Chapter I: Front Matter

HERALDRY AS ART

HERALDRY
AS ART

AN ACCOVNT OF ITS
DEVELOPMENT AND PRACTICE
CHIEFLY IN ENGLAND

BY

G. W. EVE

B. T. BATSFORD, 94 HIGH HOLBORN
LONDON 1907

BUTLER & TANNER,
THE SELWOOD PRINTING WORKS,
FROME, AND LONDON.

Preface

The intention of this book is to assist the workers in the many arts that are concerned with heraldry, in varying degrees, by putting before them as simply as possible the essential principles of heraldic art.

In this way it is hoped to contribute to the improvement in the treatment of heraldry that is already evident, as a result of the renewed recognition of its ornamental and historic importance, but which still leaves so much to be desired.

It is hoped that not only artists but also those who are, or may become, interested in this attractive subject in other ways, will find herein some helpful information and direction. So that the work of the artist and the judgment and appreciation of the public may alike be furthered by a knowledge of the factors that go to make up heraldic design and of the technique of various methods of carrying it into execution.

To this end the illustrations have been selected from a wide range of subjects and concise descriptions of the various processes have been included. And although the scope of the book cannot include all the methods of applying heraldry, in Bookbinding, Pottery and Tiles for example, the principles that are set forth will serve all designers who properly consider the capabilities and limitations of their materials.

For many facilities in the preparation of the work I here beg to tender my very sincere thanks. To the Countess of Derby for the gracious loan of her bookplate; to the Earl of Mar and Kellie for permission to reproduce the shields at Alloa House; to Mr. W. H. Weldon, Norroy King of Arms, for the enamel plaque of his crest; to Mr. W. Brindley for a cast of the Warren shield; to Mr. N. H. J. Westlake for the Arms of Queen Jane Seymour, from his _History of Stained Glass_; to Messrs. Hardman of Birmingham for the loan of the Pugin drawings; to Messrs. E. C. and T. C. Jack for a reproduction of an embroidered shield.

My best thanks are also due to Monsieur Emil Levy for leave to use illustrations from the Catalogue of the Spitzer Collection; to the Society of Antiquaries for the Black Prince’s shield; to the Society of Arts for the loan of sundry blocks; and to the officials of the Victoria and Albert Museum and the National Art Library for their usual and invariable helpfulness. Finally I am especially indebted to my publishers, Messrs. Batsford, who have spared neither time nor trouble on my behalf.

G. W. E.

23, SHEEN GATE MANSIONS,
EAST SHEEN, S.W.

_October, 1907._

Contents

PAGE

CHAPTER I. =INTRODUCTORY= 1

The Origin of Heraldry--Its Uses--Symbolism--Artistic Development--The Character of Mediaeval Treatment--The Personal Quality--Fourteenth century Examples--The Influence of the Tournaments--Renaissance Heraldry--Decadence--Gothic Revival--The Use of Examples--The Aims of Heraldic Design.

CHAPTER II. =THE EVOLUTION OF SHIELD FORMS= 16

The Achievement--Its Composition and Proportions--Modifications of Proportion--The Design of the Heraldic Group--Essential Qualities--Variability of Grouping--The Shield--Its Structure and Shape as a Fighting Defence--The Norman Shield and its Successors--Shields “for Peace”--Pageant Shields--How they were Made--The Tournament Shield--Evolution of Decorative Forms--Foliated Shields--Fifteenth and Sixteenth Century Examples--Freedom in Shield Design--Heraldic Accuracy--What is Essential.

CHAPTER III. =HERALDIC RULES= 39

A Simple Manual of Heraldic Facts--The Shield Surface--The Tinctures--Divisions of the Field--Ordinaries--Sketches “in Trick”--Charges and their Arrangement.

CHAPTER IV. =ANIMALS AND MONSTERS= 66

The Heraldic Lion as a Type--Examples of Various Periods--Heraldic Character--Obligatory Poses and Decorative Distribution--Methods of Spacing--Characterization--Imaginary Creatures--Unicorns, Dragons and Griffins.

CHAPTER V. =HERALDIC BIRDS AND OTHER FIGURES,
ANIMATE AND INANIMATE= 89

Eagles--Early Types--Plan of Distribution--Other Birds--Bird Monsters--Human Figures--Inanimate Charges--Crosses of many Forms--Fleurs-de-lis--Examples of Various Periods--The Rose--The Irish Harp--Surface Treatment--Diaper, its use in Sculpture, Painting and Engraving--Diapers of Badges.

CHAPTER VI. =HELM, CREST AND MANTLING= 117

The Helm--Its Structure--Ceremonial Use--Development as Armour--Helmets and their Mechanism--Tourney Helms--The Crest--How Made and Fixed--Examples of Actual Crests--Influence of Practical Conditions on their Pose--Difficulties in Design and How to Deal with Them--The Pose of Helmets--The Torse--Mantling--Its Evolution from Simple Drapery--Its Treatment in Relation to Shield and Crested Helm--Colour--Certain Restrictions.

CHAPTER VII. =ARMORIAL ACCESSORIES= 139

Supporters--Derivation from Badges--Special Conditions of their Pose--Non-Heraldic Supporters--Amorini--Angels--Symbolic Figures--The Eagle of the Holy Roman Empire--And of Prussia--The Imperial Crown--Authorized Type for Present Use--The Coronet of the Prince of Wales--Coronets of Peers--The Question of the Cap--Baronets’ Badges--Insignia of Knighthood--The Garter--The Collar and George--Other Orders--Relation of Orders to the Shield--Their Importance as Indications of Relative Rank--Typical Examples.

CHAPTER VIII. =METHODS AND MATERIALS= 164

Illumination--Practical Directions--Methods of the Early Illuminators--Colour Treatment--Heraldry in Enamel--Champlevé Enamel, Personal and Monumental--The Cloak Clasp of Queen Eleanor--The Shield of William de Valence--Stall-plates of the Garter--“Limoges” Enamel--Heraldic Enamel by Nardon Penicaud--Bassetaille--Plique-a-jour --Heraldry in Metal--Application of Old Examples to Present Use--Bronze--Monumental Brasses--Cast Iron Firebacks--Pierced and Chiselled Iron Lock-plates--Keys--Repoussé--Engraved Metal--Ceremonial Weapons and Implements--Lead-work--Deposited Metal.

CHAPTER IX. =ARCHITECTURAL DECORATION= 204

Badges at Blois--And at Hampton Court--Sculpture--Sgraffito--Gesso as a Material for Heraldic Relief--Methods of Preparation--A Series of Shields in Painted Gesso--Poker Work--Schemes of Decoration--Stained Glass--Technical Conditions--Colour Scheme--Working Drawings--Pugin’s Designs for the Houses of Parliament--Powell’s Drawings--Armorial Windows at Ockwells Manor--Painted Windows in Florence--The Swiss Painted Glass--Holbein.

CHAPTER X. =EMBROIDERED HERALDRY= 246

Surcoats--Bardings--Embroidered Linen--Banners--Appliqué Work--Embroidered Badges--The Toison d’or of Charles the Bold--Standards--The Proportions of Banners from Early Times--The Direction of their Charges and the Reasons therefor--The Composition of the Union Jack--Practical Explanation of its Construction--Painted Banners--How Prepared--Trumpet Banners--Heraldic Lace.

CHAPTER XI. =SOME MISCELLANEOUS CHARGES= 267

Heraldic Crowns--Chaplets--Roundels--Knots.

CHAPTER XII. =MARKS OF CADENCY= 286

The Origin of the Label--Its Shape and Varieties--Ordinary Marks of Cadency--Their Significance--How Displayed--Royal Cadency--The Distinguishing Marks of Cadency of Present Personages of the Blood Royal.

INDEX 293

ANALYTICAL INDEX TO ILLUSTRATIONS 303

HERALDRY AS ART