_Arms of Granville._--The meaning of the peculiar bearing which, since the
thirteenth century, has appertained to this noble family, has always been a
matter of uncertainty to heraldic writers: it has been variously blazoned
as a clarion, clavicord, organ-rest, lance-rest, and sufflue. The majority
of heralds, ancient and modern, term it a clarion without quite defining
what a clarion is: that it is meant for a musical instrument (probably a
kind of hand-organ), I have very little doubt; for, in the woodcut Mrs.
Jameson gives in her _Legends of the Madonna_ (p. 19.) of Piero Laurati's
painting of the "Maria Coronata," the uppermost angel on the left is
represented as carrying an instrument exactly similar to this charge as it
is usually drawn. The date of this painting is 1340. This is probably about
the date of the painted glass window in the choir of Tewkesbury Abbey
Church, where Robert Earl of Gloucester bears three of these clarions on
his surcoat; and upon a careful examination of these, I was convinced that
they were intended to represent instruments similar to that carried by the
angel in Laurati's painting.
_Arms of Richard, King of the Romans._--This celebrated man, the second son
of King John, Earl of Cornwall and Poictou, was elected King of the Romans
at Frankfort on St. Hilary's Day (Jan. 13th) 1256. His earldom of Cornwall
was represented by--Argent, a lion rampant gules crowned or; his earldom of
Poictou by a bordure sable, bezantee, or rather of peas (_poix_) in
reference to the name _Poictou_; and as king of the Romans he is said to
have borne these arms upon the breast of the German double-headed eagle
displayed sable, which represented that dignity. I do not recollect having
seen them under this last form, but I have "made a Note of" several other
variations I have met with:--
1. In Dorchester Church, Oxfordshire, in painted glass: Argent, a lion
rampant, gules crowned or, within a bordure sable bezantee.
2. On the seal of a charter granted by the earl to the monks of Okeburry: a
lion rampant crowned. No bordure.
3. On an encaustic tile in the old Singing-school at Worcester: A lion
rampant _not_ crowned, with a bordure bezantee. Another tile has the eagle,
single-headed, displayed.
4. Encaustic tiles at Woodperry, Oxfordshire: A row of tiles with the lion
rampant, apparently within a bordure, but without the bezants; followed by
another row which has the eagle displayed, but not double-headed.
5. On an encaustic tile at Hailes Abbey, Gloucestershire, founded by him:
The double-headed eagle only, _countercharged_.
6. On a tile in the Priory Church of Great Malvern: The double-headed eagle
displayed, within a circular bordure bezantee.
7. On a tile which I have seen, but cannot just now recollect where: The
double-headed eagle, bezantee, without any bordure.
* * * * *
A curious instance of ex-officio arms added to the paternal coat, occurs on
the monument of Dr. Samuel Blythe, at the east end of St. Edward's Church,
Cambridge. He was Master of Clare Hall, and in this example his paternal
arms--Argent, a chevron gules, between three lions rampant sable--occupy
the lower part of the shield, being divided at the fess point by something
like an inverted chevron, from the arms of Clare Hall, which thus occupy
the upper half of the shield. The date is 1713. Is this way of dividing the
arms a blunder of the painter's, or can any of your readers point out a
similar instance?