or from a coronet, as the case may be, without the helmet or lambrequin.
The "Cognizance" is also a term used synonymously with "Badge," not to be understood as a crest, but as a badge. They are, at least, coeval with armorial bearings, if not of a prior date. Henry II. adopted certain distinctive figures which had reference to his name. This was the planta genista. Badges were confined to royalty till about the time of Richard II., when they were adopted by the nobility. They were not substituted for armorial devices in the field, except on banners, and that only during the wars between the houses of York and Lancaster. The kings of England bore a variety of badges, in different reigns, as did also the several members of the royal family during the middle ages. Of the royal badges of sovereigns which have descended to modern times, is the well-known rose, the thistle for Scotland, and the trefoil for Ireland. But the trefoil was not formerly a royal badge. The Prince of Wales's plume is the peculiar badge belonging to the eldest son of the sovereign.
Badges used by the ancient nobility served rather to denote the servants or retainers, and were distinct from armorial bearings, and embroidered upon the livery. These badges were defined in their character; and the use of them in the present day is very limited. They never appear as a crest; and are consequently without the wreath, or any other bearing which characterizes crests. Badges were frequently displayed upon the funereal banners of sovereigns and nobles, accompanied by their motto and other devices.
8. Of the Scroll.
The scroll is the ornament placed below the shield, containing a motto or short sentence alluding thereto, or to the bearings, or to the bearer's name. Thus, the motto of the Marquis of Cholmondeley is Cassis tutissima virtus—"Virtue is the safest helmet;" on account of the helmet in the coat of arms; and the motto of Earl Fortescue is Forte scutum salus ducum, "A strong shield is the safety of the commanders," alluding to the name of that ancient family. Sometimes, however, the motto has reference to neither, but expresses something divine or heroic; as that of the Earl of Scarborough, Murus arcus conscientia sana, "A good conscience is a wall of brass." Others are enigmatical, as that of the royal achievement, which is Dieu et mon droit, "God and my right," introduced in 1340 by Edward III., when he assumed the arms and title of king of France, and began to prosecute his claim, which occasioned long and bloody wars, fatal by turns to both kingdoms; or that of the Prince of Wales, Ich dien, "I serve," the origin of which has already been explained.
9. Of Supporters.
Supporters are figures standing on the scroll, and placed at the side of the escutcheon; they are so called because they seem to support the shield. The rise of supporters is, by Menestrier, traced to ancient tournaments, in which the knights caused their shields to be carried by servants or pages under the disguise of lions, bears, griffins, blackamoors, and the like, who also held and guarded the escutcheons, which the knights were obliged to expose to public view for some time before the lists were opened. But Sir George Mackenzie dissents from this opinion, and contends (Treatise on the Science of Heraldry, chap. xxxi., p. 93) that "the first origin and use of them was from the custom, which ever was and is, of leading such as are invested with any great honour to the prince who confers it."
The origin of supporters is still, however, involved in mystery. Like many other points connected with heraldry, they derived their origin at no ascertained time, and grew up into use from causes at present unknown. Theories have been attempted to be formed for their introduction into heraldry, but the most probable is that of various figures or animals being introduced upon seals as ornaments to fill up the open spaces which occur in a circular seal with the triangular or heater shield exhibiting the arms. Instances of this character occur very early, as may be seen upon the seals attached to the Barons' Letter to the Pope in 1300. After that period these figures or animals assumed a more decided character upon seals, and are found supporting the helmet as early as the time of Richard II. On the beautiful seals of the period from the reign of Henry IV. to that of Henry VI., the shields containing the arms are frequently placed so low as to cover part of the legend, while the helmets and crests are supported by various animals, natural and chimerical. The recognition of supporters, in the sense in which they are now understood, as regards the use of them by private families, may be dated about the time of Henry VII.; and there are a few private families who continue to bear them at this day, and whose title to use them has been allowed by the heralds at various times. When supporters first became the distinguishing mark of nobility, or were exclusively considered properly to appertain to the peerage or to the Knights of the Garter and Bath, is not quite clear. It appears that the first stall plate of a Knight of the Garter bearing supporters was that of John Beaufort, who was elected into that order 20th Henry VI.; but it is doubted whether the plate is of so early a date. But the first plate of this kind, which may with certainty be considered as contemporaneous with the installation, is that of John Dynham, Lord Dynham, who was elected a Knight of the Garter 1st Henry VII.; upon this plate the supporters, which are two stages, support the helmet and crest only. In the case of Henry Earl of Northumberland, who was elected in the same reign, the supporters are placed outside the garter which encircles the shield. Supporters were not even general at this time, as several plates intervening between that period and 29th Henry VIII. are devoid of them. Subsequently to the later period, however, supporters occur on all the succeeding plates of knights (vide Archaeologia, vol. xxxi.).
There is, however, some reason to imagine that the jousts and tournaments were influential in the introduction and use of supporters. In an illuminated MS. remaining in the Herald's College, said to have been written and embazoned for the use of Prince Arthur, the eldest son of Henry VII., are depicted a series of banners of arms of the ancient kings, nobles, and knights, each of which is held by some armorial or heraldic figure; being in each case the same, or at least one of those which are to be found on their seals, or in other evidences, as supporters.
The supporters which are attributed to the kings of England have varied from time to time, previously to their final settlement by James I. Edward III. used a lion and eagle; Richard II., the lion and white hart; Henry IV., the heraldic antelope and swan; Henry V. and Henry VI., the lion and heraldic antelope; Edward IV., the lion and
Heraldry. black bull; Richard III., the lion and white boar; Henry VII., the lion and red dragon, which were continued to be used till the end of the reign of Elizabeth. These do not, however, appear on any of their great seals, upon which the use of supporters does not occur. On the great seal of James I., a lion is holding the banner of St George, and an unicorn that of St Andrew. The ancient supporters of Scotland were two unicorns, one of which James I. retained to support the royal arms of England on his accession to the English crown. Supporters (sometimes supporting the crest and helmet only) were used on the seals of the royal family from the time of Henry V.
Supporters are borne by corporations and trading companies; one of the earliest grants was made to the Leather Sellers Company, 22nd Henry VIII.
V.—OF THE RULES OR LAWS OF HERALDRY.
I. The first and most general rule is, to express one's meaning in proper terms, so as not to omit any thing which ought to be specified, and at the same time to be clear and concise without tautology.1
II. The tincture of the field must first be mentioned, and then proceed to the principal charges which possess the most honourable place in the shield, such as fess, chevron, &c., always naming that charge first which lies next to and immediately upon the field.
III. After naming the tincture of the field, the honourable ordinaries, or other principal figures, their attributes, and afterwards their metal or colour, must be specified.
IV. When an honourable ordinary, or some one figure, is placed upon another, whether it be a fess, chevron, cross, &c., it is always to be named after the ordinary or figure over which it is placed, with the expression sur tout or over all.
V. In blazoning such ordinaries as are plain, the bare mention of them is sufficient; but if an ordinary should be made of any of the crooked lines, its form must be specified; that is, whether it be engrailed, wavy, &c.
VI. When a principal figure possesses the centre of the field, its position is not to be expressed.
VII. The number of the points of mullets or stars must be specified when more than five; and also if a mullet or any other charge be pierced, it must be mentioned.
VIII. When a ray of the sun, or other single figure, is borne in any other part of the escutcheon than the centre, the point it issues from must be named.
IX. The natural colour of trees, plants, fruits, birds, and the like, is by the word proper, unless they differ from their natural colour.
X. When three figures are in a field, and their position is not mentioned in the blazoning, they are always understood to be placed, two above, and one below.
XI. When there are many figures of the same species borne in a coat of arms, their number must be observed as they stand, and distinctly expressed.
But, for the better elucidation of this last rule, we have inserted examples of the different dispositions of figures, ranged in pale, in fess, &c. (Nos. 1, 2). Three may be 2 and 1, as also in bend, &c. (Nos. 3, 4). Four are placed 2 and 2, sometimes called cantoned (No. 5). Five, 1, 3, 1, in cross; or 2, 1, 2, in saltier (Nos. 6, 7). Six, 3, 2, 1, in pile; or 2, 2, 2, paleways (Nos. 8, 9). Eight, in orle, or on a bordure (No. 10). Nine, 3, 3, 3, barways; or 3, 3, 2, 1, in pile (Nos. 11, 12). Ten, 4, 3, 2, 1, in pile; or else 4, 2, 4, barways (Nos. 13, 14). Twelve are placed 4, 4, 4, barways (No. 15).
When the field is strewed with the same figures, this is expressed by the word semée; but, according to the opinion of a French armorer, if the figures strewed on the field are whole ones, it must be denoted by the words sans nombre; whereas, if part of them be cut off at the extremities of the escutcheon, the word semée must then be used.
VI.—OF MARSHALLING ARMS.
This is understood to be the art of disposing several coats of arms in one escutcheon, and of arranging the contingent exterior ornaments. Originally, only one coat was exhibited in the shield; but afterwards, to denote descent or marriage, the arms of other families were borne on seals in separate escutcheons; sometimes without any variation as to the size of the escutcheons; but at other times the principal shield was surrounded by smaller ones. Marriages were, at length, shown by the arms of the wife being dimidiated with those of the husband, dimidiation representing only one-half of each coat parted by a per pale line. This course, however, from the inconvenience of dividing some coats, whereby their characteristic bearings became lost, was supplanted by the practice of impaling the arms of the wife with those of her husband, thus preserving the man's arms entire on the dexter, and the lady's on the sinister. Sometimes one coat only was dimidiated. Nothing in the early times denoted marriages with heiresses unless the arms of the heiress had a prominent place on the seal, or were impaled on the dexter side of her husband's. The practice, alluded to by some heralds, of placing the arms of more than one wife with those of the husband is not now followed, though Leigh has given some directions upon the point. The shield or escutcheon of pretence, to show the arms of the wife as the heiress of her family, is not of very early introduction.
But the principal occasion of a multiplicity of arms in one shield, is that of quartering the arms of heiresses, a system which first commenced about 1348, when the Earl
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1 In Kent's Grammar of Heraldry, published in 1716, p. xi., tautology is condemned in these very strong terms: "You must use no repetition of words;" but especially not of the words of, or, and, with, for the repetition of these is reckoned an unpardonable crime." Heraldry of Pembroke quartered the arms of Valence. The first quarter contains the paternal arms of the family; the remaining ones those of the several heiresses with whom the ancestors of the bearer had intermarried; and of such heiresses whose arms were similarly acquired through their respective families. Other causes, at present unknown, or which are obscure in their origin, have occasioned arms to be borne as quarterings, but which are in some cases presumed to be feudal or territorial.
In arranging a shield for quarterings, the shield is divided by perpendicular and horizontal lines into as many squares as may be required. The arms of the most ancient heiresses, as the marriages occur in the lineal descent, have precedence of subsequent ones in chronological order; the various quarterings (if any) of those respective heiresses being subjected to the like rule. During the middle ages, if the party were entitled to bear the royal arms as a quartering, it had precedence of all others—this was the melancholy case of the Duke of Buckingham in the time of Henry VIII. The royal arms of Brotherton, at this day, is borne next the paternal coat by the Howards, although it is there out of its place in point of pedigree and descent. It was not unfrequently the case in private families that precedence was given to the greatest heiresses; but the rule at the present time is to arrange the arms as the marriages bring them in. Children of an heiress, and all the descendants of an heiress, also descending from her through heiresses, are entitled to quarter the arms of such heiresses.
Archbishops and bishops, and some deans of cathedral churches, bear the arms of their respective sees and offices impaled on the dexter side with their own paternal arms. This practice commenced about the time of the Reformation. Archbishops and bishops use neither crests nor mottoes. The Lord-Lyon, and the kings of arms in England and Ireland, bear the arms of their offices in the same way as bishops, and ensign their shields with their crowns.
Unmarried ladies bear their arms and quarterings (if any) in a lozenge; as also do widows, impaled with those of their deceased husbands.
Commoners marrying peersesses in their own right bear their arms in the usual way, with the family arms of the peeress impaled; but if she is an heiress, then with her arms in an escutcheon of pretence ensigned with a coronet of her dignity, the whole set on the dexter side of her family arms, which are borne separately in a lozenge ensigned with her coronet, and supported by her supporters.
In cases of peers their coronets are placed immediately on the shield; and upon the coronet is placed the helmet, with its lambrequin, wreath, and crest. But the crown of the sovereign, and the coronets of the royal family, are placed upon the helmet.
Baronets of England and Ireland are entitled to place the badge of their dignity—argent a sinister hand couped gules—in an escutcheon of pretence, or in a canton in their arms. The baronets of Scotland have a similar privilege, their arms being, argent a saltire azure, on a shield of pretence, the royal arms of Scotland ensigned with the royal crown. The baronets of Scotland also suspend the badge of their order by an orange-coloured ribbon from the shield; the badge is then within a circle, having the motto, "Felix mentis honeste gloria."
Knights of the several British Orders of knighthood surround their shields of arms with the respective ensigns of the Order; in which case their arms, with those of their wives are, in a separate shield, placed on the sinister side.
The Order of the Garter was instituted between the 24th June and 6th August 1348 (as discovered by the late Sir Harris Nicolas (vide Archaeologia, vol. xxxi., p. 130), consisting of the sovereign and twenty-five knights. Since that period it has undergone no material alteration in its constitution, except that foreign princes and members of the royal family, descendants of King George I. together with the Prince of Wales, who was in 1805 declared a constituent part of the original institution, are not now included in the original number of twenty-five knights. The Order of the Thistle in Scotland is said to have a very remote antiquity. The recital in Queen Anne's Letters Patent of Restoration, give it a date as early as the ninth century. It consisted of the sovereign and twelve knights, and has undergone but very little change in its constitution. The origin of the Order of the Bath is attributed to the beginning of the reign of Henry IV., as a distinct Order, and was frequently conferred on occasions of coronations; but after that of Charles II. it was suffered to fall into disuse. In 1725 George I. revived the Order; in 1815 it was enlarged, and divided into three classes; and further amplified in 1848 by her present Majesty. The Order of St Patrick was instituted by George III. in 1783 for Ireland, to consist of the sovereign, a grand master, and fifteen knights. The number of knights was augmented by King William IV. in 1833. The Order of St Michael and St George was instituted after the general peace of 1814, the sovereignty of the Island of Malta being then ceded to the king of Great Britain. It consists of three classes; and, with some modifications, continues to be conferred upon natives of the Ionian Islands and Malta. The Royal Hanoverian Guelphic Order was established in 1815, consisting of three classes, and was conferred upon British and Hanoverian subjects. This Order ceased to be a British Order upon the accession of her present Majesty to the crown of these realms; when Hanover devolved upon the late Duke of Cumberland, as the sovereign of the latter kingdom. Her Majesty Queen Victoria has signalized her reign by the creation of an Order for the reward of many of our brave heroes who have fought during the Crimean War.
VII.—OF FUNERAL ESCUTCHEONS.
The hatchment represents the armorial ensigns affixed to the fronts of houses when any of the nobility and gentry die, the arms therein being those of a private gentleman and his wife parted per pale, with mantling, helmet, crest, and motto; the dexter side, for the husband, having the ground without the escutcheon black, denotes the man to be dead; and the ground on the sinister side being white, signifies that the wife is living.
When a married gentlewoman dies first, the arms on the sinister side have the ground without the escutcheon black, whereas those on the dexter side, for her surviving husband, are upon a white ground, but without any crest, helmet, lambrequin, or motto.
When a bachelor dies, his arms may be depicted single or quartered, with a crest, helmet, lambrequin, and motto,
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1 A lady is an heiress if she has no brothers who leave issue; if she has sisters they become co-heiresses with her. 2 The exterior ornaments are omitted in the engraving merely for the sake of simplifying it, the object being to show the funeral accidents. but arms not impaled as the two first are, and all the ground without the escutcheon is also black.
When a maid dies, her arms, which are placed in a lozenge, may be single or quartered, like those of a bachelor; all the ground without the escutcheon is also black, and devoid of the exterior ornaments.
When a widower dies, his arms are impaled with those of his deceased wife, having a helmet, mantling, and crest, and all the ground without the escutcheon black.
When a widow dies, her arms are impaled with those of her deceased husband, but inclosed in a lozenge, and without the exterior ornaments; all the ground without the escutcheon being also black.
By these rules may be known, upon the sight of any hatchment, what branch of the family is dead; and by the helmet or coronet, the title and degree of the person deceased.
In Scotland, a funeral escutcheon not only shows the arms and condition of the defunct, but is also a proof of the gentility of his descent; and such persons for whom this species of escutcheon can be made out are legally entitled to the character of gentlemen of blood, which is the highest species of gentility. The English hatchment exhibits no more than a right to a coat of arms, and the status of the deceased person.
The funeral escutcheon, as exhibited in Scotland, France, and Germany, is in the form of a lozenge, above six feet square of black cloth; in the centre of which is painted, in proper colours, the complete achievement of the defunct, with all its exterior ornaments and additional marks or badges of honour; and round the sides are placed the sixteen arms of the families from which he derives his descent, as far back as the grandfather's grandfather, as the proofs of his gentility. They exhibit the armorial bearings of his father and mother, his two grandmothers, his four great-grandmothers, and his eight great-grandmothers' mothers; and if all these families have acquired a legal right to bear arms, then the gentility of the deceased person must be accounted complete, but not otherwise. On the four corners are placed mort-heads, and the initials of his name and titles or designation; and the black intertinctes are powdered with tears.
Funerals of the nobility and gentry during the middle ages were the means of displaying heraldry in all its pomp and magnificence; and perhaps nothing contributed more to such an exhibition of real heraldry than those occasions. Funerals in those times, as regards the heraldic attributes, and the marshalling the solemnities observed at them, were exclusively within the province of heralds, who attended them, and took an official and prominent part in the ceremonies. The mourning costume and its decorations were subjected to certain laws and regulations as affected rank in the persons of the mourners. The number and dimensions of the funereal banners and pennons were likewise subjected to express rules scrupulously maintained. The nature and construction of the larsee (which was the large timber erection in the church for the reception of the corpse and the assembling of the principal mourners) also depended upon the rank and condition of the defunct in its extent, and in the number of escutcheons and lights with which it was adorned. The heralds bore the shield and tabard of arms of the deceased, his helmet and crest, and his sword and spurs in solemn procession, which, with the banners and pennons, were afterwards hung up over the grave, and may still be seen remaining in many of our churches. At the funeral obsequies of princes and nobles a wax effigy of the deceased was arrayed in the robes and other insignia of dignity, and laid on the top of the coffin. Some of these figures are still preserved in the Abbey at Westminster. This custom has the appearance of having been derived from the jus imaginum of the Romans. Great numbers of relations and friends attended these solemnities, which, from their extent, and the length of time they occupied (often several days), must have occasioned no inconsiderable labour and expense. Expensive entertainments were also given on these occasions; and there are some curious remarks respecting the feasting and degree of hospitality which took place, in the records made by the heralds on these occasions. Some idea of the magnificence of these funerals may be formed even from the few relics which are still preserved by some of the companies of London, who have in their possession rich palls of cloth of gold magnificently embroidered with curious devices and arms, which were used at the funerals of the citizens.
Besides the attendance of the heralds upon these ceremonies, it also formed part of their official duty to record the genealogical account of the family of the deceased, together with their arms. These records form a very important class of evidence of descent, and are deposited in the Heralds' College. Most of them are richly embossed and engrossed upon vellum, and are technically called "Funeral Certificates." They afford minute evidence of the births, marriages, and issue of the children and family of the deceased, and are invaluable as possessing the nature and character of legal evidence. Soon after the Revolution of 1688-9 the heralds ceased to attend the funerals of the nobility and gentry, and their office in these respects is now confined to the state funerals of the royal family, or of those illustrious heroes whose funerals are conducted at the public expense.
Nearly all that is reserved for modern times of the heraldic splendour of these funerals is the hatchment, descriptions of which have been given in this article. It is, however, only the compendium of the heraldic honours paid to the memory of the deceased in former times; and, like its predecessors, finds a place over the tomb which covers his remains.
Thus, by archaeological researches, we have been enabled to present a concise view of practical heraldry. If, in the sixteenth century, the labours which were bestowed in writing books, full of the purest inventions and the grossest absurdities, had been directed into the paths of truth, much more accessible then than now, heraldry would have disclosed a history of events, of persons, and of kingdoms, which is irretrievably lost. To the learning and study of modern archaeologists we are indebted for some of the information, which should have been afforded us by men who lived in ages nearly approaching those when heraldry originated, and who could have thrown a lustre instead of a mist upon many incidents in the practice and science of heraldry. In this article we have touched the principal points of the subject, and have to confess our obligations to Meyrick's Critical Enquiry into Armour; Laing's Ancient Scottish Seals; Nicola's Orders of Knighthood, and his valuable contributions to the Society of Antiquaries; Boutell's Monumental Brasses; Gough's Sepulchral Monuments; and the publications of various Archaeological Societies. The illustration of many facts and dates has also been supplied from records of the College of Arms in London.
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1 The plume of feathers usually carried at funerals at the present day is said to have succeeded to the carrying of the helmet in former times.