THE ARTISTIC CRAFTS 
 SERIES OF TECHNICAL 
 HANDBOOKS 
 
 HERALDRY FOR CRAFTSMEN 
 AND DESIGNERS 
 
Qlnrnell Untocraitg ffiibratg 
 
 atl^aca. Neui ^otk 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31 92403235231 6 
 
Cornell University Library 
 
 CR31 .H79 
 
 Heraldry for craftsmen &, desigriers / by 
 
 olln 
 
 3 1924 032 352 316 
 
THE ARTISTIC CRAFTS SERIES 
 
 OF TECHNICAL HANDBOOKS 
 
 EDITED BY W. R. LETHABY 
 
 HERALDRY 
 
THE MACMILLAN COMPANY 
 
 NEW YORK • BOSTON - CHICAGO • DALLAS 
 
 ATLANTA ■ SAN FRANCISCO 
 
 MACMILLAN & CO., Limited 
 
 LONDON • BOMBAY • CALCUTTA 
 MELBOURNE 
 
 THE MACMILLAN CO. OF CANADA, Ltd. 
 
 TORONTO 
 
BANNER OF THE ARMS OF KING GEORGE THE FIFTH. 
 
HERALDRY FOR 
 
 CRAFTSMEN & DESIGNERS 
 BY W. H. ST. JOHN HOPE 
 LITT.D., D.C.L., WITH DIA- 
 GRAMS BY THE AUTHOR AND 
 NUMEROUS ILLUSTRATIONS 
 COLOURED LITHOGRAPHS 
 AND COLLOTYPE REPRO- 
 DUCTIONS FROM ANCIENT 
 EXAMPLES 
 
 Ncta gorfe 
 THE MACMILLAN COMPANY 
 
 1913 
 
 j^/I rights reserved 
 
v^OPVRIGHT, 1913, 
 
 Bv THE MACMILLAN COMPANY. 
 Set up and electrotyped. Published September, 1913. 
 
 J. S. Gushing Cu. —Berwick &. Smith Co. 
 
 Norwood, Mass., U.S.A. 
 
EDITOR'S PREFACE 
 
 In issuing this volume of a series of Handbooks on 
 the Artistic Crafts, it will be well to state what are 
 our general aims. 
 
 In the first place, we wish to provide trustworthy 
 text-books of workshop practice, from the points of 
 view of experts who have critically examined the 
 methods current in the shops, and putting aside 
 vain survivals, are prepared to say what is good 
 workmanship and to set up a standard of quality 
 in the crafts which are more especially associated 
 with design. Secondly, in doing this, we hope to 
 treat design itself as an essential part of good work- 
 manship. During the last century most of the arts, 
 save painting and sculpture of an academic kind, 
 were little considered, and there was a tendency to 
 look on 'design' as a mere matter of appearance. 
 Such 'ornamentation' as there was was usually ob- 
 tained by following in a mechanical way a drawing 
 provided by an artist who often knewhttle of the 
 technical processes involved in production. With 
 the critical attention given to the crafts by Ruskin 
 and Morris, it came to be seen that it was impos- 
 sible to detach design from craft in this way, and 
 that, in the widest sense, true design is an insepar- 
 able element of good quality, involving as it does 
 the selection of good and suitable material, con- 
 trivance for special purpose, expert workmanship, 
 
Editor's proper finish and so on, far more than mere orna- 
 Preface ment, and, indeed, that ornamentation itself was 
 rather an exuberance of fine workmanship than a 
 matter of merely abstract lines. Workmanship 
 when separated by too wide a gulf from fresh 
 thought — that is, from design — inevitably decays, 
 and, on the other hand, ornamentation, divorced 
 from workmanship, is necessarily unreal, and 
 quickly falls into affectation. Proper ornamen- 
 tation may be defined as a language addressed to 
 the eye ; it is pleasant thought expressed in the 
 speech of the tool. 
 
 In the third place, we would have this series put 
 artistic craftsmanship before people as furnishmg 
 reasonable occupations for those who would gain 
 a livelihood. Although within the bounds of 
 academic art the competition, of its kind, is so 
 acute that only a very few per cent, can fairly hope 
 to succeed as painters and sculptors, yet as artistic 
 craftsmen there is some probability that nearly 
 every one who would pass through a sufficient 
 period of apprenticeship to workmanship and de- 
 sign would reach a measure of success. 
 
 In the blending of handwork and thought in such 
 arts as we propose to deal with, happy careers may 
 be found as far removed from the dreary routine 
 of hack labour as from the terrible uncertainty of 
 academic art. It is desirable in every way that 
 men of good education should be brought back into 
 the productive crafts : there are more than enough 
 of us 'in the City,' and it is probable that more 
 consideration will be given in this century than in 
 the last to Design and Workmanship. 
 
 8 
 
Designers have at times to deal with some mat- Editor's 
 ters which are almost common to all the arts, mat- Preface 
 ters which they either know or do not know, and 
 in which the genius they are apt to trust in goes for 
 little apart from knowledge. They must learn 
 lettering for inscriptions much like they once learnt 
 the multiplication table, and they should learn the 
 elements of heraldry in the same way. This it has 
 beendiflScult to do, as most ofthe books on heraldry, 
 in seeking to be complete, so effectually muddle 
 up the few important points with the vast number 
 of things unimportant, or worse, that the art stu- 
 dent is likely to give it up in despair. Many books 
 on heraldry, which in itself is surely a gay thing, 
 have been made to resemble grammars and dic- 
 tionaries of a meaningless jargon. 
 
 Any student, however, who has become inter- 
 ested in a single shield, or in the look of the thmg as 
 seenin a collection of fine examples of heraldry such 
 as are illustrated in this volume, should be able to 
 master the main principles in an hour or two. The 
 curious terms are only old-fashioned ; they are used, 
 so far as they are necessary, not of malice, but be- 
 cause it is ofthe essence of heraldry that everything 
 shall be so strictly defined that a few words may 
 represent a shield of arms as surely as a picture. 
 Hence everything has a name, everything is clear, 
 sharp, and bright, the colours are few, the forms 
 must be large and simple. Even the seemingly 
 arbitrary dictum that 'no colour must be put on 
 colouror metal on metal' may probably have arisen 
 from the fact that when gilding or silvering was 
 used on a shield it would form a perfect foil for 
 colours, but as they reflected light in the same 
 
Editor's way, they could not be distinguished if used one on 
 Preface the other. Even yellow pigment on white would 
 not tell clearly at any distance ; the maxim is merely 
 a rule for the sake of distinctness. Again, the 
 curious vigorous drawing of beasts and birds with 
 the eyes staring and the feet spread out was not the 
 result of a desire to be quaint, but arose naturally 
 from the same need of being clear. A good 
 naturalistic drawing of a lion would be useless on a 
 flag. Granted the special needs of heraldry, it 
 developed in a perfectly understandable way. 
 
 On the question of heraldic drawing I should like 
 to caution the student against thinking that it is so 
 easy as it looks. Elementary and exaggerated, it 
 may seem as if any child might do it, but in truth 
 it is terribly difficult. The old shields were designed 
 by experts with great experience ; they placed the 
 charge perfectly on the field and so distributed the 
 parts that they were balanced m 'weight' ; there 
 were no weak lines and nothing was crowded for 
 lack of room. Much practice made them perfect, 
 and perfection is still difficult. 
 
 The present volume seems to me exactly what 
 artists have wanted. 
 
 W. R. LETHABY 
 March 19 13 
 
 10 
 
AUTHOR'S PREFACE 
 
 This book is an attempt to place before designers 
 and craftsmen such an account of the principles 
 of the art of Heraldry as will enable them to work 
 out for themselves the many and various applica- 
 tions of it that are possible to-day. 
 
 To that end the different usages which have 
 prevailed from time to time are dealt with in detail, 
 and are illustrated as far as may be from ancient 
 sources. 
 
 Should it be thought that undue stress has been 
 laid upon the pre-Tudor heraldry, to the compara- 
 tive exclusion of that of later times, it may be 
 pointed out that until the principles of the earlier 
 heraldry have been grasped and appreciated, it is 
 impossible to get rid of the cast-iron uniformity 
 and stupid rules that bound the heraldry of to- 
 day and tend to strangle all attempts to raise it to 
 a higher level. 
 
 To what extent these chilling ideas prevail, and 
 how necessary it is to get rid of them, cannot better 
 be illustrated than by two letters written to the 
 author, after most of the following chapters were in 
 type, by a critical friend who has not read any of 
 them. 
 
 He points out in his first letter that on the very 
 day of his writing there had been brought to his 
 
 II 
 
Author's notice, not for the first time, the great need that 
 Preface exists for a book in which sculptors and painters 
 may find out what they legitimately may and what 
 they may not do as regards heraldry. What, for 
 example, may be left out from an achievement of 
 arms, and how the different elements composing it 
 may be varied, or even rearranged. 
 
 He instances the case of a sculptor who had been 
 supplied with a drawing, 'brilliant in emerald green 
 and powder blue,' of the arms that had been granted 
 to a famous Englishman whose memory was about 
 to be honoured by the setting up of a statue with 
 his arms, etc. carved upon the pedestal. 
 
 The arms in the drawing did not present any 
 difficulties, but the crest was not shown upon the 
 helm, and the whole was surrounded by a series of 
 trophies which to this unenlightened sculptor were 
 as heraldic as the arms and crest. Out of all this, 
 asked the sculptor, what could lawfully be omitted? 
 If any of the trophies were supporters, must they 
 be shown ? And must the crest be used .? Ought 
 the crest to be on a helm ? And should the helm 
 be shown in profile or full-faced .? 
 
 The contents of the drawing, if all were sculp- 
 tured, would, in my friend's opinion, 'either come 
 so small as to be unmonumental, or so large as to 
 dwarf the statue into a doll.' 
 
 It will be seen from the principles enunciated in 
 the present work that the answers to the foregoing 
 questions were obviously as follows : 
 
 I. That the sculptor might use the arms alone 
 if he thought fit, and he might vary the shape 
 and size of the shield according to his fancy. 
 
 II. That he could omit the crest if he wished, 
 
 12 
 
but if he elected to use it, the crest ought certainly Author's 
 to be set upon a helm, which should face the same Preface 
 way as the crest ; the crested helm might also 
 be flourished about with such mantling as the 
 sculptor thought proper. 
 
 III. That in the particular drawing none of the 
 trophies was heraldic. The sculptor accordingly 
 could omit the whole, if he were so minded, or 
 could dispose about the arms and crested helm any 
 such other trophies of like character as would in his 
 judgment look well or be appropriate. 
 
 In a further letter my friend enumerates other 
 difficulties that vex poor artists. Must a shield 
 always be surmounted by a crested helm ? Should 
 the helm face any special way according to the de- 
 gree of the bearer thereof .? What are the ordinary 
 relative proportions which helm and crest should 
 bear to the shield ? May a shield be set aslant as 
 well as upright .? Should a torse be drawn with a 
 curved or a straight line .? Is it necessary to repre- 
 sent the engraved dots and lines indicative of the 
 tinctures .? What are supporters to stand upon ? 
 Are they to plant their feet on a ribbon or scroll, or 
 on a flowering mound, or what ? May arms 
 entitled to have supporters be represented without 
 them .? What are the simplest elements to which 
 a shield of arms may be reduced ? — as, for ex- 
 ample, in a panel some 60 or 70 feet above the 
 eye, and when but a small space is available. 
 
 To a craftsman or designer who has grasped the 
 principles of heraldry these further questions will 
 present no difficulty, and most of them can be 
 answered by that appeal to medieval usage which 
 the nature of the illustrations renders possible. 
 
 13 
 
Author's These illustrations, it will be seen, are largely 
 
 Preface selected from heraldic seals, and for the particular 
 reason that seals illustrate so admirably and in a 
 small compass such a number of those usages to 
 which appeal may confidently be made. Examples 
 of heraldry in conjunction with buildings, monu- 
 ments, and architectural features generally, have 
 also been given, and its application to the minor 
 arts has not been overlooked. 
 
 In order, too, to enable full advantage to be 
 taken of the long period covered by the illustra- 
 tions, the most typical of these have been collected 
 into a chronological series at the end of the book. 
 It is thus possible to show the gradual rise and de- 
 cline of heraldic art from the thirteenth to the 
 seventeenth century, beyond which it is hardly 
 necessary to go. 
 
 The only modern illustrations that have been 
 tolerated are those showing the formation of the 
 Union Jack, and the degraded condition of the 
 so-called Royal Standard. The coloured frontis- 
 piece is an attempt to show a more effective way 
 of displaying with equal heraldic 'correctness' the 
 arms of our Sovereign Lord King George the 
 Fifth. 
 
 VV. H. ST. JOHN HOPE 
 
 My thanks are due to the Society of Antiquaries 
 of London for leave to reproduce the coloured illus- 
 trations in pis. I and il, for the loan of blocks or 
 drawings of figs. 7, 13, 33, 64, 65, loi, 129, 153, 186, 
 187, 190, and 193, and for leave to photograph the 
 numerous casts of seals figured in pis. v-xiv and 
 xvii-xxx and throughout the book ; to the Royal 
 Archaeological Institute for loan of figs. 20 and 107; 
 
 14 
 
tT the Sussex Archaeological Society for the loan of Author's 
 fi'^. 142 ; to the Societyof Arts for figs. 6, 15, 17, 28, 30,41, Preface 
 4;, 46, 48, 51, 55, 73, 74, 86, 92, 114, 126, 127, 150, 154, 
 155, and 199; to the Royal Institute of British Archi- 
 tects for figs. 8, 93, and 199 ; to Messrs. Cassell & Co. for 
 figs. 21, 53, 54, 56, 63, 81, 84, 85, 91, 108, 109, 117, 118, 
 124, 132, 133, 139, 151 ; to Messrs. Constable & Co. for 
 figs. 9, 14, 43, 67, 68, 72, 75, 76, 77, 78, 83, 136, 137, 
 138 ; to Messrs. Parker & Co. for fig. 143 ; and to Messrs. 
 Longmans & Co. for figs. 177, 183. Also to Mr. T. W. 
 Rutter for lending the drawings reproduced in pis. 11 
 and III ; to Mr. R. W. Paul for the drawing of fig. 184; 
 to Mr. Mill Stephenson for the loan of the brass rub- 
 bings reproduced in figs. 19, 26, 27, 29, 31, 32, 35-39, 
 42, 146-148; to the Rev. T. W. Galpin, Mr. E. M. 
 Beloe, and Mr. Aymer Vallance for the photographs 
 of figs. 47, 149, and 191 respectively; and to the Rev. 
 Severne Majendie for leave to photograph the efirgies 
 of the Duke and Duchess of Exeter (figs. 167, 168) in 
 St. Katharine's chapel in Regent's Park. 
 
 I wish also to thank, among others, Mr. David Weller, 
 head verger of Westminster Abbey, for leave to repro- 
 duce the photographs shown m figs, i, 2, 4, 34, 40, 87, 
 104, no, 134, 156, 176, 194, 195 ; Mr. T. W. Phillips, of 
 Wells, for those forming figs. 23 and in; Mr. Charles 
 Goulding, of Beverley, for those formmg figs. 49, 50; 
 Mr. T. Palmer Clarke, of Cambridge, for those forming 
 figs. 88, 96, 128, 170, 171, and 172; and Mr. Fred 
 Spalding, of Chelmsford, for the photograph of the New 
 Hall panel in fig. 189. 
 
 IS 
 
CONTENTS 
 
 CHAP. 
 
 I. INTRODUCTION 33 
 
 Defects of Modern Heraldic Decoration ; Appeal to 
 First Principles; English versus Foreign Sources; 
 Definition of Heraldry ; Modes of Display ; Colours 
 and Furs; Formation of Arms; Divisions of the 
 Shield ; Early Authorities : Seals, Monuments, Build- 
 ings, Wills and Inventories, Rolls of Arms. 
 
 II. THE SHIELD AND ITS TREATMENT 65 
 
 Early Forms of Shields ; Later Forms ; Shields of Ir- 
 regular Outline and Surface ; Tne Filling of a Shield ; 
 Apparent versus Absolute L^niformity; Modern 
 Rules as to Proportion ; The Use and Abuse of 
 Quatering : its Origin and Growth ; Differencing of 
 Arms; The Scutcheon of Ulster; Diapering. 
 
 III. THE SHIELD AND ITS TREATMENT {com.) 109 
 Armorial Bearings of Ladies; Use of Lozenges and 
 Roundels as variant forms of Shields ; Arms of Men on 
 Lozenges ; Combinations of Shields with Lozenges 
 and Roundels of Arms on Seals and in Embroideries. 
 
 IV. THE TREATMENT OF CRESTS 123 
 Origin of Crests ; Earliest examples of Crests ; Ways 
 
 of wearing Crests; The Helm and its treatment; 
 Modern use of Helms ; Absurd Crests ; L'se of Crests 
 other than by individuals; The comparative sizes of 
 Helms and Crests. 
 
 V. MANTLINGS 139 
 
 Origin of Mantlings ; Simple early forms ; Colours of 
 Mantlings; Medieval usage as to colours of Mant- 
 lings. 
 
 16 
 
'^"*''- P'^S^ Contents 
 
 VI. CRESTS AND CROWNS, CAPS OF ESTATE, 
 
 AND WREATHS 148 
 
 Crests within Crowns; Nature and Treatment of 
 
 Crowns ; Caps of Estate : Tlreir possible origin and 
 
 introduction into Heraldry ; The colour of Caps ; The 
 
 placing of Crests upon Caps; Wreaths or Torses; 
 
 Their Colour ; Crests and Mottoes ; Use of Crests by 
 
 Bishops ; The ensigning of Arms with Mitres, 
 
 Cardinals' and Doctors' Hats, and Caps of Estate. 
 
 VII. THE USE OF BADGES, KNOTS, AND THE 
 
 REBUS i6s 
 
 Definition of a Badge ; Difference between Crests and 
 Badges; Examples of Badges; The Ostrich-P'eather 
 Badge ; The White Hart, etc. ; Introduction of Badges 
 into Heraldry; Their Prevalence; Allusive Badges; 
 Badges of obscure Origin; Knots and Badges; The 
 Rebus. 
 
 VIII. SUPPORTERS 193 
 
 The probable Origin of Supporters; Quasi-Sup- 
 porters ; True Supporters : their Introduction ; Sup- 
 porters of Crested Helms ; Pairs of Supporters ; Dis- 
 similar Supporters ; The use of Supporters by Ladies ; 
 Other ways of Supporting Shields. 
 
 IX. BANNERS OF ARMS 219 
 
 The Royal Bannerol Arms ; The Banner of the Arms 
 of the City of London ; Shapes of Banners ; Sizes of 
 certain Banners; Upright versus Long Banners; 
 Advantages of the upright form; Banners with 
 Achievements of Arms; Modern Use of Banners. 
 
 X. MARSHALLING OF ARAIS 251 
 
 Arms of husband and wife; Dimidiating; Impaling; 
 Scutcheons of Pretence; Impalement with Ofhcial 
 Arms ; Arms of ladies ; Heraldic Drawing ; Mottoes ; 
 Use and Misuse of the Garter; Lettering and Mottoes. 
 
 XI. CROWNS, CORONETS, AND COLLARS 269 
 
 Crowns and Coronets; Introduction of Coronets; 
 Coronets of Princes, Dukes, and Earls; Bequests of 
 Coronets; Illustrations of Coronets and Crowns; 
 Collars and Chains ; Collars of Orders ; Lancastrian 
 
 B 17 
 
Contents '^^^^^ ^"^^ 
 
 Collars of SS; Yorkist Collars of Suns and Roses; 
 
 Tudor Collars of SS; Other Livery Collars; Waits' 
 
 Collars; Collars and Chains of Mayors, Mayoresses, 
 
 and Sheriffs; The Revival of Collars; Inordinate 
 
 Length of modern Collars. 
 
 XIL HERALDIC EMBROIDERIES .319 
 
 The introduction of armorial insignia in embroidered 
 Vestments : on Robes : on Beds, etc. 
 
 XIII. TUDOR AND LATER HERALDRY 331 
 
 Decorative Heraldry of the Reign of Henr}' VHI ; The 
 Decadent Change in the Quality of Heraldry; Ex- 
 amples of Elaborated Arms ; Survival of Tradition in 
 Heraldic Art; Elizabethan Heraldry; Heraldry in 
 the Seventeenth Century and Under the Common- 
 wealth; Post-Restoration Heraldry. 
 
 CHRONOLOGICAL LIST OF ILLUSTRATIONS 354 
 
 INDEX 409 
 
LIST OF ILLUSTRATIONS 
 
 PLATES 
 
 Facing 
 PLATE page 
 
 Banner of the arms of King George the Fifth 
 {Frontispiece) Title 
 
 I. Arms of Milton Abbey from a window in Ibberton 
 
 church, Dorset, c. 1475. {From " Jrchaeologia," 48 
 vol. xlvii.) 
 
 II. 1 Shields in stained glass of the 14th century in the 54 
 
 HI. (Victoria and Albert Museum. (From coloured 56 
 
 drawings by Mr. T. W. Rutter) 
 
 IV. Part (reduced) of an early Roll of Arms belonging 64 
 
 to the Society of Antiquaries of London 
 
 V. Examples of shaped shields yo 
 
 VI. Various shapes of shields 73 
 
 VII. Examples of quatering 89 
 
 VIII. Examples of diapered shields 104 
 
 IX. Use of lozenges and roundels of arms 112 
 
 X. Use of lozenges and roundels of arms 114 
 
 XI. Early examples of crests 123 
 
 XII. Early uses of crests, on seals of William Montagu 125 
 
 earl of Salisbury, 1337-44 
 
 XIII. Various treatments of crests 129 
 
 XIV. Examples of crests and mantlings 130 
 XV. Stall-plate (reduced) of Hugh Stafford lord 151 
 
 Bourchier, c. 142 1 
 XVI. Stall-plate (reduced) of William lord Willoughby, 154 
 
 c. 1421 
 
 XVII. Crests with mottoes 161 
 
 XVIII. Examples of supporters 188 
 
 XIX. Origin of supporters 193 
 
 XX. Shields with supporters 198 
 
 XXI. Shields accompanied by badges 199 
 
 XXII. Quasi-supporter 200 
 
 XXIII. Shields accompanied by badges 202 
 
 XXIV. Shields accompanied by badges 203 
 
 19 
 
List of 
 Illustrations '"'"'^'^ 
 
 XXVII. 
 
 XXVIII. 
 
 XXIX. 
 
 XXX. 
 
 Facing 
 page 
 Arms with crown and supporters of Elizabeth 208 
 Wydville, queen of Edward IV 
 
 Arms, supporters, and badges of the lady Mar- 209 
 garet Beaufort, 1455 
 
 Methods of arranging shields 214 
 
 Examples of banners of arms 216 
 
 Ways of upholding shields 218 
 
 Crowned shield with supporters and badges of the 288 
 lady Margaret Beaufort, 148c 
 Right and wrong versions of the Union Jack 248 
 
 ILLUSTRATIONS IN TEXT 
 
 Tile with the arms of King Henry III c. 1255, from 
 the chapter-house of Westminster abbey. {From 
 a photograph by Mr. David JVeller) 
 
 Shield of the arms of St. Edward, c. 1259, in the quire 
 of Westminster abbey church. [From a photograph 
 by Mr. David JVeller) 
 
 Heraldry on the gatehouse of Kirkham priory, York- 
 shire, built between 1289 and 1296. {From a photo- 
 graph by Mr. C. C. Hodges) 
 
 Shield with curved bend or baston of Henry de Laci 
 earl of Lincoln, l. i 259, in the quire of Westminster 
 abbey church. {From a photograph by Mr. David 
 JVeller) 
 
 Arms of Clopton, from a brass c. 1420 at Long Mel- 
 ford in Suffolk 
 
 Heraldic candle-holder, etc. from the latten grate 
 about the tomb of King Henry \T I at Westminster. 
 {From ^^ Journal of the Society of Arts ;^^ vol. xlv. 
 .P-238). 
 
 Firedog with armorial bearings. {From a drawing by 
 Mr. C. Praetorius, F.S.A.) 
 
 Chimney-piece in Tattershall castle, Lincolnshire, 
 built by Ralph lord Cromwell between 1433 and 
 1455. {From ^''Journal of the Royal Institute of 
 British Architects" 3rd S. vol. iv. 241) 
 
 Paving tiles with arms and badges of the Beauchamps, 
 from Tewkesbury abbey church. {From " The 
 Ancestor" vol. ix.) 
 
 36 
 
 37 
 38 
 
 44 
 46 
 
 55 
 56 
 
 57 
 
 20 
 
FIG. page Lig^ Qf 
 
 10. Seal of Richard duke of Gloucester, as admiral of Tii..^^^^^' 
 
 i?ij-T-» . jc . / ^ \ Illustrations 
 
 ii^ngiand in Dorset and Somerset (1462) 59 
 
 11. Heraldic buckle from the effigy of Robert lord Hun- 
 
 gerford {ob. 1459) in Salisbury cathedral church. 
 {From Stothard's ^''Monumental Effigies'''') 60 
 
 12. Heraldic buckle from the effigy of William lord Bar- 
 
 dolf [ob. 1 441) in Dennington church, Suffolk. 
 {From Stotkard's "'Monumental Effigies'''') 60 
 
 13. Enamelled shield with the arms of Ballard on the 
 
 print of a mazer at All Souls College, Oxford, t. 
 1445. {From '' Archaeologia,'''' vol. 1. 151) 61 
 
 14. Heraldic paving tiles from Tewkesbury abbey. 
 
 {From " The Ancestor,'''' vol. ix.) 63 
 
 15. Shield with rounded corners {c. 1259) of Richard earl 
 
 of Cornwall in the quire of Westminster abbey 
 church. {From ""Journal oj the Society of Arts,'''' 
 vol. xlv. 231) 66 
 
 16. Shields of English work from the tomb of William 
 
 earl of Pembroke, ob. 1296, in Westminster abbey 
 church. {From Stothard^s'"'' Monuynental Effigies^'') 67 
 
 17. Seal of Hugh Bardolf showing shield with square 
 
 corners. From the Barons' Letter. {From 'Jour- 
 nal of the Society of Arts,'''' vol. xlv. 228) 68 
 
 18. Seal and counterseal of Simon lord of Montagu, with 
 
 shield supported by two bearded men and sur- 
 mounted by the castle of Corfe of which Simon be- 
 came governor in 1298. From the Barons' Letter 69 
 
 19. Shield of ornate form, from a brass at Stoke Poges, 
 
 Bucks, 1476 70 
 
 20. Head of a doorway, now in Norwich Guildhall, with 
 
 arms of King Henry VHI, the City of Norwich, and 
 the Goldsmiths' Company. {From the Norwich 
 volume of the Archceological histitute, p. 173) 72 
 
 21. Shield with engrailed edges, c'. 1520, from the chantry 
 
 chapel of abbot Thomas Ramryge in St. Albans 
 abbey church. {Fro7n BouteWs 'English Heraldry,''^ 
 No. 210) 73 
 
 22. Shields with ridged charges, from the monument of 
 
 Guy lord Bryen, ob. 1390, in Tewkesbury abbey 
 church. {From Stothard''s "' Monujnental Effigies^'') 74 
 
 23. Armorial panels from the George Inn at Glastonbury 
 
 {From a photograph by Mr. T. W. Phillips) 75 
 
 21 
 
List of ^'^^ f^^^ 
 
 Til f t'nn<; ^+' Shield with curved surface from an effigy of a Pem- 
 bridge at Ciehonger, Herefordshire. (From Stot- 
 hard^s ^^ Monumental Efigies^^) 76 
 
 25. Shieldfrom the seal of Henry Percy {from the Barons' 
 
 Letter) with well-drawn lion 77 
 
 26. Shield with a leapinglion, from a brass c. 1380 at Fel- 
 
 brigge in Norfolk 78 
 
 27. Shield with an eagle from a brass at Great Tew, Oxon, 
 
 I. 1410 79 
 
 28. Seal of Queen's College, Oxford, 1341, with well- 
 
 filled shields. {From ^^ Journal of the Society of 
 Arts," vol. xlv. 230) 80 
 
 29. Shield with a griffin, from a brass of 1405, at Bough- 
 
 ton-under-Blean, Kent 81 
 
 30. Seal of Peter de Mauley IV' (from the Barons'Letter) 
 
 showing a simple, well-balanced shield. {From 
 "Journal of the Society of Arts," vol. xlv. 234) 82 
 
 31. Shield with a bend counter-flowered from the brass 
 
 of Sir Thomas Bromfleet, 1430, at Wvmington, 
 Beds. ■ 82 
 
 32. Shield with three lions, from a brass at Stanford 
 
 Dingley,' Berks, 1444 83 
 
 33. Shield of the royal arms done in boiled leather, from 
 
 the tomb of Edward prince of Wales at Canterbury, 
 1376. {Reduced from I'etusta Monumenta, vol. vii.) 84 
 
 34. Shield of the King of France, c. 1259, in the quire of 
 
 Westminster abbev church. {From a photograph 
 
 by Mr. Da-Ad Welter) 85 
 
 35 and 36. Shields with uncharged ordinaries : from the 
 brass of bishop Robert Wyvil at Salisbury, 1375 ; 
 and the brass of \Mlliam Holyngbroke at New 
 Romney in Kent, 1375 87 
 
 37. Shield with a charged bend from a brass at Kidder- 
 minster, 1415 88 
 
 38 and 39. Shields with engrailed borders, plain and 
 charged : from the brass of William Grevel, 1401, at 
 Chipping Campden in Gloucestershire; and the 
 brass of Thomas Walysel, c. 1420, at Whitchurch, 
 Oxon. go 
 
 40. Quartered shield of Queen Eleanor of Castile, from 
 her tomb at Westminster, 1291. {From a photo- 
 graph by Mr. David H'eller) 91 
 
 22 
 
FIG. ^^ _ ^ pagi' Ljg^ q£ 
 
 41. Arms of King Edward III from his tomb at Westmin- tii 
 
 ster. {from ''^Journal of the Society of Arts,'''' vol. 
 xlv. 230) 92 
 
 42. Shield with impaled quarters from the brass of Peter 
 
 Halle, ob. 1420, at Heme in Kent 93 
 
 43. Arms of St. Edward, from the tomb of Edmund duke 
 
 of York, ob. 1402, at King's Langley. {From " The 
 Ancestor,'''' vol. ii.} 94 
 
 44. Seal of Humphrey Stafford earl of Buchingham, Here- 
 
 ford, Stafford. Northampton, and Perche, as captain 
 of Calais and lieutenant of the Marches, 1442 95 
 
 45. Shield of Sir Hugh Hastings from the Elsing brass 
 
 (1347), with diapered maunch and a label of three 
 pieces. {From "'Journal of the Society of Arts ^'* vol, 
 xlv. 231) 100 
 
 46. Part of the gilt-latten effigy of Edward prince of Wales 
 
 at Canterbury, showing labels over both the arms 
 and the crest. {From ^^ Journal of ike Society of 
 Arts,'' vol. xlv. 232J 102 
 
 47. Diapered shield of the arms of Vere, from an effigy in 
 
 Hatfield Broadoak church, Essex. {From a photo- 
 graph by the Rev. T. JV. Galpin) 104 
 
 48. Diapered shield from the seal of Robert Waldby arch- 
 
 bishop of York, 1390, for the Regality of Hexham. 
 {From ''^ Journal of the Society of Arts," vol. xlv. 231) 1O5 
 
 49. Diapered shield of the arms of Clun, from the monu- 
 
 ment of the lady Eleanor Percy {ob. 1337) in Bever- 
 ley Minster. {From a photograph by Mr. C. Gould- 
 ing) 1 06 
 
 50. Diapered shield of the arms of Percy, from the monu- 
 
 ment of the lady Eleanor Percy {ob. 1337) in Bever- 
 ley Minster. {From a photograph by Mr. C. Gould- 
 ing) _ 107 
 
 5 I . Lozenge of arms from the monument at Westminster 
 of Frances Brandon duchess of Suffolk, ob. 1559. 
 {From " Journal of the Society of ylrts," vol. xlv. 229) 1 10 
 
 52. Seal of Robert FitzPain, with arms in an oval. From 
 
 the Barons' Letter 112 
 
 53. Seal of Joan de Barre, wife of John de Warenne earl 
 
 of Surrey, 1306. {From BouteWs ^''English Her- 
 aldry,'' No. 318) ' 113 
 
 54. Seal of Mary de Seynt-Pol, wife of Aymer of Valence 
 
 23 
 
List of "'^- . f^i^ 
 
 Til ■ earl of Pembroke, 1322. (From BouteWs'^ English 
 
 Heraldry" No. 319) 116 
 
 55. Seal of Maud Badlesmere, wife of John de Vere earl 
 
 of Oxford, 1336. (From '"Journal of the Society of 
 Arts," vol. xlv. 228) 118 
 
 56. Seal of Maud of Lancaster, wife of William of Burgh 
 
 earl of Ulster, and of Sir Ralph UfFord, 1343-4. 
 (From BoiiteWs "English Heraldry" No. 320) 119 
 
 57. The Syon Cope, now in the Victoria and Albert 
 
 Museum 121 
 
 58. Seal of Thomas de Moulton, with fan-shaped crest 
 
 on helm and horse's head. From the Barons' Letter 124 
 
 59. Seal of Thomas earl of Lancaster, Leicester, and 
 
 Ferrers, showing wiver crest on his helm and horse's 
 head. From the Barons' Letter 126 
 
 60. Seal of Henry of Lancaster, lord of Monmouth, with 
 
 wiver crest and quasi-supporters. From the . 
 
 Barons' Letter 127 
 
 61 . Seal of Robert de la Warde, with fan crest. From the 
 
 Barons' Letter 128 
 
 62. Seal of Walter de Mounci, with helm surmounted by 
 
 a fox as a crest. From the Barons' Letter 128 
 
 63. Seal of Sir Robert de Marni, 1366, with crested helms 
 
 flanking the shield. (From BoutelFs "English Her- 
 aldry" No. 381) 130 
 
 64. Crest, etc. of Sir John Astley, from a MS. t. 1420. 
 
 (From " Archaeologia" vol. Ivii.) 131 
 
 65 . Crest of Edward prince of Wales, 1 3 76, of leather and 
 
 stamped gesso. (Reduced from "Vetusta Monu- 
 menta" vo\. v\\.) 1^2 
 
 66. Funeral helm and wooden crest of George Brooke, 
 
 lord Cobham, ob. 1558, in Cobham church, Kent 133 
 
 67. Stall-plate of Humphrey duke of Buckingham as earl 
 
 of Stafford, c. 1429. (From" The Ancestor " voX.m.) 135 
 
 68. Stall-plate of Sir Thomas Burgh, K.G., c. 1483. 
 
 (From "The Ancestor" vol. iii.) 136 
 
 69. Seal of Richard Nevill with separate crests and sup- 
 
 porters for his earldoms of Salisbury and Warwick 137 
 
 70. Seal of William lord Hastings, c. 1461 140 
 
 71. Seal of William de la Pole earl of Suffolk, 1415 141 
 
 72. Stall-plate of Ralph lord Bassett, showing simple form 
 
 of mantling. (From " The Ancestor," vol. iii.) 142 
 
 24 
 
FIG. page Ljgj. Qp 
 
 73. Stall-plate of Sir Sanchet Dabrichecourt, K.G., c. TIlnQfratinns 
 
 1421. {From ''^Journal of the Society of Arts,'" vol. 
 xlv. 233) 143 
 
 74. Stall-plate of Sir William Arundel, K.G., t. 1421. 
 
 {From ''^Journal of the Society of Arts^'' vol. xlv. 
 
 233) . ' , . 14s 
 
 75. Stall-plate of Richard Beauchamp earl of Warwick, 
 
 after 1423. {From '^ The Ancestor,'''' vol. iii.) 146 
 
 76. Stall-plate of Richard Wydvllle lord Rivers, c. 1450. 
 
 {From " The Ancestor,^^ vol. iii.) 147 
 
 77. Stall-plate of Hugh lord Burnell, t. 1421. {From 
 
 " The Ancestor,^' vol. iii.) 149 
 
 78. Arms of St. Edmund, from the tomb of Edmund 
 
 duke of York, ob. 1402, at King's Langley. {From 
 
 *' The Ancestor,'''' vol. ii.) 150 
 
 79. Crest from the stall-plate of Hugh Stafford lord 
 
 Bourchier 152 
 
 80. Two forms of the same crest. From the stall-plate of 
 
 Richard lord Grey of Codnor 153 
 
 81. Helm with crest and wreath from the Hastings brass 
 
 at Elsing, 1347. {From BouteWs '"'' English Her- 
 aldry^f No. 385) _ 157 
 
 82. Helm with crest and torse and simple form of mant- 
 
 ling, from the Harsick brass at Southacre, 1384 159 
 
 83. Stall-plate of Sir Simon Felbrigge, c. 1421. {From 
 
 " The Ancestor^'''' vol. iii.) 160 
 
 84. Privy seal of Henry le Despenser bishop of Norwich, 
 
 1370-1406. {From BouteWs '^English Heraldry,'''' 
 No. 351) 162 
 
 85. Shield wdth ostrich-feather badge from the tomb of 
 
 Edward prince of Wales {ob. 1376) at Canterbury. 
 {From BouteWs "'English Heraldry,'" No. 401) 167 
 
 86. Seal of Thomas of Woodstock duke of Gloucester 
 
 with ostrich-feather and Bohunswan badges. {From 
 ""Journal of the Society of Arts,'" vol. xlv. 240) 168 
 
 87. Fetterlock-and-falcon badge of the house of York, 
 
 from Henry VH's chapel at Westminster. {From 
 
 a photograph by Mr. David fVeller) 169 
 
 88. Crowned rose and portcullis from King's college 
 
 chapel at Cambridge. {From a photograph by Mr. 
 
 J. Palmer Clarke) 170 
 
 89. Seal of Robert de Clifford, with arms surrounded by 
 
 25 
 
List of ^"^• 
 Til , • rings in allusion to his mother Isabel Vipont. (From 
 
 the Joarons Letter) 171 
 
 90. Seal of Robert de Toni as chevaler au cing with 
 
 the arms encircled by swans and talbots. (From 
 the Barons' Letter) 171 
 
 91. Seal of Oliver Bohun with swans about the shield. 
 
 (From Boutell's "English Heraldry" No. 321) 172 
 
 92. Gilt-latten effigy at Westminster of King Richard II, 
 
 pounced with badges, etc. (From "Journal of the 
 Society of Arts" vol. xlv. 240) 173 
 
 93. Piers and arches in Wingfield church, Suffolk, with 
 
 badges of Michael de la Pole earl of Suffolk (oh. 
 1415) and his wife Katharine Stafford. (From a 
 photograph by the Rev. //'. Marshall in "Journal of 
 the Royal Institute of British Architects" 3rd. S. 
 vol. iv. 245) 176 
 
 94. Chimney-piece in the Bishop's Palace at Exeter with 
 
 the arms and badges of bishop Peter Courtenay, 
 1478-87. (From a photograph by Heath and 
 Bradnee) lyy 
 
 95. Gateway to the Deanery at Peterborough. Built by 
 
 Robert Kirkton abbot 1497-1526. (From a photo- 
 graph by Mr. J. Xicholts) 178 
 
 96. The gatehouse of Christ's College, Cambridge. (From 
 
 a photograph by Mr. J. Palmer Clarke) 179 
 
 97. Bronze door with badges of York and Beaufort from 
 
 the Lad}' chapel of Westminster abbe\" church. 
 (From a photograph by Mr. Emery IJ'alker, F.S.A.) 180 
 
 98. Signet with badge and crested helm of Lewis lord 
 
 Bourchier, 1420 181 
 
 99. Seal of Hugh de \'eer with boar badge and two wivers 
 
 as supporters. (From the Barons' Letter) 181 
 
 100. Signet of William lord Bardolf, c. 1410, with eagle 
 
 badge derived from his arms I,S2 
 
 101. Signet with flote badge and word of Sir William Old- 
 
 halle in 14^7. (From" Jrchaeologia" vol. xxxvii. 
 337). " 1S2 
 
 102. Seal with badge (a gray or badger) of Richard lord 
 
 Grey of Codnor, 1392 183 
 
 103. Seal of Thomas lord Stanley as earl of Derby and 
 
 seneschal of Macclesfield, 1485, with the eagle's 
 claw badge of Stanley and the legs of the Isle of 
 Man ^ I S3 
 
 26 
 
FIG. page LjgJ gf 
 
 104. Daisy plant (marguerite) badge of the Lady Mar- Tllnstration'j 
 
 garet Beaufort, from Henry VII's chapel at West- 
 minster. {From a photograph by Mr. David H'eller) 184 
 
 105. Part of the brass at Exeter of canon William Lange- 
 
 ton, kinsman of Edward Stafford bishop of Exeter, 
 1413, in cope \yith an orphry of 3£'s and Stafford 
 knots 185 
 
 106. Elbow-piece and Bourchier knot from the brass of 
 
 Sir Humphrey Bourchier, ob. 1471, in Westminster 
 abbey church 186 
 
 107. Alabaster tomb and effigy of Edward Stafford earl of 
 
 Wiltshire, ob. 1498, in Lowick church, Northamp- 
 tonshire. {From the " Archceological Journal," vol. 
 Ixi. 233) _ 187 
 
 108. Rebus of abbot Robert Kirkton from the Deanery 
 
 Gate at Peterborough. {From BoutelVs ^^ English 
 Heraldry," No. 295) 188 
 
 109. Rebus of Thomas Beckington bishop of Bath and 
 
 Wells, 1477. {From BouteWs " English Heialdry," 
 No. 296) 188 
 
 no. Rebus of John Islip abbot of Westminster, from his 
 chantry chapel. {From a photograph by Mr. 
 David Weller) 189 
 
 111. Oriel window in the Deanery at Wells with badges of 
 
 King Edward IV, and badges and rebuses of Dean 
 Gunthorpe. {From a photograph by Mr. T. W. 
 Phillips) 190 
 
 112. Arms and rebus of Sir John Pechy, ob. 1522, from 
 
 painted glass in Lyullingstone church, Kent. 
 {From Stothard's ^^ Monumental Efigies") 191 
 
 113. Seal of John de Moun slung from an eagle and flanked 
 
 by two leopards. From the Barons' Letter 195 
 
 114. Seal of Alan la Souche in 1 301. From the Barons' 
 
 Letter. {From "Journal of the Society of Arts," vol. 
 xlv. 228) 196 
 
 115. Seal of John Beauchamp of Hacche, with shield on 
 
 breast of an eagle. (From the Barons' Letter) 197 
 
 116. Seal of William de Ferrers with shield upon an eagle 
 
 with two heads. (From the Barons' Letter) 197 
 
 117. Seal of Edmund Mortimer earl of March and Ulster, 
 
 1400, with rampant leopard supporters. {From 
 BouteU's "English Heraldry," No. 407) 201 
 
 27 
 
List of ''"-'■ 1"^^^ 
 
 Illustratinnis "^' ^^^' °f Sir William Windsor, 1381, with eagle suppor- 
 ters. {From Bouielt's" English Heraldry," No. 2S2) 201 
 
 119. Seal of William de la Pole duke of Suffolk, 1448 202 
 
 120. Seal of Jofin NeviU lord Montagu, 1461 203 
 
 121. Seal of William lord Hastings, c 1461 204 
 
 122. Seal of John lord Talbot and Furnival, 1406 205 
 
 123. Seal of George duke of Clarence and lord of Rich- 
 
 mond, 1462, with black bulls of Clare supporting 
 his crested helm 207 
 
 124. Seal of Richard Beauchamp earl of Warwick, 1401. 
 
 {From Boutell's "English Heraldry" No. 448) 208 
 
 125. Seal of Richard Beauchamp earl of Warwick and 
 
 of Albemarle and lord Despenser, 1421 209 
 
 126. Seal of Edmund duke of Somerset for the town of 
 
 Bayeux, c. 1445. {From " Journal 0} the Society of 
 Arts" vol. xlv. 234) 210 
 
 127. Seal of Cecily NeviU, wife of Richard duke of York 
 
 and mother of King Edward IV, 1 461. (From 
 "Journal of the Society of /Irts" vol. xlv. 235) 212 
 
 128. Arms and supporters, a dragon and a greyhound, of 
 
 King Henry VH in King's College chapel at Cam- 
 bridge. {From a photograph by Mr. J. Palmer 
 Clarke) z 1 3 
 
 129. Seal of the Mayoralty of Calais. (From " Archaeo- 
 
 logia" vol. liii. 327) 215 
 
 130. Seal of Walter lord Hungerford with banners of 
 
 Heytesbury and Hussey or Homet, c. 1420 216 
 
 131. Knights with banners, from an illumination 220 
 
 132. Seal of Walter lord Hungerford with banners. {From 
 
 Boutell's "English Heraldry " No. 391) 221 
 
 133. Part of the seal of Margaret lady Hungerford, with 
 
 impaled banner held up by a lion. {From BoutelVs 
 "English Heraldry" No. 406) 222 
 
 134. Tomb of Lewis Robsart lord Bourchier, K.G. ob. 
 
 143 1, in Westminster abbey church, with banners 
 of arms upheld by supporters. {From a photograph 
 by Mr. David Weller) 223 
 
 135. The King's banner or "royal standard" as now borne 227 
 
 136. Stall-plate, as a banner, of Walter lord Hungerford, 
 
 after 1426. {From "The Ancestor" vol. iii.) 330 
 
 137. Stall-plate, as a banner, of Richard NeviU earl of 
 
 Salisbury, 1. 1436. (From" The Ancestor " voX.m.) 231 
 
 28 
 
FIG. P^g^ 
 
 138. Stall-plate, as a banner, of Sir John Grey of Ruthin, 
 
 c. 1439. [From " The Ancestor,'" vol. iii.) 232 
 
 139. Standard of Sir Henry Stafford, K.G. c. 1475. [From 
 
 BouteWs ""English Heraldry,'" No. 415} 234 
 
 140. Knights with pt- nnons, from an illumination 236 
 
 141. Armed Knights carrying pennons, from an illumina- 
 
 tion 237 
 
 142. Armorial vane on Etchingham church, Sussex. {From 
 
 ^'Sussex Jrch(TohgicaI Collections,''^ vol. ix. 349) 240 
 
 143. Vane formerly upon the finial of the kitchen roof, 
 
 Stanton Harcourt, Oxon. {From '^ A Glossary of 
 . Gothic Architecture,"'' vol. i. 505) 241 
 
 144. Partof King Henry VI I I's garden at Hampton Court, 
 
 from a contemporary picture. 246 
 
 14^. Partof King Henry X'lITs garden at Hampton Court, 
 
 from a contemporary picture. 247 
 
 146. Shield of Bryen impaling Bures, from a brass in 
 
 Acton church, Suffolk 252 
 
 147. Lion with a forked tail, from ^ brass at Spilsby in 
 
 Lincolnshire, 1391 255 
 
 148. Shield with three pheasants, from a brass at Checken- 
 
 don, Oxon, 1404 256 
 
 149. Shield of the arms of Sir Humphrey Littlebury, from 
 
 his effigy at Holbeach in Lincolnshire, c. 1360, with 
 fine examples of heraldic leopards. {From a pho- 
 tograph by Mr. E. M. Beloe, F.S.A.) 257 
 
 150. Early and modern versions of ermine-tails. {From 
 
 '^Journal of the Society of Arts,''' vol. xlv. 236) 258 
 
 151. Early and modern versions of valr. {From Bou- 
 
 teWs '"English Heraldry,'" Nos. 62, 61) 258 
 
 152. The Garter, from the brass of Thomas lord Camoys, 
 
 K.G. at Trotton in Sussex 261 
 
 153. Pewter medallion with Edward prince of Wales, now 
 
 in the British Museum. {From "" Archaeologia," 
 vol. xxxi. 141) 262 
 
 154. Shield of arms encircled by the Garter, from the 
 
 brass of Thomas lord Camoys, ob. 1419. {From 
 ''''Journal of the Society of Arts,'''' vol. xlv. 237) 264 
 
 155. Shields encircled by the Garter and a scroll, from the 
 
 brass of bishop Hallam {oh. 1416) at Constance. 
 {From ^'' Journal of the Society of Arts,^'' vol. xlv. 237) 265 
 
 156. Royal arms of King Henry VH within the Garter, of 
 
 29 
 
List of ^^°- . . ^"^'^ 
 
 fll t t'nn English work, from the King's tomb by Torregiano 
 
 at Westminster. (From a photograph by Mr. David 
 Weller) 266 
 
 157. Arms of St. George within the Garter, from the brass 
 
 of Sir Thomas Bullen, K.G. earl of Wiltshire and 
 Ormond, 1538, at Hever in Kent 267 
 
 158. Crowned effigy of Queen Eleanor at Westminster 270 
 
 159. Crowned effigy of Queen Joan at Canterbury 271 
 
 160. Helm and crest, and bust, of Richard Beauchamp 
 
 earl of Warwick, oh. 1439, from his gilt-latten 
 effigy at Warwick. {From Stothard's " Monumental 
 Effigies") 274 
 
 161. Effigy of a lady, c. 1250, in Scarcliffe church, Derby- 
 
 shire. {From Stothard's '^Monumental Effigies") 275 
 
 162. Effigy of a lady in Staindrop church, Durham. 
 
 {From Stothard^s ''Monumental Effigies") 276 
 
 163. Thomas earl of Arundel, ob. 1416, from his alabaster 
 
 effigy at Arundel. {From Stoihard^s ''Monumental 
 Effigies'') 277 
 
 164. Joan Beaufort, countess of Westmorland, ob. 1440, 
 
 from her alabaster effigy in Staindrop church, Dur- 
 ham. {From Stothard's "Monumental Effigies'^) lyS 
 
 165. William FitzAlan, earl of Arundel (ob. 1487) from his 
 
 effigy at Arundel. {From Stothard''s '''Monumental 
 Effigies") 279 
 
 166. Joan countess of Arundel, from her effigy at Arundel. 
 
 {From Stothard^s "Monumental Effigies") 280 
 
 167. John Holand duke of Exeter, oh. 1447, from his effig\' 
 
 at St. Katharine's hospital, Regent's Park 282 
 
 168. Head of a duchess of Exeter, from the monument at 
 
 St. Katharine's hospital, Regent's Park 283 
 
 169. Alice duchess of Suffolk, ob. 1475, from her alabaster 
 
 effigy in Ewelme church, Qxon. {From HoUis^s 
 "Monumental Effigies") 284 
 
 170. Armorial ensigns and badges of the lady Margaret 
 
 Beaufort from the gatehouse of her foundation of 
 Christ's college, Cambridge. {From a photograph 
 by Mr. J. Palmer Clarke) 286 
 
 171. Arms of the foundress, the lady Margaret Beaufort, 
 
 with yale supporters, from the base of an oriel in 
 Christ's college, Cambridge. {From a photograph 
 by Mr. J. Palmer Clarke) 287 
 
 30 
 
"=■ . , , „ ^"^^ List of 
 
 172. Armorial panel on the gatehouse of St. John's colleg, 
 
 Cambridge. {From a photograph by Mr. ] . Palnwr 
 Clarke) " 289 
 
 173. King Henry IV from his alabaster etfigy in Canter- 
 
 bury cathedral church. {From StotharcTs " Monu-. 
 mental EJfigies'') 291 
 
 174. King Henry HI from his gilt-latten effigy at West- 
 
 minster 292 
 
 175. King Edward II from his alabaster effigy at Glouces- 
 
 ter. {From Siothard's ^^ Monumental Effigies^^) 293 
 
 176. Crowned initials of King Henry \ll from his Lady 
 
 chapel at Westminster. {From a photograph by 
 Mr. David JVeller) 294 
 
 177. Thomas Howard third duke of Norfolk (1473 .'-1554) 
 
 with the collar of the Order of the Garter, from the 
 picture by Holbein at Windsor Castle. {From 
 Gardiner's "" Student's History of England " p. 410) 295 
 17S. Collars of SS 296 
 
 179. Collar of SS. from the effigy of William lord Bardolf, 
 
 oh. 1441, at Dennington in Suffolk. (From Stoth- 
 ard's ^^ Momimental Effigies'") 297 
 
 180. Spandrel of the tomb of Oliver Groos esquire {ob. 
 
 1439) in Sloley church, Norfolk, with collar of SS 301 
 
 181. Collars of SS from the efhgy of Queen Joan at Canter- 
 
 bury, and of Robert lord Hungerford at Salisbury. 
 ,{From Stothard's ^^ Monumental Effigies") 303 
 
 182. Collars of suns and roses from the effigy of a knight at 
 
 Aston, Warwickshire, and the effigy of Sir Robert 
 Harcourt, K.G. 1471 at Stanton Harcourt, Oxon. 
 {From Hollis's '"Monumental Effigies") 305 
 
 183. Sir Thomas More wearing the collar of SS : from an 
 
 original portrait painted by Holbein in 1527, belong- 
 ing to the late Mr. Edward Huth. {From Gardiner's 
 ''Student's History of England" p. 387) 307 
 
 184. Head of the effigy in Ripon Minster of Sir Thomas 
 
 Markenfield with livery collar of park-palings. 
 {From a drawing by Air. Roland Paul, F.S.A.) 310 
 
 185. Thomas lord Berkeley {ob. 1417) with a collar of mer- 
 
 maids, from his brass at Wootton-under-Edge, 
 Gloucestershire. {From Hollis's ''Monumental 
 
 Effigies") ^ 311 
 
 186. Silver badge belonging to the duke of Northumber- 
 
 land. {From adrawingby Mr.C.Praetorius,F.S..-l.) 3 12 
 
 31 
 
 Illustrations 
 
List of ''"'• 
 
 TU ict-rat'nno '^7- Waits' Collars of Exeter, King's Lynn, and Norwich 314 
 Illustrations ^gg p^^^. ^^ ^^ embroidered altar frontal with a rebus at 
 Baunton in Gloucestershire. {From a photograph 
 by Mr. G. Clinch) 320 
 
 189. Carved panel with the crowned arms, supporters, 
 
 and badges of King Henry VIII at New Hall in 
 Essex. (From a photograph by Mr. Fred Spalding) 333 
 
 190. Paving tile with arms and initials of John Lyte (c. 
 
 1535), from Marten church, Wilts. {From a draw- 
 ing by Mr. C. Praetorius, F.S..1I.) 334 
 
 191. Arms with crested helm and badge (a blazing ragged- 
 
 staff) of, apparently. Sir John Guldeford of Benen- 
 den, ob. 1565, in East Guldeford church, Sussex. 
 {From a photograph by Mr. Ayiner i'allance^ M .A.., 
 F.S.J.) ... 339 
 
 192. Part of a bed-hanging embroidered with the arms of 
 
 Henry and Elizabeth Wentworth, t. 1560, formerly 
 
 in the possession of Sir A. W. Franks, K.C.B. 342 
 
 193. Arms of Cotes, from a mazer print of 1585-6. {From. 
 
 '^ Archat'ologia,'' vol. I. 174) 343 
 
 194. Shield from the tomb of ^Iargaret countess of Len- 
 
 nox, oZ^. 1578, in Westminster abbey church. {From 
 
 a photograph by Mr. David Weller) 344 
 
 195. Achievement of arms from the monument of Sir 
 
 Richard Pecksall, ob. 1571, in Westminster abbey 
 church. {From a photograph by Mr. David JVeller) 345 
 
 196. Obverse of the Great Seal of the Republic of England, 
 
 Scotland, and Ireland, 1655 (reduced) 348 
 
 197. Arms, etc. of the Trinity House, London. From a 
 
 woodcarving, t. 1670, in the Victoria and Albert 
 Museum 349 
 
 198. Llmewood carving with the arms and crest of the Tre- 
 
 vor family, c. 1700, in the Victoria and Albert 
 Museum 351 
 
 199. Part of the carved oak ceiling of the chapel, formerly 
 
 the hall, of Auckland castle, Durham, with the 
 arms of bishop John Cosin. Date 1662-4. {From 
 a photograph by Mr. H. Kilburn in " Journal of the 
 Royal Institute of British Architects,'" 3rd S. vol. iv. 
 272) 352 
 
 Chronological Series of Illustrations 354 
 
 32 
 
CHAPTER I 
 
 INTRODUCTION 
 
 Defects of Modern Heraldic Decoration; Appeal 
 to First Principles ; English versus Foreign 
 Sources; Definition of Heraldry; Modes of 
 Display ; Colours and Furs ; Formation of Arms ; 
 Divisions of the Shield ; Early Authorities : 
 Seals, Monuments, Buildings, Wills and Inven- 
 tories, Rolls of Arms. 
 
 To those who have given attention to the 
 study of ancient heraldr}^ few things are 
 more surprising than the imperfect under- 
 standing of its true principles displayed in 
 their works by so many artists and crafts- 
 men of every degree. Year after year, in 
 paintings and sculpture at the Royal 
 Academy and other exhibitions, m the 
 architecture and decorations of our 
 churches and public buildings, on monu- 
 ments, on plate, jewellery, and ornaments 
 of all kinds, the attempt to introduce 
 armorial accessories, even by some of our 
 best artists, is almost always a failure. 
 
 In so recent a work as the national 
 memorial to Queen Victoria before Buck- 
 
 c 33 
 
Introduction ingham Palace, the shields for Scotland 
 in the frieze of the pedestal bear the ram- 
 pant lion only, and the distinctive double 
 tressure is again omitted m the Scottish 
 quarter of the royal arms behind the figure 
 of Victor}^ The sides of the pedestal also 
 bear fanciful shields of arms, in the one case 
 with three lamps, in the other with some al- 
 legorical device, charged on bends sinister ! 
 
 It is only fair to say that the fault 
 appears to be not altogether that of the 
 artist or craftsman, but should rather be 
 ascribed to the disregard of the principles 
 and usages of true armory that pervades 
 so much of the printed literature to which 
 men naturally turn for information. 
 
 He, however, who would know some- 
 thing about heraldic art must go behind 
 the books to better sources of information, 
 and rid himself once and for all of the 
 modern cast-iron rules that cramp all 
 attempts to improve matters. He will 
 then soon find himself revelling in the 
 delightful freedom and playful common- 
 sense of medieval armory when it was still 
 a living art, and a science too, utilized for 
 artistic purposes by every class of worker 
 and unencumbered by the ridiculous con- 
 ceits of Tudor and later times. 
 
 34 
 
The appeal, moreover, should largely be Introduction 
 confined, if one would have what is best, 
 to our own land. In the beginning 
 heraldry was much the same in most 
 European countries, but in course of time 
 foreign armory became complicated by 
 needless subdivisions and new methods of 
 expression and combination. It would 
 indeed be foolish to maintain that nothing 
 can be learnt from foreign sources, but m 
 the earlier stages of study English heraldry 
 should come first. Not only is it charac- 
 terized by a beautiful simplicity which 
 continued practically unchanged until the 
 beginning of the sixteenth century, but no 
 other country outside England possesses 
 such a wealth of examples of its various 
 applications, and they lie immediately to 
 hand for purposes of study and comparison. 
 Moreover, English heraldry so fully illus- 
 trates the general principles followed in 
 other countries that it is unnecessary at 
 first to go further afield. 
 
 Heraldry, or armory as it was anciently 
 called, is a symbolical and pictorial lan- 
 guage of uncertain and disputed origin, 
 which, by the beginning of the thirteenth 
 century, had already been reduced to a 
 science with a system, classification, and 
 
 35 
 
Introduction nomenclature of its own. The artistic de- 
 vices known as arms, which may be formed 
 by proper combinations of the colours, or- 
 dinaries, and figures that represent the let- 
 
 FiG. I. Tile with the arms of King Henry III, c. 1255, 
 from the chapter-house of Westminster abbey. 
 
 ters of this language, had each their signifi- 
 cance, and soon came to be regarded as 
 the hereditary possession of some person, 
 family, dignity, or office. 
 
 The display of arms was restricted 
 
 36 
 
primarily to shields and banners but occa- Introduction 
 sionally to horse-trappers (pis. xi b and 
 XII b) and such garments as jupes, gowns, 
 and mantles. Later on heraldry came also 
 
 Fig. 2. Shield of the arms of St. Edward, c. 1259, in 
 the quire of Westminster abbey church. An early 
 instance of the use of heraldry in architecture. 
 
 to be used ornamentally, either upon shields 
 or without them, in all kinds of ways, in 
 architecture and on monuments, on tiles 
 and in glazing, in woodcarvings and in 
 paintings, in woven stuffs and embroideries, 
 in jewellery and on seals. 
 
 The colours used in heraldry are red, 
 blue, green, purple, and black, or to 
 
 37 
 
Introduction give them their old names, gules, azure, 
 vert, purpure, and sable ; combined with 
 the yellow of gold and the whiteness 
 of silver. Orange was never used, proba- 
 
 IB^fe^l 
 
 ^M 
 
 U^'P^w 
 
 ^HB 
 
 ^^IHI^^*^K^^^^^1.^ ^^wJS^^^^^^ 
 
 fca^-. - -Ti^^HB 
 
 ^^^^^IBRr ' w lm> jg -JlK^ V^ Jp9Bk ;■ T^^yjiM 
 
 S^bAShHw 
 
 
 M^'^^^^^^^^P' ' 
 
 ^V'-^ji^ i-^^Km^^^Sm 
 
 
 ^Bi'i^:' hIh 1!^ '' ^f^^ 
 
 .iBk'-,S'i^^^^^^^^ ' 
 
 ^m^: W U fc|:'M 
 
 ^' H'^^^^Bi 
 
 ^^■r^^^]' ^^B '^^H 
 
 r' *!^^'*f^^^^^^| 
 
 HEWM^-I fl 
 
 r,3^^H 
 
 
 '^^H 
 
 Kf^E^ 
 
 ^^f-^H 
 
 ^^^^^k'SSa^t s^^^^^I^I^^^kIL. 
 
 ^i^^i^H 
 
 ^^^^^^■^^fl^^^£?'' SBKBr ■ ^^^^BBHv^M 
 
 L ^'' ' '^^Hl 
 
 
 
 Fig. 3. Heraldry on the gatehouse of Kirkham priory, 
 Yorkshire, built between 1289 and 1296. 
 
 bly on account of the difficult}- of finding 
 a stable pigment. It was soon found that 
 for brilliancy of effect the use of gold or 
 silver with a colour was preferable to that 
 
 38 
 
of colour with colour or metal with metal ; Introduction 
 two colours are therefore found together 
 or superposed only under certam con- 
 ditions, and the same applies to the two 
 metals. 
 
 Imitations of two furs, ermine and vair, 
 were also used : the one of white flecked 
 with little black tails ; the other of alter- 
 nating oblong patches of white and blue, 
 square at the top and rounded at the 
 bottom, to represent grey squirrels' skins. 
 (See figs. 151, 152.) If vair were 
 coloured other than white and blue, the 
 resultant was called vairy. There is also 
 known a black fur with silver ermme-tails. 
 
 There were never any exact rules as to 
 the particular tint of the colour employed, 
 that being simply a matter of taste. Thus 
 blue may range from a full indigo almost 
 to Cambridge-blue, and red from a bright 
 scarlet, through vermilion, to a dull 
 brick colour, and so on ; and it is sur- 
 prising to find how well quiet colours blend 
 together. 
 
 In the formation of arms the mere com- 
 binations of colours and metals produced 
 by vertical, horizontal, or other divisions 
 of the shield were soon exhausted, as were 
 quarters, checkers, etc. There accordingly 
 
 39 
 
Introduction grew quite naturally the further use of 
 applied strips or bands based upon such 
 divisions. 
 
 Thus the vertical parting of a metal and 
 
 a colour known as party produced the pale, 
 and a horizontal division the fesse or bar, 
 and these combined to form the cross sug- 
 gested by the quarterly lines. An oblique or 
 slanting parting gave rise to the bend, and 
 the crossmg of two such produced the St. 
 Andrew's cross or saltire. A combination 
 40 
 
of the lines of a saltire with a quarterly Introduction 
 division produced the varied field called 
 gyronny. The border almost suggested 
 itself. A cutting off of the upper half or 
 
 Party-bendwise Party-saltirewise Gyronny 
 
 Bend 
 
 Saltire 
 
 Border 
 
 head of the shield yielded the chief, and of 
 a fourth part the quarter. One other of 
 these applied pieces, or ordinaries as they 
 were called, was the cheveron, formed of 
 two strips issuing from the lower edges of 
 the shield and meeting in a point in the 
 middle, hke the cheverons forming the roof 
 
 41 
 
Introduction timbers of a house. Another ordinary 
 was the pile, which was often threefold 
 with lines converging towards the base as 
 in fig. 72. Sometimes a shield was charged 
 
 Chief 
 
 Quarter 
 
 Cheveron 
 
 Pile 
 
 Orle 
 
 Flanches 
 
 with one of smaller size called a scutcheon, 
 and the middle of this was occasionally^ cut 
 out to form a voided scutcheon or orle. 
 Flanches, as the}^ are called, are very rarely 
 found ; they are formed by drawing in- 
 curving lines within each side of the shield. 
 An even series of pales yielded a vertical 
 42 
 
striping called paly, and of piles, pily, while Introduction 
 an even number of bars became barry. 
 Undulated or waved bars formed wavy, and 
 sometimes paly and pily stripes were also 
 
 
 Bendy 
 
 Cheeky 
 
 Lozengy 
 
 waved (fig. 19). In early examples the 
 bend was often bended or curved. Bends 
 are so represented in one of the shields in 
 Westminster abbe}' (fig. 4), in some of the 
 shields over the nave arcades m York 
 minster, and on a number of monumental 
 eflfigies. A narrower bend which overlaid 
 
 43 
 
Introduction everything was known as a baston (see fig. 
 60). A number of narrow bends produced 
 bendy, but the fines were then straight. 
 A field divided into squares or checkers 
 
 Fig. 4. Shield with curved bend or baston 
 of Henry de Laci earl of Lincoln, c. 1259, 
 in the quire of Westmin.ster abbey church. 
 
 formed cheeky, and when divided mto what 
 are now called lozenges it became lozengy. 
 Pales, fesses, crosses, saltires, borders, and 
 cheverons sometimes had their edges en- 
 grailed by taking out of them, as it were, 
 a continuous series of bites separated 
 by sharp points, and the lower edge of a 
 
 44 
 
chief or the inner margin of a border was Introduction 
 
 often indented hke the edge of a saw; but 
 
 in early heraldry engrailing and indenting 
 
 were interchangeable terms. An indented 
 
 fesse was anciently called a daunce. Cheve- 
 
 rons, fesses, bars, etc. were occasionally 
 
 battled, through the upper hne bemg 
 
 formed into battlements. A fesse was 
 
 often placed between two cheverons, as m 
 
 the well-known arms of FitzWalter ; or 
 
 between two very narrow bars called 
 
 cotises, or pairs of cotises called gemell 
 
 bars. Cheverons, bends, and pales were 
 
 also sometimes cotised. Cotises were 
 
 often of a tmcture different from that 
 
 of the ordinary which they accompanied, 
 
 and sometimes indented or dancetty as in 
 
 the arms of Clopton (fig. 5) and Gonvde. 
 
 The ground or field could be relieved by 
 
 the use of vair or ermine, or by the addition 
 
 of frettmg or trellis work or other simple 
 
 means. It was also not unfrequently 
 
 powdered with small crosses, fleurs-de-lis, 
 
 or billets ; often in conjunction with a larger 
 
 charge like a cinqfoil or a lion. 
 
 Almost from the beginning every kind 
 of device was charged or painted upon 
 shields, either singly or in multiple, and 
 upon or about such ordinaries as crosses, 
 
 45 
 
Introduction cheverons, and fesses. Birds, beasts, and 
 fishes, and parts of them, hke heads, or 
 feet, or wings ; flowers, fruits, and leaves ; 
 suns, moons or crescents, and stars ; fleurs- 
 de-hs, crosses, billets, roundels, rings, etc. 
 all were pressed into the service. The 
 
 Fig. 5. Arms of Clopton, sable a bend silver 
 and two cotises dancetty gold, from a brass 
 c. 1420 at Long Melford in Suffolk. 
 
 great rule as to colour held good as regards 
 charges, and it was not permissible to paint 
 a red rose upon blue or a gold star upon 
 silver ; but a red rose upon gold or a silver 
 star upon blue was quite right. 
 
 It has however been lawful at all times 
 to place an ordmary, such as a fesse or a 
 
 46 
 
cheveron, and whether charged or not, Introduction 
 upon a parti-coloured field like quarterly, 
 check}^, pal}^, or barry, or upon vair or 
 vairy. A quarter, or a chief, or a border, 
 without reference to its colour, can also be 
 added to any such field. 
 
 Conversel}^, a parti-coloured cross, fesse, 
 or charge of any kind, is allowable upon a 
 plain field. 
 
 In the Great Roll of arms, temp. Edward 
 II, are instances of two shields, in the one 
 case of a red lion, and in the other of 
 a red fer-de-moline, on fields party gold 
 and vert ; also of a silver leopard upon 
 a field party gold and gules, and of three 
 red lions upon party gold and azure. Like- 
 wise of a shield with three lions ermine 
 upon party azure and gules, and of another 
 with wavy red bars upon a field party 
 gold and silver. 
 
 In the arms, too, of Eton College 
 granted by King Henry VI in 1448-9 
 three silver lilies on a black field are com- 
 bined with a chief party azure and gules, 
 with a gold leopard on the red half and a 
 gold fleur-de-lis on the blue half. King 
 Henry also granted in 1449 these arms, 
 party cheveronwise gules and sable three gold 
 keys, to Roger Keys, clerk, for his services 
 
 47 
 
 X 
 
Introduction in connexion with the building of Eton 
 College, and to his brother Thomas Keys 
 and his descendants. 
 
 Shields with quarterly fields often had a 
 single charge in the quarter, like the well- 
 known molet of the Veres, or the eagle of 
 Phehp. 
 
 Arms were sometimes counter-coloured, 
 by interchanging the tinctures of the whole 
 or parts of an ordinary or charge or charges 
 overlying a parti-coloured field. This often 
 has a very striking eflFect, as in the arms of 
 St. Bartholomew's Hospital, which are party 
 silver and sable a cheveron counter-coloured, or 
 those of Geoffrey Chaucer, who bore party 
 silver and gules a bend counter-coloured. Sir 
 Robert Farnham bore quarterly silver and 
 azure four crescents counter-coloured, or as 
 the Great Roll describes them, 'de I'un en 
 I'autre.' The town of Southampton like- 
 wise bears for its arms gules a chief silver 
 with three roses counter-coloured. 
 
 In drawing parti-coloured fields it is as 
 well to consider what are the old rules with 
 regard to them. In the early rolls a field 
 barry of silver and azure, or of gold and 
 sable, IS often described as of six pieces, 
 that is with three coloured bars alternating 
 with three of the metal, though barry 
 
 48 
 
PLATE I. ARMS OF MILTON ABBEY FROM A WINDOW IN IBBERTON CHURCH 
 DORSET. 0,1475 (fROM ARCHAEOLOGIA, VOL. XLVII.) 
 
of eight and even ten pieces is found. Introduction 
 Paly of six pieces is also a normal 
 number. But the number of pieces 
 must always be even, or the alternate 
 pieces will become bars or pales. The 
 number of squares in each line of a 
 checkered field or ordinary is also another 
 important matter. Six or eight form the 
 usual basis for the division of a field, but 
 the seven on the seal of the Earl of 
 Warenne and Surrey attached to the 
 Barons' Letter of 1300-1 is not without its 
 artistic advantages. On an ordinary, such 
 as a fesse or cross, there should be at least 
 two rows of checkers. Here, however, as 
 in other cases, much depends upon the size 
 of the shield, and a large one could ob- 
 viously carry with advantage either on 
 field or ordinar}^ more squares than a small 
 one without infringing any heraldic law. 
 
 Besides the plain cross familiar to most 
 of us in the arms of St. George, and the 
 similar form with engrailed edges, there is 
 a variety known as the ragged cross, 
 derived from two crossed pieces of a tree 
 with lopped branches. This is often used 
 in the so-called arms of Our Lord, showing 
 the instruments of His Passion, or in com- 
 positions associated therewith, as in the 
 D 49 
 
Introduction cross with the three crowned nails forming 
 the arms of the town of Colchester. 
 
 Several other forms of cross have also 
 been used. The most popular of these 
 is that with spla3^ed or spreadmg ends, 
 often split into three divisions, called the 
 cross paty, which appears in the arms of 
 St. Edward (see figs. 2 and 43). It is 
 practicall}^ the same as the cross called 
 patonce, flory, or fleury, these being names 
 applied to mere variations of drawing. The 
 cross with les chefs flurettes of the Great 
 Roll seems to have been one flowered, or 
 with fleurs-de-lis, at the ends. 
 
 Another favourite cross was that with 
 forked or split ends, formed of a fer-de- 
 moline or mill-rind, sometimes called a 
 cross fourchce, or, when the split ends were 
 coiled, a cross recercelee. The arms of 
 Antonj^ Bek bishop of Durham (1284- 
 13 10) and patriarch of Jerusalem were 
 gules a fer-de-moline ermine, and certain 
 vestments "woven with a cross of his arms 
 which are called ferritm jnolendmi" passed 
 to his cathedral church at his death. On 
 his seal of dignity the bishop is shown act- 
 ually wearing such a vestment of his arms. 
 
 The tau or St. Anthon}''s cross also 
 occurs in some late fifteenth centur}^ arms. 
 
 SO 
 
The small crosses with which the field Introduction 
 of a shield was sometimes powdered were 
 usually what are now called crosslets, but 
 with rounded instead of the modern squared 
 angles, as in the Beauchamp arms (fig. 14), 
 and a field powdered with these was simply 
 called crusily. But the powdering some- 
 times consisted of crosses pMy, or form}^ 
 as they were also stjded, as in the arms of 
 Berkeley, or of the cross with crutched 
 ends called a cross potent, like that in the 
 arms of the Kingdom of Jerusalem. These 
 crosses often had a spiked foot, as if for 
 fixing them in the ground, and were then 
 further described as fitchy or crosses 
 fixable. 
 
 Since the elucidation of the artistic rather 
 than the scientific side of heraldry is the 
 object of this present work, it is advisable 
 to show how it may best be studied. 
 
 The artistic treatment of heraldry can 
 only be taught imperfectl}'' by means of 
 books, and it is far better that the student 
 should be his own teacher by consulting 
 such good examples of heraldic art as may 
 commonly be found nigh at hand. He 
 may, however, first equip himself to ad- 
 vantage with a proper grasp of the subject 
 by reading carefully the admirable article 
 
 51 
 
Introduction on Heraldry, by Mr. Oswald Barron, in 
 the new eleventh edition of The Encyclo- 
 pcedia Britannica. 
 
 The earliest and best of artistic authorities 
 are heraldicseals. Thesecameintocommon 
 use towards the end of the twelfth century, 
 much at the same time that armory itself 
 became a thing of life, and they were con- 
 stantly being engraved for men, and even 
 for women, who bore and used arms, and 
 for corporate bodies entitled to have seals. 
 
 Moreover, since every seal was pro- 
 duced under the direction of its owner and 
 continually used by him, the heraldr}' dis- 
 played on seals has a personal interest of 
 the greatest value, as showing not only 
 what arms the owner bore, but how they 
 were intended to be seen. 
 
 From seals may be learnt the different 
 shapes of shields, and the times of their 
 changes of fashion ; the methods of depict- 
 ing crests ; the origin and use of sup- 
 porters ; the treatment of the 'words' and 
 'reasons' now called mottoes ; the various 
 ways of combining arms to indicate alliances, 
 kinships, and official connexions ; and the 
 many other effective ways in which heraldry 
 maybe treated artistically without breaking 
 the rigid rules of its scientific side. 
 
 52 
 
Seals, unfortunately, owing to their in- Introduction 
 accessibility, are not so generally' available 
 for purposes of study as some other 
 authorities. They are consequently com- 
 paratively little known. Fine series, both 
 of original impressions and casts, are on 
 exhibition in the British and the Victoria 
 and Albert museums, and in not a few 
 local museums also,* but the great collec- 
 tion in the British Museum is practically 
 the only public one that can be utilized to 
 any extent by the heraldic student, and 
 then under the Hmitation of applying for 
 each seal by a separate ticket. 
 
 The many examples of armorial seals 
 illustrated in the present work will give 
 the student a good idea of their importance 
 and high artistic excellence. 
 
 Next to the heraldry on seals, that dis- 
 played on tombs and monuments, and in 
 combination with architecture, may be 
 studied, and, of course, with greater ease, 
 since such a number of examples is avail- 
 able. Many a village church is compara- 
 tively as rich in heraldry as the abbey 
 
 * It would surely not be a matter of much diffi- 
 culty or expense to equip the leading schools of art 
 in this country with sets of casts of these beautiful 
 objects. 
 
 S3 
 
Introduction churches of Westminster and St. Albans, 
 or the minsters of Lmcoln and York and 
 Bever\ey. 
 
 It is to the countr}^ church, too, that we 
 may often look for lovely examples of old 
 heraldic glass, which has escaped the de- 
 struction of other subjects that were deemed 
 more superstitious (pis. i, ii and iii). 
 
 But the student is not restricted to 
 ecclesiastical buildings in his search for 
 good examples of heraldry. 
 
 Inasmuch as there never was such a 
 thing as an ecclesiastical style, it was quite 
 immaterial to the medieval master masons 
 whether they were called in to build a 
 church or a gatehouse, a castle or a mansion, 
 a barn or a bridge. The master carpenter 
 worked in the same way upon a rood loft or 
 a pew end as upon the screen or the coffer 
 in the house of the lord ; the glazier lilled 
 alike with his coloured transparencies the 
 bay of the hall, the window of the chapel, 
 or that of the minster of the abbe}^ ; and 
 the tiler sold his wares to sacrist, church- 
 warden, or squire alike. 
 
 The applications of heraldry' to architec- 
 ture are so numerous that it is not easy to 
 deal with them in an}' degree of connexion. 
 
 Shields of arms, badges, crests, and 
 
 54 
 
supporters are freel}' used in ever}^ conceiv- Introduction 
 able WAV, and on every reasonable place; 
 
 Fig. 6. Heraldic candle-holder, etc. from the latten grate 
 about the tomb of King Henry VH at Westminster. 
 
 on gatehouses (figs. 3, 95, 96) and towers, 
 on porches and doorways, in windows and 
 
 ss 
 
Introduction on walls, on plinths, buttresses, and pin- 
 nacles, on cornice, frieze, and parapet, on 
 
 Fig. 7. Firedog with armorial bearings. 
 
 chimney-pieces (figs. 8, 94) and spandrels, 
 on vaults and roofs, on woodwork, metal- 
 work (figs. 6, 7), and furniture of all 
 kinds, on tombs, fonts, pulpits, screens and 
 
 S6 
 
coffers, in painting, in glass, and on the tiles Introduction 
 of the floor (figs, i, 9, 14). 
 
 Though actual examples are now rare, 
 
 ^^^^^ 
 
 ^^ 
 
 -^:v^—^-k.:j 
 
 ^^K^^jWfcM 
 
 i^\=a^^ 
 
 '::<^*--S%M^^^^M 
 
 
 ^^^^^^ 
 
 ■xr^^VH^HHHjP^^^^^<^3Uca4Hk^^^y^^ 
 
 Fig. 10. Seal of Richard duke of Gloucester, as 
 admiral of England in Dorset and Somerset 
 (1462), with arms on the mainsail of the ship. 
 
 we know from pictures and monuments, 
 and the tantalizing descriptions in inven- 
 tories, to how large an extent heraldry 
 was used in embroidery and woven work, 
 on carpets and hangings, on copes and 
 
 59 
 
Introduction frontals, on gowns, mantles and jupes, on 
 trappers and in banners, and even on the 
 sails of ships (fig. lo). 
 
 Wills and inventories also tell us that in 
 
 Fig. II. Heraldic buckle from the effigy of 
 Robert lord Hungerford (ob. 1459) in 
 Salisbury cathedral church. 
 
 Fig. 12. Heraldic buckle from the effigy of 
 William lord Bardolf {ob. 1441) in Den- 
 nington church, Suffolk. 
 
 jewellery and goldsmiths' work (see figs. 
 II and 12) heraldry played a prominent 
 part, and by the aid of enamel it 
 appeared in its proper colours, an ad- 
 60 
 
vantage not always attainable otherwise Introduction 
 (fig. 13). Beautiful examples of heraldic 
 shields bright with enamel occur in the 
 
 Fig. 13. Enamelled shield with the arms of 
 Ballard on the print of a mazer (c. 1445) 
 at All Souls college, Oxford. 
 
 abbey church of Westminster on the tombs 
 of King Edward III and of William of 
 Valence, and on the tombs at Canterbury 
 and Warwick respectively of Edward 
 prince of Wales and Richard Beauchamp 
 
 61 
 
Introduction earl of Warwick ; while in St. George's 
 chapel in Windsor castle there are actually 
 nearly ninety enamelled stall-plates of 
 Knights of the Garter of earlier date than 
 Tudor times, extending from about 1390 
 to 1485, and forming in themselves a veri- 
 table heraldic storehouse of the highest 
 artistic excellence. (See pis. xv, xvi.) 
 
 Another source of coloured heraldry is to 
 be found in the so-called rolls of arms. 
 
 While heraldry was a living art, it 
 obviously became necessary to keep some 
 record of the numerous armorial bearings 
 which were already in use, as well as of 
 those that were constantly being invented. 
 This seems to have been done by entering 
 the arms on long rolls of parchment. In 
 the earliest examples these took the form 
 of rows of painted shields, with the owners' 
 names written over (pi. iv) ; but in 
 a few rare cases the blazon or written 
 description of the arms is also given, while 
 other rolls consist wholly of such descrip- 
 tions, as in the well-known Great and 
 Boroughbridge Rolls. These have a special 
 value m supplj^ing the terminolog)^ of 
 the old heraldry, but this belongs to the 
 science or grammar and not the art of it. 
 The pictured rolls on the other hand clearly 
 
 62 
 
Fig. 14. Heraldic paving tiles from Tewkesbury abbey. The 
 three uppermost bear the arms of Despenser, Berkeley, and 
 Beauchamp, and the large one the arms of Robert Fitz- 
 Hamon, the founder, impaled with the singular cross of the 
 abbey. 
 
Introduction belong to the artistic side, and as they date 
 from the middle of the thirteenth century 
 onwards, they show how the early heralds 
 from time to time drew the arms they 
 wished to record. 
 
 64 
 
fcar^ Si ^fi^ ^C4*iij®i »t«j>tt«W ^f ^^+),]M- ' Ssl <B>Ktfew, 
 
 ifjo^*<i%oS{Jii«-(aitfr-fc»>fefc<' Jtt^-ffiiii *fi>»ft UAleajftutxr 
 
 PLATE IV. PART (reduced) of an early boll of arms belonqinq 
 
 TO THE society OF ANTIQUARIES OF LONDON. 
 
CHAPTER II 
 
 THE SHIELD AND ITS TREATMENT 
 
 Early Forms of Shields; Later Forms ; Shields 
 of Irregular Outline and Surface; The Filhng of 
 a Shield; Apparent versus Absolute Uniformity; 
 Modern Rules as to Proportion ; the Use 
 and Abuse of Quartering : its Origin and 
 Growth; Differencing of Arms ; The Scutcheon 
 of Ulster; Diapering. 
 
 From these preliminary remarks we may 
 pass to the practical consideration of the 
 principles of heraldic art. 
 
 And first asto shields andtheirtreatment. 
 
 The form of a shield is in itself entirely 
 arbitrary and void of meaning. Although it 
 varied from time to time, this was simply a 
 matter of fashion, like the shape of an arch 
 or the pattern of a window. Such changes 
 must not, however, be overlooked, for it 
 would be absurd in actual practice to use 
 an ornate shield of the style of the fifteenth 
 or sixteenth century for a lion of (say) the 
 thirteenth century typt, or to fill a shield 
 of early form with charges characteristic of 
 a later date. 
 
 E 6i, 
 
The Shield 
 
 and Its 
 Treatment 
 
 During the twelfth centur\', shields were 
 more or less kite-shaped, like those that 
 were actually used, but in the thirteenth 
 century they began to be shorter and 
 straighter across the top. Good examples 
 
 Fig. 15. Shield with rounded corners (c. 1259) 
 of Richard earl of Cornwall in the quire of 
 Westminster abbey church. 
 
 of this type may be found on seals. In 
 the aisles behind the quire of Westminster 
 abbe}^ church, the beautiful shields in the 
 spandrels of the wall arcade, of a date not 
 later than 1259, retain their rounded upper 
 corners. (See figs. 2 and 15.) The next 
 66 
 
form, with the upper corners square The Shield 
 
 (figs. i6, 17), came mto vogue 
 
 m 
 
 the 
 
 second half of the thirteenth century, and 
 has continued always m use. Owing to the 
 
 and its 
 Treatment 
 
 J^^ 
 
 /^^ 
 
 
 Fig. 16. Shields of English work from the tomb 
 of WiUiam earl of Pembroke {ob. 1296) in 
 Westminster abbey church. 
 
 elastic way m which its curves can be 
 slightly altered when required, it may 
 safely be adopted in general practice. In 
 the earliest examples the curves begin at 
 the top, or just below, but later on they 
 were so struck as to increase the area 
 
 67 
 
The Shield of the lower part of the shield in order 
 
 and Its ^Q make more room for the charges. In 
 1 reatment r , • i • j 
 
 some rourteentn century mstances the sides 
 
 continue straight nearly to the bottom, so 
 
 that the shield is practically an oblong with 
 
 rounded lower corners, like the shields of 
 
 Fig. 17. Seal of Hugh Bardolf showing shield 
 with square corners. From the Barons' 
 Letter. 
 
 the royal arms on our coinage to-day 
 (figs. 18 and pi. VI a). A tendency in 
 the same direction is not uncommon 
 throughout the fifteenth century. About 
 the middle of the same century the fash- 
 ion began to prevail, alongside the other, 
 of representing a man's arms on the same 
 irregularlj^-shaped shield that he was wont 
 to carry in the jousts. This is as wide at 
 the bottom as the top, with its outline 
 worked into curves, and has on the dexter, 
 or right-hand side as borne, a deep notch 
 68 
 
for the lance to rest in during tilting ; the The Shield 
 top and bottom of the shield are often sub- ^""^ "^^ 
 divided into three or more lobes or shallow 
 
 Fig. 1 8. Seal and counterseal of Simon lord of Montagu, 
 with shield of unusual form supported by two bearded 
 men and surmounted by the castle of Corfe of which 
 Simon became governor in 1298. The quadrangular 
 signet displays a griffin. From the Barons' Letter. 
 
 69 
 
The Shield curves. Good examples occur on seals and 
 
 and Its monuments, and some of the Garter stall- 
 i reatment i /o i i • 
 
 plates. (See pis. v a and b; vi b ; xvii ; 
 
 and XXIII a.) Shields of a more ornate form 
 
 fif^ 
 
 Fig. 19. Shield of ornate form, from a brass 
 at Stoke Poges, Bucks, 1476. 
 
 are occasionally to be met with, like an ex- 
 ample (fig. 19) on a brass at Stoke Poges of 
 the date 1476, with graceful leaf-work curl- 
 ing over at the top and bottom. Shields 
 similarly ornamented occur on the door- 
 70 
 
PLATE V. — Examples of shaped shields. 
 A John Tiptoft earl of Worcester, 1449. 
 B William Herbert earl of Hunting:don, 1479. 
 
wa}^ of a citizen's house now built into the The Shield 
 Guildhall at Norwich (fig. 20). a"d its 
 
 In the simpler forms the field of a shield 
 in painted representations is invariably 
 shown flat ; but in carvings, and occasion- 
 ally on seals, a slight convexity, or even 
 concavity, is often met with, the artistic 
 advantages of which it is unnecessary to 
 enlarge upon. In some of the later ornate 
 forms, like those described above, the 
 incurved or engrailed edge is accompanied 
 by a field worked with a series of ridges 
 and furrows (figs. 21 and 23). The 
 effect of this may be good, but there is a 
 danger of carrying it to excess and so in- 
 juring the appearance of the charges. If 
 the shield be well covered by the bearings 
 on it, it is generally better to use one of 
 simple form than one with an irregular 
 outline and ndged surface ; but there is, 
 of course, no reason why both forms should 
 not be used concurrently in architectural or 
 other works, as they sometimes were of old. 
 
 The same pr nciple as the ridging of a 
 shield to relieve the plain surface was also 
 applied to the ordinaries upon it. An earl}^ 
 example ma^^ be seen upon the tomb of 
 queen Eleanor at Westminster, which has 
 the bends in the shields of Ponthieu ridged 
 
 71 
 
John earl of Kent 1351. 
 
 John Mowbray, duke of Norfolk and earl marshal, 1442. 
 
 PLATE VI. — Various shapes of shields. 
 
along the middle line. The shield borne The Shield 
 by Brian FitzAlan {ob. 1302) in his effigy ^""^ "^^ 
 at Bedale has the alternate bars of his arms 
 (harry of eight pieces gold and gules) treated 
 in the same way. Another instance may 
 
 Fig. 21. Shield with engrailed edges (c. 1520) 
 from the chantry chapel of abbot Thomas 
 Ramryge in St. Albans abbey church. 
 
 be seen on the effigy of Sir Richard 
 Whatton (c. 1325) at Whatton, Notts, in 
 which a bend though charged is ridged. 
 The shields on the tomb of Guy lord 
 Bryen {ob. 1390) at Tewkesbury (fig. 22) 
 furnish typical later examples, while during 
 the fifteenth and early sixteenth centuries 
 instances are as common as the curved and 
 
 73 
 
The Shield ridged shields described above, especially as 
 and its regards crosses and saltires, as at St. Albans, 
 the George Inn at Glastonbury (fig. 23), 
 and elsewhere. 
 
 In monumental effigies the shield borne 
 by a knight often has a convex or rounded 
 
 Fig. 22. Shields with ridged charges, from the 
 monument of Guy lord Bryen (oh. 1390) in 
 Tewkesbury abbey church. 
 
 surface (fig. 24), and in late fifteenth 
 centur}' and Tudor architecture otherwise 
 flat shields sometimes have the middle 
 swelled out, as on dean Gunthorpe's oriel 
 at Wells, m a manner very popular in 
 Renaissance work. (See figs, ill and 195.) 
 A reference to a number of good ancient 
 examples of heraldic shields or banners will 
 disclose the care that has been taken to 
 occupy the field, as far as possible, with 
 whatever is placed upon it (figs. 25, 26, 
 27). A lion or an eagle, for instance, will 
 
 74 
 
The Shield have the Hmbs and extremities so spread 
 and its Q^^ gg ^o fill every available space ; and 
 reatment ^^^ ^^^^ ^jjj |^^ found in every group or 
 
 Fig. 24. Shield with curved surface from an 
 effigy of a Pembridge at Clehonger, Here- 
 fordshire. 
 
 combination of objects capable of arrange- 
 ment or extension. 
 
 Even with most unpromising combina- 
 tions, or a group that cannot be extended or 
 
 76 
 
modified at all, or with a single charge like The Shield 
 
 a fleur-de-lis, or ordinary such as a bend „ ^"" "^^ 
 ic- N , 1/1 \ ireatment 
 
 (hg. 30), pale, or cheveron (pi. viii a), 
 
 a judicious adjustment of proportions, or 
 
 Fig. 25. Shield from the seal of Henry Percy 
 (from the Barons' Letter) with well-drawn 
 
 some equally common-sense method, en- 
 abled a medieval artist to make his shield 
 look well. 
 
 Another point that may be noticed in 
 all old work is, that in shields containing 
 several similar objects, no two are exactly 
 
The Shield 
 
 and its 
 Treatment 
 
 alike, 
 three 
 lions 
 
 If the charges be, for example, 
 
 roses or three roundels or three 
 
 (fig. 32), two will be placed in the 
 
 Fig. 26. Shield with a leaping lion, from 
 a brass {c. 1380) at Felbrigge in Norfolk. 
 
 upper and the third in the lower part of 
 the shield. But the latter will often be 
 somewhat larger than the others, and these, 
 in turn, will differ slightl}- the one from 
 the other as thev do in nature. So, too, 
 
 78 
 
in a case like the three leopards of the King The Shield 
 
 of England, whether displayed on shield or „ ^"" "^^ 
 
 , '^ 11-11 Treatment 
 
 in banner, no two are exactly alike, but 
 
 Fig. 27. Shield with an eagle from a brass 
 at Great Tew, Oxon, c. 1410. 
 
 each differs somewhat from another in 
 pose or in size (fig. 32). Even when 
 the same charge is repeated many times, 
 like the fleurs-de-lis in the old arms 
 
 79 
 
The Shield of France, any possible chance of mechan- 
 
 and Its [^^\ monotony is avoided by a trifling 
 Ireatment . . . , , r i • i 
 
 variation in the shape or each, as in the 
 
 shield of the King of France in the early 
 
 series at Westminster (fig. 34). 
 
 Another fact is that in the old work 
 
 Fig. 28. Seal of Queen's College, Oxford, 
 1341, with well-filled shields. 
 
 lines and curves are hardly ever quite true, 
 but drawn by hand instead of with pen or 
 compasses. The modern artist, on the 
 contrary, usually draws his lines and curves 
 with mechanical precision ; his charges are 
 exact copies one of another; the fact that 
 they do not fill the field {pace the royal 
 arms on the coinage) is to him quite un- 
 important, and the final result is that under 
 no circumstances will his work look well. 
 80 
 
Even in old stencilling a pleasing effect The Shield 
 never seen in modern work of the kind was ^"'^ "^^ 
 produced through a not too rigid adherence 
 to a regularity of application. 
 
 Fig. 29. Shield with a griffin, from a brass 
 of 1405 at Boughton-under-Blean, Kent. 
 
 Another cause of the bad effect of much 
 modern heraldry is the unnecessary adher- 
 ence to the rules laid down in some of the 
 textbooks and manuals as to the relative 
 
The Shield widths of ordinaries and subordinaries. 
 
 and Its Yhe old heralds certainly did not fetter 
 1 reatment 
 
 Fig. 30. Seal of Peter de Mauley IV (from the 
 Barons' Letter) showing a simple well-balanced 
 shield. 
 
 Fig. 31. Shield with a bend counter-flowered from 
 the brass of Sir Thomas Bromfleet, 1430, at 
 Wymington, Beds. 
 
 82 
 
themselves with such shackles. A cheveron, The Shield 
 
 a bend, a fesse, or a cross was drawn of the ^"" '^'^ 
 1 • 1 1 11 /r ^\ 1 reatment 
 
 best proportion to look well (hgs. 35, 36). 
 
 If charged it would be wider than when 
 
 Fig. 32. Shield with three lions, from a 
 brass at Stanford Dingley, Berks, 1444. 
 
 plain. If placed between charges it was 
 drawn narrower, if itself uncharged, and 
 thus took its proper relative position with 
 regard to the size and arrangement of 
 the charges. So too with a border; if 
 uncharged or merel}^ gobony (i.e. formed 
 of short lengths of alternate colours) or 
 
 83 
 
Fig. 33. Shield of the royal arms done in boiled 
 leather, from the tomb of Edward prince of 
 Wales at Canterbury, 1376. 
 
engrailed, it was drawn very narrow, and The Shield 
 even if charged it was not allowed much 2"<1 '" 
 greater width (figs. 38, 39). It thus '^"'"^^"t 
 never undul}^ encroached upon the field or 
 
 Fig. 34. Shield of the King of France, c. 1259, in the 
 quire of Westminster abbey church 
 
 Other contents of the shield, and vet re- 
 mained an artistic addition in itself. The 
 curious bordering known as the tressure, 
 which is almost peculiar to Scotland, and 
 familiar to us through its occurrence in the 
 shield of our Sovereign, is drawn suffi- 
 ciently narrow in all good examples to leave 
 
 85 
 
The Shield ample room for the ramping lion it fences 
 and Its jj^^ jj^j [f.g frieze of fleurs-de-lis is formed of 
 Ireatment , , r n ■ i c i 
 
 a good number ot fiowers, instead ot the 
 
 eight considered suflRcient m the royal arms 
 of to-day. Even a chief, if necessar}^, was 
 enlarged from the "less than one-third of 
 the shield" of to-day to the one-half of it, 
 or even more, as may be seen in some of 
 the examples of the arms of the monastery 
 in the abbey church of Westminster, or in 
 those of the town of Southampton. 
 
 Another feature of early heraldry which 
 it is well to bear in mind is the sparing use 
 of what is known as quartering, or the 
 method of combining in one shield the arms 
 of two or more persons or families. One 
 of our oldest instances of this occurs on the 
 tomb of Queen Eleanor, the first wife of 
 King Edward I, at Westminster, and shows 
 her paternal arms of Castile and Leon so 
 arranged (fig. 40). Another earh' example 
 occurs m the Great Roll, temp. Edward II, 
 where the arms of Sir Simon Montagu {ob. 
 c. \'},\G), silver a Jesse indented gules of three 
 indentures, are quartered with azure a gold 
 griffin. So long as the shield contained only 
 four quarters, with the first and fourth, 
 and the second and third, respectively, ahke, 
 the effect was often good, as in the cases just 
 
 86 
 
The Shield noted, orin the beautiful arms of France and 
 
 and Its England combined used after 1340 by King 
 
 Edward III (fig. 41). There are also many 
 
 examples, as in the well-known bearings of 
 
 Fig. 37. Shield with a chaiged bend from 
 a brass at Kidderminster, 1415. 
 
 the Veres and of the Despensers, where 
 a quarterly disposition of the shield forms 
 the basis of the arms. But when, as became 
 common in the fifteenth century, quarters 
 were multiplied or subdivided, the artistic 
 
Queen Anne of Bohemia, 1382. 
 
 John of Gaunt's privy seal as King" of Castile, 1372. 
 
 PLATE VII. — Examples of Quartering. 
 
effect of the old simple shield was lost or The Shield 
 
 destroyed. As the principle was further „ ^"° ''^^ 
 
 , , • 11 • T^ 1 IP 1 reatment 
 
 extended, especially m 1 udor and htewart 
 
 times, the result became more and more 
 confused in appearance, until the field 
 resembled rather a piece of coloured patch- 
 work than a combination of various arms 
 all more or less beautiful in themselves. 
 
 The origin and growth of these combina- 
 tions, which actually are perfectly lawful 
 and proper, and yet often quite accidental, 
 can easily be illustrated by a few typical 
 examples. 
 
 In 1382 King Richard II, who used the 
 same arms as his grandfather, a quarterly 
 shield of Old France and England, married 
 Anne of Bohemia, daughter of the Emperor 
 Charles IV. As her shield was also a 
 quartered one, the combined arms of the 
 king and his queen, as shown upon her 
 seal, formed a shield of eight quarters 
 (pi. VII a). This was further complicated 
 through the later assurnption by King 
 Richard of the arms assigned to St. 
 Edward (fig. 43), a cross between five 
 birds ; and the eight-quartered shield with 
 this clumsy addition at one side may be 
 seen on the Felbrigge brass. 
 
 These arms of St. Edward were used for 
 
 89 
 
-a 
 
The Shield 
 
 and its 
 Treatment 
 
 Fig. 40. Quartered shield of Queen Eleanor of Cas- 
 tile, from her tomb at Westminster, 1291. 
 
 a time duly 'differenced' in conjunction 
 with his own quarterly arms by Henry of 
 
 91 
 
The Shield Lancaster, afterwards King Henry IV, and 
 
 and Its 3j.g impaled with those of his wife, Mary 
 
 de Bohun, on his seal (1399) as duke of 
 
 Hereford. Artistically the lop-sided effect 
 
 so produced is quite unhappy. 
 
 Many fifteenth century shields show 
 
 Fig. 41. Arms of King Edward III, from 
 his tomb at Westminster. 
 
 forth, by the simple quartering of a man's 
 arms with those of his wife or his mother, 
 his succession or summons as a lord of 
 parliament, or his inheritance of great 
 estates. 
 
 92 
 
But this simplicity was gradually de- The Shield 
 stroyed when the added quartering was ^"'^ ''^^ 
 itself quartered, as in the arms of Richard '^^^^"^^^^ 
 
 Fig. 42. Shield with impaled quarters from 
 the brass of Peter Halle, c. 1420, at Heme 
 in Kent. 
 
 Nevill earl of Salisburj^ (see pis. xvii a and 
 XXII B),or the quarteringswere all different, 
 as in the case of Humphrey Stafford duke 
 
 93 
 
The Shield of Buckingham. When but a year old he 
 
 and its succeeded his father as earl of Stafford, 
 
 and on his mother's death he became earl 
 
 Fig. 43. Arms of St. Edward, from the tomb of Ed- 
 mund duke of York, ob. 1402, at King's Langley. 
 
 of Buckingham, Hereford, Northampton, 
 Essex, and Perche ! These dignities are 
 
 94 
 
Fig. 44. Seal of Humphrey Stafford earl of Buckingham, 
 Hereford, Stafford, Northampton, and Perche, as captain 
 of Calais and Lieutenant of the Marches, 1442. 
 
Treatment 
 
 The Shield duly displayed in the quarterings of his arms 
 and Its on his seal, as follows : i.The quartered arms 
 
 won ♦- f>-k d r» ■<- _ • _ 
 
 of his mother, for the earldom of Bucking- 
 ham, 2. Bohun of Hereford, 3. Bohun of 
 Northampton, 4. Stafford (fig. 44). 
 
 When Henry duke of Buckingham suc- 
 ceeded in 1460 to all the dignities of duke 
 Humphrey his grandfather, he wisely 
 elected, by the advice of the kings-of-arms, 
 to drop the above quarterings, and to use 
 only the arms of his great-grandmother, 
 who as sister and heir of Humphrey duke 
 of Gloucester and earl of Buckingham 
 bore France and England quarterly within a 
 border silver. 
 
 About 1433 Margaret, daughter of 
 Richard Beauchamp earl of Warwick, was 
 married to John Talbot earl of Shrews- 
 bury, and she thereupon had a beautiful 
 seal engraved, with two large shields of 
 arms hung side by side by their straps 
 from a ragged staff, the badge of her 
 father's house (pi. xxvii b). This charm- 
 ing composition is, however, quite spoilt 
 through the complicated treatment of the 
 shields. One of these bears the arms of 
 husband and wife conjoined, the other 
 those of the lady's father. The earl of 
 Warwick's shield is a quartered one of 
 
 96 
 
Beauchamp and Newburgh, with a small The Shield 
 
 superimposed scutcheon. The earl of„^"''''^^ 
 ci 1 ' 1 ■ J r r Ireatment 
 
 Shrewsbury s arms also consisted or tour 
 
 quarters, to which his wife added her four 
 
 (omitting the scutcheon), and thus made a 
 
 patchwork of eight. 
 
 A more remarkable and equally accidental 
 case may be illustrated by the brass of Sir 
 Humphrey Bourchier (1471) in the abbey 
 church of Westminster. 
 
 This displays four shields : one has the 
 arms of Bourchier quartering Lovain and 
 impaling the quarterly arms of Berners ; 
 and another, the six quarterings of Sir 
 Humphrey's wife, Elizabeth Tylney. In 
 a third shield these are quite properly 
 impaled, with a resultant of fourteen 
 quarters. In the fourth shield these are 
 quartered together, and so produce a 
 dreadful confusion of twenty-eight quar- 
 ters ! It is not necessary here to show how 
 these shields might have been simplified in 
 themselves, but from the artistic standpoint 
 there cannot be any doubt that the two first 
 should at least have been kept separate. 
 The many other examples to be found in 
 the illustrations of this book will serve as 
 useful reminders of the greater advantage 
 artistically of simpler treatment. 
 
 G 97 
 
The Shield It is moreover well to remember that in 
 
 and its ^P)g majority of cases there is not the least 
 1 reatment i • i i i 
 
 need m actual work to produce a great 
 
 many quarterings m a shield. In numerous 
 
 examples, especially in thesixteenth century 
 
 and later, they were assumed merely for 
 
 display, and to reduce them to a reasonable 
 
 few is often a most desirable thing. 
 
 It is difficult without knowledge of 
 individual cases to lay down any definite 
 rules for dealing with quarterings, but 
 there can be no question that in general 
 a shield looks best without any at all. In 
 the case of a man with a compound name 
 or title, who represents more than one 
 family or dignity, it would be legitimate 
 to add a quartering on that account, but 
 only of the actual arms of the family or 
 dignity represented. It is however so 
 hard to draw a line or to restrain the 
 wishes of clients that the fifteenth century 
 example of Henr}^ duke of Buckingham 
 should ever be borne in mind. 
 
 As soon as the principle of hereditary 
 descent of armorial bearings became estab- 
 lished, the necessity arose of making some 
 slight difference between the arms of a 
 father and those borne by his sons. This 
 was usually done by adding to the paternal 
 
 98 
 
arms such more or less unobtrusive device The Shield 
 
 as a label, or narrow border, or a small _, ^"'^ "^^ 
 
 in 1 1 reatment 
 
 charge like a crescent or a molet. 
 
 The lord John of Eltham, son of King 
 Edward II, bears upon his tomb at West- 
 minster a beautifully carved shield of the 
 arms of England differenced by a border 
 of France ; and one of the sons of King 
 Edward III, Thomas of Woodstock, 
 differenced his father's arms by a silver 
 border, as at an earlier period did Edmund 
 earl of Kent, the youngest son of King 
 Edward I. 
 
 The label is a narrow band with long 
 pendent strips or pieces, usually three, 
 but sometimes four or five in number, 
 placed upon and across the upper part 
 of a shield (fig. 45). It is now used 
 to distinguish the arms of an eldest son 
 from those of his father, but this was 
 not always the rule, and younger sons of 
 King Henry III and King Edward I, and 
 at least three of the sons of King Edward 
 III, besides the Prince ot Wales, bore dis- 
 tinctive labels for difference. Anciently, 
 the label was very narrow, and the pendent 
 pieces of equal or nearly equal width 
 throughout, even when charged with de- 
 vices, as they sometimes were. The colour 
 
 99 
 
The Shield was also a matter of choice. The first 
 and Its three Edwards, during their fathers' hfe- 
 time, successively bore blue labels, some- 
 times of three, sometimes of five pieces, 
 
 Fig. 45. Shield of Sir Hugh Hastings, from 
 the Elsing brass (1347), with diapered 
 maunch and a label of three pieces. 
 
 while the younger brother of King Edward 
 I, Edmund earl of Lancaster, used a label 
 of France (blue with gold fleurs-de-lis) 
 of four pieces, and Thomas of Brotherton, 
 100 
 
second son of King Edward I, a silver label The Shield 
 of three pieces. ^"^ "^^ 
 
 In the case of the sons of King Edward 
 III, the Prince of Wales bore at first a 
 silver label of five and later of three pieces ; 
 Lionel duke of Clarence seems to have 
 borne at one time a gold label with a red 
 cross on each piece for Ulster, and at 
 another a silver label charged on each piece 
 with a red quarter for Clare ; John of 
 Gaunt duke of Lancaster bore an ermine 
 label for his earldom of Richmond (pi. ii) ; 
 and Edmund duke of York a silver label 
 with three red roundels on each piece 
 (pi. XXI b). The rolls of arms furnish 
 mstances of labels of all colours, and with 
 pieces charged with various devices such 
 as leopards, eagles, castles, martlets, etc. 
 
 Difi^erencing with labels was likewise 
 extended to crests, and a good example 
 may be seen on the monument of Edward 
 prince of Wales {ob. 1376), at Canterbury 
 (fig. 46), as well as in fig. 139. 
 
 In modern heraldry the label is often 
 drawn unduly wide, with short and ugly 
 wedge-shaped pieces hangmg from or 
 sticking on to it, and sometimes it does not 
 even extend to the sides of the shield. 
 The result is that instead of its being a 
 
 lOI 
 
The Shield comparatively unobtrusive addition to the 
 and Its arms the label becomes unduly conspicuous 
 and void of all artistic effect. 
 
 Treatment 
 
 Fig. 46. Part of the gilt-latten effigy of Edward 
 prince of Wales at Canterbury, showing labels 
 over both the arms and the crest. 
 
 The old way of differencing by the ad- 
 dition of a crescent, molet,or similar device, 
 102 
 
was generally carried out in quite an artistic The Shield 
 
 fashion on account of the care taken to „ ^"° '^^ 
 
 , 11- 11 r • i reatment 
 
 place the device agreeably, a ravourite 
 
 position being on the principal ordinary or 
 
 charge of the arms. 
 
 Many cadets of the great family of 
 Nevill, for example, differenced the arms 
 of their house, guiles a saltire silver, by 
 placing the device on the middle of the 
 saltire, and some of the Beauchamps placed 
 the differencing mark on the fesse of their 
 arms. In other cases the device was placed 
 in the upper part of the shield, or in some 
 other such point where it would least inter- 
 fere with or be confounded with the charges. 
 
 One of the most difficult differences an 
 artist has to contend with to-da}' is the sil- 
 ver scutcheon with a red hand which is 
 placed upon the arms of baronets. Its 
 position of course varies, and may often be 
 altered with advantage, and it looks all the 
 better if drawn not unduly large and with 
 a simple heater-shaped shield. But some 
 artists wisel}' leave it out altogether. 
 
 In the case of all devices introduced as 
 differences it will generally be found ad- 
 visable to draw them to a somewhat 
 smaller scale than the charges already in 
 the arms. 
 
 103 
 
Fig. 47. Diapered shield of the arms of Vere, fror 
 an effigy in Hatfield Broadoak church, Essex. 
 
In many ancient heraldic shields, espe- The Shield 
 
 cially in painted glass, and to a lesser „ ^"" "^^ 
 
 • , 1 1 ■ , i reatment 
 
 extent in carved work and on seals, the 
 
 plain uncharged surfaces of the field or 
 
 ordinaries are relieved by covering them 
 
 Fig. 48. Diapered shield from the seal of 
 Robert Waldby archbishop of York, 1390, 
 for the regality of Hexham. 
 
 with the purely ornamental decoration 
 called diapering (figs. 45, 48). An 
 early instance in relief occurs on the 
 shield of the effig}^ in the Templars' 
 church in London usually ascribed to 
 Geoffrey de Magnavilla; and another 
 delicately sculptured example of later date 
 
 105 
 
The Shield IS to be seen on the Vere effigy in Hat- 
 
 and Its £gij Broadoak church in Essex (fig. 47). 
 Ireatment ^ '^ ^' 
 
 Fig. 49. Diapered Shield of the arms of Clun, 
 from the monument of the lady Eleanor 
 Percy {ob. 1337) in Beverley Minster. 
 
 Several fine instances of painted diapering 
 will be found in Stothard's Monumental 
 106 
 
Ejfigies. This beautiful treatment has, The Shield 
 happily, been largely revived of late years „ ^"" '*^ 
 
 Fig. 50. Diapered shield of the arms of Percy, 
 from the monument of the lady Eleanor 
 Percy {oh. i'i^7) in Beverley Minster. 
 
 by the glass painters, who use it quite 
 successfully, probably from the ease with 
 
 107 
 
The Shield which in their case it can be apphed. 
 and Its Modern carvers use it very sparingly, and 
 this perhaps is as it should be, for diapering 
 needs to be done with great skill in sculpture 
 to look well. A careful study therefore of old 
 examples is advisable, in order thoroughly to 
 understand the principles of its application. 
 
 Some of the finest diapered shields in 
 carved work occur in the spandrels of the 
 splendid monument of the lady Eleanor 
 Percy in Beverley Minster (figs. 49, 50). 
 Good instances are to be found on seals, 
 and a number of these are here illustrated in 
 order to show the proper treatment of dia- 
 pering. (See pis. VIII. XII. and xxvii a.) 
 
 It is of course to be borne in mind that 
 diapering is merely a surface decoration, 
 and it must not on any account be empha- 
 sized by any difference of colour from that 
 of the field or ordinary it relieves, nor 
 must it be treated with such prominence 
 as to render it liable to be mistaken for a 
 charge or charges. 
 
 Diapering can be represented effectively 
 in embroidered work by the use of flowered 
 or patterned damasks, as may be seen in 
 the banners in St. Paul's cathedral church 
 in the chapel of the Order of St. Michael 
 and St. George. 
 
 108 
 
CHAPTER III 
 THE SHIELD AND ITS TREATMENT 
 
 {continued) 
 
 Armorial Bearings of Ladies ; Use of Lozenges 
 and Roundels as variant forms of Shields ; Arms 
 of Men on Lozenges; Combinations of Shields 
 with Lozenges and Roundels of Arms on Seals 
 and in Embroideries 
 
 Before leaving the subject of the shield 
 a few words must be written about the 
 armorial bearings of ladies. 
 
 It has always been the practice for the 
 daughters of a house to bear, without 
 difference or alteration, the arms of their 
 father. This practice has been departed 
 from only in quite modern times, by the 
 addition of distinctive labels to the arms 
 borne by our princesses. To the manner 
 in which married ladies have arranged or 
 'marshalled' their arms reference will be 
 made later, but it is necessary here to call 
 attention to the fact that it has been 
 customary for a long time to place the 
 arms of widows and single ladies upon 
 shields that are lozenge-shaped. A good 
 
 109 
 
The Shield early example is that from the monument 
 
 and Its jj^ Westminster abbey church of Frances 
 1 reatment 
 
 Fig. 51. Lozenge of arms from the monument 
 at Westminster of Frances Brandon duchess 
 of Suffolk, ob. 1559. 
 
 Brandon duchess of Suffolk, oh. 1559, 
 shown in fig. 51. 
 
 This singularh' mconvenient form of 
 shield, upon which it is often impossible 
 
 IIO 
 
to draw the arms properly, began to be The Shield 
 
 used early in the fourteenth century. ^"° "^^ 
 
 T I 11- 1 reatment 
 
 It was not, however, used tor or re- 
 stricted to the arms of ladies, since the 
 evidence of seals shows that it was at first 
 used to contain the armorial bearings of 
 men. There can likewise be little doubt 
 that It and the roundel, which was also 
 charged with arms, were contemporane- 
 ously invented by the seal engravers as 
 variants from the ordinary form of shield ; 
 and It is interesting to note that the 
 majority of the examples occur on seals 
 which have a background or setting of 
 elaborate tracer^'. 
 
 The roundel seems to have originated in 
 the covering of the entire field of a circular 
 seal with the arms of its owner, such as 
 the leopards of England which are so 
 disposed m a counterseal of Edward of 
 Carnarvon as prince of Wales. Two seals 
 of John of Gaunt duke of Lancaster, 
 engraved probably in 1372, show a similar 
 treatment : the one bearing his arms 
 impaling, and the other his arms im- 
 paled with, those of Castile and Leon 
 (pi. VII b). The former commemorates 
 his marriage with Constance of Castile, 
 and the latter the duke's claim in right 
 
 III 
 
an 
 Treatment 
 
 The Shield of his wife to the kingdom of Castile 
 ^ '« itself. 
 
 A large enamelled roundel, party gules an 
 azure with a gold charbocle, accompanies 
 the shield and crested helm which, with it, 
 form the stall-plate of Ralph lord Bassett 
 (c 1390) at Windsor. 
 One of the lesser seals appended to the 
 
 Fig. 52. Seal of Robert FitzPain 
 with arms in an oval. 
 
 Barons' Letter, that of Robert Fitz Pain, 
 is an oval filled with the owner's arms 
 
 (fig- 52). 
 
 One of the earliest examples of arms on 
 a lozenge is on a seal of Thomas Furnival, 
 who died in 1279, and another but little 
 later is furnished by the seal of William 
 de Braose, appended to a deed of either 
 1282 or 1 3 14 at Magdalen College, Oxford 
 (pi. IX b). 
 
 112 
 
V/illiam Braose. 
 
 ? I28z. 
 
 
 Parnell Bensted, 
 in 1359- 
 
 D E 
 
 Elizabeth of Clare. 
 
 PLATE IX.— Use of lozenges and roundels of arms. 
 
That of William Paynel, appended to The Shield 
 
 the Barons' Letter, also has his arms on a „ ^"'^ "^^ 
 1 / 1 X 1 reatment 
 
 lozenge (pi. ix a). 
 
 The first seal of a lady in which lozenges 
 
 of arms occur is probably that of Joan, 
 
 daughter of Henry count of Barre and 
 
 Fig. 53. Seal of Joan de Barre, wife of John 
 de Warenne earl of Surrey, 1306. 
 
 Eleanor daughter of King Edward I, who 
 married in 1306, John de Warenne earl of 
 Surrey (fig. 53). This has five lozenges 
 arranged in cross : that in the middle has 
 her husband's checkers, those on each side 
 her father's barbels, etc., and those above 
 and below the three leopards of England. 
 The lady's descent from King Edward is 
 further shown by the castles and lions of his 
 consort Eleanor of Castile. 
 
 H 113 
 
The Shield Another interesting example, of a date 
 and Its about 1320, is the seal of Parnel, daughter 
 of H. de Grapenell, and widow (i) of John 
 Fitzjohn and (2) of Sir John Bensted {ob. 
 1323). This has in the middle a shield of 
 the arms of Bensted, gules three gold gemell- 
 bars, between four lozenges, apparently 
 for Grapenell and Fitz-John (pi. ix c). 
 
 Contemporar}^ with Parnel Bensted's 
 seal are two others m which roundels are 
 used mstead of lozenges. Both are tra- 
 ceried seals of Elizabeth daughter of 
 Gilbert of Clare earl of Gloucester, and 
 Joan daughter of King Edward I and 
 Queen Eleanor of Castile. She was thrice 
 married : first, about 1306 to John of Burgh, 
 son of Richard earl of Ulster; secondly 
 to Theobald lord Verdon ; and thirdly to 
 Roger lord d'Amory, who died in 1322. 
 
 One of these seals has in the middle, in 
 a shield, Elizabeth's own arms of Clare 
 impaling Burgh within a black border be- 
 dewed with tears. Above and below are 
 roundels of Clare, and on either side other 
 roundels of Verdon and d'Amory. In the 
 interspaces are the castles and lions of 
 Castile and Leon (pi. ix d). 
 
 The other seal is similarly arranged, but 
 has in the middle a large shield of d'Amory, 
 
 114 
 
John de Bohun earl of 
 Hereford, 1322. 
 
 Hug"h Courtenay earl of 
 Devon, 1334. 
 
 Henry Sturmy, lord of Savernake Forest, 1355. 
 
 Elizabeth, wife of Walter 
 Bermyngham, in 1341. 
 
 Sibyl, wife of Sir 
 
 Edmund Arundel, 
 
 1350. 
 
 PLATE X.^ — Use of lozenges and roundels of arms. 
 
between roundels of arms of the lady's The Shield 
 other husbands above and below, and of ^"^ '" 
 Clare for her father or herself on either ^^^^^'"'^"t 
 side. The interspaces again contain castles 
 and lions (pi. ix e). 
 
 Four other early seals of great artistic 
 merit displaying roundels may also be 
 described, especially since they are ap- 
 parently the work of the same engraver. 
 They are filled with tracery, consisting of a 
 triangle enclosing a circle, which contains 
 a large shield, with cusped circles on its 
 sides containing roundels or devices. 
 
 The first IS for Mary de Seynt-Pol, who 
 married in 1322 Aymev df Valence earl of 
 Pembroke (fig. 54). The shield bears the 
 dimidiated arms of husband and wife; on a 
 roundel in base are the arms of her mother ; 
 and higher up are roundels of England and 
 France, out of compliment to King Edward 
 II and Queen Isabel. 
 
 The second is for John de Bohun earl 
 of Hereford, and has a large shield of 
 Bohun with roundels also of Bohun. It 
 was probably engraved in 1322, and before 
 the earl's marriage in 1325 (pi. x a). 
 
 The third is for Richard FitzAlan earl 
 of Arundel (1330-1), who succeeded to 
 the vast Warenne estates in 1347. It has 
 
 115 
 
Treatment 
 
 The Shield in the middle a shield of FitzAlan, and 
 and its about it three roundels with the checkers 
 of Warenne. 
 
 The fourth is for Hugh Courtenay earl 
 of Devon (1334-5-40) or his son Hugh 
 (1340-77). The shield displays the arms 
 
 Fig. 54. Seal of Mary de Seynt-Pol, wife of 
 Aymer of Valence earl of Pembroke, 1322. 
 
 of Courtenay and in each of the outer 
 circles is a sexfoil (pi. x b). 
 
 To these examples ma}^ be added a fifth 
 of about the same date, for Henry Sturmy 
 or Esturmy, lord of the forest of Savernake. 
 This has the Sturmy shield in the middle, 
 between two roundels of the Hussey arms, 
 and a third roundel above with the tenure 
 horn of Savernake Forest (pi. x c). 
 
 116 
 
Other seals that may be quoted in illus- The Shield 
 
 tration of the indiscriminate use of shields, „ ^"" ''^^ 
 
 1 , , , , ■ 1 r i reatment 
 
 roundels, and lozenges during the four- 
 teenth century are those of: (i) Juliana, 
 daughter of Thomas Leybourne, and wife 
 of John lord Hastings {ob. 1325), with a 
 shield of Hastings impaling Leybourne, 
 encircled by six lozenges of arms indicative 
 of other alliances and descents, derived 
 from the fact of the lady having been 
 married thrice ; (2) Elizabeth de Multon, 
 wife of Walter Bermyngham, with the 
 shield of Bermyngham surrounded by six 
 roundels of other arms ; (3) Maud, daughter 
 of Bartholomew Badlesmere, and wife in 
 1336 of John de Vere earl of Oxford (fig. 
 55), with a shield of Vere between lozenges 
 of Clare, Badlesmere (her father and her- 
 self), Clare with label (mother), and Fitz- 
 Payn (first husband) ; (4) Maud daughter 
 of Henry earl of Lancaster, married first 
 to William of Burgh earl of Ulster, and 
 secondly (in 1343-4) to Sir Ralph Ufford 
 (fig. 56), with lozenges of Lancaster (father 
 and herself) above and Chaworth (mother) 
 below, and shields of Burgh and Ufford 
 (husbands) ; (5) Sybil, daughter of William 
 Montagu earl of Salisbury and Katharine 
 Graunson, with shield of FitzAlan with a 
 
 117 
 
The Shield label, for her husband Sir Edmund of 
 and Its Arundel, second son of Edmund FitzAlan 
 earl of Arundel, between lozenges of 
 Montagu and Graunson (pi. x e) ;* and (6) 
 Elizabeth, widow of Sir Gilbert Elsefield, 
 with a lozenge of Elsefield between four 
 roundels of other arms (impression 1382-3). 
 
 Fig. 55. Seal of Maud Badlesmere, wife of John 
 de Vere earl of Oxford, 1336. 
 
 Alice, wife of Thomas of Heslerton, 
 has on her seal (impression 1374) a large 
 lozenge of the arms of Heslerton {gules 
 six silver lions with gold crowns) within a 
 quatrefoil, outside of which are four small 
 banners of arms with martlets between. 
 
 Lastly ma}^ be noted a seal of Roger 
 Foljambe, attached to a deed of 1396-7, 
 
 * Impression attached to a deed in the British 
 Museum, 1350-1. 
 
 118 
 
having a lozenge of his arms (a bend and The Shield 
 
 six scallop shells) surrounded by his word or „ ^"° "^^ 
 
 Ireatment 
 motto. 
 
 But seals are not the only authorities 
 
 for the indiscriminate use of roundels and 
 
 lozenges as well as shields of arms. In the 
 
 Victoria and Albert Museum at South 
 
 Fig. 56. Seal of Maud of Lancaster, wife 
 (i) of William of Burgh earl of Ulster and 
 (2) of Sir Ralph Ufford, 1343-4. 
 
 Kensington is an enamelled coffer of late 
 thirteenth century work decorated with 
 lozenges of arms of England, Valence, 
 Dreux, Angouleme, Brabant, and Lacy. 
 The famous S^^on cope de opere Anglicano, 
 also in the Victoria and Albert Museum, 
 has the existing orphrey filled with large 
 armorial roundels and lozenges, and its 
 border is composed of a stole and fanon 
 embroidered throughout with lozenges of 
 
 119 
 
The Shield arms. (See fig. 57.) Christchurch, Canter- 
 and Its bury, in n.ic, possessed an albe 'sewn 
 with lozenges with the arms of the kmg 
 of England and of Leybourne,' * and 
 another 'sewn with the arms of North- 
 wode and Ponyngg in squares;'! also an 
 albe 'sewn with divers arms in lozenges 
 with purple frets with a stole and fanon of 
 the same work, 'J evidently not unlike 
 those on the Syon cope. 
 
 It may also be noted that the pillows 
 beneath the head of the effigy at West- 
 minster of Aveline countess of Lancaster 
 (c. 1275) are both covered with heraldic 
 lozenges : on the upper one with the arms 
 of her husband alternating with the lion of 
 Redvers ; on the lower with the vair cross 
 on red of her father, William of Forz earl 
 of Albemarle. The gilt metal bed plate 
 under the effigy of William of Valence earl 
 of Pembroke {oh. 1296), likewise at West- 
 minster, is also covered with a lozengy 
 diaper of England and Valence, still bright 
 
 * 'consuta de losenges cum armis regis Anghe et 
 de Leyburn.' 
 
 t 'consuta de armis de Northwode et Ponyngg 
 in quadrangulis.' 
 
 X 'consuta de diversis armis in lozengis cum 
 frectis purpureis cum stola et manipulo ejusdem 
 operis.' 
 
 120 
 
J3 
 
 < 
 
 C 
 
 > 
 
 O 
 
 U 
 
 c 
 o 
 
 H 
 
 
The Shield with the Original enamel; the workman- 
 and Its gj^jp Qf j.j^J5^ however, is probably French, 
 ireatment ^, • ■ r i i i 
 
 ine restriction or the lozenge to the 
 
 arms of ladies has clearly therefore no 
 medieval precedent, and there is not any 
 reason why the modern custom should not 
 be set aside when for artistic reasons a shield 
 or roundel is preforable. 
 
 122 
 
A Roger of Leybourne, ob. 1284. 
 
 B Henry de Perci, in 1301. 
 
 PLATE XI. — Early examples of crests. 
 
CHAPTER IV 
 THE TREATMENT OF CRESTS 
 
 Origin of Crests ; Earliest Example of Crests ; 
 Ways of wearing Crests ; The Helm and its 
 Treatment; Modern Use of Helms; Absurd 
 Crests ; Use of Crests other than by individuals ; 
 The comparative sizes of Helms and Crests. 
 
 A CREST was originally, as its name 
 reminds us, a tuft or plume on the head of 
 a bird. Such a plume or tuft, or bush 
 as it was often called, was fixed in early 
 times as an ornament on the top of a helm, 
 of which it thus formed the crest. Other 
 devices, such as could conveniently be so 
 worn, were soon used for the same purpose, 
 and like armorial bearings became asso- 
 ciated with particular individuals. In later 
 days, when the helm enveloped the whole 
 head, the crest played a useful part in 
 revealing the wearer's identity, though his 
 face was hidden. 
 
 One of the earliest suggestions of a 
 crest in English armory appears on the 
 second great seal (of 1198) of King 
 
 123 
 
of Crests 
 
 The Richard I, whose cyhndrical helm has a 
 Treatment leopard upon the cap with two wing-shaped 
 fans above turned in opposite directions. 
 On many seals of the second half of the 
 thirteenth century, as for instance on those 
 of Robert de Vere earl of Oxford (1263) 
 
 Fig. 58. Seal of Thomas de Moulton, with 
 fan-shaped crest on helm and horse's 
 head. From the Barons' Letter. 
 
 and Henry de Laci earl of Lincoln (1272), 
 the knight is represented as ridmg in full 
 armour, with the helm surmounted with a 
 fan-shaped plume, which is also repeated 
 upon the horse's head. (See also fig. 58 
 and pi. XI b). 
 124 
 
PLATE XII.— Early uses of crests, on seals oi William 
 Montagu earl of Salisbury, 1337-44. 
 
An earl}^ use of a crest proper is furnished The 
 by the sealof Rogerof Leybourne(oZ». 1284). Treatment 
 This shows his shield of arms (bearing six 
 lions) hung upon a tree, with his banner 
 (charged with one lion only) behind, and at 
 one side a helm with lion crest (pi. xi a). 
 Thomas of Berkele}^ in 1295 has upon his 
 seal a shield flanked by two mermaids and 
 surmounted b}^ a helm carrying a mitre for 
 a crest. Thomas earl of Lancaster (1296) 
 on two separate seals has a wiver, or two- 
 legged dragon, upon his helm, and this again 
 is repeated upon his horse's head (fig. 59). 
 The seal of his brother Henry of Lancaster, 
 appended to the Barons' Letter, also shows 
 his helm crested with a wiver (fig. 60). 
 Two other early examples of crests on seals 
 from the Barons' Letter are shown in figs. 
 61 and 62. Sir John Peche, on a seal ap- 
 pended to a deed of 1323-4, has his shield 
 flanked b}^ wivers and surmounted by a 
 helm with squirrel crest. William Montagu 
 earl of Salisbury (1336-7), in the mounted 
 figure of himself on his fine seal, has a 
 demi-griffin fixed upon his crowned helm 
 (pi. XII b), and King Edward III shows 
 for the first time, on his seal of 1340, his 
 crest of a crowned leopard standing upon 
 the cap of estate which surmounts his helm, 
 
 125 
 
The During the first half of the fourteenth 
 
 Treatment century there is an interesting diversity in 
 of Crests 
 
 Fig. 59. Seal of Thomas earl of Lancaster, Leicester, 
 and Ferrers, showing wiver crest on his helm and 
 horse's head. From the Barons' Letter. 
 
 the manner of representing crests, when 
 not being worn by their owners. 
 126 
 
William Montagu earl of Salisbury The 
 shows on his counterseal (pi. xii a) his Treatment 
 shield supported by two griffins, and en- 
 
 FiG. 60. Seal of Henry of Lancaster lord of Mon- 
 mouth, with wiver crest and quasi-supporters. 
 
 signed by the demi-griffin issuing from an 
 open crown which in his seal he carries upon 
 his helm. John Engayn, in 1349, has upon 
 the upper edge of his shield a wolf or fox 
 
 127 
 
The 
 
 Treatment 
 
 of Crests 
 
 walking under a tree. Henry duke of 
 Lancaster (1341) ensigns the shield of his 
 arms with a cap of estate surmounted hy 
 a leopard (pi. xiii c) ; and Peter de 
 Mauley, the sixth of that name, in 1379-80 
 has a seal with his simple arms (a bend) 
 supported by two ramping leopards, and 
 
 Fig. 61. Seal of Robert 
 de la Warde, with 
 fan crest. 
 
 Fig. 62. Seal of Walter 
 de Mounci, with the 
 helm surmounted by 
 a fox as a crest. 
 
 surmounted by a fierce dragon breathing 
 defiance (pi. xx b). In none of these cases 
 does a helm appear. 
 
 After the middle of the fourteenth 
 century the crest is invariably shown as 
 part of the helm. 
 
 The helm, it is hardly necessary to 
 say, was such an one as formed part of 
 the war harness of the time, and in the 
 
 128 
 
numerous armorial representations that The 
 may be found on seals or on monuments Treatment 
 or buildmgs it is almost invariably shown 
 in profile. This was, however, merely on 
 account of its being the most conven- 
 ient way of displaying the crest, and 
 in accordance with the usual medieval 
 common-sense, examples are to be found 
 which show the helm and crest facing the 
 observer. 
 
 Thus Thomas de Holand (1353) has on 
 his seal a shield of his arms hung from a 
 tree and flanked b}^ two fronting helms, 
 each encircled by a crown and surmounted 
 by a huge bush of feathers ; Sir Robert de 
 Marni (1366) flanks his shield, which is 
 also hung from a tree, with two fronting 
 helms, each crested with a tall pair of wings 
 rising from the sides of a cap of estate (fig. 
 63) ; Sir Stephen Hales (1392-3) on his seal 
 has acouched shield of his arms surmounted 
 by a fronting helm, with a crown about it 
 from which issue two fine wings ; Robert 
 Deynelay (1394-5) i" like manner shows 
 his helm crested with two ears of a bat or 
 hare; and Walter lord FitzWalter (1415- 
 31) has on his seal a couched shield, and 
 on a fronting helm above a cap of estate 
 surmounted by a star between two large 
 I 129 
 
The wings (pi. XIII a). Another example of 
 Treatment ^ fronting helm is shown in pi. v b. 
 of Crests j^^ present custom of using various 
 types of helm facing different ways to 
 denote grades of rank is comparatively 
 recent as well as often inconvenient, and 
 utterly subversive of the proper method of 
 
 Fig. 63. Seal of Sir Robert de Marni, 1366, 
 with crested helms flanking the shield. 
 
 displaying a crest, which should invariably 
 face the same way as its wearer. This fact 
 is amply illustrated by the earl}' stall-plates 
 at Windsor, but the modern crested helms 
 surmounting the stalls there were for a long 
 time the scoff of students of heraldry owing 
 to the absurd manner in which the crests 
 were set athwart the fronting helms. It is 
 pleasant to be able to add that the crests 
 have lately been replaced almost throughout 
 130 
 
B Thomas Ballard, Esq. 
 
 C Sir Henry Ingelose. 
 of Loddon, 1451. 
 
 Edmund Grey earl of Kent, 1442. 
 
 PLATE XIV. — Examples of crests and mantlings. 
 
by a new and larger series, worthy of their The 
 
 surroundings, and set upon the helms in Treatment 
 1 TT I 1 or Crests 
 
 the proper way. Under the same en- 
 lightened administration the most recent 
 
 Mf^ 
 
 Fig. 64. Crest etc. of Sir John Astley, from 
 a MS. c. 1420. 
 
 Stall-plates are enamelled creations of real 
 artistic and heraldic excellence. 
 
 The crest was, of old time, almost always 
 something that could actually be set upon 
 a helm, and such objects as naturally were 
 
 131 
 
Fig. 65. Crest of Edward prince of Wales, 
 1376, of leather and stamped gesso, 
 from his tomb at Canterbury. 
 
Fig. 66. Funeral helm and wooden crest of 
 George Brooke lord Cobham, ob. 1558, in 
 Cobham church, Kent. 
 
The too large or too heavy were modelled in 
 Treatment boiled leather, wood, or other light material : 
 like the fine crest borne at the funeral of 
 Edward prince of Wales, now over his 
 tomb at Canterbury, which is a leopard 
 standing upon a cap of estate and modelled 
 in leather covered with stamped gesso 
 (fig. 65) ; or the soldan's head of carved 
 wood that surmounts the funeral helm of 
 George lord Cobham, in Cobham church, 
 Kent (fig. 66). 
 
 Such impossible crests as the pictorial 
 scenes and other absurdities granted by the 
 kings-of-arms during the eighteenth and 
 nineteenth centuries, and even back to 
 Elizabethan days, would not have been 
 thought of at an earlier period, when 
 heraldry was a living art. 
 
 The degradation of the proper use of a 
 crest, other than by those entitled to wear 
 one, began as soon as the kings-of-arms 
 presumed to grant armorial bearings bA' 
 their bestowing crests upon impersonal 
 corporate bodies like the London liver}^ 
 companies, such as the Tallow Chandlers 
 (1456), Masons (1472), and Wax Chandlers 
 (1485-6). 
 
 Arms were borne by the ma3^or and 
 commonalty of a city or town at least as 
 
 134 
 
The 
 
 Treatment 
 
 of Crests 
 
 Fig. 67. Stall-plate of Humphrey duke of 
 Buckingham as earl of Stafford, c. 1429. 
 
 early as 1283 in the case of Chester, and of 
 1305 in the case of Dover (or the Cinque 
 
 135 
 
The 
 
 Treatment 
 
 of Crests 
 
 
 Fig. 68. Stall-plate of Sir Thomas Burgh, 
 ... 1483. 
 
 Ports), but none presumed to use a crest 
 until London did so on the making of a 
 136 
 
new seal in 1539, and no crest was The 
 granted to a town before 11561. Treatment 
 
 Or VvfCStS 
 
 Before leaving crests a word must be 
 said as to their comparative sizes. 
 
 Fig. 69. Seal of Richard Nevill, with separate crests 
 and supporters for his earldoms of Salisbury and 
 Warwick. 
 
 Throughout the best period of heraldic 
 art the crested helm and the shield in 
 pictorial representations practically balance 
 
 137 
 
The one another, but there is occasionally a 
 
 Treatment tendency to diminish the shield, and so 
 or Crests , , , t^, ■ 
 
 apparently to enlarge the crest. 1 his may 
 
 be seen, for example, in several of the early 
 stall-plates at Windsor (figs. 67, 68), which 
 otherwise are admirable models as to the 
 treatment of crests in general. They also 
 show very clearly how easily and com- 
 fortably the crests surmount the helms. 
 
 A remarkable early English example of 
 the use of two crests is furnished by a seal 
 of Richard Nevill (1449-1471), the 'King- 
 maker,' who was earl of Salisbury, and, in 
 right of his wife, also earl of Warwick 
 (fig. 69). This exhibits two helms above 
 the multi-quartered shield, the one carry- 
 ing the Beauchamp swan for the earldom 
 of Warwick, the other the Montagu griffin 
 for the earldom of Salisbury. 
 
 138 
 
CHAPTER V 
 
 MANTLINGS 
 
 Origin of Mantlings; Simple early forms; 
 Colours of Mantlings; Medieval usage as to 
 Colours of Mantlings. 
 
 In actual use the helm seems often to have 
 been covered behmd by a hangmg scarf or 
 cloth of some kind, perhaps to temper the 
 heat of the sun, like a modern puggaree. 
 Heraldically this is represented by what is 
 now called the mantling. 
 
 At first this was a simple affair, worn 
 puggaree-wise, but by degrees it was 
 enlarged in representations until it ex- 
 tended on either side beyond the helm, 
 and was disposed in graceful twists and 
 folds with dagged edges, which have been 
 supposed to represent the cuts it was liable 
 to receive during fighting (figs. 70, 71). 
 
 The usual colour for the mantling, for a 
 long time, has been red, and its lining of 
 ermine or white fur, but there is ample 
 precedence for a difference of treatment, as 
 may be seen in that rich collection of 
 
 139 
 
Mantlings ancient heraldic art, the stall-plates at 
 Windsor. 
 
 The earliest surviving plate, that of 
 Ralph lord Bassett (K.G. 1368-90) has a 
 
 Fig. 70. Seal of William lord Hastings, c. 1461. 
 
 short black mantling, to match the boar's 
 head that forms his crest (fig. 72). A large 
 group of plates set up m 1421 exhibits a 
 considerable variety. Thus the plate of Sir 
 Sanchet Dabrichecourt has a red mantling 
 powdered with gold lozenges, a treatment 
 suggested by two bands of red similar!}^ 
 decorated which encircle the bush of 
 feathers forming his crest (fig. 73). The 
 140 
 
mantling of William lord Latimer is of red Mantlings 
 and silver stripes, and that of John lord 
 Beaumont, like the field of his shield, is, 
 together with the cap of estate, of blue 
 
 
 ^^ 
 
 
 Fig. 71. Seal of William de la Pole earl of 
 Suffolk, 1415. 
 
 powdered with gold fleurs-de-lis. Sir 
 Walter Pavely has also a blue mantling. 
 Sir William FitzWaryn's mantling is 
 quarterly per fesse indented of red 
 and ermine, like his shield of arms. 
 The Captal de Buch, Raynald lord 
 Cobham, Hugh lord Burnell (fig. 77), 
 Hugh lord Bourchier (pi. xvi), and Sir 
 Thomas Banastre have black mantlings, 
 
 141 
 
Fig. 72. Stall-plate of Ralph lord Basset, showing simple 
 form of mantling. 
 
Mantlings 
 
 Fig. 73. Stall-plate of Sir Sanchet Dabriche- 
 court, c. 1 42 1. 
 
 and John lord Bourchier and William 
 lord Willoughby d'Eresby (pi. xv) white 
 mantlings lined with red. Sir Miles 
 
 143 
 
Mantlings Stapleton and the Soudan de la Trau have 
 black mantlings lined with red. Several 
 early mantlings, too, are formed entirely of 
 silver feathers, with red, black, or other 
 linings. These usually accompany a 
 feathered crest, like Sir William Arundel's 
 griffin (fig. 74), or the earl of Warwick's 
 swan (fig. 75), or Sir Thomas Erping- 
 ham's bush of feathers. Another curious 
 variation, which is found on four early 
 plates, has the colour of the mantling 
 different on the two sides of the helm, 
 such as red on one side, and blue or 
 black on the other. In about a dozen 
 plates between 1450 and 1470 the red, and 
 m one case the blue, ground of a mantling 
 IS relieved by a trailing pattern in gold, 
 sometimes in lines only, but more usually 
 as leafwork or flowers. In the plate of 
 Walter lord Hungerford (el. 142 1) the 
 mantling on his banner-like plate is barred 
 with red and ermine {see fig. 136), in 
 allusion to the arms of his lordship of 
 Hussey. Lastly, in the plate of Richard 
 lord Rivers (el. 1450) the mantling is red, 
 sown with gold trefoils, and hned with 
 white, with gold tassels at the ends (fig. 76). 
 This is derived from the crest, which is the 
 upper part of a man brandishing a scimitar, 
 144 
 
and clad in a red tunic with standing collar Mantlings 
 and large hanging sleeves, also sown with 
 
 Fig. 74. Stall-plate of Sir William Arundel, 
 c. 1421. 
 
 trefoils. The sleeves are cleverlj^ arranged 
 in the plate, as if forming part of the 
 
 K 14s 
 
Mantlings 
 
 
 U 
 
 Fig. 75. Stall-plate of Richard Beauchamp earl 
 of Warwick, after 1423. 
 
 mantling, and are similarl_v dagged and 
 lined and tasselled. On the stall-plate 
 146 
 
^"^^77777%^ Mantlings 
 
 Fig. 76. Stall-plate of Richard Wydville lord Rivers, 
 c. 1450. 
 
 (c. 1483) of Francis viscount Lovel, the 
 mantling is of purple sown with gold 
 hanging locks. 
 
 147 
 
CHAPTER VI 
 
 CRESTS AND CROWNS, CAPS OF ESTATE, 
 AND WREATHS 
 
 Crests within Crowns ; Nature and Treatment 
 of Crowns; Caps of Estate: Their possible 
 origin and introduction into Heraldry; The 
 Colour of Caps; The Placing of Crests upon 
 Caps; Wreaths or Torses; Their Colour; 
 Crests and Mottoes ; Use of Crests by Bishops ; 
 The Ensigning of Arms with Mitres, Cardinals' 
 and Doctors' Hats, and Caps of Estate. 
 
 The treatment of the crest varies. In the 
 earliest examples it is set directly upon the 
 mantled helm (fig. 77 and pis. xiv a, 
 and xvii b), to which it was actually 
 attached by wires through holes on top. 
 But from the first, large numbers of crests 
 were fixed, or rose as it were, from within 
 a crown or coronet encircling the helm, or 
 stood upon a cap or hat of estate that 
 surmounted it. (See figs. 65, 67, 72, 73, 
 74, 75, and pis. XIII e and f, xvii a, xxi, 
 XXII, xxvii A, etc.) 
 
 The crown was merel}^ ornamental, and 
 had no reference to the dignity of the 
 
 148 
 
Crests and 
 Crowns, 
 Caps of 
 
 Estate, and 
 Wreaths 
 
 Fig. 77. Stall-plate of Hugh lord Burnell, c. 1421. 
 
 wearer, but was used alike heraldicall}' by 
 prince and peer, knight and esquire, and 
 the same may be said of the cap of estate. 
 
 149 
 
Crests and Crowns were anciently formed of a 
 
 Crowns, number of leaves or fleurons set upright 
 Caps of 111 • -11 
 
 state and upon the band, sometimes with lesser 
 
 Wreaths leaves or jewels between them ; the bands 
 
 Fig. 78. Arms of St. Edmund from the tomb of Ed- 
 mund duke of York, ob. 1402, at King's Langle\-. 
 
PLATE XV. STALL-PLATE (REDUCED^ OF HUGH STAFFORD 
 LORD BOURCHIER, G. 1421. 
 
too were often jewelled. But in practice Crests and 
 only three (fig. 78), or sometimes five, ^°^^"^' 
 principal leaves are shown when the crown Estate gnj 
 is drawn in profile (fig. 83). Wreaths 
 
 Beyond the fact that the thing was a 
 crown, there was no strict rule as to the 
 design, which varied accordmg to the taste 
 of the artist. Two examples among the 
 early stall-plates at Wmdsor, those of Hugh 
 Stafford lord Bourchier (fig. 79 and pi. xvi), 
 and Richard lord Grey of Codnor (both 
 c. 142 1 ), illustrate this in a pretty wa}' 
 (fig. 80). In both cases the plate after 
 bemg finished has been cut up, partly re- 
 versed, and m part re-engraved ; not be- 
 cause anything was wrong with the heraldr}^, 
 but to make the crested helms face the other 
 way. These have accordingly been turned 
 over, but m cutting them afresh the en- 
 graver has slightly varied the designs of 
 the crests and of the crowns with which 
 each is encircled, without however in any 
 way altering their heraldic character. In 
 the earliest existing plates the crested 
 helms are all drawn turned towards the 
 high altar, consequently those on the 
 north side of the quire face heraldically 
 towards the sinister. The two plates just 
 noted, and at least one other, have been 
 
 151 
 
Crests and transferred from one side of the quire to 
 
 Crowns, the other. 
 
 Caps ot 
 Estate, and 
 
 Wreaths 
 
 One of the first instances of a crown 
 
 Crest from the reverse of the stall-plate of 
 Hugh Stafford lord Bourchier. 
 
 about a crest is on the seal of Wilham 
 
 Montagu earl of Salisbury-, 1337 (pi. xii). 
 
 Crowns were not by any means always 
 
 of gold or silver, and quite a number of 
 
 152 
 
pre-Tudor stall-plates have them enamelled Crests and 
 
 red, and in two cases blue. 7^°^"^' 
 
 ^j,, , , ,. . Caps ot 
 
 ihese heraldic crowns must not be con- Estate and 
 
 Wreaths 
 
 Fig. 80. Two forms of the same crest. From the 
 stall-plate of Richard lord Grey of Codnor. 
 
 founded with the coronets, as they are now 
 called, worn of different patterns by peers 
 and peeresses accordmg to their degree ; 
 some reference to these will be made later. 
 
 153 
 
Crests and The cap of estate is generally depicted 
 Crowns, ij^ English heraldic art as a high crowned 
 
 Estate and conical hat or cap with flattened top, and 
 Wreaths a broad brim lined with ermine. The 
 brim is usually turned up high in front, 
 but graduall}^ lessens along the sides to- 
 wards the back, where the brim extends 
 horizontal!}^ to its full width. 
 
 The cap of estate first appears, sur- 
 mounted by his leopard crest, on the head 
 of King Edward III in the great seal made 
 for him in February 1339-40 on his as- 
 sumption of the title of king of France. 
 Whether the cap has an}' connexion with 
 the assumption of the king's new title it is 
 difficult to say, but its more common name 
 of 'cap of maintenance' would acquire a 
 significant meaning could such connexion 
 be proved. It is however more probable 
 that the cap was worn by the king for his 
 dignity of duke of Normandy and of 
 Aquitaine, and it was long the custom for 
 representatives of those duchies to take 
 part in coronation processions wearing 
 robes and caps of estate. According to the 
 Little Device for the Coronation of Henry 
 VII, there were to ride before the King in 
 the procession from the Tower 'ij Squiers 
 for the kinges bodie bearing in baudrick 
 
PLATE XVI. STALL-PLATE OF WILLIAM LORD WILLOUGHBY, 
 
 C. 1421. 
 
wise twoo mantells furred w' Ermyns, Crests and 
 wearing twoo hattes of Estate of Crymsen Crowns, 
 clothe of golde beked on, beks turnyd upp jTs^jJfg ^^j 
 behinde, and furred also w' Ermyns in Wreaths 
 reprecentacion of the kinges twoo duchesses 
 of Gyen and Normandie.'* 
 
 Although the cap may at first have been 
 restricted to the king, it was certainly used 
 b\' the sons of Edward III, and may be 
 seen of like form and fashion upon the 
 seals of Edward as prince of Wales (1343), 
 of John of Gaunt as duke of Lancaster 
 (1362) and of Edmund of Langley as duke 
 of York (pi. xxi), and of Thomas of Wood- 
 stock as duke of Gloucester in 1385. It 
 was no doubt m each case given by per- 
 sonal investiture by the Sovereign, but only 
 to those who were made dukes. 
 
 In heraldry, however, the cap of estate 
 was used after 1350 b}^ many who were 
 not only dukes who had been invested with 
 it, but by earls and barons who had not 
 been so mvested, and even by mere 
 knights (pi. XIII r). 
 
 It would be as rash to argue from this 
 that such persons were all entitled to wear 
 for dignity the cap of estate, as it would be 
 
 * L. G. Wickham Legg, English Coronation Records 
 (Westminster, 1901), 223. 
 
 IS5 
 
Crests and to insist that the equall}' common use of a 
 
 Crowns, crown round the base of a crest entitled 
 Laps ot 1 • 1 1 1 1 • 
 
 Estate and every knight or baron on whose seal it 
 
 Wreaths occurs to wear a coronet. 
 
 The colour of the cap of estate was 
 almost invariably red, with a lining of 
 ermine, but in two of the earl}' stall-plates 
 it is blue. The crest is generally placed 
 directly upon it, but representations of two- 
 legged or four-legged creatures often stand 
 upon the brim with their feet on either side 
 of the flat-topped cap (figs. ii2, 138). It 
 is hardly necessary to say that the crested 
 cap is always placed upon the helm, with 
 the mantling issuing from under it. 
 
 It is a common practice now-a-days, 
 quite wrongly, to represent crests apart 
 from the helm, and as standing upon a 
 twisted bar, or wreath as it is called. A 
 little research will show that this bar re- 
 presents the twisting together of two or 
 three differently coloured stuffs, and fixing 
 the wreath so formed round the base of 
 the crest to mask its junction with the top 
 of a helm. Once invented it came into 
 common use, and crests of all kinds were 
 fixed within it. 
 
 When seen sideways the rounded top of 
 the helm causes the crest to appear as if 
 
 156 
 
standing upon the wreath, and this has no Crests and 
 doubt given rise to the present malpractice. ^°^"^' 
 
 The Rev. C. Boutell in his smaller Estat'e and 
 English Heraldry quotes the Hastings brass Wreaths 
 at Elsing, of the year 1347, as the earUest 
 instance of a wreath about a crest (fig. 81). 
 
 Fig. 81. Helm with crest and wreath from 
 the Hastings brass at Elsing, 1347. 
 
 But this brass is probably French, and in 
 English work the wreath does not come 
 mto being much before the close of the 
 fourteenth century, and was not regularly 
 used until about 1450. 
 
 The wreath or torse, as it was also called, 
 from being a twist, was usually of two 
 colours, derived from the principal metal 
 and colour of the arms ; but the fifteenth 
 century stall-plates show many variations 
 from this rule. Thus Lewis lord Bourchier 
 (c. 1421) has a torse of blue, gold, and 
 
 157 
 
Crests and black, and John earl of Tankerville 
 Crowns, (^^ 1 421) one of green, red, and white. 
 
 Estate °and John lord Bourchier (c. 1421) and Henry 
 Wreaths lord Bourchier (c. 1452) both have black 
 and green torses. Richard Wydville lord 
 Rivers (c. 1450) has the crest issuing from 
 a green torse, crested with a crown of holly 
 leaves. Thomas lord Stanley (c. 1459) 
 has a torse of gold and blue with red 
 spots or jewels between, and Sir William 
 Chamberlayne (c. 1461) a red and blue 
 torse. 
 
 The modern practice is that the twists 
 of a torse shall be only six in number ; 
 but in old heraldry there was no such rule, 
 and any number from four may be found, 
 whatever would look best. In the Har- 
 sick brass (fig. 82) there are eleven twists. 
 Crests occasionally had mottoes or 
 'words' associated with them, quite apart 
 from the ordinary 'work' or 'reason' of 
 the family or individual. Thus the ermine 
 bush of feathers that formed the crest of 
 Sir Simon Felbrigge is accompanied on his 
 stall-plate (c. 1421) by a scroll lettered 
 ©onj muer (fig. 83), and on that of John 
 lord Scrope (el. 1461) the crest, which is 
 likewise a bush of feathers, has above it the 
 'reason' anttt (\^^tUc^ Two of the fine 
 158 
 
Fig. 82. Helm with crest and torse and 
 simple form of mantling, from the Har- 
 sick brass at Southacre, 1384. 
 
Crests and 
 Crowns, 
 Caps of 
 
 Estate, and 
 Wreaths 
 
 Fig. 83. Stall-plate of Sir Simon Felbrigge, 
 c. 1421. 
 
 seals of Richard Nevill earl of Salisbury 
 (1428-60) have behind his demi-griffin 
 160 
 
John Talbot earl of Shrewsbury, 1445. 
 
 PLATE XVII.— Crests with mottoes. 
 
crest a scroll lettered apparent!}^ ntit [or bo] Crests and 
 ^teftcr (pi. XVII A, and xxii b) and the browns, 
 seal of John Talbot earl of Shrewsbury, Estate ^^d 
 as marshal of France (1445), has a scroll Wreaths 
 with his 'word' issuing from the mouth 
 of his hon crest (pi. xvii b). 
 
 From what has been said above as to 
 the ancient association of helm and crest, 
 it follows that the present fashion of re- 
 presenting the crest by itself, apart from 
 the helm to which it was always attached, 
 is entirely wrong. It at once renders the 
 crest meaningless : in appearance it forth- 
 with becomes insignificant ; and attempts 
 to treat it artistically generally end in 
 failure. 
 
 Let crests be shown as crests, properly 
 set upon practicable helms, and with 
 competent mantlings treated with all the 
 freedom that they are capable of. 
 
 It may here be noted that it has not been 
 customary, nor is it logically correct, for 
 ladies and other non-combatant persons, 
 such as the ministers of the Church, to use 
 crests; arms they have ever been allowed 
 to bear. Examples, however, of the breach 
 of the rule as to crests even by bishops 
 are afforded by several of their privy seals. 
 Thus Henry le Despenser bishop of 
 L 161 
 
Crests and Norwich (1370-1406) has his differenced 
 
 Crowns, shield of arms surmounted b}'^ a mantled 
 
 Estate and helm upon which a mitre, with a griffin's 
 
 Wreaths head and wings issuing therefrom, is placed 
 
 as a crest (fig. 84) ; and Alexander Nevill 
 
 archbishop of York (1374) shows his shield 
 
 Fig. 84. Privy seal of Henry le Despenser 
 bishop of Norwich, 1370-1406. 
 
 hanging below a crowned helm surmounted 
 by the bull's head crest of his house and 
 supported by two griffins. 
 
 William Courtenay, as archbishop of 
 Canterbury (1381-96), similarly displays a 
 shield of his arms, ensigned by a helm sur- 
 mounted by a cap of estate with a dolphin 
 on top. A helm crested with a lovely 
 bunch of columbines is also carved with 
 his arms above the tomb of James Goldwell 
 
 162 
 
bishop of Norwich {ob. 1498-9) in his Crests and 
 cathedral church. K^.'m^- 9''°^^'"^; 
 
 T • ^^ \ H D S of 
 
 Robert Nevill on his privy seal as^bishop Pstate and 
 of Durham (1438-57) surmounts his shield Wreaths 
 with a beautiful labelled mitre, from which 
 issues a bull's head with a scroll lettered 
 
 ctt grace afftc. 
 
 Man}' of the bishops of Durham, on 
 their great seals in chancery, in virtue of 
 their secular palatinate jurisdiction, are 
 represented as riding in complete armour 
 with helms on their heads. The first to 
 be so represented was Thomas Hatfield 
 (1345) who wears a large crowned helm 
 surmounted by a mitre, from which issues 
 a bush of feathers. John Fordham (1381) 
 also surmounts his crowned helm with a 
 mitre, on which is perched a bird. Walter 
 Skirlaw (1388) and Thomas Langley (1406) 
 set within the crowns crests without mitres ; 
 in one case the bust of an angel, in the 
 other a bush of feathers. Robert Nevill 
 (1438) surmounts his crowned helm with 
 a mitre, from which issues a bull's head, as 
 on his privy seal above noted. Cuthbert 
 Tunstall (1530) has a mitre alone upon his 
 helm. 
 
 Theusual practice in displaj^ing a bishop's 
 arms has been, for a long time, to ensign 
 
 163 
 
Crests and them simply with his own official headgear 
 Crowns, jjj ^pig shape of a mitre, and the same 
 Caps ot -1 J • 1 J 1 
 
 Estate and custom prevailed with regard to the arms 
 
 Wreaths of mitred abbots and priors. Robert 
 Nevill's privy seal is an early example. 
 
 Cardinals ensigned their shields with the 
 tasselled hat of their order -, as may be seen 
 on the seal-of-arms of Henry Beaufort 
 bishop of Winchester (1405), and in a 
 carving of his arms in Southwark cathedral 
 church. A cardinal's hat is displayed, with 
 his rebus and sundry roj^al badges, on the 
 arch about the cenotaph of John Morton 
 archbishop of Canterbury, and cardinal in 
 the undercroft of his cathedral church. 
 
 Doctors also sometimes surmounted their 
 arms with the round cap pertaining to their 
 dignit}^. 
 
 On the monument at St. Albans of 
 Humphrey duke of Gloucester {ob. 1446) 
 his arms are ensigned alternately by his 
 mantled and crested helm, and by a large 
 cap of estate encircled by a crown or coro- 
 net. Jasper duke of Bedford (1485) on his 
 seal likewise surmounts his arms with a 
 cap of estate encircled by a delicate crown. 
 
 There is not any necessity' at the present 
 day to represent any crown or coronet with 
 the cap of estate within it. 
 
 164 
 
CHAPTER VII 
 
 THE USE OF BADGES, KNOTS, AND 
 THE REBUS 
 
 Definition of a Badge ; Difference between 
 Crests and Badges ; Examples of Badges ; The 
 Ostrich-Feather Badge; The White Hart, etc.; 
 Introduction of Badges into Heraldry; Their 
 Prevalence; Allusive Badges; Badges of obscure 
 Origin ; Knots and Badges ; The Rebus 
 
 Closely allied with crests, but borne and 
 used in an entirely different way, are the 
 devices called badges. 
 
 The whole history of these is in itself 
 of great interest, and the facility with which 
 they lend themselves to artistic heraldic 
 decoration renders badges of peculiar value. 
 
 A badge is, properly speaking, any dis- 
 tinctive device, emblem, or figure, assumed 
 as the mark or cognisance of an individual 
 or family : and it should be borne alone, 
 without any shield, torse, or other accessory. 
 But a badge may be and often was, like a 
 crest, accompanied by a word,' reason, 
 or motto. There is however this im- 
 portant difference between a crest and a 
 
 i6s 
 
The use of badge, that the crest was pre-eminently the 
 Badges, personal device of its owner, while his 
 
 the Rebus badge might also be used by his servants 
 and retainers. Such a use of the badge 
 still survives in the 'crest' on the buttons 
 of liveried servants. 
 
 The most famous and best known badge 
 is that of the three ostrich feathers en- 
 circled by a crown or coronet borne by the 
 Prince of Wales. It was probably intro- 
 duced by Queen Philippa, who is known 
 to have possessed plate ornamented with 
 'a black scocheon of ostrich feathers,' 
 perhaps allusive of the Comte of Ostrevant, 
 the appanage of the eldest sons of the 
 house of Hainault. A single ostrich 
 feather, alone or stuck in a scroll, occurs 
 after 1343 in several seals of Edward 
 prince of Wales, and on his tomb at 
 Canterbury the shield of his own arms 
 alternates with his mother's black shield 
 with three silver ostrich feathers, each trans- 
 fixing a scroll with the word ic^ bicilC ; 
 over the shield is likewise a scroll in- 
 scribed with the same words (fig. 85). 
 John of Gaunt duke of Lancaster is said 
 to have borne an ostrich feather powdered 
 with ermine tails, and Thomas of Wood- 
 stock duke of Gloucester, the }'oungest 
 166 
 
of Queen Philippa's sons, bore the feathers The use of 
 with a strap (which some have regarded as t^ ^^'^^' . 
 a Garter) extended along the quill (fig. 86). ^i^g Rebus 
 The Queen's great-grandson, Richard duke 
 of York and earl of March (1436), bore 
 the feather with a chain similarly placed; 
 
 Fig. 85. Shield with ostrich-feather badge 
 from the tomb of Edward Prince of 
 Wales (ob. 1376) at Canterbury. 
 
 perhaps Edmund of Langley, his grand- 
 father, had done the same. Heniy of 
 Lancaster, the son of John of Gaunt, on his 
 seal as earl of Derby in 1385 (pi. xxiv c) 
 and on that as duke of Hereford in 1399, 
 has an ostrich feather stuck in the end of a 
 scroll which is entwined about the feather 
 and inscribed with the significant word 
 )?OltDcrCi)nC, and the same word is re- 
 
 167 
 
The use of peated many times on his tomb as Kmg 
 
 Badges, 'Henry IV at Canterbury. 
 Knots, and a i l i i j ■ i u j 
 
 the Rebus Another notable badge is the couched 
 
 white hart of King Richard II, with which 
 may be named the white hind borne by his 
 
 Fig. 86. Seal of Thomas of Woodstock duke 
 of Gloucester, with ostrich feather and 
 Bohun swan badges. 
 
 kinsman, Thomas Holand earl of Kent 
 (pi. XVIII b). 
 
 The fetterlock-and-falcon (fig. 87) and 
 the white rose of the house of York, the 
 white Hon of the earls of March, the rayed 
 rose of Edward IV, and the silver boar of 
 Richard III, are of course well-known 
 
 168 
 
badges ; as well as the red and the red and The use of 
 white roses, the crowned fleur-de-lis, and tiadges, 
 the Beaufort portcullis, used by the Tudor ^^^ Rebus 
 kings (fig. 88). 
 
 Fig. 87. Fetterlock-and-falcon badge of 
 the house of York, from Henry VII's 
 chapel at Westminster. 
 
 When badges first came into use in this 
 country is uncertain, but after the middle 
 of the fourteenth century they abound. 
 They are foreshadowed by the free treat- 
 
 169 
 
The use of 
 
 Badges, 
 Knots, and 
 the Rebus 
 
 ment of earlier decorative heraldry, such 
 as the httle leopards on the footgear and 
 pillows of King Henry Ill's gilt-latten 
 effigy at Westminster, and the plate with 
 
 ■|"'"'V3fe'^f^-^i^l 
 
 ■ ^ 
 
 i?^' 1 
 
 " iW- ■'"■■"■-■'■ 
 
 * U "Ijv VWl 
 
 lp:iil 
 
 id^^i 
 
 
 WS^^^^^^ "f i| 
 
 MB%a|^|&;^T ,j piiiM i 
 
 Wro»*\^'^K^N^^Cc f^vb 
 
 I f ''^!!k'^CS«£f^-^ 
 
 1 L '"!/*t^kSmP"^ ' 
 
 II %wl^WM 
 
 II ^s^^^ 
 
 Fig. 88. Crowned rose and portcullis from King's 
 college chapel at Cambridge. 
 
 its lozengy diaper of leopards on which it 
 lies ; also the lozengy diaper of castles 
 and lions which covers the metal plate 
 whereon lies the effigy of Queen Eleanor 
 of Castile. 
 
 170 
 
Many badges, too, originated in devices The use of 
 borrowed from various sources and arranged cadges, 
 about the shield on seals, as in figs. 89 and ^^^ Rebus 
 
 Fig. 89. Seal of Robert de Clifford, with 
 arms surrounded by rings in allusion to 
 his mother Isabel Vipont. 
 
 Fig. 90. Seal of Robert de Toni as 
 CHEVALER AU ciNG with the arms en- 
 circled by swans and talbots. 
 
 171 
 
The use of 90, which are onh^ two out of a number 
 Badges, of such appended to the Barons' Letter. 
 
 the°Rebus The famous white swan badge of the 
 Bohuns (fig. 91) is found perched upon the 
 shield in the seal of Humphrey Bohun earl 
 of Hereford and Essex, 1298 (pi. xix b). 
 
 Fig. 91. Seal of Oliver Bohun with swans 
 about the shield. 
 
 Later on its neck was encircled by a crown 
 for a collar, with a chain attached, and in 
 this form it appears on the seals of Thomas 
 of Woodstock, who married Eleanor Bohun 
 (fig. 86), and on that lady's brass at West- 
 minster. It was also borne by the sons and 
 descendants of King Henry IV b}^ his wife 
 Mary Bohun. 
 
 The gilt-latten effigies of Richard II 
 (fig. 92) and Anne of Bohemia have their 
 dresses pounced all over with badges, such 
 
 172 
 
as the white hart, the sun-burst, and the The use of 
 
 broom sprigs on that of the king, and the badges, 
 ^ ° ° knots, and 
 
 the Rebus 
 
 Fig. 92. Gilt-latten effigy at Westminster of King 
 Richard II, pounced with badges, etc. 
 
The use of ostnch and a peculiar knot on that of the 
 Badges, queen. In 1380 Edmund Mortimer earl of 
 
 the Rebus March left a bequest of 'our large bed 
 of black satin embroidered with white lions 
 and gold roses, with scocheons of the arms 
 of Mortimer and Ulster,' and in 1385 
 Joan princess of Wales bequeathed to 
 her son the King (Richard II) 'my new 
 bed of red velvet embroidered with ostrich 
 feathers and leopards' heads of gold 
 with boughs and leaves issuing from 
 their mouths.' In 1397, Sir Ralph 
 Hastings, whose arms were a red maunch 
 or sleeve on a gold ground, and his crest 
 a bull's head, left bequests of a silver bason 
 and laver 'stamped with a bull's head 
 {cum capite tauri), a vestment of red-cloth 
 of gold with orfreys before and behind 
 worked with maunches {cum maunches) and 
 with the colours of mine arms,' and six 
 salts stamped with maunches. In 1388 
 John of Gaunt duke of Lancaster men- 
 tions in his will 'my great bed of cloth of 
 gold, the field powdered with roses of gold 
 set upon pipes of gold, and in each pipe 
 two white ostnch feathers,' also 'm}' new 
 vestment of cloth of gold, the field red 
 worked with gold falcons.' Two falcons 
 holding hanging locks in their beaks are also 
 
shown on one of the duke's seals (pi. xxi a). The use of 
 In 1400 Thomas Beauchamp earl of War- Badges, 
 wick left a bed of silk embroidered with ^^^ Rebus 
 'bears of mme arms ' ; and in 141 5 John lord 
 le Scrope mentions m his will documents 
 sealed cum signato meo de Crabb, and in a 
 codicil made m 1453 he bequeaths 'j fayre 
 pile of coppis conteyning xij coppis of gilt, 
 with crabbis in ye myddes, and two 
 coveryngis to thame with crabb.' In the 
 north of England a crab is often called a 
 scrap, whence its assumption by the Scropes. 
 Such examples as the foregoing could be 
 multiplied indefinitely', but they will suffice 
 to show the prevalence of badges and the 
 many ways in which they were used. 
 They of course abounded on seals as well 
 as on monuments of all kinds, and in con- 
 junction with architecture. Under this last 
 head may be quoted such examples as the 
 arches in Wingfield church, Suffolk (fig. 93), 
 studded with leopards' heads, wings, and 
 Stafi^ord knots, commemorative of Michael 
 de la Pole earl of Suffolk {ob. 141 5) and 
 his wife Katharine Stafford ; the porch and 
 other parts of Lavenham church, displaying 
 the boars and molets of John de Vere earl 
 of Oxford ; bishop Courtenay's chimney- 
 piece in the bishop's palace at Exeter 
 
 175 
 
Fig. 93. Piers and arches in Wingfield church, Suffolk, with 
 badges of Michael de la Pole earl of Suffolk (ob. 1415) and 
 his wife Katharine Stafford. 
 
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 rt 
 
 u 
 
 c 
 
 OJ 
 
 rt 
 
 3 
 
 Oh 
 
 O 
 
 U 
 
 ff) 
 
 
 
 
 ix 
 
 <v 
 
 n 
 
 -M 
 
 
 0-. 
 
 
 
 CO 
 
 o. 
 
 
 n 
 
 1> 
 
 r, 
 
 ,±- 
 
 fn 
 
Fig. 96. The gatehouse of Christ's College, Cambridge. 
 
Fig. 97. Bronze door with badges of York and Beaufort 
 from the Lady chapel of Westminster abbey church. 
 
(fig. 94) ; and the great displays of Tudor The use of 
 
 badges on the deanery gateway at Peter- Badges, 
 , , ,r \ 1 I r^i • > Knots, and 
 
 borougn (hg. 95), the gatehouses at Christ s ^^^ Rebus 
 
 (fig. 96) and St. John's Colleges (fig. 172) at 
 
 Cambridge, and the noble chapel of King's 
 
 College. Special mention must also be 
 
 Fig. 98. Signet with 
 badge and crested 
 helm of Lewis lord 
 Bourchier, 1420. 
 
 Fig. 99. Seal of Hugh 
 de Veer, with boar 
 badge and two wi vers 
 as supporters. From 
 the Barons' Letter. 
 
 made of the magnificent bronze doors of 
 Henry VII's chapel at Westminster, than 
 which no more beautiful example of the use 
 of badges for decorative purposes could 
 possibly be found (fig. 97). 
 
 The sources of badges were various. As 
 a matter of fact a man's badge was often 
 the same device as his crest, like the 
 
 181 
 
The use of Courtenay dolphin, or the boar of the 
 
 Badges, Veres, or the sickle of the Hungerfords. 
 Knots, and r^ ■ i i i i • i r 
 
 the Rebus oometimes the badge was derived irom a 
 
 part of the arms, such as the leopards' 
 
 heads and the wings of the de la Poles, the 
 
 water-bougets of the Bourchiers (fig. 98), 
 
 the silver molet of the Veres (fig. 99), and 
 
 Fig. 100. Signet of 
 William Phelip 
 lord Bardolf, c. 1410, 
 with eagle badge de- 
 rived ftom his arms. 
 
 Fig. ioi. Signet with 
 flote badge and 
 word of Sir William 
 Oldhalle in 1457. 
 
 the Phelip eagle (fig. 100). If hv chance 
 a badge could have any punning or allusive 
 meaning it was the more popular, and it 
 then often served as a rebus. The boar 
 (S'erre) of the \ eres (fig. 99), the crab or 
 scrap of the Scropes, the pike or luce of 
 the Lucys, the long swords of Longespee 
 (pi. XIX A), the gray or badger of Richard 
 lord Gre}- of Codnor (fig. 102), and the 
 wood-stock or tree stump of Thomas duke 
 of Gloucester, who was born at Wood- 
 stock, are all good examples of a practice 
 182 
 
that should be followed whenever possible, The use of 
 
 even in these degenerate days. Badges, 
 
 . >= -' 111 Knots, and 
 
 But in a large number ot cases the badge ^^g Rebus 
 
 Fig. I02. Seal with badge (a gray or badger) 
 of Richard lord Grey of Codnor, 1392. 
 
 Fig. 103. Sea! of Thomas lord Stanley as earl 
 of Derby and seneschal of Macclesfield, 
 1485, with the eagle's claw badge of Stanley 
 and the legs of the Isle of Man. 
 
 183 
 
The use of has a different and often quite obscure 
 
 Badges, origin, like the Bohun swan, the Percy 
 Knots, and i • i i r> i i 
 
 the Rebus crescent and swivel, the rJeauchamp bear 
 
 Fig. 104. Daisy plant (marguerile), badge of 
 the Lady Margaret Beaufort, from Henry 
 VII's chapel at Westminster. 
 
 and ragged staff, the Lovel hanging-lock, 
 the Zouch eagle and crooked billet, and the 
 Berkeley mermaid. 
 
 A few families, e.g. the Staffords (fig. 
 105), the Bourchiers, and the Wakes, used 
 as a badge some special form of knot, and 
 
 184 
 
attention has already been called to the The use of 
 
 peculiar knots pounced upon the effigy of Jjadges, 
 '^ r r o^ Knots, and 
 
 the Rebus 
 
 Fig. 105. Part of the brass at Exeter of canon 
 Langeton, kinsman of Edward Stafford bishop of 
 Exeter, 1413, in cope with an orphrey of i's and 
 Stafford knots. 
 
 Queen Anne of Bohemia. Interesting 
 examples of the Bourchier knot may be 
 seen on the tomb of archbishop Thomas 
 
 1 85 
 
The use of 
 
 Badges, 
 Knots, and 
 the Rebus 
 
 Fig. io6. Elbow-piece and Bourchier knot, from 
 the brass of Sir Humphrey Bourchier, ob. 
 1471, in Westminster abbey church. 
 
 Bourchier at Canterbur}^ and on the brass 
 of Sir Humphrey Bourchier at Westminster 
 186- 
 
Fig. 107. Alabaster tomb and effigy of Edward Stafford 
 earl of Wiltshire, ob. 1498, in Lowick church, Northamp- 
 tonshire. 
 
The use of (io6),and a good instance of the application 
 Badges, pf ^P|g knot is afforded by the seal of Joan 
 Stafford countess of Kent and lady of 
 Wake, who encircles her impaled shield 
 with a cordon of Stafford knots (pl.xviii d). 
 On the tomb at Lowick (Northants) of 
 
 Knots, and 
 the Rebus 
 
 Fig. io8. Rebus of 
 abbot Robert Kirk- 
 ton, from the Deanery 
 Gate at Peterborough. 
 
 Fig. 109. Rebus of 
 Thomas Becking- 
 ton bishop of Bath 
 and Wells, 1477. 
 
 Edward Stafford earl of Wiltshire, oh. 1498, 
 the shields are encircled with cordons of 
 Stafford knots with another Stafford badge, 
 the nave of a wheel, alternating with the 
 knots (fig. 107). On the canopy of the tomb 
 at Little Easton in Essex of Henry Bour- 
 chier earl of Essex {ob. 1483) and his wife 
 Isabel, sister of Richard duke of York, is a 
 badge formed by placing a Bourchier knot 
 within a fetterlock of York. 
 
'^^m^^^im' 
 
Mention has been made above of the The use of 
 
 rebus. This was invariably a badge or cadges, 
 , • I- • ) Knots, and 
 
 device torming a pun upon a man s sur- ^j^g Rebus 
 
 name, and at one time was exceedmgly 
 
 popular. It no doubt originated in the 
 
 Fig. no. Rebus of John IsHp abbot of 
 Wesminster, from his chantry chapel. 
 
 canting or allusive heraldry of earlier 
 days, like the boars' heads of the Swyn- 
 burnes, the trumpets of the Trumpingtons, 
 the hammers (Fr. martel) of the Martels, 
 or the scallop shells of the Scales. The ox 
 crossmg a ford in the arms of Oxford, and 
 the Cam and its great bridge in the arms of 
 Cambridge are also kindred examples. A 
 large number of rebuses on names ending 
 
 l8q 
 
Fig. III. Oriel window in the Deanery at Wells with badge 
 of King Edward IV, and rebus of Dean Gunthorpe. 
 
in 'ton' are based upon a tun or barrel, The use of 
 
 like the lup on a ton of Robert Lupton Badges, 
 
 r T? 11 Knots, and 
 
 provost of Eton 1503-4, or the large ^^e Rebus 
 
 church {kirk) and ton of abbot Kirkton on 
 
 Fig. 112. Arms and rebus of Sir John Pechey, 
 ob. 1522, from pamted glass in LuUingstone 
 church, Kent. 
 
 the deanery gate at Peterborough (fig. 108), 
 or the beacon rising from a ton of bishop 
 Thomas Beckington at Wells (fig. 109). 
 The gold zvells of bishop Goldwell and the 
 harts /ying in water of bishop Walter Lyhart 
 
 191 
 
The use of in their cathedral church at Norwich are well 
 Badges, known, as are probably the eye and the sh-p 
 
 the Rebus ^^ ^ '^''^^ which form, together with a man 
 falling from a tree (I shp !), the rebuses of 
 abbot Islip at Westminster (fig. no). An 
 ox, the letterN, and a bridge, make the rebus 
 of canon John Oxenbridge in his chantry 
 chapel at Windsor, while an eagle and an 
 ox with nC on his side gives the name of 
 prior John Oxney at Christchurch, Canter- 
 bury. Two large hares with a sprmg or well 
 rising between them crouch at the feet of 
 bishop Harewell's effigy at Wells ; and dean 
 Gunthorpe's oriel window in the deanery 
 there is decorated with guns (fig. in). Sir 
 John Pechey's arms {azure a hon ermine with 
 a forked tail and a gold crown), m a window 
 in Lullingstone church, Kent, are encircled 
 by a wreath of peach-branches, with peaches 
 charged with the letter C for the final 
 sjdlable of his name (fig. 112). 
 
 Here again it is needless to multiply 
 examples of rebuses, but the fun to be got 
 out of them is ample justification for urging 
 their adoption and use in connexion with 
 decorative heraldry.* 
 
 * The Rev. E. E. Dorling has taken for his rebus 
 a Httle door (doorling J) with the hinges ending in 
 E's, and the author of this book might fitly content 
 himself with the anchor of Hope I 
 
 192 
 
Stephen Longespee, ob. 1260. 
 
 Humphrey de Bohun earl of Hereford and Essex, 
 constable of England, 1298. 
 
 PLATE XIX.— Origin of supporters. 
 
CHAPTER VIII 
 
 SUPPORTERS 
 
 The probable Origin of Supporters ; Quasi- 
 Supporters; True Supporters : their Introduc- 
 tion ; Supporters of Crested Helms; Pairs of 
 Supporters; Dissimilar Supporters ; The use of 
 Supporters by Ladies; Other ways of supporting 
 Shields. 
 
 The misuse of crests to which reference 
 has been made unfortunatel}^ does not 
 stand alone, for modern artists are quite as 
 much at fault with regard to the proper 
 treatment of supporters. 
 
 There can be Httle doubt that these 
 charming adjuncts to heraldic compositions 
 originated with the seal engravers, in their 
 desire to fill up the vacant space in a round 
 seal between the shield and its surrounding 
 margin. In the oldest examples this was 
 done by adding scrollwork or leafage, but 
 in the seal of Humphrey Bohun earl of 
 Hereford, 1220, the large shield of his 
 arms is flanked by two smaller shields of 
 his other earldom of Essex. The same 
 
 N 193 
 
Supporters treatment occurs in the seal of his grand- 
 son, another Humphrey Bohun earl of 
 Hereford and Essex, 1298-1322 (pi. 
 XIX b). Henr}^ de Laci (1257) has the 
 side spaces filled by two small wivers, and 
 in the seal of Stephen Longespee {ob. 1260) 
 the shield is flanked by two long swords 
 (pi. XIX a). Gilbert of Clare earl of 
 Gloucester (1262) has his shield hung on 
 a peg and accompanied b\' two lions back 
 to back, while m the seal of Edmund earl 
 of Cornwall (1272) and son of Richard kmg 
 of the Romans the shield is held up m 
 the beak of an imperial eagle splayed or 
 spread out behind it. Thomas earl of 
 Lancaster (1296) on both his larger and 
 his lesser seals has the shield flanked by 
 two wivers, as has also his brother Henry 
 of Lancaster (1298) (fig. 60). 
 
 Sometimes the shield is hung about the 
 neck of a bird (fig. 113), or about a beast, 
 as in the seal of Alan la Souche, which 
 likewise has the shield surrounded b}' a 
 number of lions (fig. 114). 
 
 During the first half of the fourteenth 
 century little definite progress was made 
 towards true supporters. Shields, whether 
 hung from pegs or upon trees, or sur- 
 mounted by crested helms, still continued 
 
 J 94 
 
to be flanked by quasi-supporters, which of Supporters 
 course varied much in character. 
 
 Pairs of wivers, dragons, and Hons, 
 usually back to back, the better to fit the 
 space, and sometimes with entwined tails, 
 were common early in the century, and 
 
 Fig. 113. Seal of John de Moun with the shield 
 slung from an eagle and flanked by two 
 leopards. From the Barons' Letter. 
 
 shields with splayed eagles behind may not 
 infrequently be found (figs. 115, 116). 
 What may be regarded as true supporters 
 appear on the lesser seal (pi. xii a) of 
 William Montagu earl of Salisbury, circa 
 1337, wherein two griffins seem to be 
 holding up the shield, but it is not until 
 well on in the second half of the fourteenth 
 century that further definite instances be- 
 come fairly common. 
 
 195 
 
Supporters Interesting transitional usages may also 
 be found. Thus on a seal (c. 1350) of 
 Margaret Graunson, two wivers uphold by 
 their beaks the upper corners of a shield of 
 her husband's arms, while a third wiver 
 
 Fig. 114. Seal of Alan la Souche in 1301. 
 
 similarly grips the point. Guy de Bryen 
 (c. 1350) has his shield hung upon a tree 
 and supported at the corners by two wivers 
 holding it by their beaks. Another ladv, 
 Joan FitzAlan, who married in 1362 
 Humphrey Bohun earl of Hereford, has 
 an impaled shield of their arms held up in 
 their beaks by two Bohun swans ; and 
 another pair of swans perform the same 
 office in a FitzWarin seal used in 1398-9 
 (pi. XX a). 
 
 196 
 
A curious variant from the ordinar}^ Supporters 
 flanking pair of beasts occurs on the seal 
 
 Fig. 115. Seal of John Beauchamp of Hacche, 
 with shield on breast of an eagle. 
 
 Fig. 116. Seal of William de Ferrers with shield 
 upon an eagle with two heads. 
 
 of Edmund Mortimer earl of March 
 (1360-81), where the arms are accompanied 
 
 197 
 
Supporters by a pair of lions with their heads covered 
 by large helms with the earl's crest, a bush 
 of feathers rising from a crown. A similar 
 treatment is to be seen on a seal of John 
 la Warre, as used in 1390 (pi. xx d). 
 
 Analogous cases will be noted on the 
 seal of Sir Robert de Marni (1366) (fig. 
 64) whose shield hangs from a tree and is 
 flanked by two fronting helms with tall 
 pairs of wings rising from caps of estate as 
 crests ; also in a seal of Sir Bartholomew 
 Burghersh (1397-8) which has the shield 
 flanked by two helms crested with tall 
 soldans' heads, and surmounted by what 
 is probably his badge, a swan with a lady's 
 head (pi. XX c). A seal of Sir Roger 
 Scales (1369-86) has his seal flanked b}^ 
 two long-necked wivers, and hung by a 
 strap from another wiver which has twisted 
 itself into the shape of the letter S, and 
 perched itself on the upper edge of the 
 shield. 
 
 Another case of true supporters is 
 afforded by a seal of Peter de Mauley in 
 1379-80, where a shield surmounted by a 
 fierce dragon (perhaps a badge) is upheld 
 by small lions (pi. xx b). Other supporters 
 of shields only may be seen on seals of 
 Thomas Beauchamp earl of Warwick (1369) 
 
 198 
 
Peter de Mauley, in 1379-80, 
 D 
 
 Sir Bartholomew Burghersh, 
 1397-8. 
 
 John la Warre, in 1390. 
 
 PLATE XX.--Shields with supporters. 
 
John of Gaunt duke of Lancaster, 1362. 
 
 Edmund of Langley duke of York, 1385. 
 
 PLATE XXI. — Shields accompanied by Badges. 
 
where they are bears ; and of Roger Mor- Supporters 
 timer earl of March and Ulster (1381) 
 where they are lions, as is also the case in 
 a seal of John Batour used in 1418-19. 
 In each of these cases the shield is hung 
 upon a tree. 
 
 In heraldic representations where the 
 shield of arms is surmounted by a helm 
 and crest, there is the same hesitation in 
 arrivmg at true supporters ; the space at 
 the sides being filled at first b}' a badge 
 or such device. Thus John of Gaunt 
 duke of Lancaster (in 1362) mtroduced a 
 pair of eagles with hangmg locks in 
 their beaks, and his brother Edmund of 
 Langley duke of York (in 1385) followed 
 suit with a couple of falcons havmg m their 
 beaks scrolls with scriptures (pi. xxi). 
 John Nevill lord of Raby and seneschal of 
 Bordeaux (1378) flanked his arms, etc. with 
 two letters b, while his kinsmen, Sir William 
 Nevill, used in 1390 a seal with his arms 
 and crested helm accompanied by two large 
 stars. 
 
 The fine seal of Thomas lord Despenser 
 (before 1397) has on either side of his 
 shield and crested helm a tree from which 
 hano"S a lozenge of arms : the one bearing 
 the three cheverons of Clare, for his lordship 
 
 199 
 
Supporters of Glamorgan ; the other the forked- 
 tailed lion of the barony of Burghersh 
 which came to him through his mother 
 (pi. XXII a). Richard Nevill earl of Salis- 
 bury in 1429 similarly places two angels 
 bearing shields : one with the arms of 
 Nevill, the other with the lions of Longespee 
 in virtue of his earldom of Salisbury (pi. 
 XXII b). Henry of Lancaster (afterwards 
 King Henry IV) as earl of Derby, etc., 
 (c. 1385) flanks his arms and crested helm 
 with two ostrich feathers entwined with a 
 scroll with the scripture Som)Crcl)ne (pi. 
 XXIV c), and others of the royal house 
 similarly used ostrich feathers of other 
 forms. Edward V as prince of Wales in 
 1471 flanked his arms with two scrolled 
 ostrich feathers standing on large York 
 roses. Thomas duke of Exeter (1416) 
 placed a swan on either side of his armorial 
 achievement, and William lord Lovel and 
 Holand (1423) a hanging lock (pi. xxiii a) ; 
 while Sir John Pelham {c. 1430) flanked 
 his crest with his buckle badge (pi. xxiii b). 
 On the fine seal of Thomas lord Roos of 
 Hamlake or Helmsley (1431-64) his pea- 
 cock crest is flanked by two large flowering 
 plants, perhaps hemlocks (pi. xxiii e). 
 By the third quarter of the fourteenth 
 200 
 
Thomas lord Despenser, before 1397. 
 
 Richard Nevill earl of Salisbury, 1429. 
 
 PLATE XXII.— Quasi-supporters. 
 
century the combination of supporters with Supporters 
 shields of arms surmounted by crested 
 
 Fig. 117. Seal of Edmund Mortimer earl of 
 March and Ulster, 1400, with rampant 
 leopard supporters. 
 
 Fig. 118. Seal of Sir William Windsor, 1381, 
 with eagle supporters. 
 
 201 
 
Supporters helms had become fully established, and 
 henceforth the number of beautiful and 
 instructive examples is so great that it is 
 unnecessar\' to do more than illustrate a 
 typical series (figs. 117-121). It will be 
 
 Ftg. 119. Seal of William de la Pole duke 
 of Suffolk, 1448. 
 
 seen from these that in seals the majority 
 of the supporters are upholding the heavy 
 helm and its crest, and not the shield that 
 hangs below it ; probably on account of the 
 nature of the design. The supporters, too, 
 usually form pairs, and it goes without say- 
 ing that every variety of creature is made to 
 serve. Sometimes they are composed of 
 badges, like the falcons on crooked billets 
 202 
 
used by William lord Zouch (pi. xxiv a), Supporters 
 or the similar birds with 'words' coupled 
 with oak leaves and the letter t that appear 
 
 Fig. 120. Seal of John Nevill lord Montagu, 
 1461. 
 
 on a seal of Sir John FalstafF used in 1456 
 (pi. XXIV b). William lord Botraux, in a 
 seal used in 1426, has his armorial ensigns 
 flanked b^^ two buttresses (Fr. botreaiix) ; 
 whde John lord Talbot and Furnival (1406) 
 has two talbots (fig. 122), and George duke 
 
 203 
 
Supporters of Clarence (1463) the black bulls of Clare 
 
 (fig- 123)- 
 
 Where the supporters differ it is usually 
 
 Fig. 121. Seal of William lord Hastings, 
 c. 1461. 
 
 the case that thej^ represent more than one 
 dignity. Thus on one of his seals (fig. 124) 
 Richard Beauchamp earl of Warwick (1401) 
 used as such for supporters two muzzled 
 bears hugging ragged staves, but on a later 
 204 
 
seal (1421) as earl of Warwick and of Albe- Supporters 
 marie the supporters are a bear and a griffin 
 (fig. 125). So too his successor in the title 
 of earl of Warwick, Richard Nevill, on a fine 
 
 Fig. 122. Seal of John lord Talbot and 
 Furnival, 1406. 
 
 seal c. 1451-2 has two muzzled bears for 
 supporters, but on a later seal c. 1460 as earl 
 of Warwick and Salisbury his supporters 
 are a Warwick bear and a Montagu griffin 
 (fig. 69). Edmund Beaufort duke of 
 Somerset on his seal for the town of Bayeux 
 c. 1445 (fig. 126) has on one side his own 
 eagle supporter, and on the other a spotted 
 dog-like beast with a crown about his eck ; 
 
 205 
 
Supporters and Richard duke of York and earl of 
 March on his seal as governor of France and 
 Normand}' in 1436 has for supporters the 
 York falcon and the white lion of March. 
 On the stall-plate of John Beaufort duke of 
 Somerset and earl of Kendal his arms are 
 supported by a Somerset crowned eagle and 
 a mysterious beast called a yale,* behind 
 each of which stands an ostrich feather with 
 the quill gobony of blue and silver. 
 
 It is not necessary here to cite the various 
 supporters borne by the Kings of England, 
 but it may suffice to point out that since 
 the union of the crowns of England and 
 Scotland one of the royal supporters has 
 always been a lion for England and the 
 other a unicorn for Scotland. 
 
 In seals of married ladies in which their 
 arms are accompanied by supporters, one 
 often represents the husband and the other 
 the lad3''s famih'. 
 
 Thus Joan Holand, daughter of Thomas 
 earl of Kent, and wife of Edmund of Lang- 
 ley duke of York, has (after 1393) her 
 
 * For a full account of the yale or eale see papers 
 in The Archizological Jo^irnal, Ixviii, 173 199. The 
 adoption of the beast bv the duke of Somerset has 
 not yet been explained, but it may be for his earl- 
 dom of Kendal and partly be a rebus (Kend-eale). 
 
 206 
 
Fig. 123. Seal of George duke of Clarence ar_d lord of 
 Richmond, 1462, with black bulls of Clare supporting 
 his crested helm. 
 
Supporters husband's half of her impaled shield 
 supported by the falcon of York, and her 
 own half by her father's hind with its 
 crown collar. Cecily Nevill, the wife of 
 
 Fig. 124. Seal of Richard Beauchamp earl 
 of Warwick, 1 401. 
 
 Richard duke of York and earl of March, 
 and mother of King Edward IV, has the 
 shield on her fine seal ensigned by a falcon 
 of York and supported by a stag with crown 
 collar and chain and by a lion of March 
 (fig. 127). The even more splendid seal of 
 Elizabeth Wydville, queen consort of King 
 Edward IV, shows as her supporters the 
 208 
 
PLATE XXV. — Arms with crown and supporters of Elizabeth 
 Wydville, queen of Edward IV. 
 
PLATE XXVI. — Arms, supporters, and badges of the 
 Lady Margaret Beaufort, 1455. 
 
lion of March and a lean spotted beast not Supporters 
 unlike an otter, collared and chained (pi. 
 XX v). The lady Margaret Beaufort, on the 
 
 Fig. 125. Seal of Richard Beauchamp earl 
 of Warwick and of Albemarle and lord 
 Despenser, 1421. 
 
 other hand, ensigns on both her seals her 
 paternal arms of Beaufort with the Somer- 
 set eagle and uses for her supporters a pair 
 of yales (pis. xxvi, xxx). 
 
 It is of course all important that sup- 
 o 209 
 
Supporters porters should be shown standing upon 
 something solid, and not on so precarious 
 a footing as the edge of a motto or forked 
 
 ^^^K, 
 
 ^B^^^ 
 
 
 
 
 ^ 
 
 
 ^ J ./ ''.Sdl^l^H 
 
 SSr^tfHiBJHB^n^w 
 
 \ 
 
 vS^3g3^9jAjif'-^^(f^pi 
 
 
 
 * t r , i • ±^ 
 
 
 Fig. 126. Seal of Edmund duke of Somerset 
 for the town of Bayeux, c. 1445. 
 
 scroll. One of the beautiful armorial 
 groups with the supporters of Kmg Henr\^ 
 VII in King's college chapel at Cambridge 
 (fig. 128) shows how effectively and yet 
 unobtrusively this may be done. In the 
 splendid panel at New Hall in Essex with 
 210 
 
the crowned arms, etc. of King Henry Supporters 
 VIII his dragon and greyhound supporters 
 stand in a bush of roses and pomegranates 
 (fig. 189) ; and in the well-known glass at 
 Ockwells the supporters have fields full 
 of flowers to stand on. 
 
 Besides the more or less regular use of 
 supporters just described, there are a 
 number of curious and irregular wa\'s of 
 supportmg shields. These deserve special 
 attention, not only from their value in 
 showing how delightfully heraldry used to 
 be played with, but as precedents for similar 
 variet)^ of treatment at the present day, 
 when supporters so called often do not 
 support anything. Over the doorway, for 
 example, of the National Portrait Gallery 
 in London the 'supporters' of the royal 
 arms are merely a pair of cowering beasts 
 at the base of the shield. 
 
 Quite an early instance of playful treat- 
 ment IS furnished b}' the seal of Roger 
 Leybourne (ob. 1284). This has a small 
 banner standing behind the shield, which 
 is hung on a tree with side branches ; one 
 of these supports the crested helm, and the 
 other ends in a bunch of leaves (pi. xi a). 
 
 Thomas lord Holand and Wake (c 
 1353) has within a traceried panel a tree 
 
 211 
 
Fig. 127. Seal of Cecily Nevill, wife of Richard duke 
 of York and mother of King Edward IV, 1461. 
 
standing in a rabbit warren and supporting Supporters 
 his crowned helm with its huge bush of 
 feathers. Hanging on either side are two 
 
 gjlUf U .^ ■ < di./M.^-SS; 
 
 ^S^l^^^^Ti^^sC-iirTOCF^ 
 
 
 MMBf''^SiBt£lS^M^?VBHKfMfi^M^^v^ 3XKI1 .^^MMM^^ft' 
 
 ^^BBBE|^|M|^^^^^^Bi|. j^^^H^^EI^ i 
 
 ^IBSpFij^^B^'vW^^^^^^^St'^/^Sly^BSS^ 1 
 
 I m vi' W '1 1 
 
 B 
 
 
 
 fe 
 
 yl 
 
 Fig. 128. Arms and supporters, a dragon and 
 a greyhound, of King Henry VII in King's 
 college chapel at Cambridge. 
 
 shields, one with beautiful diapering of his 
 lordship of Wake, the other (originally) of 
 his lordship of Holand (pi. xxvii a). 
 
 Thomas of Woodstock duke of 
 
 213 
 
Supporters Gloucester, son of Edward III, used from 
 about 1385 a lovely seal with the stock of 
 a tree standing within a paling and sur- 
 rounded by water on which float two 
 chained Bohun swans, for his wife Eleanor 
 Bohun ; from the tree hangs a large 
 shield of the duke's arms, with his crested 
 helm above, and from two side branches 
 are suspended diapered shields of the earl- 
 dom of Hereford {azure two bends, one gold, 
 the other silver) also in reference to his 
 Bohun marriage. 
 
 Margaret daughter of Richard Beau- 
 champ earl of Warwick and wife of John 
 Talbot earl of Shrewsbury and Waterford, 
 in her fine shield (after 1433) suspends by 
 their straps her father's shield and the 
 impaled shield of her husband and herself 
 from the ragged staff of her father's house 
 (pi. XXVII b). 
 
 Thomas Holand earl of Kent used in 
 1398 a seal bearing his badge of a white 
 hind with a crown for a collar, reclining 
 under a tree, and with the shield of his 
 arms hanging round its neck (pi. xviii b). 
 
 In the fourteenth century seal of the 
 mayoralty of Calais a boar has a cloak tied 
 about his neck and flying upwards banner- 
 wise to display the arms of the town, which 
 
 214 
 

 r-^-iw 
 
 
 4^l}xl^^ 
 
 
 • m^^Mm^^jjk 
 
 
 ^^mm 
 
 
 ?-^V' j^^BM^BBKifiJBBcHy 
 
 
 "••'il^fflSl^ 
 
 
 Thomas lord Holand and Wake, t. 1350. 
 
 
 B^^^^^,^ 
 
 
 j^^^B^w^^^^ 
 
 
 ^^^^f^jffsjBs^^^K^nL 
 
 
 
 
 ^^^^^BI^IP* tfiStt' W rHflrHnBT&ByMH^ MH^^M^y 
 
 
 Margaret Beauchamp, wife of John Talbot 
 
 
 earl of Shrewsbury, after 1433. 
 
 PLATE XXVII. — Methods of arranging shields. 
 
were harry zvcivy with a crowned (?) leopard ?,u\TpoTters 
 rampant (fig. 129). A similar treatment 
 occurs on the half-florin of King Edward 
 III, which has for device a crowned sitting 
 leopard with a cloak about his neck with 
 the royA arms. 
 
 On one of his seals as regent of France 
 
 9. Seal of the mayoralty of Calais. 
 
 (1422-35) John duke of Bedford has an 
 eagle standmg with one leg upon his badge, 
 the root of a tree, and holding in its other 
 claw a shield of his arms. 
 
 William lord Fitz Hugh (1429) and of 
 Marmion shows on his seal his quartered 
 shield ensigned by his helm and crest, 
 
 215 
 
Supporters which WHS apparently a Hon's head. The 
 rest of the beast is somewhat incongruously 
 squatting behind the shield and has the 
 paws thrust out on each side to grasp two 
 banners of arms that complete the com- 
 position (pi. XXVIII a). 
 
 A similar pair of banners appears on the 
 
 Fig. 130. Seal of Walter lord Hungerford 
 with banners of Heytesbury and Hussey 
 or Hornet, c. 1420. 
 
 seal of Walter lord Hungerford, which 
 has the shield 'supported' by two 
 Hungerford sickles, and surmounted by 
 the crested helm, with flanking banners of 
 the arms of the lordships of Heytesbury 
 and Hussey (fig. 130). 
 
 216 
 
William lord FitzHugh (1429) and of Marmion. 
 
 Margaret lady Hungerford and Botreaux, 1462. 
 
 PLATE XXVIII. — Examples of banners of arms. 
 
Banners also figure prominently on the Supporters 
 charming seal of Margaret lady of Hunger- 
 ford and Botreaux (1462) (pi. xxviii b). 
 She was the daughter of William lord 
 Botreaux and Margaret Beaumont, and 
 wife of Sir Robert Hungerford, who died 
 in 1459. The seal shows the lady in 
 her widow's dress sitting upon her knees 
 m a garden, and reading from a book some 
 words which are inscribed on a scroll about 
 her head. Overshadowing her are two 
 large banners of impaled arms : one of 
 Hungerford and Botreaux, upheld by a 
 lion ; the other of Botreaux and Beaumont, 
 upheld by a griffin. 
 
 On many late thirteenth and early 
 fourteenth century seals it was not un- 
 common to represent ladies holding up 
 shields of arms. A delightful example 
 that may be cited is that of Emmeline 
 FitzGerald, and wife of Stephen Longespee, 
 who is upholding her father's shield in her 
 right and her husband's in her left hand. 
 Below each shield is a leopard of England 
 to show her husband's close relationship to 
 the royal house, and on each side of her is a 
 long sword. She died in 1331 (pi. xxix b). 
 
 A few cases occur where a man himself 
 acts as the supporter of his arms. One 
 
 217 
 
Supporters of the shields of Henry Percy earl of 
 Northumberland (1377) shews him in 
 armour, standmg behmd a large shield of 
 Percy which he supports with his left 
 hand. His right is upon the hilt of a 
 sword with the belt wrapped about it, and 
 against his left shoulder rests a banner with 
 the Percy lion. The earl appears m similar 
 fashion in another of his seals as lord of 
 Cockermouth (1393)- In this the shield is 
 quarterly of Percy and Lucy, and is grasped 
 as before by his left hand, while the right 
 holds up a pennon charged with his badge 
 of a crescent (pi. xxix a). 
 
 It must suffice to quote one last piece of 
 playfulness, a seal of Richard duke of 
 York and earl of March and Ulster (ob. 
 1460) as justice-in-ejTe of the forests. 
 This has his shield of arms suspended 
 about the neck of a York falcon, and 
 enclosed by the horns of a buck's head in 
 base, in reference to his office. Upon the 
 buck's horns are fixed two small hands for 
 the duke's earldom of Ulster (pi. xxix c). 
 
 218 
 
CHAPTER IX 
 
 BANNERS OF ARMS 
 
 The Royal Banner of Arms; The Banner of 
 the Arms of the City of London; Shapes of 
 Banners; Sizes of certain Banners; Upright 
 versus Long Banners; Advantages of the 
 Upright Form ; Banners with Achievements of 
 Arms; Modern Use of Banners 
 
 Representations of banners constantly 
 occur in medieval pictures (fig. 131); and 
 as has been shown above, they are not 
 infrequent upon seals. 
 
 Everyone is familiarwith the bannerof the 
 royal arms that betokens the presence of the 
 King, and with our splendid national banner 
 known as the Union Jack. The bannerwith 
 the arms of the city that is flown above the 
 Mansion House when the lord mayor is in 
 residence is familiar to Londoners, and the 
 citizens of Rochester are equally accustomed 
 to see the banner of their city flying on 
 Sundays and holidays from the great tower 
 of their castle. Let a banner once be re- 
 garded in the light of a rectangular shield 
 
 219 
 
Banners of and its fitness to contain armorial bearings 
 
 Arms immediately becomes apparent. The King's 
 
 banner is now always miscalled 'the royal 
 
 Fig. 131. Knights with banners, from an illumination 
 in Royal MS. 19 B xv in the British Museum. 
 
 Standard,' even in official language, though 
 heraldically it is not a standard at all but 
 simply a banner. 
 
 220 
 
Medieval banners at first were oblong Banners of 
 in shape, and set upright with a longer side Arms 
 next the staff. In the late thirteenth 
 century pictures formerly in the painted 
 
 Fig. 132. Seal of Walter lord Hungerford 
 with banners. 
 
 chamber in the palace of Westminster 
 the banners borne by the knights were 
 more than twice as tall as they were broad. 
 The same proportion survives even in 
 the famous pictorial pageant of Richard 
 Beauchamp earl of Warwick, drawn about 
 1493 ;* but the majority of the banners 
 therein shown have a height one and 
 
 * Brit. Mus. Cott. MS. Julius E., IV. 
 
 221 
 
Banners of 
 Arms 
 
 three quarter times the width, which is 
 better for the displa)^ of heraldry. This is 
 also the proportion of the banners on 
 William lord Hungerford's seal (fig. 132), 
 but the banners with impaled arms on lady 
 
 Fig. 133. Part of the seal of Margaret lady 
 Hungerford, with impaled banner held up 
 by a lion. 
 
 Hungerford's seal are nearly square (fig. 
 133). On the monument in Westminster 
 abbey church of Lewis lord Bourchier {ob. 
 143 1) the large quartered banners at the 
 ends, upheld by lions and eagles, are slightly 
 less than a square and a half in area, and 
 admirably proportioned for displaj^ing arms 
 (fig. 134). The banner of King Edward IV 
 222 
 
Fig. 134. Tomb of Lewis Robsart lord Bourchier, K.G., 
 ob. 143 1, in Westminster abbey church, with banners 
 of arms upheld by supporters. 
 
Banners of 'which also hung over his grave' in St. 
 Arms George's chapel in Windsor castle is 
 described as of 'Taffaty, and thereon 
 painted quarterly France and England ; it 
 had in breadth three foot four inches, be- 
 sides a Fringe of about an inch broad, and 
 in depth five foot and four inches, besides 
 the Fringe.' * Ashmole, in his description 
 of the banners hung above the stalls of 
 the Knights of the Garter, states (in 1672) 
 that 'the fashion of the Soveraign's and 
 all the Knight-Companions Banners are 
 square ; but it doth no where appear to us, 
 of what size their Banners anciently were ; 
 yet in Queen Elizabeth's Reign, we find 
 them two yards and a quarter long, and a 
 yard and three quarters broad, beside the 
 Fringe (which is made of Gold or Silver 
 and Silk, of the colours in the Wreath) and 
 thereon are wrought or beaten upon 
 TafFaty-Sarcenet, double-Sarcenet, or rich 
 Taffaty, with fine Gold and Colours, on 
 both sides, the paternal Coat of the Knights 
 Companion, together with his Quarterings, 
 or so many of them as he please to make 
 use of, wherein Garter is to take care that 
 
 * Elias Ashmole, The I nstitution. Laws and Cere- 
 monies of the most Noble Order of the Garter (London, 
 1672), 149. 
 
 224 
 
they be warrantly marshalled. . . . These Banners of 
 banners of Arms are fixed to the end of Arms 
 long Staves, painted in Oyl, formerly with 
 the Colours of the Wreath, but now 
 Red.' * 
 
 The remark here as to the quarterings, 
 m view of the comments upon them in an 
 earlier page of this book, is interesting, but 
 it is more important to note that both the 
 banner of King Edward IV, and those of the 
 Knights of the Garter in Queen Elizabeth's 
 time, were of similar proportions to those 
 on the Bourchier monument. 
 
 The fact is that the heraldic draughts- 
 men of even this late period were fully 
 as aware as their predecessors of the diffi- 
 culty of drawing arms in a banner that ex- 
 ceeded the width of a square, and they 
 also appreciated the greater advantage 
 of an area that was narrower than that 
 figure. 
 
 The longer form of banner may be 
 tolerated for so simple a combination as 
 the Union Jack, or even for such of its 
 component parts as the cross of St. Andrew 
 or the saltire of St. Patrick, but it is rarely 
 possible so to arrange heraldry upon it as 
 
 * Ibid. 33S> 336. 
 
 P 225 
 
Banners of to look well, and even the cross of St. 
 Arms George looks better upright thus 
 
 th 
 
 an 
 
 wh 
 
 en 
 
 extended undul}^ horizontally. 
 
 In the King's banner as at present borne 
 it is practically impossible to draw the arms 
 artistically, or with a proper balancing 
 relation of field and charge (fig. 135). The 
 leopards of England may be so outrageously 
 lengthened and attenuated as nearly to fill 
 the quarters allotted to them, but it is im- 
 practicable to display properly the upright 
 form of the ramping lion of Scotland or to 
 expand horizontalh^ the Irish harp. In 
 the banner, too, of the lord mayor of 
 London as used on the Mansion House 
 to-day, the sword of St. Paul in the quarter 
 can only be drawn of the comparative size 
 of Sir William Walworth's dagger, which 
 it is in consequence so absurdly mistaken 
 to be. 
 226 
 
o 
 J2 
 
 o 
 
 1^ 
 
 o 
 
Banners of Were, however, the King's arms (see 
 Arms frontispiece) and those of his city of 
 London placed on upright oblong or even 
 square banners, all difficulties of drawing 
 them would be avoided, and from appearing 
 to be glaring examples of mean modern 
 heraldr}^ they would forthwith become fine 
 pieces of artistic decoration. 
 
 A close approximation to the better way 
 of displaying the King's arms is illustrated 
 by the lately adopted banners of Queen 
 Mary and Queen Alexandra, both of which 
 show the Sovereign's arms impaling those 
 of his consort. The King's arms are thus 
 restricted to half the usual length of the 
 present ' royal standard,' that is, to a square, 
 and so can be drawn with less waste space 
 on either side of the charges. 
 
 Whatever be their shape, banners, like 
 shields, ought as a rule to be covered com- 
 pletely with the heraldry, like the banners 
 of the Knights of the Garter at Windsor 
 (which, though modern, are quite good in 
 this respect) and those of more recent 
 institution of the Order of St. Michael and 
 St. George in St. Paul's cathedral church. 
 
 Examples are not lacking, even in the 
 fifteenth century, of banners charged with 
 regular heraldic achievements instead of 
 
 228 
 
arms, and quite an interesting series maybe Banners of 
 found amongthe Windsor stall-plates. Two Arms 
 small oblong plates of Sir Peter Courtena^' 
 and Henry lord FitzHugh are practically 
 complete banners of their arms, but Walter 
 lord Hungerford (after 1426) displays his 
 arms, with helm, crest, and mantling, upon 
 a dull black banner with fringed gold 
 border attached to a writhen gilded staff 
 (fig. 136). Richard Nevill earl of Salisbury 
 (c. 1436) (fig. 137), John earl of Shrewsbury 
 (c. 1453), John lord Tiptoft {c. 1461), 
 and several others have their arms, etc. 
 on plain gold-coloured fringed banners, 
 but Richard lord Rivers (c. 1450), Thomas 
 lord Stanley {c. 1459), and George duke 
 of Clarence (c. 1461), have the field worked 
 all over with decorative scroll work. Sir 
 John Gre}^ of Ruthin {c. 1439) also displays 
 his arms on an undoubted banner with black 
 ground and gold fringe and staff (fig. 138), 
 and William lord Fauconberg (r. 1440) 
 on a banner with the field bendy of blue 
 and silver, with a gold fringe and staff. It 
 is not improbable that several other quad- 
 rangular stall-plates with coloured grounds 
 represent banners. Edmund of Langley 
 duke of York has the field paly of three 
 pieces of silver, green, and black ; John duke 
 
 229 
 
Banners of 
 Arms 
 
 
 Fig. 136. Stall-plate, as a banner, of Walter 
 lord Hungerford, after 1426. 
 
 of Bedford (1422-3) has a ground part}' 
 blue and silver, and Thomas duke of 
 Exeter (c. 1422) a ground all black. 
 230 
 
Banners of 
 Arms 
 
 Fig. 137. Stall-plate, as a banner, of Richard 
 Nevill earl of Salisbury, c. 1436. 
 
 John duke of Somerset (c. 1440) has 
 the field of his plate bendy of silver, red, 
 
 231 
 
Banners of 
 Arms 
 
 ij>'.ii,A,i/,. v^ '?;' 
 
 
 Fig. 138. Stall-plate, as a banner, of Sir 
 John Grey of Ruthin, c. 1439. 
 
 and green, with a gilded border of scrolled 
 leaves ; and Walter lord Mountjoy (c. 1472) 
 232 
 
disposes the same three colours in vertical Banners of 
 stripes. ^■'"^^ 
 
 Two similar displays of heraldic achieve- 
 ments are to be found m a manuscript at 
 the Heralds' College.* In one of these 
 the arms, etc. of Sir Richard Nanfant 
 {ob. 1506-7) are painted upon a quad- 
 rangular field party of blue and green. In 
 the other the impaled shield of Sir Richard 
 and his dame, upheld by an angel, is painted 
 upon a ground having the upper three- 
 fourths red and the fourth part pale pink.f 
 
 In modern practice there is no conceiv- 
 able reason why banners for the display of 
 arms should not be more widely adopted ; 
 not only as banners proper, to fly upon a 
 staff, but in decorative art, such as painting, 
 sculpture, and embroidery. Both the Royal 
 Society and the Society of Antiquaries reg- 
 ularly notify their existence in Burlington 
 House by displaying banners of their arms 
 over their apartments, and their example is 
 one that might be followed by other cor- 
 porations entitled to bear arms. On the 
 use of banners by individuals it is un- 
 necessary to enter after the useful series 
 
 *MS. M3. 
 
 t Illustrated Catalogue of the Heraldic Exhibition, 
 Burlington House, 1894 (London, 1896), pi. xxviii. 
 
Banners of of examples and usages thereof already 
 '^■■ms noted. 
 
 The curious flags known as standards, 
 which were in use during the fifteenth and 
 sixteenth centuries, seem to have been 
 borne simple for displa}^ in pageants or at 
 funerals. For decorative purposes they are 
 
 Fig. 139. Standard of Sir Henry Stafford, K.G., 
 
 c. 1475. 
 
 most effective, and as they were anciently 
 borne by men of every degree down to and 
 including esquires, they might with much 
 advantage from the artistic standpoint 
 again be devised and brought into use. 
 
 A standard (fig. 139) was a long narrow 
 flag with the lower edge horizontal, and the 
 upper gradually descending from the staff 
 to the extremity, which was split into two 
 rounded ends. A compartment next the 
 staff always contained the arms of St. 
 
 234 
 
George. The rest of the ground not infre- Banners of 
 quently was formed of two, three, or four Arms 
 horizontal stripes of the livery colours of the 
 owner, and divided into three sections by 
 two slanting bands with his word, reason, or 
 motto. Upon the section next to the St. 
 George's cross was generally displayed the 
 principal beast or other device of the bearer 
 and in later times the crest on a torse, while 
 the other sections and the field in general 
 were powdered with badges or rebuses. 
 The whole was fringed of the livery 
 colours. 
 
 The series illustrated in the volume in 
 the De Walden Library on "Banners 
 Standards and Badges from a Tudor Manu- 
 script in the College of Arms " will supply 
 ample evidence of the playful composi- 
 tion of ancient standards, and hints as to 
 the way in which they may be invented 
 nowadays. 
 
 Pennons were small and narrow flags of 
 varying length, sometimes pointed, some- 
 times swallow-tailed at the end, fixed below 
 the point of a lance or spear and carried b}^ 
 the owner as his personal ensign (fig. 140). 
 That held by Sir John d'Abernoun in his 
 well-known brass (c. 1277) at Stoke d'Aber- 
 noun is short and pointed and fringed, and 
 
 235 
 
Banners of bears his arms {azure a cheveron gold). A 
 
 Arms contemporary illustration of a large and 
 
 more fluttering form of pennon is to be 
 
 Fig. 140. Knights with pennons, from an illumination 
 in Royal MS. 19 B xv in the British Museum. 
 
 seen in fig. 141. An example of a pennon 
 charged with a badge, in the shape of the 
 Percy crescent, occurs on the seal of Henry 
 236 
 
Fig. 141. Armed Knights carrying pennons, temp. 
 Edward I. From an illumination in Arundel MS. 
 83. f. 132. 
 
Banners of Percy earl of Northumberland, who is 
 ™^ shown with it in his hand (pi. xxix a). 
 
 In the fifteenth and sixteenth centuries 
 it was not unusual to set up on gables, 
 pinnacles, and other high places, figures of 
 animals holding banners as vanes or orna- 
 ments. Heraldic beasts as finials began to 
 be used even in the thirteenth century, 
 and an example so early as 1237 is noted 
 on the Pipe Roll of 22 Henry HI, when a 
 charge occurs 'for making and setting up 
 a certain lion of stone upon the gable of 
 the King's hall'* within the castle of 
 Windsor. Examples of the fourteenth 
 century are hard to find, but in the 
 fifteenth century and first half of the 
 sixteenth they are common enough. In 
 most of these later examples the creatures 
 sit up and support shields with arms or 
 badges ; some, like the fine groups at 
 Mapperton in Dorset, once held vanes 
 as well. 
 
 Early vanes from their tendency to 
 deca}^ are rare. In 1352-3 14s. were 
 spent 'upon a vane of copper painted 
 with the king's arms, bought to be put 
 upon the top of the hall of the king's 
 
 *'Et in quodam leone de petra faciendo et 
 engendo super gabulum in eadem aula.' 
 
 238 
 
college' * in Windsor castle ; and a delight- Banners of 
 ful example, also of copper, pierced with the Arms 
 arms of Sir William Etchingham, its builder 
 {ob. 1389), still surmounts the steeple of 
 Etchingham church in Sussex (fig. 142). 
 A simple specimen of an iron vane may yet 
 be seen on Cowdray House m the same 
 county. The octagonal steeple of Fother- 
 ingay church, Northants, built at the cost 
 of Richard duke of York c. 1435, is sur- 
 mounted by a fine representation in copper 
 of his badge, the falcon within a fetterlock. 
 The employment of a creature to hold 
 up a banner of arms was already no novelty 
 in the fifteenth century, and examples have 
 been noted above of those on the tomb of 
 Lewis lord Bourchier {ob. 143 1) and on the 
 seal of Margaret lady Hungerford (c. 1460) ; 
 to which may be added the banner bear- 
 ing lion on the seal (c. 1442) of Henry 
 Percy, eldest son of Henry second earl 
 of Northumberland. The conversion 
 therefore of the sitting beast into a vane 
 holder came about quite naturally. A 
 good instance of the end of the fifteenth 
 century forms a charming finial to the well- 
 
 * "Et in una vane de cupro picta de armis Regis 
 empta ad ponendum super summitatem aule Collegij 
 Regis ibidem, xiiij s." Pipe Roll, 28 Edward III. 
 
 239 
 
Banners of 
 Arms 
 
 Fig. 142. Armorial vane on Etchingham 
 church, Sussex. 
 
known kitchen at Stanton Harcourt in Banners of 
 Oxfordshire, but the griffin which sits aloft Arms 
 there has, alas, no longer a vane to hold 
 
 (fig- 143)- 
 
 Quite an array of such vane holders was 
 set up early m the sixteenth century upon 
 
 Fig. 143. Vane formerly upon the finial of the 
 kitchen roof at Stanton Harcourt, Oxon. 
 
 the pinnacles of the nave clerestory of St. 
 George's chapel in Windsor castle, and 
 the contract made in 1506 for completing 
 the quire in like fashion provides for 'as 
 well the vautte within furth as archebotens, 
 crestys, corses, and the Kmg's bestes 
 stondyng on theym to here the fanes on 
 the outside of the said quere, and the 
 Q 241 
 
Banners of creasts, corses (and) beasts above on the 
 Arms outsides of Maister John Shornes Chappell.' 
 The contract made in 1511 for finishing 
 the adjacent Lady Chapel also includes 
 'making up crests corses and the Kmgs 
 bestes stondyng on thej^m to here furth 
 squychons with armes.' These beasts 
 holdmg their glittering vanes seem to have 
 been completed onl}^ so far as the great 
 chapel was concerned, and are plainly 
 shown in Hollar's engraving of the build- 
 ing ; but they were all taken down in 1682 
 by the advice of Sir Christopher Wren, 
 who suggested that pineapples be set up in 
 their stead ! 
 
 Another mention of figures with vanes 
 occurs m the contract made in 1546 for 
 the building of the Coventry cross : 
 
 And further to set on ever}^ principall 
 pinnacle in the lowest story of the same 
 new Crosse, the Ymage of a Beast or a 
 foule, holding up a fane, and on everie 
 principall pinnacle in the second story 
 the image of a naked boy with a Targett, 
 and holding a Fane.* 
 
 These beasts, fowls, and boys obviously 
 
 * T. Hearne, Liber Niger, ii, 620. 
 242 
 
performed a double duty, like the creatures Banners of 
 on Mapperton manor house. Arms 
 
 The exact nature of the 'King's bestes' 
 at Windsor and elsewhere is illustrated by 
 the accounts for the building of the great 
 hall of Hampton Court in 1533-4. These 
 include payments 'for the workyng and 
 makyng of a lyon and a dragon in stone, 
 standyng at the Gabull ends of the said 
 hall'; 'for two pynnys of irne for stayes 
 for the two bests of freston, standyng 
 at the gabyll endes of the hauU' ; and 
 'for gylding and payntyng of two vanys, 
 servyng the bests of freston stondyng at 
 the endes uppon the haull, oon of the 
 Kynges arm3'^s, the other of the Quenys, 
 wrowghte W3'th fyne golde and m owyle.' 
 Further payments are 'for makyng of 29 
 of the Kynges bestes to stand upon the 
 new batilments of the Kynges New Hall, 
 and uppon the femerell of the said Hall' 
 and 'for 16 vanys for the bestes standyng 
 upon the battylment of the hall.' Also 'for 
 the payntyng of 6 great lyons, standyng 
 abowght the bartyllment, of tymber worke, 
 uppon the Kynges New Hall, the^^re vaj^nys 
 gylte with fyne golde and in oy\e,' and for 
 the painting 'of 4 great dragons & of 6 
 grewhounds servyng the samebarttylment.' 
 
 243 
 
Banners of There are also payments to a ' Karver 
 Arms fQj. karvyng and coutting of 2 grewhondes, 
 oon lybert, servyng to stande uppon the 
 typpis of the vycys abowght the Kynges 
 new haull,' and to a 'paynter, for gyldyng 
 and paynt3'ng of 2 grewhondes, oon 
 lybert, syttyng upon bas3^s baryng vanys, 
 uppon the typys at the haull endes' ; like- 
 wise 'for gyldyng and paynt3'ng of 24 
 vanys with the Kynges armes and the 
 Quenes badges.' * 
 
 The free use of external colouring should 
 be noted. 
 
 The use of the King's beasts as heraldic 
 adjuncts was not confined at Hampton 
 Court to the buildmg only, but they were 
 made to do duty, in an equally delight- 
 ful manner, as garden decorations. Thus 
 the pa3^ments already quoted include 
 charges 
 
 for makyng and enta3'lling of 38 of the 
 K3'nges and the quen3's Beestes, in free- 
 ston, barying shyldes wythe the K3'nges 
 armes and the Quen3s ; that ys to sa3', 
 fowre dragownes, seyx lyones, fv've 
 grewhoundes, fyve harttes, foure Innv- 
 
 * Ernest Law, The History of Hampton Court Pal- 
 ace (London 1903), i. 346-348. 
 
 244 
 
Vrms 
 
 cornes, servyng to stand abowght the Banners of 
 ponddes in the pond yerd ; ^'■ 
 
 for cuttyng and inta^'hng of a l}^on and 
 grey-hound in freestoon, that is to say, 
 the lyon barying a vane with the Kynges 
 armes, &c. servyng to stand uppon the 
 bases of freeston abought the ponds ; 
 
 for pynnes servyng the pyllers of free- 
 stoon that the beastes standyth uppon 
 abowght the ponds in the pond yerd ; 
 
 for payntyng of 30 stoon bests standyng 
 uppon bases abowght the pondes in the 
 pond yerd, for workmanship, oyle, and 
 collers. Also 
 
 for payntyng off 180 postes wyth white and 
 grene * and in oyle . . . standyng in the 
 Kynges new garden ; 
 
 also for lyke payntyng of 96 powncheones 
 wyth white and grene, and in oyle, 
 wrought wyth f}^ne ant^^ke uppon both 
 the s}^des beryng up the rayles in the 
 saj^d Garden ; 
 
 also for h^ke payntyng of 960 yerdes in 
 leyngthe of Rayle.l 
 The quaint aspect of such an heraldic 
 
 garden has been preserved to us in the 
 
 * White and green were the livery colours of 
 King Henry VIII. 
 
 t Law, op. cit., i. 370, 371. 
 
Fig. 144. Part of King Henry VIII's garden at 
 Hampton Court, from a contemporary picture. 
 
Fig. 145. Part of King Henry VIII's garden at 
 Hampton Court, from a contemporaiy picture. 
 
Banners of large picture at Hampton Court itself of 
 Arms King Henry VHI and his family. This 
 has at either end archways in which stand 
 Will Somers the King's jester and Jane the 
 fool, and behind them are delightful peeps 
 of the garden, with its low brick borders 
 carrying green and white railings, and its 
 gay flower beds from which rise tall painted 
 posts surmounted by the King's beasts 
 holding up their glittering vanes (figs. 144, 
 
 145)- 
 
 Before finally leaving the subject of 
 banners, a few remarks may be offered 
 touching our beautiful national banner 
 which we call the Union Jack. 
 
 This charming and interesting com- 
 position is not only, in a large number of 
 cases when it is flown, displayed upside 
 down, but in a still greater number of 
 instances it is made quite incorrectly. 
 
 The first Union Jack, that in use from 
 1606 to 1 801, combining as it did only 
 the cross of St. George for England and 
 the saltire of St. Andrew for Scotland, 
 presented little diflSculty, since there was 
 practically no excuse for not drawing the 
 St. Andrew's cross straight through from 
 corner to corner. But the present Union 
 Jack is a much more difficult banner to 
 
 248 
 

 
 
 
 ■ 
 
 IPS 
 
 
 
 
 
 
 
 ^ 
 
 
 ^;^ 
 
 THE UNION JACK. 
 
 OFFICIAL 
 
 CORRECT VERSION. 
 
 UNION OF THE SCOTTISH AND IRISH CROSSES IN THE UNION 
 JACK. THE DOTTED LINES SHOW THE SUPERPOSITION OF THE 
 CROSS OF ST. GEORGE 
 
 THE UNION JACK, AS OFTEN INCORRECTLY MADE. 
 
 PLATE XXXI. RIGHT AND WRONG VERSIONS OF THE UNION JACK. 
 
draw, as well as to understand, and the Banners of 
 prevailing ignorance of its history even Arms 
 among so-called 'educated' people is 
 extraordinary. 
 
 The Union Jack consists actually of (i) 
 the banner of St. George with its white 
 field reduced to a narrow edging on all 
 sides of the red cross, to enable it to be 
 superposed, without breaking the heraldic 
 rule of colour upon colour, upon (ii) the 
 blue banner of St. Andrew, with his white 
 cross ; but since the Union with Ireland 
 there has been combined with these (iii) 
 the banner of St. Patrick, which has a red 
 saltire upon a white field. This combina- 
 tion, in order to meet Scottish suscepti- 
 bilities, has been efi^ected in a very peculiar 
 but ingenious way, first, by treating the 
 Irish banner like that of England, and 
 reducing its white field to a narrow edging 
 about the saltire, and then b}^ slitting this 
 down the middle of each arm, and joining 
 the pieces to the opposite sides of St. 
 Andrew's saltire similarly treated, yet so 
 that the Scottish pieces are uppermost next 
 the staff. It thus comes about, that what- 
 ever be the shape of the flag, whether 
 square or oblong, two straight lines drawn 
 across it diagonally from corner to corner 
 
 249 
 
Banners of should always equally divide the Scottish 
 Arms ^j^j Irish crosses, and if this cannot be done 
 
 the flag is not correctl}^ built up (pi. xxxi). 
 It also happens that unless the flag is 
 exactly square the blue sections of the field 
 must diff^er more or less in size. Ignorant 
 flag-makers try to correct this, but only by 
 dislocating in the middle the diagonal lines 
 that ought always to be straight and con- 
 tinuous. 
 
 The right way up of a Union Jack is 
 indicated by the Scottish, that is the 
 broader white, half of the diagonal mem- 
 bers being always uppermost in the two 
 pieces next the staff. 
 
 250 
 
CHAPTER X 
 
 MARSHALLING OF ARMS 
 
 Arms of Husband and Wife; Dimidiating; Im- 
 paling; Scutciieons of Pretence; Impalement 
 with Official Arms ; Arms of Ladies ; Heraldic 
 Drawmg ; Mottoes; Use and Misuse of the 
 Garter; Lettering and Mottoes. 
 
 In gathering up for practical consideration 
 some of the points aheady discussed, as 
 well as others that are suggested by them, 
 something may first be said on the waj's of 
 combining the arms of husband and wife. 
 This was done originally by simply setting 
 them side by side, a plan which of course 
 may still be followed whenever it is thought 
 desirable. 
 
 For a short time during the latter part 
 of the thirteenth and beginning of the four- 
 teenth century the arms of husband and 
 wife were combined in one shield by the 
 curious device of halving or 'dimidiating' 
 them, by joining the half of the one to the 
 opposite half of the other, as in the arms of 
 Aymer of Valence and Mary Seynt Pol, 
 
 251 
 
Marshalling Still borne (since 1347) by the lady's foun- 
 
 of Arms dation of Pembroke College at Cambridge. 
 
 Owing however to the many inconveniences 
 
 which this plan involved, it was soon ex- 
 
 FlG. 146. Shield of Bryen impaling Bures, 
 from a brass in Acton church, Suffolk. 
 
 changed for the more simple way of 
 'impaling' or placing the entire arms of 
 both parties side by side in one shield 
 (fig. 146 and pis. VIII c, xviii a, b), a 
 practice that has continued ever since, 
 252 
 
except when the wife is an heiress. In Marshalling 
 
 that case the lady's arms are usually drawn of Arms 
 
 upon a smaller shield and placed upon the 
 
 middle of the husband's arms (pi. v a). 
 
 This ugly and most inconvenient plan, 
 
 though of considerable antiquity, might 
 
 very well be amended by the more ancient 
 
 way of quartering the arms together, as is 
 
 still done by the children of the heiress. 
 
 For rules for the combination of the arms of 
 
 a husband who has married two or more 
 
 wives, or the cumbrous regulations as to 
 
 quartering, the student may, if he wishes, 
 
 consult the various manuals of heraldry. 
 
 When a man is a member of any Order, 
 such as the Garter or the Bath, only his 
 own arms should be encircled b}^ the in- 
 signia of the Order. Exceptions to this 
 rule can of course be found, but it is other- 
 wise a general one that ought strictly to be 
 followed. Bishops are entitled to bear 
 their personal arms only impaled with 
 those of their bishopstool or cathedral 
 church, and the same rule applies to deans, 
 heads of colleges, and regius professors 
 (like those at Cambridge) who have official 
 arms. The chancellor of a University 
 presumably may impale its arms with his 
 own. 
 
 ■^ 
 
 S3 
 
Marshalling It has already been shown that the arms 
 of Arms of ladies, all through the medieval period, 
 were borne in precisely the same way as 
 their fathers' or their husbands', that is 
 upon a shield, lozenge, or roundel, and that 
 the present inconvenient restriction to a 
 lozenge did not come into use much before 
 the middle of the sixteenth centur}', when 
 heraldry and heraldic art were alread}^ on 
 the down-grade. The present custom 
 seems to be for the arms of married ladies 
 to be borne upon shields, and of widows 
 and spinsters upon lozenges. From the 
 artistic standpoint it would certainly be 
 desirable, whenever it is thought advisable, 
 to revert to the freedom of pre-Elizabethan 
 times. 
 
 Enough has already been said as to the 
 elasticity of drawing shields, helms, crests, 
 and mantlings, and as to the proper use of 
 supporters, but a few words may be added 
 as to the proper way of drawing the various 
 creatures that are used in heraldry. 
 
 Since heraldry is a survival of what was 
 once a living thing, it is clear that if modern 
 work is to look well, animals and birds 
 ought to be drawn in a more or less conven- 
 tional manner (figs. 148, 149). Some, such 
 as elephants, dogs, falcons, etc. may be 
 
 254 
 
drawn almost directly from nature ; but Marshalling 
 others, especially lions, if so represented of Arms 
 would manifestly be unfit to consort with 
 the leopards, the wivers, the griffins, the 
 two-headed eagles and other dehghtfulcrea- 
 
 FiG. 147. Lion with a forked tail, from a 
 brass at Spilsby in Lincolnshire, 1391. 
 
 tures of the early heralds which they bor- 
 rowed from the bestiaries. The conven- 
 tional treatment should not, however, be 
 carried to excess, nor should natural forms 
 be too closely copied. Here, as in other 
 matters connected with heraldry, a compar- 
 ative study of good ancient examples will 
 soon show what are the best types to follow. 
 
 255 
 
Marshalling It would be an advantage too, if artists 
 .t Arms Yi'ould revert to the old ways of represent- 
 
 FlG. 148. Shield with three pheasants, from a 
 brass at Checkendon, Oxon, 1404. 
 
 ing the furs known as ermine and vair. 
 The ancient ermine tails did more or less 
 resemble the actual tail of an ermine, but 
 
 256 
 
Fig. 149. Shield of the arms of Sir Humphrey Little- 
 bury, from his effigy at Holbeach in Lincolnshire, c. 
 1360, with fine examples of heraldic leopards. 
 
Marshalling the modern object with its three dots above 
 
 of Arms }^2g ^Q Hkeness to it whatever (fig. 150). 
 
 So too with regard to vair, which represents 
 
 Fig. 150. Early and modern versions of 
 ermine-tads. 
 
 the skins of grey squirrels, the modern 
 treatment of it as rows of angular eigh- 
 
 FiG. 151. Earl)' and modern versions of 
 vair. 
 
 teenth century shields is far removed from 
 the conventional forms of the real skins 
 seen in the best old work (fig. 151). 
 
 It has already been pointed out that 
 there are no strict rules as to the particular 
 shades of colour allowable in heraldry, and 
 
 258 
 
it is one of the surprises of the student to Marshalling 
 find what dull and cold tones were anciently °' Arms 
 used that yet look quite right. The ap- 
 parently bright reds, for example, of the 
 enamel in the early stall-plates at Windsor 
 are actual y brick-colour, and the apparent 
 fine blues a cold gre}^ ; but their combina- 
 tion with gilding and silvering makes all 
 the difference in the ultimate beautiful rich 
 effect. 
 
 One thing that ought to be most 
 scrupulously avoided in all modern heraldic 
 decoration is the indicating of the gilding 
 and colouring by the pernicious 'dot-and- 
 dash' system. This is all very well as a 
 kind of shorthand in one's own notes or 
 memoranda, but it is utterly destructive of 
 artistic effect if applied in actual work. 
 Ancient shields in relief were no doubt 
 invariably painted, like those still to be 
 seen behind the quire at Westminster; but 
 let any one try to imagine the fine series at 
 York or St. Albans scored and pecked to 
 indicate the colour and gilding. If the 
 heraldic carvings are not to be painted, at 
 any rate do not let their surfaces be 
 disfigured. They may always be relieved 
 by diapering. 
 
 The treatment of mottoes may not, at 
 
 259 
 
Marshalling first sight, seem to fall within the scope of 
 of Arms ^]-,i5 work, but actually it is one of very 
 real importance. There is much to be said 
 for the theory that mottoes are derived 
 from the war cries of early times, and 
 hence their frequent association with the 
 crest worn upon the helm. Reference has 
 already been made to examples upon seals 
 and other authorities. The association of 
 a motto with a shield only was not common 
 anciently, and when it is so found it is 
 generally placed on a scroll, like the well- 
 known examples on the tomb of Edward 
 prince of Wales at Canterbury (fig. 85). 
 In later times, when shields began to be en- 
 circled by the Garter of the famous Order 
 (fig. 152), mottoes were often arranged 
 about the shield in a similar way. 
 
 There was however always this ver\' 
 important and noteworth}^ difference and 
 distinction, that the buckled band now so 
 commonly used for mottoes was anciently 
 never allowed for zny but the motto of 
 the Order of the Garter. Other mottoes 
 were written on a band which was fastened 
 in a difi^erent wa}^, or merely disposed 
 Garter-wise round the shield. 
 
 The earliest known representation of the 
 Garter is on a singular lead or pewter me- 
 
 260 
 
dallion (fig. 153) commemorative of Edward Marshalling 
 prince of Wales, first Prince of the Order, of Arms 
 now in the British Museum. In this 
 
 Fig. 152. The Garter, from the brass of Thomas 
 lord Camoys, K.G., at Trotton in Sussex. 
 
 the prmce is kneeUng bare-headed before 
 a personification of the Holy Trinity, with 
 his gloves on the ground before him, and 
 an angel standing behind him and holding 
 his crested helm. The whole is enclosed 
 by a buckled band inscribed IjOttY \0\t fe 
 
 261 
 
Marshalling 
 of Arms 
 
 oooeS^rfS^^Sa 
 
 Fig. 153. Pewter medallion with Edward prince of 
 Wales, now in the British Museum. 
 
 mal Y psnfe, with a cloud overlapping 
 its upper margin from which issues an 
 262 
 
angel holding down the prince's shield of Marshalling 
 arms. of Arms 
 
 It has been customary from within a few 
 years of the foundation of the Order in 
 1348 for the Knights-Companions to en- 
 circle their personal arms with the Garter. 
 
 In a wardrobe account of King Edward 
 III, from 14 February 1349-50 to 30th 
 September 1351, payments are entered for 
 the making 'of two pencells of sindon de 
 Triple, each having in the midst a Garter 
 of blue sindon with a shield within the 
 same Garter of the King's arms quartered, 
 and beaten throughout the field with eagles 
 of gold ' ; but representations of such a usage 
 are hard to find. A good early example 
 is afforded by the monumental brass at 
 Trotten in Sussex of Thomas lord Camoys 
 {oh. 1419). (Fig. 154.) 
 
 In illustration of the care above referred 
 to of distinguishing the Garter motto from 
 any other, two concrete examples may be 
 cited : one on the brass at Constance of 
 Robert Hallam bishop of Salisbury [ob. 
 1416), where the King's arms are encircled 
 by the Garter, and the bishop's own arms 
 by an open scroll with a scripture (fig. 155) ; 
 the other on the west porch of the cathedral 
 church of Norwich, where the arms of King 
 
 263 
 
Marshalling Henry VI have the Garter about them 
 of Arms ^j^^j ^]^g arms of the builder of the porch, 
 bishop William Alnwick (1426-36), are 
 surrounded by a scroll with his motto. 
 
 Fig. 154. Shield of arms {a chief and three roundels 
 on the chief) encircled by the Garter, from the 
 brass of Thomas lord Camoys (ob. 1419). 
 
 This distinction was carefully borne in 
 mind when the insignia of British Orders, 
 other than that of the Garter, were devised, 
 and in every case their mottoes are displa3'ed 
 on plain and not buckled bands. In the 
 
 264 
 
Albert Medal for Braver}^, however, the Marshalling 
 encircling motto has been most improperly of Arms 
 placed on a buckled band like the Garter, 
 and the people who supply 'heraldic 
 stationery" are notorious offenders in the 
 same direction. 
 
 The lettering of a motto must of course 
 
 Fig. 155. Shields encircled by the Garter 
 and a scroll, from the brass of Bishop 
 Hallam {ob. 1416) at Constance. 
 
 depend upon the circumstances of its use. 
 Nothing looks so well as the so-called 
 'old-English' or small black-letter, espe- 
 cially if the height of the words is as 
 nearly as possible the same as the width of 
 the band or scroll, and the capitals are not 
 unduly prominent ; but the form of capital 
 known as Lombardic is always preferable 
 to those of the black-letter alphabet. When 
 
 265 
 
capitals alone are used, fanciful types should Marshalling 
 be avoided; a good Roman form such as of Arms 
 is often found in Tudor inscriptions being 
 
 Fig. 157. Arms of St. George within the 
 Garter, from the brass of Sir Thomas 
 Bullen, K.G., earl of Wiltshire and 
 Ormond, 1538, at Hever in Kent. 
 
 far better. If the motto to be set about a 
 shield is a short one it can often be ex- 
 tended conveniently, if necessary, by a judi- 
 
 267 
 
Marshalling cious use of ornamental devices like roses 
 of Arms Qj. other flowers between the words. The 
 ends of scrolls with mottoes have a more 
 satisfactory appearance if shown partly 
 curled up and partly pulled out spirally, 
 than if forked and waved, as may so often 
 be seen now-a-days. Scrolls always look 
 better if not bordered or edged in any 
 way, but this does not apply to the narrow 
 boundmg Ime that may be necessary in 
 enamelled work. 
 
 268 
 
CHAPTER XI 
 
 CROWNS, CORONETS, AND COLLARS 
 
 Crowns and Coronets ; Introduction of Coro- 
 nets ; Coronets of Princes, Dukes, and Earls; 
 Bequests of Coronets ; Illustrations of Coronets 
 and Crowns ; Collars and Chains ; Collars of 
 Orders; Lancastrian Collars of SS ; Yorkist 
 Collars of Suns and Roses ; Tudor Collars of SS ; 
 Other Livery Collars ; Waits' Collars ; Collars 
 and Chains of Mayors, Mayoresses and Sheriffs ; 
 The Revival of Collars; Inordinate Length of 
 modern Collars. 
 
 At the present day it is the habit of divers 
 ladies of rank to surmount their hair, when 
 occasion allows, with diamond tiaras of 
 surpassing splendour. The ladies of olden 
 time were not free from a similar weakness, 
 but the diamond mines of South Africa 
 being then unknown, and other gems too 
 costly, they encouraged the goldsmiths to 
 make them beautiful crowns and crestings, 
 with which they adorned their heads and 
 headgear. A reference to the accurate 
 drawings and details published by Stothard 
 in his Monumental Effigies w\\\s\\ownot only 
 
Crowns, 
 
 Coronets, 
 
 and 
 
 Collars 
 
 the high artistic excellence of these orna- 
 ments, but also how becoming they were 
 to the ladies who wore them. They varied 
 greatly in design, from the simple circlet 
 
 Fig. 158. Crowned effigy of Queen Eleanor at 
 Westminster. 
 
 of fleurons and trefoils of Queen Eleanor 
 of Castile (fig. 158) to the sumptuous piece 
 of jewellery beset with pearls and stones, 
 which is represented on the alabaster effigy 
 of Queen Joan at Canterbur}^ (fig. 159) 
 and reflects so worthily the yet more 
 splendid crown of her husband, King 
 Henry IV (fig. 173). 
 270 
 
Attention has already been drawn to the Crowns, 
 
 decorative use of crowns in heraldry, and Coronets, 
 
 and 
 I 1 Collars 
 
 Fig. 159. Crowned effigy of Queen Joan at 
 Canterbury. 
 
 a reference promised to the coronets of 
 peers and peeresses. 
 
 Coronets, as they are now called, origi- 
 nated as early as 1343, when Edward duke 
 of Cornwall and earl of Chester was created 
 Prince of Wales, and invested by his father 
 with a circlet (serium) on his head, a gold 
 ring on his finger, and a golden verge which 
 
 271 
 
Crowns, was placed in his hand. The circlet in 
 Coronets, question passed into the possession of his 
 Collars brother, Lionel duke of Clarence, who in 
 1388 left in his will 'a golden circlet with 
 which my brother and lord was created 
 prince' as well as 'that circlet with which 
 I was created duke.' This latter event 
 happened in 1362, at the same time that his 
 brother John of Gaunt was created duke 
 of Lancaster, when King Edward girded 
 his son with a sword and put upon his 
 head a fur cap and over it " un cercle d'or 
 et de peres,' a circlet of gold and precious 
 stones. This investiture with a coronet 
 was for some time restricted to dukes, but 
 in 1385 King Richard II bestowed upon 
 Richard earl of Oxford the new dignity of 
 marquess of Dublin, and invested him with 
 a sword and a circlet of gold. 
 
 The investing of an earl with a coronet 
 does not seem to have become customary 
 before the reign of Edward VI, but earls 
 had worn coronets in virtue of their rank 
 for a long time previously. In April 1444, 
 when Henry Beauchamp earl of Warwick 
 was created premier earl by Henry VI, the 
 letters patent of his appointment empower 
 him 'to wear a golden circlet upon his 
 head and his heirs male to do the same on 
 272 
 
feast days in all places where it is convenient Crowns, 
 as well in our presence as of others.' But Coronets, 
 the practice can perhaps be carried still Collars 
 further back, for Selden in his Titles of 
 Honour (p. 680) quotes a receipt dated 
 1319 by William of Lavenham, treasurer 
 of Aymer of Valence earl of Pembroke of 
 'a gold crown of the said earl.' 
 
 By his will dated 1375 Richard FitzAlan 
 earl of Arundel leaves to Richard his son 
 'my best crown {ma melieure coroune) 
 charging him upon my blessing that he part 
 not with it during his life, and that after 
 his death he leave it to his heir in the same 
 manner to descend perpetually from heir 
 to heir to the lords of Arundel in remem- 
 brance of me and of my soul.' He also 
 leaves to his daughter Joan 'my second- 
 best crown' and to his daughter Alice 'my 
 third crown,' under similar conditions. The 
 earl's best crown may be that shown upon 
 the alabaster efHgy at Arundel of his grand- 
 son Thomas earl of Arundel, to whom it was 
 bequeathed by his father (fig. 163). It has 
 alternate leaves and pearled spikes, similar 
 to but richer and better in design than the 
 earls' coronets of to-day. SirN. H.Nicolas 
 suggests that earl Richard's second and third 
 coronets were bequeathed to his daughters 
 s 273 
 
Crowns, 
 
 Coronets, 
 
 and 
 
 Collars 
 
 because both were countesses ; Joan being 
 
 wife to Humphrey Bohun earl of Hereford, 
 
 and Ahce to Thomas Holand earl of Kent. 
 
 There are other bequests of coronets to 
 
 Fig. i6o. Helm and crest, and bust, of Richard 
 Beauchamp earl of Warwick, ob. 1439, from his 
 gilt latten effigy at Warwick. 
 
 ladies : Edmund Mortimer earl of March 
 and Ulster left in 1380 to his daughter 
 Philippa, afterwards wife to (i) John 
 274 
 
Hastings earl of Pembroke, (2) Richard Crowns, 
 earl of Arundel, and (3) John lord St. John Coronets, 
 'a coronal of gold with stones and two Collars 
 hundred great pearls (un coronal (Tor ove 
 perie et deuz cents grands perles) and also a 
 circlet with roses, with emeralds and rubies 
 
 Fig. 161. Effigy of a lady, c. 1250, in ScarclifFe 
 church, Derbyshire. 
 
 of Alexandria m the roses {un cercle ove 
 roses emeraudes et rubies d'alisaundre en les 
 roses).' Michael de la Pole earl of Suffolk 
 also left in 141 5 to his wife Katherine the 
 diadem or coronet which had belonged to 
 her father Hugh earl of Stafford, who died 
 in 1386. 
 
 27s 
 
Crowns, 
 
 Coronets, 
 
 and 
 
 Collars 
 
 The swan's head crest of Richard Beau- 
 champ earl of Warwick (ob. 1439) on his 
 effigy at Warwick is encircled by a crown of 
 stalked pearls, not unhke those of an earl's 
 coronet of the present day (fig. 160). 
 
 Among Stothard's engravings are two of 
 
 Fig. 162. Effigy of a lady in Staindrop 
 church, Durham. 
 
 effigies of quite early date of ladies wearing 
 crowns or coronets. One, at Scarcliffe in 
 Derbyshire (fig. 161), can not be later than 
 about 1250, and the crown in this case is 
 composed of some twenty simple leaves set 
 upright upon the edge of a narrow band. 
 The other, at Stamdrop in Durham, is about 
 a centur}^ later, and represents a widowed 
 276 
 
lady, probably Margery, second wife of Crowns, 
 
 John lord Nevill, wearing a crown of curled Coronets, 
 
 and 
 
 Coll 
 
 ars 
 
 Fig. 163. Thomas earl of Arundel, ob. 1416, 
 from his alabaster eflSgy at Arundel. 
 
 leaves with points between (fig. 162). The 
 next illustration is of special interest since 
 It represents Thomas earl of Arundel {ob. 
 
 277 
 
Crowns, 1416) wearing presumably the coronet 
 
 Coronets, rnentioned above in his grandfather's be- 
 
 CoUars quest (fig. 163) ; his countess Beatrice has a 
 
 shghter coronet of similar character. The 
 
 Fig. 164. Joan Beaufort, countess of West- 
 morland, ob. 1440, from her alabaster 
 effigy in Staindrop church, Durham. 
 
 great alabaster tomb, also at Staindrop, of 
 Ralph earl of Westmorland {ob. 1425) and 
 his two countesses furnishes the next ex- 
 ample. In this case the earl is in armour, 
 but both ladies wear delicate coronets, 
 formed of rows of points with triplets of 
 278 
 
pearls and intervening single pearls, rising Crowns, 
 from narrow ornamental circlets (fig. 164). Coronets, 
 
 The tomb of another earl of Arundel, Collars 
 William FitzAlan (ob. 1487), and of his 
 
 Fig. 165. William FitzAlan, earl of Arundel 
 (ob. 1487), from his effigy at Arundel. 
 
 countess Joan, further illustrates the use 
 of coronets. The earl's coronet is in this 
 case composed of a continuous row of leaves 
 with a jewelled band (fig. 165) ; the count- 
 ess wears a similar coronet, but curiously 
 
 279 
 
Crowns, distorted behind, evidently because it was 
 and ' thought to be more becoming when so worn 
 Collars (fig. 1 66). 
 
 The monument in St. Peter's church 
 
 Fig. i66. Joan countess of Arundel, from 
 her effigy at Arundel. 
 
 in Sheffield, of George earl of Shrewsbury 
 {ob. 1538) and his two wives represents 
 him in armour, with the mantle and collar 
 
 280 
 
of the Garter, and a coronet, now broken, Crowns, 
 about his head. His wives also have Coronets, 
 coronets, which are happily complete, and Collars 
 are composed of contmuous series of twelve 
 short points tipped with pearls. The earl's 
 coronet seems to have had similar points 
 but with sixteen pearls instead of twelve. 
 
 The effigy circa 1500 at Whitchurch 
 m Salop of that famous warrior, John 
 Talbot earl of Shrewsbury, who was killed 
 m 1453, also represents him in the mantle 
 of the Garter over his armour and a coro- 
 net about his head. This is unfortunately 
 badly broken but seems to have resembled 
 that on the Sheffield figures. 
 
 Besides these examples of coronets of 
 earls and their countesses a few illustra- 
 tions of those worn by dukes and duchesses 
 may be cited. 
 
 It has been already noted that the shields 
 on the monument of Humphrey duke of 
 Gloucester (ob. 1446) at St. Albans are 
 surmounted alternately by crested helms 
 and b}' caps with coronets. These coronets 
 have a richly jewelled circlet on which is set, 
 instead of leaves, a series of what seem to 
 be cups full of daisies, with small triplets 
 of pearls between. 
 
 Another good coronet is to be seen 
 
 281 
 
Crowns, on the effigy of Thomas Holand duke of 
 
 Coronets, Exeter (ob. 1447) on the monument 
 
 Collars formerly in St. Katharine's hospital by the 
 
 Tower, now in the chapel in Regent's 
 
 Fig. 167. John Holand duke of Exeter, oJ. 1447, from 
 his effigy at St. Katharine's Hospital, Regent's Park. 
 
 Park. The duke's coronet here is quite 
 narrow, and composed of some eighteen or 
 twenty trefoils set close upon a band (fig. 
 167) ; but his two duchesses have coronets 
 of triplets of pearls with intermediate 
 single pearls, like those of the countesses of 
 Westmorland at Staindrop (fig. 168). 
 282 
 
The alabaster effigy at Ewelme of Alice, Crowns, 
 widow of William duke of Suffolk (oh. Coronets, 
 1450), shows her in a beautiful coronet of Collars 
 fleurs-de-lis alternating with small clusters 
 
 Fig. 168. Head of a duchess of Exeter, from the monu- 
 ment at St. Katharine's Hospital, Regent's Park. 
 
 of pearls (fig. 169), and similar coronetsonce 
 adorned the effigies at Wingfield in Suffolk 
 of her son John de la Pole duke of Suffolk 
 {ob. 1491) and his wife Elizabeth. 
 
 The privilege of wearing coronets was 
 not extended to viscounts until the reign 
 of James I., and to barons until 1661. 
 
 283 
 
Crowns, The official patterns of coronets to which 
 
 Coronets, peers and peeresses are now restricted, have, 
 
 Collars ^^ may be seen from the examples above 
 
 cited, practically no relation to the older 
 
 Fig. 169. Alice duchess of Suffolk, oh. 1475, from 
 her alabaster effigy in Ewelme church, Oxon. 
 
 forms, which exhibited the usual dehghtful 
 medieval elasticity of design. 
 
 The present coronets too are rendered 
 uglier than ever by the modern rule for- 
 biddmg them to be jewelled in any way. 
 This was not formerly the case. Among 
 
 284 
 
the stuff remaining in the palace of West- Crowns, 
 minster in 1553, and deHvered to lady ^°''°""^' 
 Jane Grey, was 'a coronet for a duke, set Collars 
 with five roses of diamonds, six small 
 pointed diamonds, one table emerald, six 
 great ballases, seven blue sapphires, and 
 thirty-eight great pearls, with a cap of crim- 
 son velvet and a roll of powdered armyns 
 about the same;' and a beautifully orna- 
 mented coronet of much earlier date than 
 the painting is shown in a portrait of John 
 marquess of Winchester, the defender of 
 Basing House, who died in 1674. 
 
 It is the custom now for ladies of rank 
 to wear their coronets only at coronations, 
 and to display them on their note paper, 
 their spoons and forks, and on the panels 
 of their carriages and motor cars. Such 
 coronets cannot however be considered 
 artistic objects, even when depicted apart 
 from the crimson velvet bonnets which 
 they encircle, and there is no reason why 
 ladies should not devise and wear coronet- 
 like ornaments of their own invention. 
 
 A little research will show that crowns 
 of every form and fashion have always 
 been freely used in heraldic decoration, 
 both by themselves and as ensigning 
 letters or other devices, and so long as 
 
 28s 
 
o 
 
 fciD 
 
 3 
 
 rs 
 
 a 
 
 * Ui 
 
 OJ 
 
 -Q 
 
 oa 
 
 S 
 
 OJ 
 
 
 l-< 
 
 
 Pi 
 
 r. 
 
 
 
 a 
 
 _aj 
 
 
 
 § 
 
 "o 
 
 X 
 
 U 
 
 n3 
 
 jn 
 
 « 
 
 "4-1 
 
 <D 
 
 C 
 
 SO 
 
 
 
 -a 
 
 
 jQ 
 
 -0 
 
 •^ 
 
 C 
 
 c 
 
 3 
 
 pj 
 
 ^ 
 
 C 
 
 l-l 
 
 0) 
 
 taC 
 
 
 Eh 
 
 o 
 
Coll 
 
 ars 
 
 Crowns, care be taken not to infringe what may be 
 
 Coronets, called official patterns, there are really no 
 and 1- • • r 1 
 
 limits to a continuance or the ancient 
 
 practice. 
 
 The lady Margaret Beaufort, countess 
 of Richmond and mother of King Henry 
 VII, has left us a delightful series of 
 coronets. First, on a seal newly made 
 for her on the accession of her son, her 
 shield of arms is ensigned with a coronet 
 or crown of roses and fleurs-de-lis placed 
 alternately along the edge of a narrow band 
 (pi. xxx). Shortly after 1505 the lady 
 Margaret began to build Christ's College at 
 Cambridge, and both the gatehouse (fig. 
 170) and the oriel of the master's lodge 
 (fig. 171) are rich in heraldic decora- 
 tion. In this case both her arms and her 
 portcullis badge are ensigned with coronets 
 set with a continuous row of triplets of 
 pearls.* In the lady Margaret's later 
 foundation of St. John's College, her arms, 
 etc. again are displayed upon the stately 
 gatehouse ; in this case with a coronet of 
 roses and fleurs-de-lis over the shield, as in 
 her seal (fig. 172). Her portcullis badge on 
 the other hand has over it a fine coronet 
 
 * On the gatehouse the coronet over the arms has 
 been restored. 
 
PLATE XXX. — Crowned shield with supporters and badges 
 of the Lady Margaret Beaufort, 1485. 
 
Crowns, formed of clusters of roses, which recalls 
 Coronets, ^}^g circlet of roses set with emeralds and 
 Collars rubies of Alexandria mentioned earlier in 
 this chapter. It is quite easy to conjure 
 up visions of coronets or circlets formed of 
 lilies or marguerites, or of roses red and 
 white, or of any other suitable flower or 
 device, wrought in gold or gilded silver, 
 and either jewelled or bright with enamel. 
 And let designers take heart when so 
 recent and yet so picturesque an object as 
 the so-called 'naval crown' can be pro- 
 duced, with its cresting of sterns and square 
 sails of ships. This was used most effec- 
 tively some years ago as one of the decora- 
 tions encircling the Nelson Column in 
 London on Trafalgar Day. 
 
 It may be as well to point out that the 
 royal crown has been composed, from the 
 fifteenth century, of crosses alternating 
 with fleurs-de-lis, and since the coronation 
 of King Henry IV it has been distinguished 
 by being arched over cross-wise. The 
 splendid open crown shown on the effigy 
 of the king at Canterbury (fig. 173) is 
 not that wherewith he was crowned, but 
 another worn with the parliament robes 
 in which he is represented. Beautiful 
 examples of crowns of simpler type are 
 290 
 
afforded by the effigies of King Henry III Crowns, 
 
 (fig. 174) and King Edward II (fig. 17s). ^nT' 
 
 When the lady Elizabeth Wydville became Collars 
 the queen of Edward IV, she ensigned her 
 
 Fig. 173. King Henry W from his alabaster effigy 
 in Canterbury cathedral church. 
 
 arms with a beautiful crown or coronet of 
 alternate large crosses and fleurs-de-lis with 
 smaller fleurs-de-lis between, rismg from a 
 richly jewelled band (pi. xxv), and a rich 
 example of the crown of Kmg Henry VIII 
 so treated is to be seen on the great carved 
 panel with his arms, etc. at New Hall m 
 
 291 
 
Crowns, 
 
 Coronets, 
 
 and 
 
 Collars 
 
 Essex (fig. 189). Crosses and fleurs-de- 
 lis are now used only in the coronets of 
 those of ro3'al blood. 
 
 From ornaments for the head it is easy 
 to pass to those for the neck. 
 
 Fig. 174. King Henry III from his gilt-latten 
 effigy at Westminster. 
 
 The wearing about the neck of some- 
 thing which was considered decorative or 
 becoming has been customar}' with the fair 
 sex in every part of the world and m all 
 ages of its history, and necklaces of every 
 form, material, and fashion are as popular 
 to-day as ever. But less attention is now 
 
 292 
 
paid to the decorative collars that once were Crowns, 
 worn not only by women but by men. Coronets, 
 
 T I 1 i 1 r 1- • • 2"Q 
 
 It has alwaj^s been a mark or distmction Collars 
 
 or dignit}' to wear about the neck a chain 
 
 Fig. 175. King Edward II, from his alabaster effigy 
 at Gloucester. 
 
 or collar of gold, silver, or silver-gilt, either 
 as an ornament or a decoration of honour, 
 or as a badge of partizanship ; and the 
 most noteworthy of these to-day are the 
 collars of the various orders of Knighthood, 
 such as the Garter (fig. 177), the Thistle, 
 and the Bath. 
 
 293 
 
Crowns, The history and characteristic features of 
 
 Coronets, these are well known, and representations 
 
 CoUars °f them abound ; moreover the wearing of 
 
 M 
 
 BL^ 
 
 99 
 
 I 
 
 ^p 
 
 ^^^^gi^ 
 
 1 
 
 ^ 
 
 
 ^r| 
 
 1 
 
 ^^H^ i-^^H 
 
 ^K,'=rj^|v^ 
 
 p& p 
 
 1 
 
 Vl^a 
 
 ^^^ 
 
 i^SK^^S 
 
 1^ 
 
 I^^S 
 
 Q^n 
 
 oP^mIeI 
 
 H 
 
 ^^K^'''-' ^1 
 
 WSm 
 
 ^^^i^^^^^H^fl^^^^^l 
 
 fl 
 
 m^^ 
 
 ^K 
 
 ^PT^^^B^^^^V^S 
 
 5 
 
 ^P 
 
 ^S 
 
 ipl 
 
 i 
 
 ^^^ 
 
 
 Fig. 176. Crowned initials of King Henry 
 VII from his lady chapel at Westminster. 
 
 them is confined to a few privileged persons. 
 It is therefore hardly necessary to discuss 
 them further in a work like the present. 
 
 The case is however different with 
 regard to the so-called livery collars, since 
 these may properly be regarded as models 
 
 294 
 
Crowns, 
 
 Coronets, 
 
 and 
 
 Collars 
 
 Fig. 177. Thomas Howard third duke of Norfolk 
 (i473(?)-i554), with the collar of the Order of the 
 Garter, from the picture by Holbein at Windsor Castle. 
 
 for the formation and construction of such 
 similar collars as may freely be worn to-day. 
 
 295 
 
The most notable of such decorations 
 during the medieval period was the collar 
 
 Crowns, 
 Coronets, 
 
 Collars of SS which formed the distinctive cogni- 
 sance of the House of Lancaster (figs. 178, 
 
 
 1 
 
 Fig. 178. Collars of SS. 
 
 1. From the brass of Lady Camoys 141 9, at Trotton 
 
 in Sussex. 
 
 2. From the brass of Sir William Calthorpe, 1420, 
 
 at Burnham Thorpe m Norfolk. 
 
 179). It was worn by persons of every 
 degree, from the Kmg and Queen to the 
 knight and his esquire, and it was likewise 
 worn by their wives and even conferred on 
 civilians. 
 
 The collar of SS was apparently invented 
 
 296 
 
by King Henr}^ IV before his accession, Crowns, 
 and quite a number of important entries Coronets, 
 that throw light upon its history occur in Collars 
 his household accounts while he was only 
 Henry of Lancaster earl of Derby. 
 
 In 1 390-1 a gold signet was engraved 
 
 Fig. 179. Collar of SS from the efligy of 
 William lord Bardolf, ob. 1441, at Denning- 
 ton in Suffolk. 
 
 for him 'cum j plume et j coler,' of which 
 unhappily no impressions are known. In 
 1591-2 there was made for him a 'coler' 
 of gold 'with seventeen letters of S after 
 the manner of feathers with scrolls and 
 
 297 
 
and 
 Collars 
 
 Crowns, scriptures in the same with a swan in the 
 *^°^°"f"' tiret.' This recalls the badge upon one 
 of Henry's own seals as Earl of Derby 
 (1385), described above (p. 167), an ostrich 
 plume entwined with a scroll and the 
 scripture [oUDCreYnc (pi. xxiv c), and we 
 know from other sources of Henry's favour 
 towards the Bohun swan, which device he 
 used in right of his first wife, the, lady 
 Mary Bohun. The collar of SS moreover, 
 on the effigy of John Gower the poet {ob. 
 1402), in Southwark cathedral church, has 
 a swan on the pendant of it, and no doubt 
 represents the collar actual!}^ given to him 
 by Henry of Lancaster in 1393-4. The 
 inital letter, too, of the charter granted to 
 the city of Gloucester b}^ Henry as King in 
 1399, contains a crown encircled b}^ a collar 
 of SS ending in two lockets between which 
 IS a pendant charged with a swan. The 
 earl's accounts for 1393-4 niention the 
 purchase of the silver of 'a collar made 
 with rolled esses and given to Robert 
 Waterton because the lord had given the 
 collar of the same Robert to another 
 esquire.' 
 
 In 1396-7 a charge is entered 'for the 
 weight of a collar made, together with 
 esses, of flowers of [ODCtgne DOUS be 
 298 
 
lars 
 
 tnOY/* hanging and enamelled, weighing Crowns, 
 eight ounces.' Coronets, 
 
 What these flowers were is uncertain, q^h 
 Charges for making 'flores domini' occur 
 in 1 390-1 and other 3^ears, and in 1 391-2 
 three hundred leaves (J flowers) de souveine 
 vous de moy of silver-gilt were bought for 
 one of the earl's robes. 
 
 In 1407 Henry of Lancaster as King 
 ordered payment to be made to Christo- 
 pher Tildesley, citizen and goldsmith of 
 London, of the huge sum of £385 ds. %d. 
 'for a collar of gold worked with this word 
 |ODet(3ne5 and letters of S and X en- 
 amelled and garnished with nine large 
 pearls, twelve large diamonds, eight balases 
 and eight sapphires, together with a great 
 nouche in manner of a treangle with a 
 great ruby set in it and garnished with four 
 large pearls. 'f 
 
 Most of these entries suggest that the 
 mysterious SS stand for Soveig7iez, and 
 possibly at one time this was the case, but 
 
 * In 1426 Sir John Bigod lord of Settrington left 
 to his daughter a covered cup 'pounset cum sovenez 
 de moy'; perhaps a gift to him from Henry of 
 Lancaster. Tesiamenta Eboracensia (Surtees Soc. 4) 
 i. 411. 
 
 t P.R.O. Issue Rolls (Pells) Mich. 8 Henry IV 
 (1407). 
 
 299 
 
Crowns, Henry's seal as earl of Derby in 1385 
 Coronets, containing the feathers with the scripture 
 Collars fouoereyne must not be overlooked. 
 There is moreover, on a fragment which 
 has fortunately survived in a tattered and 
 burnt mass of fragments of a jewel account 
 of Henry's reign in the PubHc Record 
 Office, the important entry of a payment 
 to Christopher Tildesley of 'a collar of 
 gold made for the King with twenty-four 
 letters of S pounced with [ODSratn, and 
 four bars, two pendants, and a tiret with a 
 nouche garnished with a balas and six large 
 pearls (the balas bought of the said 
 Christopher for £10 and the price of the 
 pearls at 40J., being £12) weighing 7 oz. 
 Troy at 235. 4^. £8 31. 4^. Also a black 
 tissue for the same collar 31. i\.d. and for 
 the workmanship of it £4.'* The King's 
 word foceraYttC also occurs manv times, 
 with the Queen's word a temperance, on 
 the tester over their monument at Canter- 
 bury, which has likewise the shield of arms 
 for the King, the King and Queen, and the 
 Queen alone, encircled in each case with a 
 collar of SS with golden eagles placed upon 
 the tiret. Gold eagles also form stops be- 
 tween the repetitions of the word [operaYlte. 
 * Accounts, Exch. K. R. 404 / 18. 
 300 
 
Another example of a collar of SS with Crowns, 
 an eagle as a pendant is to be seen on the ^^^ ' 
 monument of Oliver Groos, esquire (ob. Collars 
 1439) in Sloley church, Norfolk (fig. 180). 
 
 ^ 
 
 
 MMlMi 
 
 Fig. 180. Spandrel of the tomb of Oliver Groos, Esq. 
 {ob. 1439) in Sloley church, Norfolk, with collar of SS. 
 
 301 
 
Crowr.s, Examples of effigies in stone or brass of 
 
 Coronets, men and women wearing the collar of SS 
 Collars 2re common throughout the Lancastrian 
 period. The SS seem in most cases to be 
 represented as sewn or worked upon a band 
 of silk, velvet, or other stuff,* which usually 
 ends in buckled lockets, linked by a trefoil- 
 shaped tiret, from which is hung a small 
 ring (fig. i8i). 
 
 Several other interesting occurrences of 
 the collar of SS may be noted. In one of 
 the wmdows in the chapter house at Wells 
 is a shield of the arms of Mortimer, and 
 next to it a gold star within the horns of a 
 crescent part}' blue and silver, encircled 
 by a collar of SS also half blue and 
 half white. As there are associated with 
 these the arms of the King and of Thomas 
 duke of Clarence {ob. 1421), they probabl}^ 
 commemorate Edmund Mortimer earl of 
 March, who died in 1425. 
 
 In 1449 a receipt given to the steward 
 of Southampton b}' the prior of the Shene 
 Charterhouse, which was founded by King 
 Henry V, bears a seal with tl'JS within a 
 collar of SS ; and in St. Mary's church at 
 
 * Notice of the theft of a collar of black silk dotted 
 [stipatum) with silver letters of SS is entered on the 
 Patent Roll of 7 Henry IV (1406), part ii, m. 29. 
 
 302 
 
Bury St. Edmunds the ceiling over the Crowns, 
 
 tomb of John Baret, an ardent Lancastrian Coronets, 
 -^ and 
 
 T Collars 
 
 Fig. i8i. Collars of SS from (i) the effigy of Queen 
 Joan at Canterbury, and (2) the effigy of Robert 
 lord Hungerford at Salisbury. 
 
 who died m 1480, is painted with collars 
 of SS surroundmg his monogram. 
 
 303 
 
Crowns, There is also in a MS. in the British 
 
 Coronets, Museum,* written probably for John lord 
 Collars Lovel {ob. 1414), a painting of the arms of 
 Holand quartering Lovel surrounded by a 
 collar, one half of which is white and the 
 other half blue, with gold letters cf SS, 
 having for a pendant a gold fetterlock, 
 party mside of red and black. 
 
 On a brass c. 1475 at Muggmgton 
 in Derbj^shire the Beaufort portcullis 
 appears as a pendant to the collar of SS. 
 
 With the rise to power of the Yorkists 
 on the accession of Edward IV a rival collar 
 to that of the Lancastrian livery came into 
 vogue, composed of blazing suns and York 
 roses disposed alternately (fig. 182). It 
 may be seen in various forms on a number 
 of monumental effigies and brasses, usuall^^ 
 with the couchant white lion of the house 
 of March as a pendant, but on the accession 
 of Richard III the lion was replaced bv 
 his silver boar. On the wooden Nevill 
 effigies at Brancepeth the earl has a collar 
 of rayed suns with the boar pendant, 
 while the countess has a collar of alternate 
 suns and roses. Joan countess of Arundel, 
 on her effigy at Arundel (fig. 166), shows 
 another variation by interpolating the 
 *Harl. MS. 7026, f. 13. 
 
FitzAlan oak leaves between the suns and Crowns, 
 the roses. Coronets, 
 
 and 
 Collars 
 
 Fig. 182. Collars of suns and roses from (i) 
 the effigy of a knight of the Erdington 
 family at Aston, Warwickshire, and (2) from 
 the effigy of Sir Robert Harcourt K.G., 
 1471, at Stanton Harcourt, Oxon. 
 
 u 30s 
 
and 
 Collars 
 
 Crowns, After the accession of Henrj^ VII the 
 
 Coronets, collar of SS was again revived, but with 
 variations and different pendants. The 
 effigy, for example, at Salisbury of Sir John 
 Chevney K.G. {ob. 1489) has appended to 
 his SS collar a large portcullis charged 
 with a rose. A collar of gold, weighing 
 over 7 ounces, is recorded to have been 
 given in 1499 to adorn the image of the 
 Holy Trinity in Norwich cathedral church 
 and is described as containing twent_v-five 
 letters of S, two tirets, two ' purcoles' (port- 
 cullises) and one double R (.^) with a red 
 rose enamelled.* A similar collar, but all of 
 gold, is shown in the portrait of Sir Thomas 
 More, painted by Holbein in 1527 (fig. 183). 
 On a brass c. 15 10 at Little Bentley in Essex 
 thecoUar of SS has a portcullis pendant, and 
 on the Manners effigy (c. 151 3) at Windsor 
 and the Vernon effigy (1537) at Tong 
 the pendant to the knight's collar is a large 
 double rose. 
 
 The collars on the Salkeld effigies (1501) 
 at Salkeld in Cumberland are composed of 
 SS and four-leaved flowers alternately, and 
 that worn by Sir George Forster (ob. 1526) 
 on his tomb at Aldermaston in Berkshire is 
 of SS laid sidewaj's and alternating with 
 * Norwich Sacrist's Register, xi. f. in. 
 306 
 
Crowns, 
 Coronets, 
 
 and 
 Collars 
 
 Fig. 183. SirThomas More wearing the collar of SS ; 
 from an original portrait painted by Holbein in 
 1527, belonging to the late Mr. Edward Huth. 
 
 knots, and has a portcullis and rose pendant. 
 In 1545 Sir John Alen, sheriff in 15 18 and 
 
 307 
 
Crowns, lord mayor in 1525 and 1535, bequeathed 
 Coror 
 an 
 Collars 
 
 Coronets, f^^ ^.j^g ^gg ^f ^j^e lord mayor of London, 
 and his successors for ever, his collar of 
 
 SS, knots, and roses of red and white 
 enamel ; and a cross of gold with precious 
 stones and pearls was given to be worn 
 with it in 1558. An effigy of a Lisle c. 
 1550 at Thruxton in Hants has a similar 
 collar of SS, knots, and roses, also with a 
 cross as a pendant. Sir John Alen's collar, 
 somewhat enlarged, and with a modern 
 'jewel' as a pendant, is still worn by the 
 lord mayor of London, and is the only 
 medieval collar of SS that has survived. 
 
 After the reign of King Henry VHI the 
 wearing of the collar of SS gradually 
 became restricted to judges and other 
 officials, and has so survived to the present 
 day, when it is still worn in England by 
 the lord chief justice, the kings-of-arms, 
 heralds, and pursuivants, and b}^ the ser- 
 geants-at-arms. 
 
 The lord chief justice's collar, like all 
 those formerly worn by the judges, is com- 
 posed of SS and knots ; the others of SS 
 only. 
 
 Beside the livery collars above mentioned, 
 others have been worn from time to time. 
 
 In the exquisitely painted diptych of 
 
 308 
 
Richard II and his avowries, now at Wilton Crowns, 
 House, the King has about his neck a collar Coronets, 
 formed of golden broom-cods, and the Collars 
 gorgeous red mantle in which he is habited 
 IS covered all over with similar collars en- 
 closing his favourite badge, the white hart. 
 A collar of gold 'de Bromecoddes' with a 
 sapphire and two pearls occurs in the great 
 inventory taken on the death of King 
 Henry V, and a collar formed of SS and 
 broom-cods was also made for King Henry 
 VI in July 1426.* 
 
 On his effigy at Ripon (c. 1390) Sir 
 Thomas Markenfield displays a collar 
 formed of park palings, which widen out 
 in front to enclose a couchant hart (fig. 184). 
 If this were not a personal collar, it may 
 have been a livery of Henry of Lancaster 
 as earl of Derby. 
 
 A brass of the same date of a knight, 
 formerly at Mildenhall, showed him as 
 wearing a collar apparently once composed 
 of scrolls with scriptures, joining in front 
 upon a large crown with a collared dog or 
 other beast within it. 
 
 The brass at Wootton-under-Edge of 
 Thomas lord Berkeley (ob. 141 7) shows 
 
 * John Anstis, The Register of the viost noble Order 
 of the Garter (London, 1724), ii. 116 note. 
 
Crowns, him with a collar sewn with mermaids, the 
 
 Coronets, cognisance of his house (fie. 185). 
 and o -- 
 
 Coll 
 
 ars 
 
 Fig. 184. Head of the effigy in Ripon Minster 
 of Sir Thomas Markenfield with liver\ collar 
 of park-palings. 
 
 In his will dated 1430 Wilham Stowe 
 the elder, of Ripon, a retainer in the 
 310 
 
household of the earl of Northumberland, Crowns, 
 bequeathes his silver livery Ajiglice cres- 'Coronets, 
 saunt and his livery Anglice coller to the cdiai-s 
 shrine of St. Wilfrid.* Possibly the 'cres- 
 saunt' was an object similar to that here 
 figured (now belonging to the Duke of 
 
 Fig. 185. Thomas lord Berkeley {oh. 1417) with a 
 collar of mermaids, from his brass at Wootton- 
 under-Edge, Gloucestershire. 
 
 Northumberland), and the collar like that 
 formed of p's and crescents enclosing p's 
 linked together which is engraved upon it 
 (fig. 186). 
 
 * "Item ego liberaturam meam argenteam Anglice 
 cressaunt, et liberaturam meam Anglice coller. ad 
 feretrum Sancte Wilfridi." Test. Ebor. ii. 13. 
 
Crowns, The earlier collars, as has already been 
 
 Coronets, noted, were composed of devices sewn 
 
 Collars upon a band of stuff, but in later examples 
 a more open treatment is found wherein 
 the devices are linked together by short 
 
 Fig. 1 86. Silver badge belonging to the 
 Duke of Northumberland. 
 
 pieces of chain, as in the collar of SS 
 shown in Sir Thomas More's portrait. 
 The Yorkist collar of suns and roses on an 
 effigy at Erdington is so treated, as is the 
 collar of SS and flowers on the Salkeld 
 effigies, which ma}^ perhaps be a personal 
 and not a livery collar. 
 312 
 
Collars of similar construction, but always Crowns, 
 of silver, with pendent scutcheons of the *-oronets, 
 town arms, were worn by the little bands Collars 
 of minstrels called waits, formerly in the 
 employ of most towns of importance (fig. 
 
 In London the sixwaits appointed in 1475 
 had silver collars of SS with scutcheons of 
 the city arms. At Exeter the four waits' 
 collars, dating from about 1500, still exist, 
 and are formed of roundels with it's and 
 H's alternately (fig. 187). Two beautiful 
 waits' collars at Norwich (c. 1550) are com- 
 posed of silver castles and gilded leopards 
 alternately, like those in the appended shield 
 (fig. 187). The waits' collars at Lynn were 
 formed of scrolled leaves alternating with 
 dragons' heads pierced with crosses, like 
 those in the town arms, which are allusive 
 of St. Margaret (fig. 187). At York the 
 collars are formed wholly of little silver 
 leopards, and at Beverley of eagles and 
 beavers alternately. The waits' collars at 
 Bristol date from the reign of Queen Mary, 
 and are composed of pierced roundels con- 
 taining alternately the letters CB and a 
 rose dimidiating a pomegranate. 
 
 The wearing of collars, or chains as they 
 are called, by mayors, mayoresses, and 
 
sheriffs is comparatively modern. It was Crowns, 
 
 formerly the custom for every person of Coronets, 
 
 ,. ' • , • J • and 
 
 any dignity to wear a chain, and it was CoHars 
 
 only when chains began to go out of 
 
 fashion that the wearing of them survived 
 
 among persons of particular dignity such 
 
 as mayors and sheriffs. 
 
 The collar of SS worn by the lord mayor 
 
 of London is an exceptional example, and 
 
 the only other early mayor's chain is that 
 
 given to Kingston-on-Hull in 1564 and 
 
 remade in 1570. A plain gold chain was 
 
 bequeathed to the city of York in 1612, 
 
 and 'a fayre chayn of gold double 
 
 linked with a medall of massy gold' was 
 
 given to the town of Guildford in 1673. 
 
 In 1716 a gold chain for the mayor was 
 
 given to the city of Norwich, but passed 
 
 on for the use of the deputy mayor on a 
 
 new chain being given in 1757. Yarmouth 
 
 bought itself a chain in 1734, and seven 
 
 other towns became possessed of mayors' 
 
 chains towards the end of the eighteenth 
 
 centur}'. Down to 1850 some fifteen more 
 
 ma3^ors' chains came into existence, mostly 
 
 of simple type, like the older chains, with 
 
 one or more rows of plain or ornate links, 
 
 Since 1850 practically ever}^ town that can 
 
 boast of a corporation has likewise got a 
 
 31S 
 
Coll 
 
 ars 
 
 Crowns, chain for its mayor, and appalling creations 
 
 Coronets, many of them are, with rows of tablet links, 
 and , . , , , 
 
 and armorial pendants as large as saucers. 
 
 A simple gold chain to be worn by the 
 sheriffs of Norwich was given in 1739, but 
 those at Chester, Newcastle, Exeter, and 
 other places are quite recent. In London 
 it has been the custom for the friends and 
 admirers of the sheriffs to present them with 
 elaborate gold collars on their accession to 
 office, but these are happily private prop- 
 erty and not official insignia. The same 
 description applies to them as to the recent 
 mayors' chains. 
 
 Chains for mayoresses have not yet be- 
 come general, but thej^ are being multiplied 
 yearly. The mayoress of Kingston-on- 
 HuU had an official chain as earh' as 1604, 
 but it was sold as being 'useless' in 1835. 
 The lady mayoress of York has a chain of 
 plain gold links given in 1670, which is 
 regularly weighed on its deliver}^ and re- 
 turn by the wearer. All other mayoresses' 
 chains are quite recent, and in most cases 
 of the same fearsome design as those worn 
 b}^ their husbands. 
 
 The unfortunate mayors, ma3^oresses, 
 and sheriffs are practically at the mercy of 
 ignorant and inartistic tradesmen for the 
 
 316 
 
designing and making of the collars they Crowns, 
 
 are called upon to wear officialh', but that Coronets, 
 
 , , ■ ,• and 
 
 IS no reason why people with more en- Collars 
 
 lightened ideas should not invent, design, 
 and wear collars or chains that are beau- 
 tiful in themselves. The examples alread}^ 
 quoted and the man}' illustrations of others 
 that are accessible will show what comely 
 ornaments the old heraldic collars were, 
 and many a lad}' would look well in a 
 collar to whom a necklace is most un- 
 becoming. Flowers, letters, and devices of 
 heraldic import can easily be embroidered 
 m gold, or struck out of metal and 
 enamelled, and then be sewn down on 
 velvet or silk stuff, or linked together by 
 fine chains. 
 
 But let every wearer of a chain or collar 
 avoid the error of making it too long. 
 The ancient collars were quite short, and 
 therefore rested comfortably and easily 
 upon the shoulders. Official collars have 
 however grown to so preposterous a length 
 that they have to be tied with bows of 
 ribbons upon the shoulders to hinder them 
 from slipping off the wearer altogether ! 
 The reason of this is curious and instruc- 
 tive. The old collars were, as aforesaid, of 
 sensible dimensions, but the introduction 
 
Crowns, of wigs in the seventeenth century necessi- 
 Coronets, tated the collars being lengthened to be 
 
 Collars worn outside them. Wigs had their day 
 and at last disappeared from general wear, 
 but the lengthened collars remain, and it 
 has not occurred to anyone in authority 
 that thev might now advantageously be 
 shortened. So the inconvenience goes on. 
 
 318 
 
CHAPTER XII 
 
 HERALDIC EMBROIDERIES 
 
 The Introduction of Armorial Insignia in Em- 
 broidered Vestments : on Robes : on Beds, etc. 
 
 No one who has had occasion to examine 
 any series of old wills and inventories, 
 especially those of the fourteenth and 
 fifteenth centuries, can fail to have noticed 
 what a large part was played by heraldry 
 in the household effects of our forefathers. 
 In the vestments and other ornaments of 
 the chapel, the hallings, bankers, and 
 like furniture of the hall, the hangings and 
 curtams of the beds and bedchambers, the 
 gold and silver vessels and utensils of the 
 table, or in carpets and cushions and foot- 
 stools, shields of arms, badges, mottoes, 
 and quasi-heraldic devices of all sorts were 
 as common as blackberries in autumn. 
 
 And the evidence of illuminated pictures 
 and monumental effigies is equally strong 
 in showing that heraldry was quite as much 
 in vogue for personal adornment. 
 
 As a matter of fact heraldry had its very 
 
Fig. i88. Part of an embroidered altar frontal with 
 a rebus at Baunton in Gloucestershire. Date, late 
 fifteenth century. 
 
origin in a system of devices to be worn Heraldic 
 on shields and banners and coats-of-arms Embroi- 
 to distinguish the wearer in battle, and 
 from the coat-of-arms of the knight it was 
 but a step to the armorial gown or mantle 
 of his lad}^. 
 
 It would be somewhat tedious to extract 
 from the authorities just cited, especially 
 since they are easily accessible, every entry 
 relating to an heraldic ornament or piece 
 of furniture. But with regard to hangings 
 and embroideries the case is somewhat 
 different, inasmuch as numbers of ladies 
 are engaged nowadays in stitch-work of 
 every kind, amongst which heraldic em- 
 broider}^ ought certainly to have a p'ace. 
 
 As might be expected, the inventories of 
 Church stuffs furnish us with some of the 
 earliest examples of heraldic embroideries, 
 and often in sufficiently precise terms to 
 enable us to realize what the things looked 
 Hke. 
 
 Thus an inventor}^ taken in 13 15 of the 
 ornaments at Christchurch, Canterbury, 
 enumerates such things as a chasuble and 
 five copes, the gift of Katharine Lovel, 
 sewn with arms of divers persons ; a 
 white cope of the arms of the King of 
 Scotland ; a cope of Peter bishop of Exeter 
 X 321 
 
Heraldic (ob. 1291) of baudek}^ 'with biparted 
 Embroi- shields ' (an earl}^ example) ; a cope of 
 John of Alderby bishop of Lincoln, and 
 another of Thomas Burton bishop of 
 Exeter, of green cloth embroidered with 
 shields ; an albe with apparels of blue 
 velvet embroidered with shields and fleurs- 
 de-lis ; two albes sewn with shields and 
 black letters, and a third of red samite 
 embroidered with shields and popinjays; 
 an albe sewn with lozenges with the arms 
 of the King of England and of Le3'bourne ; 
 an albe sewn with shields and embroidered 
 with letters ; an albe sewn with the arms 
 of Northwood and Po\'n\'ngs m quad- 
 rangles ; and an albe, stole, and fanon sewn 
 with divers arms in lozenges with purple 
 frets. The same inventor;- mentions a 
 vestment of Philip King of France, made, 
 quite properly, of blue cloth with fleur-de- 
 lis ; and a number of vestments with 
 orphreys of the arms of the King of England 
 and of France. 
 
 The inventory of the vestry of West- 
 minster Abbev taken in 1388 also contains 
 some interesting heraldic ornaments, such 
 as a frontal with the arms of England and 
 France m red and blue velvet woven with 
 golden leopards and fleur-de-lis, from the 
 322 
 
burial of King Edward III ; six murrey Heraldic 
 carpets woven with the new arms of the t-nibroi- 
 Kmg of England and of the count of 
 Hamault (m other words, the quartered 
 shield adopted b)' Edward III in 1340, 
 and the arms of his queen, Philippa of 
 Hamault) ; four carpets of the arms of the 
 earl of Pembroke ; four carpets of red 
 colour woven with white shields having 
 three red fleurs-de-lis, of the gift of Richard 
 Twj'ford, whose arms the}' were; five 
 black carpets having in the corners shields 
 of the arms of St. Peter and St. Edward ; 
 two green silk cloths sewn with the arms 
 of England, Spain, and Queen Eleanor; a 
 bed with a border with the arms of the 
 King of Scotland ; three new copes of a 
 red colour of noble cloth of gold damask, 
 with orphreys of black velvet embroidered 
 with the letters T and A and swans of 
 pearl, the gift of Thomas duke of Gloucester 
 whose wife was Eleanor Bohun, and her 
 family badge a white swan ; a cope of red 
 velvet with gold leopards and a border of 
 blue velvet woven with gold fleurs-de-lis, 
 formerly the lord John of Eltham's, whose 
 fine alabaster tomb in the abbey church has 
 the same arms on his shield. 
 
 A St. Paul's inventory of 1402 also 
 
Heraldic contains a few choice examples : a cope of 
 Embroi- j-gj velvet with gold lions and orphreys of 
 the collars of the duke of Lancaster and a 
 stag lying in the middle of each collar; a 
 suit of blue cloth of gold powdered with 
 gold crowns in each of which are fixed two 
 ostrich feathers ; six copes of red cloth of 
 gold with blue orphreys with golden- 
 hooded falcons and the arms of Queen 
 Anne of Bohemia; three albes and amices 
 of linen cloth with orphreys of red velvet 
 powdered and worked with little angels 
 and the arms of England, given by Queen 
 Isabel ; three albes and amices with apparels 
 of red cloth of gold powdered with divers 
 white letters of S and with gold'en leopards, 
 given by John of Gaunt ; two great cushions 
 of silk cloth of blue colour with a white 
 cross throughout, and in each quarter of 
 the cross the golden head of a lion. 
 
 The secular documents carry on the 
 » story. 
 
 Some quite noteworthy items may be 
 found in the account of the expenses of the 
 great wardrobe of King Edward III (1345- 
 48-9) : for making a bed of blue tafFata 
 for the King powdered with garters con- 
 taining this word bottY [oit q mal y 
 penfc; for making a jupe of blue taffata for 
 
 324 
 
the King's body with Garters and buckles Heraldic 
 and pendants of silver-gilt ; for making 40 Embroi- 
 clouds for divers of the Kings' garments, 
 embroidered with gold, silver, and silk, 
 with an ^£ in the middle of gold, garnished 
 with stars throughout the field ; for making 
 six pennons for trumpets and clarions 
 against Christmas Day of sindon beaten 
 with the King's arms quarterly ; for making 
 of a bed of red worsted given to the lord 
 King by Thomas de Colley powdered with 
 silver bottles having tawny bands and cur- 
 tains of sindon beaten with white bottles; 
 for making a harness for the lord David 
 King of Scotland of 'blu' velvet with a 
 pale of red velvet and within the pale 
 aforesaid a white rose; for making a har- 
 ness of white bokeram for the King 
 stencilled with silver, namely a tunic and 
 shield wrought with the King's word hci\ 
 
 hay tl]e w\il}Q \wan; by gobcs foule 3 
 
 am tljY tnan and a crupper, etc. stencilled 
 with silver; for making a doublet for the 
 King of white linen cloth having about the 
 sleeves and bottom a border of green long 
 cloth wrought with clouds and vines of 
 gold and with the King's word tt. ts. dS. 
 it. is. 
 
 In 1380 Edmund Mortimer earl of 
 
 325 
 
d 
 
 enes 
 
 Heraldic March, leaves 'our great bed of black 
 Embroi- gj^jj, embroidered with white lions (the 
 badge of the house of March) and gold 
 roses with scutcheons of the arms of 
 Mortimer and Ulster'; and in 1385 Joan 
 princess of Wales leaves to King Richard 
 her son 'm}^ new bed of red velvet em- 
 broidered with ostrich feathers and leop- 
 ards' heads of gold with branches and 
 leaves issuing from their mouths.' 
 
 In 1389 William Pakington archdeacon 
 of Canterbury leaves 'my hailing of red 
 with a shield of the King's arms in the 
 midst and with mine own arms in the 
 corners'; and in 1391 Margaret, the wife 
 of Sir William Aldeburgh, leaves (i) a red 
 hailing with a border of blue with the arms 
 of Baliol and Aldeburgh, (ii) a red bed 
 embroidered with a tree and recumbent 
 lion and the arms of Aldeburgh and 
 Tillzolf, and (iii) a green bed embroidered 
 with griffins and the arms of Aldeburgh. 
 
 The inventoiy of Thomas of Woodstock 
 duke of Gloucester, taken in 1397, also 
 contains some interesting items : a white 
 hailing (or set of hangings for a hall) con- 
 sisting of a dosser and tour costers worked 
 with the arms of King Edward (his father) 
 and his sons with borders paly of red and 
 
 326 
 
black powdered with Bohun swans and Heraldic 
 the arms of Hereford ; a great bed of gold, i-mbi-oi- 
 
 , ■ , , , denes 
 
 that is to sa\' a coverlet, tester, and selour 
 of fine blue satin worked with gold Garters, 
 and three curtains of tartr\'n beaten with 
 Garters to match ; and a large bed of white 
 satin embroidered in the midst with the 
 arms of the duke of Gloucester, with his 
 helm, in Cyprus gold. 
 
 A number of other items in the list are 
 also more or less heraldic ; a bed of black 
 baudek}^ powdered with white roses ; a 
 large old bed of green tartryn embroidered 
 with gold griffins ; twelve pieces of tapestry 
 carpet, blue with white roses in the corners 
 and divers arms : a large bed of blue 
 baudekyn embroidered with silver owls and 
 gold fleurs-de-lis; fifteen pieces of tapestry 
 for two rooms of red worsted embroidered 
 with blue Garters of worsted with helms 
 and arms of divers sorts ; three curtains of 
 white tartryn with green popinja\'s ; a 
 green bed of double samite with a blue 
 pale (stripe) of chamlet embroidered with 
 a pot of gold filled with divers flowers of 
 silver; an old bed of blue worsted embroi- 
 dered with a stag of yellow worsted ; a red 
 bed of worsted embroidered with a crowned 
 lion and two griffins and chaplets and roses ; 
 
 3^7 
 
Heraldic a bed of blue worsted embroidered with a 
 Embroi- white eagle ; a cove-rlet and tester of red 
 worsted embroidered with a white lion 
 couching under a tree ; a single gown of 
 blue cloth of gold of Cyprus powdered 
 with gold stags ; and a single gown of red 
 cloth of gold of Cyprus with mermaids. 
 
 In 1 381 William lord Latimer leaves 
 'an entire vestment or suit of red velvet 
 embroidered with a cross of mine arms,' 
 and in 1397 Sir Ralph Hastings bequeathed 
 'a vestment of red cloth of gold with 
 orphreys before and behind ensigned with 
 maunches and with colours of mine arms,' 
 which were a red maunch or sleeve on a 
 gold ground. 
 
 Among the chapel stuff of Henr\' Bowet 
 archbishop 'of York, in 1423, were a sudary 
 or veil of white cloth with the arms of the 
 duke of Lancaster on the ends, and two 
 costers or curtains of red embroidered with 
 great white roses and the arms of St. Peter 
 (the crossed keys). 
 
 In 1437 Helen Welles of York be- 
 queathed a blue tester with a couched stag 
 and the reason Atixilium meum a Domino. 
 
 In 1448 Thomas Morton, a canon of 
 York, left a hailing with two costers of 
 green and red say paled with the arms of 
 
 328 
 
archbishop Bowet ; and in 1449 the in- Heraldic 
 
 ventory of Dan John Clerk, a York Embroi- 
 
 1 1 '■ • r 1 denes 
 
 chaplain, mentions two covers ot red say 
 
 having the arms of Dan Richard Scrope 
 
 and the keys of St. Peter worked upon 
 
 them. 
 
 To the examples worked with letters 
 may be added a bed with a carpet of red 
 and green with crowned M's, left about 
 1440 b^' a BeverlcA' mason, who also had 
 another bed with a carpet of blue and green 
 with Katharine wheels ; a vestment left in 
 1467, by Robert Est, a chantry priest in 
 York Minster, of green worsted having 
 on the back two crowned letters, namely 
 R and E; and a bequest in 1520 by 
 Thomas duke of Norfolk of 'our great 
 hangede bedde palyd with cloth of golde 
 whyte damask and black velvet, and 
 browdered with these two letters T. A.,' 
 being the initials of himself and his wife. 
 
 There is of course nothing to hinder at 
 the present day the principles embodied in 
 the foregoing examples, which could easily 
 be extended ad infinitum, from being carried 
 out in the same delightful way ; and a small 
 exercise of ingenuity would soon devise a 
 like treatment of one's own arms, or the 
 use of a favourite device or flower, or the 
 
 329 
 
Heraldic setting out of the family word, reason, or 
 Embroi- motto. 
 
 denes r-r-< 
 
 The medieval passion for striped, paned, 
 or checkered hangings might also be 
 revived with advantage, and the mention 
 in 1 391 of 'a bed of white and murre}^ 
 unded,' shows that waved hnes were as 
 tolerable as straight. 
 
 330 
 
CHAPTER XIII 
 TUDOR AND LATER HERALDRY 
 
 Decorative Heraldry of the Reign of Henry 
 VHI; The Decadent Change in the Quality of 
 Heraldry; Examples of Elaborated Arms ; Sur- 
 vival of Tradition in Heraldic Art; Elizabethan 
 Heraldry; Heraldry in the Seventeenth Century 
 and Under the Commonwealth ; Post-Restora- 
 tion Heraldry. 
 
 In the foregoing chapters practically noth- 
 ing has been said or an}' illustration given of 
 heraldry later than the reign of Henry VIII 
 chieflj' because little that is artistic can 
 be found afterwards. There are however 
 certain points about both Elizabethan and 
 Stewart heraldry that are worthy of notice, 
 especially when the old traditions have been 
 followed. 
 
 In the second quarter of the sixteenth 
 century decorative heraldry may be said to 
 have reached its climax, and such examples 
 as can be seen at Hengrave Hall, Hampton 
 Court, Athelhampton House, Cowdray 
 House, St. George's chapel in Windsor 
 Castle, King's College chapel at Cambridge, 
 
Heraldry 
 
 Tudor and and Henry VII's Lady chapel at West- 
 M^f^ minster, or in the beautiful panel of 
 Henry VHI's arms at New Hall in Essex 
 (fig. 189), are quite the finest of their kind. 
 Then comes a falling off, and though spora- 
 dic cases in continuation of tradition may 
 be found, with the advent of the Renais- 
 sance English heraldry underwent a com- 
 plete change. 
 
 One of the most notable differences 
 between the older and the later heraldry is 
 in the quality of the heraldry itself. 
 
 In the da}^s when men devised arms for 
 themselves these were characterized by a 
 simplicity that held its own all through the 
 thirteenth and fourteenth centuries and 
 well down into the fifteenth century. But 
 following upon a privilege that had hitherto 
 been exercised by the King as a mark of 
 special honour, and in some rare cases even 
 by nobles, the heralds than began to assign 
 arms to such of the newly-rich who came 
 to the front after the Wars of the Roses 
 and were willmg to pa}' for them. Hence- 
 forth the artistic aspect of heraldry entered 
 upon a continuous decadent course. 
 
 The beginning is visible in the extra- 
 ordinary compositions devised and granted 
 to all sorts and conditions of men during 
 
 332 
 
Fig. 1S9. Carved panel with the crowned arms, supporters, and 
 badges of King Henry VIII at New Hall in Essex. 
 
Tudor and the reign of Henry VIII. Such arms as 
 
 later j^^j j^ggj^ granted by Henry VI or Ed- 
 
 '^y ward IV, or even by the kings-of-arms in 
 
 the fifteenth century, still followed ancient 
 
 Fig. 190. Paving tile with arms and initials of 
 John Lyte (c. 1535), from Marten church, 
 Wilts. 
 
 precedent, but the Tudor members of the 
 newly incorporated Heralds' College seem 
 to have struck out a Ime for themselves. 
 
 A notable example is furnished by the 
 arms devised for cardinal Thomas Wulcy. 
 These, in token of his Suffolk or'gin, have 
 
 334 
 
for basis the engrailed cross upon a sable Tudor and 
 field of the Uffords (to whom he was not '^"^fT 
 related), charged with the leopards' heads 
 of the de la Poles and a lion passant (per- 
 haps for England) ; to which is added a 
 gold chief, with a red Lancastrian rose and 
 two of the Cornish choughs from the post- 
 humous arms of St. Thomas of Canterbury 
 in allusion to his Christian name ! 
 
 The arms granted byChristopher Barker, 
 Garter, in 1536 to the city of Gloucester 
 afford another example. They consist of the 
 sword of state of the city, with the sword- 
 bearer's cap on the point, set upright on a 
 gold pale, and flanked on either side by a 
 silver horseshoe and a triad of horsenails 
 on a green field ; there is also (as in Wulcy's 
 arms) a chief party gold and purple, with 
 the silver boar's head of Richard III (who 
 granted a charter to the city) between the 
 halves of a Lancastrian red rose and of a 
 Yorkist white rose, each dimidiated with a 
 golden sun ! 
 
 A reference to Bedford's Blazon of Epis- 
 copacy will show that the arms of a con- 
 siderable number of the bishops appointed 
 during the reigns of Henry VIII and 
 Edward VI were characterized by over- 
 charged chiefs like those just described, 
 
 335 
 
Heraldry 
 
 Tudor and and these ma}' be taken as t3'pical of the 
 »""„. arms then being granted b}^ the kings-of- 
 arms. The same passion for crowdmg the 
 shield is seen even in many of the less 
 elaborate arms that were occasionally 
 granted. 
 
 Things did not improve under Mary and 
 Elizabeth. Simple arms continued to be 
 issued from the College, but mixed with 
 such extravagant bursts as that of Laurence 
 Dalton, Norroy, who granted in January, 
 1 560-1 to the famous physician doctor 
 John Caius these arms : 
 
 Golde semyd w'*' flowre gentle in the 
 myddle of the cheyfe, sengrene restmg 
 uppon the heades of ij serpentes in pale, 
 their tayles knytte to gether, all in proper 
 color, resting uppon a square marble stone 
 vert, betwene theire brestes a boke sable, 
 garn3'shed gewles, buckles gold, and to 
 his crest upon thelme a Dove argent, 
 bekyd & membred gewles, holding in 
 his beke b}' the stalke, flowre gentle in 
 propre color, stalked verte, set on a 
 wreth golde & gewles. 
 
 This precious composition is further de- 
 scribed in the grant as 
 
 336 
 
betokening by the boke lerning : b}^ the Tudor and 
 ij serpentes resting upon the square „ fj 
 marble stone, wisdom with grace founded 
 & stayed upon vertues stable stone : by 
 sengrene & flower gentle, immortality 
 y' never shall fade, etc. 
 
 The way in which matters went from bad 
 to worse is shown by the case of the Com- 
 pany of 'Barbours & Chirurgeons' of 
 London, to whom had been granted in 1561 
 
 paly argent and vert, on a pale gules a 
 lyon passant gardant golde betweene two 
 Spatters argent on eche a double rose 
 gules and argent crowned golde. 
 
 The united genius of Garter, Clarencieux, 
 and Norroy 'improved' these arms in 
 1569 into : 
 
 Quarterly the first sables a Cheveron 
 betweene three flewmes argent : the 
 second quarter per pale argent and vert 
 on a Spatter of the first, a double Rose 
 gules and argent crowned golde : the 
 third quarter as the seconde and the 
 fourth as the first : Over all on a Crosse 
 gules a lyon passant gardant golde. 
 
 Such compositions as these could not but 
 
 Y 337 
 
Tudor and fail to bring heraldry into contempt, and 
 „'^'^?^^ men soon ceased to revel in and play with 
 it in the same delightful way as b'efore. 
 Here and there, as in Sir Thomas Tresham's 
 market house at Rothwell, or in Sir Henry 
 Stafford's great mansion of Kirby Hall, 
 tradition has been held fast, and play is 
 made upon the former with the Tresham 
 trefoils, and in the latter with Stafford 
 knots and with crests treated as badges in 
 quite the old style. At Kirby Hall, despite 
 its date (1572-75), and at Cadhay in Devon, 
 sitting figures of beasts with shields of arms 
 were set upon the gables, and at Kirby upon 
 the pinnacles that surmounted the pilasters 
 about the court. A good panel with the 
 arms and badge apparently of Sir John 
 Guldeford, ob. 1565, is to be seen in East 
 Guldeford church, Sussex (fig. 191). 
 
 A remarkably fine specimen of Eliza- 
 bethan heraldic decoration is also to be 
 seen in the great chamber of Gilling castle, 
 Yorks., as finished b}- Sir William Fairfax 
 about 1585. Here the beautiful inlaid 
 wall-panelling is surmounted b}- a frieze 
 nearly four feet deep, painted with hunting 
 scenes and a series of large trees, upon 
 which are hung according to wapentakes 
 the shields of arms of Yorkshire gentlefolk. 
 
 338 
 
The cliimney piece displays the armorial Tudor and 
 ensigns of the builder, with those of his „'^'f^ 
 Queen above, and four other shields, and 
 
 Fig. 191. Arms, with crested helm and badge 
 (a blazmg ragged-staff of, apparently, Sir 
 John Guldeford of Benenden, ob. 1565, in 
 East Guldeford church, Sussex. 
 
 between the frettings of the plaster ceiling 
 are the Fairfax lions and goats, and the 
 Stapleton talbot. The rich effect of the 
 
 339 
 
Tudor and whole is completed b^- the contemporary 
 
 , '^"^f^ heraldic glazing with which the windows 
 Heraldry , ., ^ rn . 
 
 happil}' are nUed. 
 
 But in Elizabethan buildings generally, 
 heraldr\^ made but a poor show. Sup- 
 porters and other creatures had descended 
 from the gables to stand or squat upon 
 gateposts, and occasionally a square panel 
 filled with heraldry' was inset above a 
 doorway or a porch ; or the family crest, 
 divorced from its helm, was carved upon 
 the spandrels of the entrance. But the 
 former glor}- had disappeared, and shields 
 of arms were often replaced by initials and 
 dates of owners and builders, presumably- 
 because theA' were 'non-armigerous per- 
 sons.' 
 
 Withm doors matters were somewhat 
 better. Such gorgeous rooms as the great 
 chamber at Gilling were quite exceptional, 
 and heraldic display was usually confined 
 to the elaboratel}' carved overmantels of 
 the chimneys, which served as a frame for 
 the famil}- arms and crested helm with 
 grand flourishing of mantlings. These 
 were often repeated upon the cast-iron fire- 
 ■ backs. The art of the plasterer was ex- 
 tended to the inclusion of crests and other 
 devices among the ornaments of the 
 
moulded ceilings, and the glazier continued Tudor and 
 to fill the windows with beautiful coloured j, f^ 
 shields of alliances. Occasionally too the 
 family arms were woven into carpets or 
 table covers ; or embroidered b}' the ladies 
 of the house on the hangings of the state 
 bed, within charming wreaths of flowers 
 copied from those in the garden (fig. 192). 
 
 The monuments of the dead continue as 
 before to be adorned with heraldry, but in 
 a different way, and for the beautiful simple 
 arms and devices of the medieval memorial 
 began to be substituted the concentrated 
 shield of the famil}' quarterings, with crest 
 and mantled helm, and such supporters as 
 the College of Arms allowed or approved. 
 
 Despite the inevitable consequent for- 
 mality, there is often much that is good 
 about the treatment of Elizabethan and 
 Jacobean heraldry, and it would not be 
 easy, even at an earlier date, to beat the 
 delightful lions upon the shields on the 
 Lennox tomb at Westminster (fig. 194), or 
 to fill up more satisfactorily a shield like 
 that above the monument of Sir Ralph 
 Pecksall (fig. 195). The eflFective way in 
 which the shield itself is treated in this case 
 is also praiseworthy, and both shields are 
 models of heraldic carving in low relief. 
 
 341 
 
Fig. 192. Part of a bed-hanging embroidered with the arms 
 of Henry and Elizabeth Wentworth, c. 1560, formerly in 
 the possession of Sir A. W. Franks, K.C.B. 
 
The Lennox and Pecksall shields are Tudor and 
 
 likewise indicative of another characteristic ,,'-?'! 
 
 , 11- -11 • Heraldry 
 
 change, the desire to illustrate ancient 
 
 descent by the multiplication of quarter- 
 
 ings. The disastrous consequences of this 
 
 practice, even in the fourteenth and 
 
 Fig. 193. Arms of Cotes, from a 
 mazer prmt of 1585-6. 
 
 fifteenth centuries, have already been 
 pointed out, but in the reign of Elizabeth 
 it was carved to such an excess as to pro- 
 duce at times a mere patchwork of carved 
 or painted quarters, in which the beauty of 
 the heraldry was entirel}^ lost. In the 
 great hall of Fawsle}^ House, Northants, 
 there hangs a coloured achievement of the 
 Knightley family containing actually 334 
 
 343 
 
Fig. 194. Shield from the tomb of Margaret countess 
 of Lennox, ofc. 1578, in Westminster abbey church. 
 
Fig. 195. Achievement of arms from the monument of 
 Sir Richard Pecksall, ob. IS7I> in Westminster abbey 
 church. 
 
Tudor and quarterings, which have been rightly 
 
 , '^"^f^ described by Mr. J. A. Gotch as '330 too 
 Heraldry r j • rr ^ > 
 
 many tor decorative errect. 
 
 The heraldry of the seventeenth century 
 is in general but a duller version of that of 
 the later sixteenth century, with a tendency 
 to become more commonplace as time 
 goes on. 
 
 Under the Commonwealth every vestige 
 of regalit}^ was ordered to be put down 
 and done away ; a very large number of 
 representations of the royal arms were de- 
 faced and destroA'ed ; and the leopards of 
 England were for a time 'driven into the 
 wilderness' along with the lion of Scotland. 
 It was nevertheless thought desirable that 
 the United Kingdom should still have arms 
 and on the great seale of England/ 
 
 IN THE FIRST YEARE OF FREEDOM BY GOd's 
 
 BLESSING RESTORED, that is 1648, the cross 
 of St. George appears for England, and a 
 harp for Ireland. The royal crown was at 
 the same time superseded, on all maces 
 and other symbols of kingly power, b3^ an- 
 other which curiously reproduces all its 
 elements. It had a circlet inscribed the 
 
 FREEDOM OF ENGLAND BY GOd's BLESSING 
 
 RESTORED, with the date, and for the crest- 
 ing of crosses and fleurs-de-lis there was 
 
 346 
 
substituted an intertwined cable enclosing Tudor and 
 small cartouches with the cross of St. rr'^'^f^ 
 George and the Irish harp. The new 
 crown was also arched over, with four 
 graceful incurved members like ostrich 
 feathers, but wrought with oak leaves and 
 acorns. These supported a p3'Tamidal 
 group of four handsome cartouches with 
 the cross and harp surrounded by an acorn, 
 instead of the orb and cross.* Perfect 
 examples of this singular republican crown 
 still surmount the two maces of the town 
 of Weymouth. 
 
 On the obverse of the new great seal of 
 the Commonwealth, designed and engraved 
 by Simon and first used in 1655, the field 
 is filled with an heraldic achievement of 
 some interest (fig. 196). This includes a 
 shield with the cross of St. George in the 
 first and fourth quarters, St. Andrew's cross 
 in the second quarter, and the Irish harp in 
 the third quarter, with the lion of Cromwell 
 on the scutcheon of pretence. This shield of 
 the State's arms is supported by a lion with 
 a royal crown on his head, and by a dragon, 
 
 * A curious variant of this crown, with a jewelled 
 instead of an inscribed band, heads a drawing of the 
 city arms of the date 1651 in the Dormant Book of 
 the corporation of CarUsle. 
 
 347 
 
196. Obverse of the Great Seal of the Republic 
 of England, Scotland, and Ireland, 1655. 
 
Fig. 197. Arms, etc. of the Trinity House, London. From a wood 
 carving c. 1670 In the Victoria and Albert Museum. 
 
Tudor and standing upon the edge of a ribbon with 
 jj'^'^'[ the motto pax qv^ritvr bello, and is 
 surmounted by a front-faced helm with 
 much flourished manthng, with a royal 
 crown and the crowned leopard crest above, 
 set athwart the helm. 
 
 The seal furnishes an excellent illustra- 
 tion of the heraldic art of the period, but 
 it is singular that under a Nonconformist 
 domination the arms selected for England 
 and Scotland should consist of the crosses 
 of their patron saints. It is also interest- 
 ing to note that the expunged arms of 
 England and Scotland had evidently been 
 regarded rightly as personal to the 
 murdered King. A further curious point 
 is the reappearance on the seal of the royal 
 crown of England above the helm and on 
 the leopard crest and the lion supporter. 
 
 On the reverse of the seal just noted 
 the State's new arms are repeated on a 
 cartouche behind the equestrian figure of 
 the Protector. 
 
 Of the heraldry of the Restoration and 
 later it is hardly necessary' to make men- 
 tion, so lifeless and dull is the generality 
 of it. A good specimen c. 1670 with the 
 arms of the Trinit}^ House (fig. 197), 
 and a later one (fig. 198) with the arms, 
 
 350 
 
etc. of the Trevor family, are to be Tudor and 
 seen in the Victoria and Albert Museum. „'^'-fr 
 Reference is due, too, to one other notable 
 
 Fig. 198. Limewood carving with the arms and crest of 
 the Trevor family, c. 1700, in the Victoria and Albert 
 Museum. 
 
 351 
 
Fig. 199. Part of the carved oak ceiling of the chapel, 
 formerly the hall, of Auckland castle, Durham, with 
 the arms of bishop John Cosin. Date, 1662-4. 
 
example. This is the beautiful panelled Tudor and 
 
 ceiling set up over the chapel (formerly the Tj'^'^f'J 
 
 great hall) of Auckland castle, by doctor 
 
 John Cosin bishop of Durham (fig. 199). 
 
 It was in making from 1662 to 1664, by 
 
 a local carpenter, and consists for the most 
 
 part of a series of square panels containing 
 
 alternately the cross and four lions that 
 
 form the arms of the bishopric of Durham, 
 
 and the fret formmg the arms of Cosin. 
 
 In the middle bay the bishops' arms are 
 
 given in an oval, and flanked by similar 
 
 ovals with the eagle of St. John in allusion 
 
 to his name. No earlier wooden ceiling 
 
 could be finer in conception, and the effect 
 
 of the whole was originally enhanced by 
 
 colour and gilding, but this was most 
 
 unhappily removed by order of bishop 
 
 Barrington (1791-1826). 
 
 With so notable a late survival of 
 medieval tradition this book may fitly end. 
 
 353 
 
CHRONOLOGICAL SERIES OF 
 ILLUSTRATIONS 
 
 The following series of illustrations is an attempt 
 to gather up into chronological order such of the 
 more typical examples in this book as serve to 
 show the development and various applications of 
 heraldic art from the thirteenth to the eighteenth 
 century. The series could, of course, have been 
 extended indefinitely, but the present collection is 
 probably sufficient for its purpose. 
 
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 1259 
 
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 from the quire aisle of Westminster Abbey. 
 
 355 
 
Shields c. 1259 from the quire aisles of Westminster abbey 
 church. 
 
 356 
 
357 
 
Quartered shield of Queen Eleanor of Castile, from her 
 tomb at Westminster, 1291. 
 
 358 
 
Seals from the Barons' Letter of 1301 of (l) Hugh 
 Bardolf and (2) Henry Percy. 
 
 359 
 
Diapered shield from the monument of the lady 
 Eleanor Percy (ob. 1337) in Beverley Minster.' 
 
 360 
 
Diapered shield from the monument of the lady 
 Eleanor Percy {ob. 1337) in Beverley Minster. 
 
 361 
 
Shield of the arms of Sir Humphrey Littlebury, from his 
 effigy at Holbeach in Lincolnshire; c. 1360. 
 
 362 
 
363 
 
Shield modelled in boiled leather, from the tomb of 
 Edward prince of Wales, ob. 1376, at Canterbury. 
 
 364 
 
Shield and crested helm with simple mantling from 
 a brass at Southacre, Norfolk, 1384. 
 
 36s 
 
Stall-plate of Ralph lord Bassett, 1390, showing simple forin of 
 mantling. 
 
 366 
 
Shields with lions from (i) Felbrigge, Norfolk, 
 I. 1380, and (2) from Spilsby, Lines, 1391. 
 
 367 
 
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 O 
 
 O 
 
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 CJ 
 
 368 
 
Seal of Richard Bcauchamp earl of Warwick, in 1403, and early 
 fifteenth century heraldic tiles from Tewkesbury abbey church. 
 
371 
 
372 
 
Part of the chancel arcade in Wingfield church, Suffolk, with badges of 
 iVlichael de la Pole earl of Suffolk, ob. 1415, and his wife Katherine 
 Stafford. 
 
 373 
 
Stall-plate of Walter lord Hungerford, after 1426. 
 
 374 
 
Stall-plate of Humphrey duke of Buckingham as 
 Earl of Stafford, c. 1429. 
 
 375 
 
Tomb of Lewis Robsart lord Bourchier, ob. 143 1, in 
 Westminster abbey church. 
 
 376 
 
Banner stall-plate of Richard Nevill earl of Salisbury, c. 1436. 
 
 377 
 
^ .„. . „,-,„-.»^7. i ..y..yii-.ij ' i.it>*jfV?»'W«i^ia > 
 
 'a"<aiga< V<AtH: 
 
 Banner stall-plate of Sir John Grey of Ruthin, c. 1439. 
 
 378 
 

 ^i«li|giii 
 
 liillMIMiMMHWMMaaMiawiitiMirMi^iaM 
 
 Spandrel of the tomb of Oliver Groos, Esq., ob. 1439, in Sloley 
 church, Norfolk. 
 
 379 
 
Print from a mazer at All Souls college, Oxford, 
 c. 1450, and shield from a brass at Stanford 
 Dinglev, Berks, 1444. 
 
Seals of Edmund duke of Somerset, c. 1445, 
 John Tiptoft earl of Worcester, 1449. 
 
 382 
 
Seal of Cecily Nevill, wife of Richard duke of York and 
 mother of King Edward IV, 1461. 
 
 383 
 
L. 1500 
 
 c. 1476 
 Shields from the chantry chapel of Thomas 
 Ramryge abbot of St. Albans, c. 1500, and 
 from a brass at Stoke Poges, Bucks, 1476. 
 
 384 
 
Oriel window in the deanery at Wells, with badges of King 
 Edward IV and rebuses of Dean Gunthorpe, c. 1475-80. 
 
 2 B 
 
 38s 
 
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 ■■«»rir<W«'-*r»- 
 
 '^"^^vimiAj&mei 
 
 386 
 
387 
 
388 
 
Heraldic candle-holder, etc. from the bronze grate about 
 the tomb of King Henry VII at Westminster. 
 
Bronze door with York and Beaufort badges from Henry 
 VII's chapel at Westminster. 
 
391 
 
Crowned arms and supporters uf King Henry \ II 
 in King's college chapel at Cambridge. 
 
 392 
 
iK 
 
 mmr-~— — :~~ — ^ — — ^ I 
 
 Carved panel with the crowned arms, supporters, and badges 
 of King Henry VIII at New Hall, Essex. 
 
 393 
 
Gatehouse of Christ's college at Cambridge built by the 
 lady Margaret Beaufort after 1505. 
 
 394 
 
395 
 
396 
 
397 
 
Paving tile, c. 1535, from Marten churcli, Wilts; 
 and shield of St. George in the Garter from the 
 brass of Thomas earl of Wiltshire and Ormond, 
 1538, at Haver in Kent. 
 
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 Lozenge of arms from the monument at Westminster 
 of Frances Brandon duchess of Suffolk, ob. 1559. 
 
 399 
 
Part of an embroidered bed-hanging, t. 1560. 
 
 400 
 
Arms, with crested helm and badge of 
 (apparently) Sir John Guldeford of 
 Benenden, ob. 1565, in East Guldeford 
 church, Sussex. 
 
 2 C 
 
 401 
 
Armorial ensigns from the monument of Sir Richard 
 Pecksall, ob. 1571, in Westminster abbey church. 
 
 402 
 
Shield from the tomb of Margaret countess of Lennox, 
 ob. 1578, in Westminster abbey church. 
 
 403 
 
Obverse of the Great Seal of the Republic of England, Scotland, and 
 Ireland, 1655. 
 
 404 
 
Part of the carved oak ceiling of the chapel of Auck- 
 land castle, Durham, with the arms of bishop John 
 Cosin. Date, 1662-4. 
 
 405 
 
ti._fc 
 
 Arms, etc. of the Trinity House, London. From a wood car\'ing 
 t. 1670 in the Victoria and Albert Museum. 
 
 406 
 
Limewood carving with the arms and crest of the Trevor 
 family, 1700, in the Victoria and Albert Museum. 
 
 407 
 
INDEX 
 
INDEX 
 
 Academy, Royal, heraldry at 
 
 exhibitions, 33 
 Acton church (Suifolk), brass in, 
 
 252 
 Africa, South, 269 
 Albans, Saint, 54, 164, 259, 281 ; 
 
 abbey church of, 73, 74 
 Albemarle, Richard earl of, see 
 
 Beauchamp ; William earl of, 
 
 see Forz 
 Albert Medal for Bravery, 265 
 Aldeburgh arms, 326 
 Aldeburgh, Margaret, 326; Sir 
 
 William, 326 
 Alderby, John of, bp. of Lincoln, 
 
 322 
 Aldermaston (Berks), 306 
 Alen, Sir John, 307, 308 
 Alexandra, Queen, banner of, 
 
 228 
 Alexandria, rubies of, 275, 290 
 Alnwick, William, bp. of Nor- 
 wich, 264 
 Andrew, saint, cross or saltire 
 
 of, 40, 225, 248, 249 
 Angouleme, arms of, 119 
 Anne of Bohemia, Queen, 89, 
 
 172, 185, 324 
 Anstis, John, 309 
 Anthony, cross of saint, 50 
 Antiquaries, Society of, 233 
 Aquitaine, duchy of, 154 
 Arms, rolls of, 62 
 Arundel (Sussex), effigy at, 277, 
 
 279 
 
 Arundel, Beatrice countess of, 
 278 ; Edmund earl of, see Fitz- 
 Alan ; Joan countess of, 279, 
 280 ; Richard earl of, see Fitz- 
 Alan; Thomas earl of, 273, 
 277 ; Sir Edmund of, 1 18 ; Sir 
 William, 144, 145 ; William 
 earl of, see FitzAlan 
 
 Ashmole, Elias, 224 
 
 Astley, Sir John, 131 
 
 Aston (Warw), effigy at, 305 
 
 Athelhampton House (Dorset), 
 
 331 
 Auckland castle (Durham), 
 
 ceiling in, 352, 353 
 Aveline, countess of Lancaster, 
 
 120 
 
 Badges, 165-184 
 
 Badlesniere, Bartholomew, 1 17 ; 
 
 Maud, 117, 1 18 
 Baliol arms, 326 
 Ballard arms, 61 
 Banastre, Sir Thomas, 141 
 Banner, the King's, 2ig, 220, 
 
 226, 227, 228 
 Banners of arms, 216, 217, 219- 
 
 233 
 Bar, the, 40 
 Barbours and Chirurgeons, 
 
 Company of, 337 
 Bardolf, Hugh, seal of, 68; 
 
 William lord, see Phelip 
 Baret, John, 303 
 Barker, Christopher, Garter, 335 
 
 411 
 
Index Barons' Letter of 1300-1, 49, 
 68, 69, 77, 82, 112, 113, 124, 
 125, 126, 172, 181, 19s 
 Barre, Henry count of, 113; 
 
 Joan dau. of, 113 
 Barrington, bishop, 353 
 Barron, Mr. Oswald, 52 
 Barrv, 43 ; number of bars, 
 
 Bartholomew, hospital of Saint, 
 arms, 48 
 
 Basing House (Hants), 285 
 
 Bassett, Ralph lord, 112, 140, 
 142 
 
 Baston, the, 44 
 
 Bath, collar of the, 293 ; Order 
 of the, 253 
 
 Bath and Wells, Thomas bp. of, 
 see Beckington 
 
 Batour, John, 199 
 
 Battled, 45 
 
 Baunton (Glos), frontal at, 320 
 
 Bayeux, seal for town of, 205, 
 210 
 
 Beatrice countess of Arundel, 
 278 
 
 Beauchamp arms, 51, 58, 63, 
 97; badges, 58, 96, 184; 
 family, 103 
 
 Beauchamp, Henry, earl of 
 Warwick, 272; John, of 
 Hacche, 197; Margaret, 96, 
 214; Richard, earl of War- 
 wick and Albemarle, 61, 96, 
 144, 146, 204, 208, 209, 214, 
 221, 274, 276; Thomas, earl 
 of Warwick, 175, 198 
 
 Beaufort, Edmund, duke of 
 Somerset, 205, 210; Henry, 
 bp. of Winchester, 164; Joan, 
 countessofWestmorland, 278, 
 282; John, duke of Somerset 
 and earl of Kendal, 206, 231 ; 
 
 412 
 
 the lady Margaret, 184, 209, 
 286-288 
 Beaufort portcullis, 169, 288, 
 
 304 
 Beaumont, John lord, 141 ; 
 
 Margaret, 217 
 Beckington, Thomas, bp. of 
 
 Bath and Wells, rebus of, 188, 
 
 191 
 Bedale (Yorks), effigy at, 73 
 Bedford, Jasper, duke of, see 
 
 Jasper 
 Bedford, John duke of, see 
 
 John 
 Bedford's Blazon oj Episcopacy, 
 
 335 
 Bek, Antony, bp. of Durham, 
 
 arms of, 50 
 Bend, the, 40, 41 ; Bendy, 44 
 Benenden (Kent), 339 
 Bensted arms, 114 
 Bensted, Sir John, 114; Parnell, 
 
 114 
 Bentley, Little (Essex), brass at, 
 
 306 
 Berkeley arms, 51, 63; badge, 
 
 184; mermaid collar, 310, 
 
 311 
 Berkeley, Thomas of, 125; 
 
 Thomas lord, 309, 310 
 Bermingham, Walter, 117 
 Berners arms, 97 
 Beverley (Yorks), 329; waits' 
 
 collars, 313 
 Beverley minster, heraldry in, 
 
 54, 106, 107, 108 
 Bigod, Sir John, 299 
 Boar, silver, of King Richard 
 
 HI, 304 
 Bohemia, Anne of, see Anne 
 Bohun, Eleanor, 172, 214, 323; 
 
 Humphrey, earl of Hereford 
 
 and Essex, 172, 193, 194, 196, 
 
274; John '^^1 ^^rl of Here- 
 ford, 1 15 ; Mary, 92, 172, 298 
 
 Bohunof Hereford, arms of, 
 96; of Northampton, arms 
 of, 96 
 
 Bohun swan badge, 172, 184, 
 ig6, 214, 298, 327 
 
 Bordeaux, John seneschal of, 
 see Nevill 
 
 Border, the, 41 
 
 Boroughbridge Roll, 62 
 
 Botreaux, Margaret lady of, see 
 Hungerford ; William lord, 
 203, 217 
 
 Boughton-under-Blean (Kent) 
 brass at, 81 
 
 Bourchier arms, the, 97; knot, 
 1 84- 1 86, 188; water-bougets, 
 182 
 
 Bourchier, Henry, earl of Essex, 
 188; Henry lord, 158; Hugh 
 lord, see Stafford; John lord, 
 143, 158; Lewis lord, see 
 Robsart; Sir Humphrey, 97, 
 1 86 ; Thomas, abp. of Canter- 
 bury, 186 
 
 Boutell, Rev. C, 157 
 
 Bowet, Henry, abp. of York, 
 328, 329 
 
 Brabant, arms of, 119 
 
 Brancepeth (Durham), effigies 
 at, 304 
 
 Brandon, Frances, duchess of 
 Suffolk, no 
 
 Braose, William de, 112 
 
 Bristol waits' collars, 313 
 
 British Museum, 53, 261, 262, 
 304 
 
 Bromfleet, Sir Thomas, arms 
 of, 82 
 
 Brooke, George, lord Cobham, 
 
 133 
 Broom-cods, collar of, 309 
 
 Brotherton, see Thomas 
 Bryen, arms of, 252 
 Bryen, Guy lord, 73, 74, 196 
 Buch, the Captal de, 141 
 Buckingham, duke and earl of, 
 
 see Stafford; Henry duke of, 
 
 96,98 
 Buckingham, earldom of, arms 
 
 of, 96 
 Buckingham Palace, memorial 
 
 in front of, 34 
 Bullen, Thomas, earl of Wilt- 
 shire and Ormond, 267 
 Bures, arms of, 252 
 Burgh, John of, 114; Sir 
 
 Thomas, stall-plate of, 136: 
 
 William of, earl of Ulster, 
 
 117, 119 
 Burghersh, barony of, 200; Sir 
 
 Bartholomew, 198 
 Burlington House, see London 
 Burnell, Hugh lord, 141, 149 
 Burnham Thorpe (Norfolk), 
 
 brass at, 296 
 Burton, Thomas, bp. of Exeter, 
 
 322 
 Bury St. Edmunds, St. Mary's 
 
 church at, 303 
 
 Cadhay (Devon), 338 
 Caius, doctor John, 336 
 Calais, arms of, 215 : seal of 
 
 mayoralt5r of, 214, 215 
 Calthorpe, Sir William, 296 
 Cambridge, arms of regius j,ro- 
 fessors, 253 ; rebus on name, 
 189 
 Cambridge, Christ's college, 
 179, 286, 287, 288; King's 
 college chapel, 170, 181, 210, 
 213, 331; Pembroke college, 
 252; St. John's college, 181, 
 288, 289 
 
 Inde 
 
Index Camoys, lady, brass of, 296; 
 
 Thomas lord, 261, 263 ; 
 
 arms of, 264 
 Candle-holder, heraldic, 55 
 Canterbury, 61, 84, loi, 102, 
 
 132, 134, 166, 167, 168, 186, 
 
 260, 270, 271, 290, 291, 300, 
 
 303, 335 
 Canterbury, Christchurch, 120, 
 
 321 
 Canterbury, John abp. of, see 
 Morton ; Thomas abp. of, see 
 Bourchier; William abp. of, 
 see Courtenay; William 
 archdn. of, see Pakington 
 Cap of estate, the, 154 
 Carlisle Dormant book, 347 
 Carnarvon, Edward of, ill 
 Castile, arms of, 86, 11 1 ; castle 
 
 of, 114; kingdom of, 112 
 Castile and Leon, castles and 
 
 lions of, 1 14 
 Chamberlayne, Sir William, 158 
 Charles IV, Emperor, 89 
 Chaucer, Geoffrey, arms of, 48 
 Chaworth, arms of, 117 
 Checkendon (Oxon), brass at, 
 
 256 
 Cheeky, 44; numberof checkers, 
 
 49 
 
 Chester, arms of, 135; sheriff's 
 chain, 31; 
 
 Chester, Edward earl of, see 
 Edward prince of Wales 
 
 Chevaler au cing, 171 
 
 Cheveron, the, 41, 42 
 
 Cheyney, Sir John, 306 
 
 Chief, the, 41, 42 
 
 Chipping Campden (Glos), 
 brass at, 90 
 
 Chronological series of illus- 
 trations, 354-407 
 
 Cinque Ports, arms of the, 135 
 
 414 
 
 Clare arms, 114, 115, 117, 199; 
 
 black bulls of, 204, 207; label 
 
 of, lOT 
 
 Clare, Elizabeth de, 114; Gil- 
 bert de, earl of Gloucester, 
 114, 194 
 Clarence, duke of, see Lionel; 
 George duke of, see George; 
 Thomas duke of, see Thomas 
 Clehonger (Heref), 76 
 Clerk, Dan John, 329 
 Clifford, Robert de, 171 
 Clopton arms, 45, 46 
 Clun, arms of, 106 
 Cobham (Kent), 133, 134 
 Cobham, George Brooke, lord, 
 133, 134; Raynald, lord, 
 141 
 Cockermouth, Henry Percy, lord 
 
 of, see Percy 
 Colchester, arms of, 50 
 College of Arms, see Heralds' 
 
 College 
 CoUey, Thomas de, 325 
 Constance, brass at, 263, 265 
 Constance of Castile, in 
 Corfe castle, Dorset, 69 
 Cornwall, earl of, see Richard; 
 Edmund earl of, 194 ; Edward 
 duke of, see Edward prince of 
 Wales 
 Coronets, introduction and his- 
 tory of, 271-285 
 Cosin arms, 353 
 Cosin, John, bp. of Durham, 
 
 35^. 353 
 Cotes, arms of, 343 
 Cotises, 45 
 Counter-coloured, 48 
 Courtenay dolphin, 182 
 Courtenay, Hugh, earl of 
 Devon, 116; Peter, bp. of 
 Exeter, 175, 177; Sir Peter, 
 
229; William, abp. of Can- 
 terbury, 162 
 
 Coventry cross, 242 
 
 Cowdray House, Sussex, 239, 
 
 Crests, origin and treatment of, 
 123 ; use of, by bishops, 161- 
 163 
 
 Cromwell lion, 347 
 
 Cromwell, Ralph lord, 57 
 
 Cross, the, 40; varieties of, 49, 
 SO 
 
 Crosslets, 51 
 
 Crowns, heraldic, 148-153 
 
 Crusily, 51 
 
 Cyprus gold, 327, 328 
 
 D'Abernoun, Sir John, 235 
 Dabrichecourt,Sir Sanchet, 140, 
 
 143 
 Dalton, Laurence, Norroy, 336 
 D'Amory, Roger lord, 114 
 Daunce, the, 45 
 David, King of Scotland, 325 
 Dennington (SuiTolk), 60, 297 
 Derby, Henry earl of, _w';' Henry ; 
 
 Thomas earl of, see Stanley 
 Despenser arms, 63, 88 
 Despenser, Henry le, bp. of 
 
 Norwich, 161, 162; Richard 
 
 Iord,j^('Beauchamp ; Thomas 
 
 lord, 199 
 Devon, Hugh earl of, see Court- 
 
 enay 
 Deynelay, Robert, 129 
 Diapering, 105-108 
 Differencing of arms, 98-103 
 Dimidiation, 251 
 Dorking, Rev. E. E., rebus of, 
 
 192 
 Dorset (county of), 59 
 Dover (Kent), arms of, 135 
 Dreux arms, 119 
 
 Dublin, Richard marquess of, Jntiex 
 
 see Oxford 
 Durham, arms of bishopric of, 
 
 353 ; bishops of, 163 
 Durham, Cuthbert bp. of, see 
 
 Tunstall; John bp. of, see 
 
 Cosin, Fordham ; Robert bp. 
 
 of, see NeviU ; Thomas bp. 
 
 of, see Hatfield, Langley; 
 
 Walter bp. of, see Skirlaw 
 
 Easton, Little (Essex), 188 
 Edmund earl of Kent, 99; earl 
 
 of Lancaster, 100 
 Edmund of Langley duke of 
 
 York, 94, loi, 150, 155, 167, 
 
 199, 206, 229 
 Edmund, saint, arms of, 150 
 Edward I, King, 86, 99, 100, 101, 
 
 113, 114. 237 
 Edward H, King, 47, 86, 99, 
 
 115, 291, 293 
 Edward III, King, 61, 88, 92, 
 
 loi, 125, 154, 155, 214, 215, 
 
 263, 272, 323, 324, 325, 326 
 Edward IV, King, 75, 168, 190, 
 
 208, 212, 222, 225, 291, 304, 
 
 334 
 
 Edward V, King, 200 
 
 Edward VI, King, 272, 335 
 
 Edward prince of Wales, 61, 84, 
 99, loi, 102, 132, 134, 155, 
 166, 167, 260, 261, 262, 271 
 
 Edward, saint, arms of, 37, 50, 
 
 89, 94. 3^3 
 Eleanor, daughter of King 
 
 Edward I, 113 
 Eleanor of Castile, Queen, 71, 
 
 86, 91, 113, 114, 170, 270, 323 
 Elizabeth, Queen, 224, 225, 336 
 Elsefield, Elizabeth, 118; Sir 
 
 Gilbert, 118 
 Elsing (Norf), brass at, 100, 157 
 
Index Eltham, John of, see John 
 
 Embroideries, heraldic, 319-330 
 
 Engayn, John, 127 
 
 England, 59,248, 249,335 I arms 
 
 of, 88, 89, 99, iji, 113, 
 
 115, 350; leopards of, 217, 
 
 226, 346; lion supporter of, 
 
 206 
 England, King of, 79, 322, 323 ; 
 
 supporters of, 206 
 Engrailing, 44 
 Erdington family, knight of, 
 
 305, 312 
 Ermine, 39, 258 
 Erpingham, Sir Thomas, 144 
 Essex, earl of, see Stafford 
 
 Humphrey; Henry earl of, 
 
 see Bourchier; Humphrey 
 
 earl of, see Bohun 
 Essex, earldom of, arms of, 193 
 Est, Robert, 329 
 Esturmy, Henry, see Sturmy 
 Etchingham church (Sussex), 
 
 239, 240 
 Etchingham, Sir William, 239 
 Eton College arms, 47 
 Ewelme (Oxon), effigy at, 283, 
 
 284 
 Exeter, bishop's palace at, 175, 
 
 177; brass at, 185; sheriff's 
 
 chain, 312; waits' collars,3 13, 
 
 314 
 Exeter,duchess of, 283 ; Edward 
 bp. of, see Stafford; Peter 
 bishop of, 321 ; Peter bp. of, 
 see Courtenay; Thomas bp.of, 
 see Burton; Thomas duke of, 
 see Holand ; Thomas duke of, 
 see Thomas 
 
 Fairfax lions and goats, 339 
 Fairfax, Sir William, 338 
 Falstaff, Sir John, 203 
 
 416 
 
 Farnham, Sir Robert, arms of, 
 
 48 
 Fauconberg, William lord, 225 
 Fawsley House (NorthantsJ, 
 
 343 
 
 Felbrigge (Norf), brass at, 78, 
 89 
 
 Felbrigge, Sir Simon, 158, 160 
 
 Fer-de-moline, 47, 50 
 
 Ferrers, Thomas earl, see 
 Thomas; William de, 197 
 
 Fesse, the, 40 
 
 Fetterlock-and-falcon badge, 
 168, 169 
 
 Firedogs, heraldic, 56 
 
 FitzAlan, Alice, 273, 274; 
 Brian, arms, 73 ; Edmund, 
 earl of Arundel, 118; Joan, 
 196, 273, 274 ; Richard, earl of 
 Arundel, 115, 273, 275 ; Wil- 
 liam, earl of Arundel, 279 
 
 FitzAlan, arms, 116, 117; oak- 
 leaf badge, 305 
 
 FitzGerald, Emmeline, 217 
 
 FitzHamon, Robert, arms of, 
 
 63 
 
 FitzHugh, Henry lord, 229 
 
 FitzHugh and Marmion, Wil- 
 liam lord, 215 
 
 Fitzjohn, John, 114 
 
 FitzPain, Robert, 112 
 
 FitzWalter arms, 45 
 
 FitzWalter, Walter lord, 129 
 
 FitzWarin seal, 196 
 
 FitzWaryn, Sir William, 141 
 
 Flanches, 42 
 
 Foljambe arms, 119 
 
 Foljambe, Roger, 118 
 
 Fordham, John, bp. of Durham, 
 163 
 
 Forster, Sir George, 306 
 
 Forz, William of, earl of Albe- 
 marle, 120 
 
Fotheringay church (North- 
 ants), 239 
 
 France and Normandy, Richard, 
 governor of, see Richard 
 
 France, arms of, 88, 115, 119, 
 120, 224, 322, 323, 324; label 
 of, 100 
 
 France, John marshal of, see 
 Talbot ; John, regent of, see 
 John 
 
 France, King of, 80, 85, 154 
 
 France, Old, arms of, 89 
 
 France, Philip King of, 322 
 
 Franks, Sir A. VV., 342 
 
 Furnival, Tliomas, 112 
 
 Garter, collar of the, 281, 293, 
 
 295 ; mantle of the, 280, 281 ; 
 
 Order of the, 253, 260, 261 
 Garter, Knights of the, banners 
 
 of, 224, 225, 228; stall-plates 
 
 of, 62, 70, 112, 130, 138, 151, 
 
 229, 259 
 Garter, the, 260-267 
 Gaunt, see John of 
 Gemell-bars, 45 
 George duke of Clarence and 
 
 lord of Richmond, 203, 204, 
 
 207, 229 
 George, saint, arms or cross of, 
 
 49, 226, 234, 235, 248, 249, 
 
 267, 346. 347 
 Gilling castle (Yorks), 338, 340 
 Glamorgan, lordship of, 200 
 Glass, heraldic, 54 
 Glastonbury, George inn at, 74, 
 
 75 
 Gloucester, city of, 298; arms, 
 
 33S; effigy at, 293 
 Gloucester, dukeof,j^'^Thomas ; 
 
 Gilbert earl of, see Clare; 
 
 Richard duke of, 59 
 Gobony, 83 
 
 Goldsmiths' Company, arms, 72 JnJgx 
 
 Goldwell, James, bp. of Nor- 
 wich, 162, 191 
 
 Gonvile arms, 45 
 
 Gotch, Mr. J. A., 346 
 
 Gower, John, 298 
 
 Grapenell, H. de, 114; Parnel, 
 114 
 
 Graunson, Katharine, 117; 
 Margaret, 196 
 
 Grevel, William, brass of, 90 
 
 Grey, lady Jane, 285 
 
 Grey of Codnor, Richard lord, 
 iji, IS3, 182, 183 
 
 Grey of Ruthin, Sir John, 229, 
 232 
 
 Groos, Oliver, 301 
 
 Guienne, duchy of, 155 
 
 Guildford (Surrey) mayor's 
 chain and medal, 315 
 
 Guldeford, East (Sussex), 338, 
 
 339 
 Guldeford, Sir John, 338, 339 
 Gunthorpe, dean, 74, 190, 192 
 Gyronny, 41 
 
 Hainault, arms of, 323 ; house 
 of, 166 
 
 Hales, Sir Stephen, 129 
 
 Hallam, Robert, bp. of Salis- 
 bury, 263, 265 
 
 Halle, Peter, brass of, 93 
 
 Halving of arms, 251 
 
 Hamlake, see Roos 
 
 Hampton Court, 331 ; heraldry 
 at, 243-248 
 
 Harcourt, Sir Robert, 305 
 
 Harewell, bishop, effigy of, 192 
 
 Harsick brass at Southacre, 158, 
 
 159 
 
 Hastings arms, 117 
 
 Hastings, John, earl of Pem- 
 broke, 275; John lord, 117; 
 
 2D 
 
 417 
 
Index ^'"- ^^S^' arms, brass, and 
 crest of, loo, 157; Sir Ralph, 
 174,328; William lord, 140, 
 204 
 
 Hatfield, Thomas, bp. of Dur- 
 ham, 163 
 
 Hatfield Broadoak (Essex), 
 effigy at, 104, 106 
 
 Hearne, T., 242 
 
 Helmsley, see Ross 
 
 Hengrave Hall (Suffolk), 331 
 
 Henry HI, King, 36, 99, 170, 
 291, 292 
 
 Henry IV, King, 92, 168, 172, 
 200, 270, 290, 291, 297, 298, 
 299, 300 
 
 Henry V, King, 302, 309 
 
 Henry VI, King, 47, 264, 272, 
 
 309, 334 
 Henry VII, Kmg, 55, 154, 169, 
 
 181, 210, 213, 266, 288, 294, 
 
 306 
 Henry VIII, King, 72, 21 1, 245- 
 
 248, 291, 308, 331-335 
 Henry duke of Lancaster and 
 
 earl of Derby, 91, 128, 167, 
 
 200, 297, 298, 299, 300, 309 
 Henry earl of Lancaster, 117 
 Heraldic beasts as finials and 
 
 vane holders, 238-239, 241- 
 
 248 
 Heraldic colours, 37, 38 ; furs, 39 
 Heraldry, definition of, 35 
 Heralds' College, 233, 235, 334, 
 
 336, 341 
 Hereford, arms of, earldom of, 
 
 214, 327 
 Hereford, duke of, 92 ; earl of, 
 
 Sfe Stafford, Humphrey; 
 
 Henry duke of, see Henry; 
 
 Humphrey earl oi,see Bohun ; 
 
 John earl of, see Bohun 
 Heme (Kent), brass at, 93 
 
 418 
 
 Heslerton, Alice, 118; Thomas 
 
 of, 118 
 Heslerton arms, 1 18 
 Hever (Kent), brass at, 267 
 Hexham, regality of, seal of, 
 
 I OS 
 Heytesbury, banner of, 216 
 Holand, Joan, 206; Thomas, 
 
 duke of Exeter, 282; Thomas, 
 
 earl of Kent, 168, 206, 214, 
 
 274; Thomas de, 129 
 Holand, lordship of, 213 
 Holand and Wake, Thomas 
 
 lord, 211 
 Holbeach (Lines), effigy at, 257 
 Holbein, the painter, 295, 306, 
 
 307 
 Hollar (Wenceslaus), 242 
 Holyngbroke, William, arms of, 
 
 87 
 
 Hope rebus, 192 
 
 Howard, Thomas, duke of Nor- 
 folk, 295, 329 
 
 Humphrey duke of Gloucester 
 and earl of Buckingham, 96, 
 164, 281 
 
 Hungerfordand Botreaux, Mar- 
 garet lady of, 217, 222, 239 
 
 Hungerford, Robert lord, 60, 
 303 ; Sir Robert, 217; Walter 
 lord, 144, 216, 221, 222, 229, 
 230 
 
 Hungerford sickle, 182, 216 
 
 Hussey arms, 116, 144; banner 
 of, 216 
 
 Huth, Mr. Edward, 307 
 
 ICH DIENE, the motto, 166 
 Illustrations, Chronological se- 
 ries of, 354 
 Impalement of arms, 252 
 Indenting, 45 
 Ireland, 249; harp of, 226, 347 
 
Isabel, sister of Richard duke of 
 York, 1 88 
 
 Isabel, Queen, 1 15, 324 
 
 Islip, John, abbot of Westmin- 
 ster, rebus of, 189, 191 
 
 James I, King, 283 
 
 Jane the fool, 248 
 
 Jasper duke of Bedford, 164 
 
 Jerusalem, Kingdom of, arms 
 
 of, 51 
 Joan, countess of Arundel, 279, 
 
 280, 304 
 Joan, dau. of King Edward I, 
 
 114 
 Joan princess of Wales, 174, 
 
 326 
 Joan, Queen, 299, 303 ; effigy of, 
 
 270, 271 
 John dukeof Bedford and regent 
 
 of France, 215, 229 
 John of Eltham, the lord, 99, 
 
 323 
 John of Gaunt duke of Lancas- 
 ter, loi. III, 155, 166, 167, 
 
 174. i?9> 272. 324, 328 
 John, saint, eagle of, 353 
 John, Saint, John lord, 275 
 
 Katharine, saint, hospital of, 
 282, 283 
 
 Kendal, John earl of, see Beau- 
 fort 
 
 Kensington, South, 119 
 
 Kent, earl of, see Edmund ; 
 Thomas earl of, see Holand 
 
 Keys, Roger and Thomas, arms 
 of, 47, 48 
 
 Kidderminster (Worcs), brass 
 at, 88 
 
 King's Langley (Herts), 150 
 
 King's Lynn waits' collars, 313, 
 314 
 
 Kingston-on-Hull, mayor's and Index 
 mayoress's chains, 315 
 
 Kirby Hall, (Northants), 338 
 
 Kirkham priory (YorksJ, her- 
 aldry on gatehouse, 38 
 
 Kirkton, Robert, abbot of 
 Peterborough, 178; rebus of, 
 188, 191 
 
 Knightley family, 343 
 
 Knots as badgers, 184 
 
 Label, the, 99 
 
 Laci, Henry de, arms of, 44; 
 Henry de, earl of Lincoln, 
 124, 194 
 
 Lacy arms, 1 19 
 
 Ladies, arms of, 109 
 
 Lancaster, Aveline countess of, 
 120; Henry of, lord of Mon- 
 mouth, 125, 126, 127, 194; 
 Thomas earl of, see Thomas 
 
 Lancaster, duke of, see John of 
 Gaunt 
 
 Lancaster, earl of, see Edmund 
 
 Lancaster, House of, 296 
 
 Langeton, canon William, 185 
 
 Langley, see Edmund of 
 
 Langley, Thomas, bp. of Dur- 
 ham, 163 
 
 Latimer, William lord, 141, 
 328 
 
 Lavenham church (Suffolk), 175 
 
 Lavenham, William of, 273 
 
 Law, Ernest, 244 
 
 Legg, L, G. Wickham, 155 
 
 Leicester, Thomas earl of, see 
 Thomas 
 
 Lennox, Margaret countess of, 
 tomb of, 341, 343, 344 
 
 Leon, arms of, 86, iii ; lion of, 
 114 
 
 Leybourne arms, 117, 120, 125, 
 322 
 
 419 
 
Index Leybourne, Juliana, 117; Roger, 
 124, 211 ; Thomas, 117 
 
 Lincoln, Henry earl of, see Laci ; 
 Henry de Laci earl of, 44 ; 
 John bp. of, see Alderby 
 
 Lincoln minster, heraldry in, 
 
 .54 
 
 Lionel duke of Clarence, loi, 
 272 
 
 Lisle effigy at Thruxton, 308 
 
 Little Device, the, 154 
 
 Littlebury, Sir Humphrey, 
 effigy of, 257 
 
 London, 299; arms of, 337; 
 banner of the lord mayor of, 
 219, 226, 228; collar of SS of 
 lord mayor, 308, 3 1 5 ; sheriff's 
 chains, 3 15 ; waits'collars, 3 13 
 
 London, Burlington House, 23 3 ; 
 Mansion House, 219, 226; 
 National Portrait Gallery, 
 211 ; Nelson Column in, 290; 
 St. Paul's cathedral church, 
 108, 228, 323; Templars' 
 church in, 105 ; Trinity 
 House, arms, 349, 350 
 
 Longespee, Emmeline, 217; Ste- 
 phen, 194, 217 
 
 Longespee lions, 200 ; long- 
 swords, 182, 217 
 
 Long Melford (Suffolk), 46 
 
 Lord, Our, arms of, 49 
 
 Lovain arms, 97 
 
 Lovel badge, 184 
 
 Lovel, Francis viscount, 147; 
 John lord, 304; Katharine, 
 321 
 
 Lovel and Holand, William 
 lord, 200 
 
 Lowick church (Northants), 
 187, 188 
 
 Lozenges of arms, use of, 1 10 
 
 Lozengy, 44 
 
 420 
 
 Lucy arms, 218; pike, 182 
 Lullingstone (Kent), 191, 192 
 Lupton, Robert, provost of 
 
 Eton, rebus of, 191 
 Lyhart, Walter, bp. of Norwich, 
 
 191 
 Lyte, John, arms of, 334 
 
 Macclesfield, Thomas, sene- 
 schal of, 183 
 
 Magnavilla, Geoffrey de, 105 
 
 Man, Isle of, 183 
 
 Manners effigy at Windsor, 306 
 
 Mansion House, see London 
 
 Mantlings, 139-147 
 
 Mapperton manor-house (Dor- 
 set), 238, 243 
 
 March, earls of, 16S ; Edmund 
 earl of, .r^^ Mortimer ; Richard 
 earl of, see Richard ; Roger 
 earl of, see Mortimer 
 
 March, white lion of, 206, 208, 
 209, 304, 326 
 
 Alargaret, saint, 313 
 
 Markenfield, Sir Thomas, 309, 
 310 
 
 Marmion, William lord, see 
 FitzHugh 
 
 Marni, Sir Robert de, 129, 130, 
 198 
 
 Martel family, 189 
 
 Marten church (Wilts), tile 
 from, 334 
 
 Mary I, Queen, 313, 336 
 
 Nfary, Queen, banner of, 22S 
 
 Masons' Company, 134 
 
 Maud of Lancaster, 117, 119 
 
 Mauley arms, 128 
 
 Mauley, Peter de, IV, seal of, 
 82; Peter de, VI, 128, 198 
 
 Mayors' collars or chains, 313 
 
 Michael, St., and St. George, 
 Order of, 108, 228 
 
Mildenhall (Suffolk), brass for- 
 merly at, 301 
 
 Monmouth, Henry lord of, see 
 Lancaster 
 
 Montagu griffin, 205 
 
 Montagu, Jofin lord, see Nevill ; 
 Simon lord of, 6g, 86; Sybil, 
 117; William, earl of Salis- 
 bury, 117, 125, 127, 152, 195 
 
 More, Sir Tfiomas, 306, 307, 
 312 
 
 Mortimer arms, 174, 302, 326 
 
 Mortimer, Edmund, earl of 
 Marcfi and Ulster, 174, 197, 
 201, 274, 302, 325; Philippa, 
 274; Roger, earl of March 
 and Ulster, 199 
 
 Morton, John, abp. of Canter- 
 bury, 164; Thomas, Canon 
 of York, 328 
 
 Moulton, Thomas de, 124 
 
 Moun, John de, 195 
 
 Mounci, Walter de, 128 
 
 Mugginton (Derbys), brass at, 
 304 
 
 Multon, Elizabeth de, 117 
 
 Nanfant, Sir Richard, 233 
 Nelson Column in London, 290 
 Nevill, Alexander, abp. of York, 
 162; Cecily, 208, 212; John 
 lord, 277; John, lord Mon- 
 tague, 203 ; John, lord of 
 Raby, 199 ; Margery, wife 
 of John lord, 277; Ralph, 
 earl of Westmorland, 278 ; 
 Richard, earl of Salisbury 
 and Warwick, 93, 137, 138, 
 160, 200, 205, 229, 231; 
 Robert, bp. of Durham, 
 163, 164; Sir William, 199 
 Nevill, effigies at Brancepeth, 
 304; family, 103 
 
 Newburgh, arms of, 97 Index 
 
 Newcastle sheriff's chain, 315 
 New Hall (Essex), 210, 291, 332, 
 
 333 
 Nicolas, Sir N. H., 273 
 Norfolk, Thomas duke of, see 
 
 Howard 
 Normandy, duchy of, 154, 155 
 Northampton, earl of, see Staf- 
 ford, Humphrey 
 Northumberland, duke of, 311, 
 3 1 2 ; earl of , 3 1 1 ; Henry earl 
 of, see Percy 
 Northwood arms, 120, 322 
 Norwich arms, 72; mayor's 
 chain, 315; sheriff's chain, 
 31; ; waits' collars, 313, 314 
 Norwich cathedral church, 192, 
 
 263, 306 
 Norwich Guildhall, doorway in, 
 
 71.72 
 Norwich, Henry bishop of, see 
 Despenser; James bp. of, see 
 Goldwell ; Walter bp. of, see 
 Lyhart; William bp. of, 264 
 
 OcKWELLs (Berks), heraldic 
 
 glass at, 211 
 Oldhalle, Sir William, 182 
 Ordinaries, the, formation of, 
 
 40, 41 
 Orle, the, 42 
 Ormond, Thomas earl of, see 
 
 Bullen 
 Ostrevant, Comte of, 166 
 Ostrich-feathers badge, 166 
 Oxenbridge, John, rebus of, 192 
 Oxford, rebus on name, 189 
 Oxford, All Souls' college, 61 ; 
 
 Magdalen college, 112; 
 
 Queen's college, seal of, 80 
 Oxford, John earl of, see Vere; 
 
 Richardearl of, and marquess 
 
 421 
 
Index of Dublin, 272; Robert earl 
 of, see Vera 
 
 Pakington, William, archdn. 
 
 of Canterbury, 326 
 Pale, the, 40 
 
 Paly, 43 ; number of pales, 49 
 Park-palings, collar of, 309, 3 10 
 Party, 40; Party-bendwise, 40; 
 
 Party-fessewise, 40 ; Party- 
 
 saltirewise, 41 
 Passion, instruments of the, 
 
 +9. 
 Patrick, saint, 249; cross or 
 
 saltire of, 225 
 Paul, saint, sword of, 226 
 Pavely, Sir Walter, 141 
 Paynel, William, 113 
 Peche, Sir John, 125; rebus of, 
 
 191, 192 
 Pecksall, Sir Ralph, 341, 343, 
 
 345 
 Pelham, Sir John, badge of, 200 
 Pembridge, effigy of a, 76 
 Pembroke, earl of, 323 ; see also 
 
 Valence 
 Pembroke, John earl of, see 
 
 Hastings 
 Pennons, 235-237 
 Perche, earl of, see Stafford, 
 
 Humphrey 
 Percy arms, 50; badge, 312; 
 
 crescent badge, 184, 218, 
 
 236; lion, etc., 218 
 Percy, Henry, 77, 239; Henry, 
 
 earl of Northumberland and 
 
 lord of Cockermouth, 218, 
 
 238, 239; the lady Eleanor, 
 
 106, 107, 108 
 Peter, bishop of Exeter, 321 
 Peter, saint, arms of, 323, 328, 
 
 329 
 Peterborough 
 
 422 
 
 (Northants), 
 
 deanery gateway at, 178, l8l, 
 
 188, 191 
 Phelip eagle, 48, 182 
 Phelip, William, lord Bardolf, 
 
 60, 182, 297 
 Philip, King of France, 322 
 Philippa, Queen, 166, 167, 323 
 Pile, the, 42; Pily, 43 
 Pol, Seynt, Mary de, 115, 116, 
 
 251 
 Pole, de la, arms, 335 ; badges, 
 
 182 
 Pole,dela, John,dukeof Suffolk, 
 
 283 ; Michael, earl of Suffolk, 
 
 17s, 176, 275; William, earl 
 
 of Suffolk, 141, 202 
 Ponthieu, arms of, 71 
 Poynyngs, arms of, 120, 322 
 
 Quarter, the, 41, 42 
 Quartering, 86 
 Quarterly, 41 
 
 Raby, John lord of, see Nevill 
 Ramryge, abbot Thomas, 73 
 Rebus, the, 189-192 
 Redvers arms, 120 
 Regent's Park, 282, 283 
 Richard f. King, 124 
 Richard H, King, 89, 168, 172, 
 
 173, i74> 272, 309, 326 
 Richard HI, King, 168, 304, 335 
 Richard duke of Gloucester, 
 
 seal of, 59 
 Richard duke of York and earl 
 
 of March, 167, 188, 206, 208, 
 
 212, 218, 239 
 Richard earl of Cornwall, arms 
 
 of, 66 
 Richmond, George, lord of, see 
 
 George ; Margaret countess 
 
 of, see Beaufort 
 
Richmond, label of, loi 
 Ripon (Yorks), 309, 3 10 
 Rivers, Richard lord, see Wyd- 
 
 vile 
 Robsart, Lewis, lord Bourchier, 
 
 157, 181, 222, 223, 224, 239 
 Rochester (Kent), 219 
 Roll, the Great, 47, 48, 50, 62, 
 
 86 
 Rolls of arms, 62 
 Romans, Richard, King of the, 
 
 194 
 Romney, New (Kent), brass at, 
 
 87 
 Roos, Thomas lord, of Hamlake, 
 
 200 
 Rothwell (Northants), 338 
 Roundels of arms, use of, 1 1 1 
 Royal Society, 233 
 
 Salisbury cathedral church, 
 
 60, 87, 303, 306 
 Salisbury, earl of, see Nevill, 
 
 Richard; William earl of, see 
 
 Montagu 
 Salisbury, Robert, bp. of, see 
 
 Hallam 
 Salkeld (Cumb), effigies at, 306 
 Salkeld family, effigies, 306, 
 
 312 
 Saltire, the, 40, 41 
 Savernake Forest, lord of, see 
 
 Sturmy; tenure horn of, 116 
 Scales family, 189 
 Scales, Sir Roger, 198 
 Scarcliffe (Derbys), effigy at, 
 
 275, 276 
 Scotland, 85, 248 ; arms of, 34, 
 
 85, 350; lion of, 226, 346; 
 
 tressure of, 85 ; unicorn sup- 
 porter of, 206 
 Scotland, King of, 321, 323 
 Scrope crab or scrap, 182 
 
 Scrope, John lord, 158, 175; InJex 
 Dan Richard, 329 
 
 Scutcheon, the, 42 
 
 Seals, heraldic, 52 
 
 Sclden's Titles of Honour, 273 
 
 Settrington (Yorks), 299 
 
 Sheffield, St. Peter's church, 
 effigies in, 280, 281 
 
 Shene Charterhouse, prior of, 
 302 
 
 Shield, divisions of the, 40, 41 ; 
 the, and its treatment, 65 
 
 Shorne, Maister John, 242 
 
 Shrewsbury, George earl of, 
 280; John earl of, see Talboc 
 
 Simon the engraver, 347 
 
 Skirlaw, Walter, bp. of Dur- 
 ham, 163 
 
 Sloley church (Norf), tomb in, 
 
 201 
 
 Somers, Will, 248 
 Somerset (county of), 59 
 Somerset eagle, 206, 209 
 Somerset, Edmund duke of, see 
 
 Beaufort; John duke of, see 
 
 Beaufort 
 Souche, Alan la, 194, 196 
 Southacre (Norf), brass at, 159 
 Southampton, arms of, 48, 86; 
 
 steward of, 302 
 Southwark cathedral church, 
 
 164, 298 
 Souvereyne, Soverayne, or Sover- 
 
 ain, the word, 167, 200, 298, 
 
 300 
 Sovereign, the, 85, 155 
 Spain, arms of, 323 
 Spilsby (Lines), brass at, 255 
 SS, collar of, 296-304 
 Stafford arms, 96 
 Stafford, earl of, see Stafford, 
 
 Humphrey 
 Stafford, Edward, bp. of Exeter, 
 
Index '^5' Edward, earl of Wilt- 
 shire, 187, i88; Hugh, earl of, 
 275 ; Hugh, lord Bourchier, 
 144, 151, 152; Humphrey, 
 duke of Buckingham, 93, 94, 
 95, 96, 135; Joan, countess 
 of Kent and lady of Wake, 
 188; Katharine, 175, 176, 
 27s; Sir Henry, 234, 338 
 
 Stafford knot, 184, 185, 188, 
 338 
 
 Staindrop (Durham), 276, 278, 
 282 
 
 Standard, the Royal, 220, 
 227 
 
 Standards, 234-235 
 
 Stanford Dingley (Berks), brass 
 at, 83 
 
 Stanley, Thomas lord, 158, 183, 
 229 
 
 Stanton Harcourt (Oxon), 241, 
 
 305 
 
 Stapleton, Sir Miles, 144 
 
 Stapleton talbot, 339 
 
 State's arms, 347, 348, 350 
 
 Stoke d'Abernoun (Surrey), 235 
 
 Stoke Poges (Bucks), brass at, 
 70 
 
 Stothard's Monumental Effigies, 
 269, 276 
 
 Stowe, \Villiam, the elder, 310 
 
 Sturmy, Henry, 116 
 
 Suffolk, Alice duchess of, 283, 
 284 ; duchess of, see Brandon ; 
 Elizabeth duchess of, 283 ; 
 John duke of, see Pole; 
 Michael earl of, see Pole; 
 William duke of, 283 ; Wil- 
 liam earl of, see Pole 
 
 Suns-and-roses, collar of, 304, 
 
 Supporters, origin and uses of, 
 193-218 
 
 424 
 
 Surrey, John earl of, see War- 
 
 enne 
 Swynburne family, 189 
 Syon cope, 119, 120, 121 
 
 Talbot, John, earl of Shrews- 
 bury, 96, 97, 161, 214, 229, 
 281 
 
 Talbot and Furnival, John lord, 
 203, 205 
 
 Tallow-Chandlers' Company, 
 
 134 
 Tankerville, John earl of, 158 
 Tattershall castle (Lincs)heral- 
 
 dic chimney-piece in, 57 
 Tew, Great (Oxon), brass at, 79 
 Tewkesbury abbey church, 58, 
 
 63, 73, 74 
 Thistle, collar of the, 293 
 Tildesley, Christopher, 299, 300 
 Tillzolf arms, 326 
 Tiptoft, John lord, 229 
 Thomas duke of Clarence, 302 
 Thomas duke of Exeter, 200 
 Thomas (Beaufort) duke of 
 
 Exeter, 230 
 Thomas earl of Lancaster, 
 
 Leicester and Ferrers, 125, 
 
 126, 194 
 Thomas of Brotherton, 100 
 Thomas of Woodstock duke of 
 
 Gloucester, 99, 155, 166, 167, 
 
 172, 182, 213, 323, 326, 327 
 Thomas, saint, of Canterbury, 
 
 335 
 Thruxton (Hants), effigy at, 
 
 308 
 Tong (Salop), 306 
 Toni, Robert de, 171 
 Torregiano, 266 
 Trau, the Soudan de la, 144 
 Tresham, Sir Thomas, 338 
 Tresham trefoils, 338 
 
Tressure, the, 85 
 Trevor family arms, 351 
 Trinity, the Holy, 261, 306 
 Trinit)' House, London, arms, 
 
 349. 350 
 Trotton (Sussex), 261, 263, 296 
 Trumpington family, 189 
 Tunstall, Cuthbert, bp. of 
 
 Durham, 163 
 Twyford, Richard, 323 
 Tylney, Elizabeth, arms of, 97 
 
 Ufford arms, 335 
 
 Ufford, Sir Ralph, 117, 119 
 
 Ulster arms, 174, 326; badge of, 
 
 218 ; label of, lOI 
 Ulster, Richard earl of, 114; 
 
 Roger earl of, see Mortimer; 
 
 William earl of, see Burgh 
 Union Jack, 219, 225, 248, 250 
 Union of crowns of England 
 
 and Scotland, 206 
 
 Vair, 39, 258; Vairy, 39 
 
 Valence arms, 119, 120 
 
 Valence, Aymer of, earl of Pem- 
 broke, 115, 116, 251, 273; 
 William of, 61, 67, 120 
 
 Veer, Hugh de, 181 
 
 Verdon, Theobald lord, 114 
 
 Vere arms, 88, 104, 117; boar, 
 182; molet, 48, 182 
 
 Vere effigy at Hatfield Broad- 
 oak, 106 
 
 Vere, John de, earl of Oxford, 
 117, 118, 175; Robert de, 
 earl of Oxford, 124 
 
 Vernon effigy at Tong, 306 
 
 Victoria, Queen, memorial to, 
 
 33 
 \ ictoria and Albert Museum, 
 
 S3, 119, 121, 349, 351 
 Victory, figure of, 34 
 
 \'ipont, Isabel, 171 Index 
 
 \'oided scutcheon, the, 42 
 
 Waits' collars, 313 
 
 Wake knot, 184; lordship of, 
 213 
 
 \\ aldby, Robert, abp. of York, 
 105 
 
 W^alden, de. Library, 235 
 
 Walworth, Sir William, 226 
 
 Walysel, Thomas, brass of, 90 
 
 Warde, Robert de la, 128 
 
 Warenne, John de, earl of 
 Surrey, 113 
 
 Warenne and Surrey, earl of, 
 arms, 49 
 
 Warenne estates, 115 
 
 Warre, John la, 198 
 
 Warwick, 61, 274, 276 
 
 Warwick bear, 205 
 
 Warwick, earl of, see Beau- 
 champ; Henry earl of, see 
 Beauchamp ; Richard earl of, 
 see Beauchamp ; Thomas earl 
 of, see Beauchamp 
 
 Waterford, John earl of, see 
 Talbot 
 
 Waterton, Robert, 298 
 
 Wavy, 43 
 
 Wax-Chandlers' Company, 134 
 
 Welles, Helen, of York, 328 
 
 Wells chapter-house, 302 
 
 Wells (Somerset), 74, 190, 191, 
 192 ; oriel in deanery, 190, 192 
 
 Wentworth arms and family, 
 342 ^ 
 
 Westminster, 270, 294 
 
 Westminster abbey, arms of, 
 86 ; abbey chapter-house, tiles 
 in, 36; vestry of, 322 
 
 Westminster abbey church, her- 
 aldry in, 37, 43, 44, 54, s;, 
 61, 66, 67, 71, 80, 85, 86, 91, 
 
Index 92, 97, 99, no, 120, 169, 170, 
 172, 173, 180, 181, 184, 186, 
 189, 222, 223, 259, 266, 332, 
 
 341, 344. 345 
 Westminster, palace of, 221,285 
 Westmorland, Joan, countess 
 
 of, see Beaufort; Ralph earl 
 
 of, see Nevill 
 Whatton (Notts), effigy at, 73 
 Whatton, Sir Richard, 73 
 Whitchurch (Oxon),brassat, 90 
 Whitchurch (Salop), 281 
 White hart badge, 168 
 Wilfrid, saint, 311 
 Willoughby d'Eresby, William 
 
 lord, 143 
 Wilton House (Wilts) diptych 
 
 at, 309 
 Wiltshire, Edward earl of, see 
 
 Stafford ; Thomas earl of, see 
 
 Bullen 
 Winchester, Henry bp. of, see 
 
 Beaufort ; John marquess of, 
 
 28s 
 Windsor castle, chapel of St. 
 
 George in, 62, 112, 113, 151, 
 
 192, 224, 241, 242, 243, 306, 
 
 331 : King's hall in, 238, 239; 
 
 picture in, 295 
 Windsor, Sir William, 201 
 Wingfield church (Suffolk), 175, 
 
 176, 283 
 Woodstock, Thomas of, see 
 
 Thomas 
 Wotton-under-Edge (Glos), 
 
 brass at, 309, 3 10 
 Wreath or torse, 156-158 
 Wren, Sir Christopher, 242 
 Wulcy, Thomas, cardinal, 334, 
 
 Wydvile, Richard, lord Rivers, 
 144. 147, 158. 229 
 
 Wymington (Beds), brass at, 
 82 
 
 Wyvil, Robert, bp. of Salis- 
 bury, arms of, 87 
 
 Yale or eale, the, 206, 209 
 Yarmouth (Norf), mayor's 
 
 chain, 315 
 York, 328, 329; chains of lord 
 
 mayor and lady mayoress, 
 
 315; waits' collars, 313 
 York, Alexander abp. of, see 
 
 Nevill; Henry abp. of, see 
 
 Bowet; Robert abp. of, see 
 
 Waldby 
 York, duke of, see Edmund of 
 
 Langley; Richard duke of, 
 
 see Richard 
 York falcon, 206, 208, 218; 
 
 fetterlock, 188; house of, 168, 
 
 169; roses, 200 
 York minster, heraldry in, 43, 
 
 54,. 259 
 Yorkist collar of suns and roses, 
 
 304-305, 312 
 
 ZouCH badge, 184 
 Zouch, William lord, 203 
 
 426 
 
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