ENGLISH HERALDIC BOOK-STAMPS
[Illustration]
THIS FRONTISPIECE
SHOWING
THE BOOK-STAMP OF
HIS MAJESTY THE KING
IS REPRODUCED
BY HIS MAJESTY'S
GRACIOUS PERMISSION.
[FOR DESCRIPTION
See p. 155]
ENGLISH HERALDIC
BOOK-STAMPS
FIGURED AND DESCRIBED
BY
CYRIL DAVENPORT V.D. F.S.A.
AUTHOR OF 'THE BOOK,' ETC.
[Illustration]
LONDON
ARCHIBALD CONSTABLE & CO Ltd
1909
CONTENTS
PAGE
INTRODUCTION 1
COATS-OF-ARMS 41
BIBLIOGRAPHY 413
INDICES--
INDEX TO THE INTRODUCTION 417
INDEX TO THE COATS-OF-ARMS, ETC. 421
Introduction
The coats-of-arms and crests which are figured and described in the
following pages do not exhaust the number of stamps of this kind that
must exist on bookbindings throughout England, Scotland, and Ireland.
Perhaps some day I shall go on my travels and search for unrecorded
coats, but the present collection, even if it should prove to have been
only a first instalment, will not easily be equalled in interest.
Little attention has been hitherto paid to English coats-of-arms
outside books. For French coats of the same kind an excellent and
comprehensive handbook has been compiled by M. J. Guigard, _Nouvel
Armorial du Bibliophile_, Paris, 1890.
Two short papers have already been written about my present subject,
and both of these are illustrated with drawings by myself. The
earlier paper is by Mr. W. Y. Fletcher, and appeared in vol. iii. of
_Bibliographica_ in 1897; it is called "English Armorial Book-Stamps
and their Owners." The second paper is by Mr. A. W. Pollard, and
appeared in _The Library_ of April 1902; it is called "The Franks
Collection of Armorial Book-Stamps." The drawings I made for these
two papers were carefully drawn exactly as the stamps were cut, and
consequently look very black; in my newer drawings, however, I have in
many cases only given the outlines of supporters, crests, helmets, and
accessories generally, the effect of which is less heavy and equally
useful for identification.
Armorial devices stamped on the outsides of books occur in England from
the end of the fifteenth century onwards, and very fine examples are
found of the sixteenth and seventeenth centuries particularly. Towards
the end of the seventeenth century the popularity of the book-stamp was
diminished by the growth of the use of adhesive book-plates. It may be
mentioned that, especially during the reign of Elizabeth, many fine
armorial woodcuts are found in English books, the arms being generally
those of the patron to whom the book was dedicated.
The succession of English Royal coats-of-arms on books is complete
from the time of Henry VII. to that of Edward VII., and they will all
be found in this book. The usual authorities for Royal armorials are
great seals and coins, but the books which belonged to our sovereigns
supply an equally fine and equally accurate collection. Every change of
bearings, supporters, mottoes or badges is duly represented, and there
are very few old private libraries in England which have not some Royal
books upon their shelves. These books have either been given away by
the sovereigns themselves, or acquired as official perquisites.
With regard to the identification of coats-of-arms or crests on books,
this is a process of exhaustion, and it will be found easiest to begin
with accessories, if there are any. These accessories are found either
as augmentations _on_ the shield or additions _outside_ it, and by
their help it is often easy to narrow down the limits within which the
owner must come. By the help of coronets it is possible to fix the
exact rank of the owner, and this alone, together with the date of the
book, ought to make the identification easy, by help of a Peerage of
the same date.
The decorations which surround a shield are often of great use; the
coat-of-arms and coronet of an Earl, for instance, may be easily
identified, but there may nevertheless be three or four persons who
succeeded each other rapidly, and bore the same coat, to whom the book
may have belonged. But round such a coat perhaps there is the Garter,
or the collar of the Bath, or the insignia of some other order, and
this will very likely decide which Earl was the actual owner.
The date of the printing of a book is of some use, if everything else
fails, but it must be understood that as a rule it only means that the
binding belonged to somebody at a later date. Even that is not quite
certain, because old stamped bindings have too often been transferred
to newer books. Such a transfer would be evident to a binder, but it
may well deceive any one else.
The large majority of the stamps illustrated herewith are in the
British Museum, but I have included a few in private ownership, and to
these owners my sincere thanks are due for their kindness in allowing
me to copy the various coats. I have in every case mentioned this
private ownership, and where such mention is not found the book from
which the drawing has been made is in the British Museum, either in the
Department of Printed Books or in the Department of Manuscripts.
Heraldry is of military origin, but its decorative side, and the
various exact rules which govern it, were probably brought into use
during the Middle Ages, in connection with the frequent Tournaments
which were governed by strict rules. The ceremonies to be followed
at the Tournaments were very closely laid down; heralds as well as
their assistants of all sorts came into much prominence, and personal
insignia acquired an importance they have never had since. Even now
there are a few signs of ancient personal heraldry existing in our
army; crests and tartans of private families may be found among the
Highland regiments, but the modern tendency, especially since the late
war in South Africa, has been to abolish such peculiarities.
To Blazon is to describe the different divisions and bearings on a
coat-of-arms in proper sequence and in heraldic language, so that an
heraldic artist can, from the description, draw and colour the coat
correctly.
The colours of shields and bearings ought to be given in every case,
either of blazon or illustration; but as this is not always convenient,
two methods of indicating colours have been adopted. The first is known
as Trick, and in this manner colours were marked until the seventeenth
century.
In Trick the colours or tinctures are indicated by letters, and they
are described in Gerard Legh's _Accedens of Armory_, London, 1562, as
follows:--
O. Or. Yelowe. A. Argent. Whyghte.
G. Geules, betweene Red and Tenne.
B. Azure, bright Blewe. V. Vert. Grene.
P. Purpure. Purple. E. Ermyn. White poudred wt Black.
Es. Ermines. Black powdred whight. T. Tenne. Orynge coloure.
M. Sangwyne. Murreye. Pr. Proper coloure. Naturall.
BB. Blewe. Sad Blewe.
The letters are put either in the spaces or on the charges to which
they refer, or they may be found in the margin with a directing line
drawn to the proper place.
Several other methods of indicating colour by means of black and white
lines laid in certain directions have been tried, but they have all
failed to stand the test of time except that invented by an Italian
Jesuit Father, Silvestro Petra Sancta, who lived in the seventeenth
century. His method is figured and described in a book he wrote and
illustrated on Italian coats-of-arms. It is a very useful book, because
the coats are arranged according to the devices upon them. It is in
fact an illustrated ordinary of Italian arms, _Tesserae Gentilitiae_,
Romae, 1638.
The colours and lines given by Father Petra Sancta are as follows:--
[Illustration: Aurum (Or)]
[Illustration: Argentum (Argent)]
[Illustration: Puniceum (Gueulles)]
[Illustration: Cyaneum (Azur)]
[Illustration: Prasinum Viridem (Sinople)]
[Illustration: Violaceum (Pourpre)]
[Illustration: Nigrum]
These are still the commonest colours, but a few more have been added
since; they are, however, rarely used.
Besides the metals and the colours a few furs are used in heraldry; the
two most usual of these are Ermine and Vair. Ermine is white and shows
little conventional spots on it, which represent the black tips of the
tails of the same animal.
[Illustration]
Vair is supposed to represent little grey squirrel skins spread out and
arranged touching each other. It is coloured blue and white.
[Illustration]
The others, rarely found, are variations on one or other of these two.
Ermines shows white tails on a black ground.
Erminois shows black tails on a gold ground.
Erminites is the same as Ermine, but each black tail has one
outer red hair on each side.
Pean shows gold tails on a black ground.
Counter Vair has the skins differently arranged.
Potent is like Vair, but the skins are differently shaped, like
thick T's.
Counter Potent has the Potent skins differently arranged.
The heraldic lines, dots, and furs should be learnt, as they must be
understood and are continually met with in heraldic works of late date.
The tincture lines do not show on English Royal book-stamps until
the time of George II., and on earlier book-stamps the want of any
indication of colour is a great element of doubt in the attribution of
coats-of-arms to particular persons, in the absence of assistance from
marks outside the shields, coronets, helmets, crests, and the like.
An heraldic heiress is a lady whose father is armigerous but leaves no
son. In such a case the lady's coat, if she married, would be shown on
an escutcheon of Pretence placed in the centre of her husband's coat,
and may be shown as a quartering on the coats-of-arms of her children.
Marshalling is the manner and method of conjoining divers arms upon
one shield according to heraldic precedent and usage; it is an exact
process.
The marshalling of the many family coats which may be inherited through
marriages with heraldic heiresses is often a very elaborate and
difficult matter. The rules, however, for such marshalling are well
known and logical. A very good summary of this important part of a
herald's duty can be found in Mr. A. C. Fox Davies's _Art of Heraldry_,
in the chapter on Marshalling. A coat-of-arms is, however, sometimes
found with many quarterings which only show the successive alliances,
but in such a case the facts should always be stated. In default of
such explanation the existence of the proper heraldic heiress rights
must always be presumed.
When a man quarters the coat-of-arms of an ancestral heiress, he has
also the right to use the crest belonging to it. The right of bearing
a crest, although not allowed to ladies, seems to be latent in them,
as it can be inherited through them, if heiresses, by their male
descendants. But in ordinary English usage it is usual only to use
one crest, except in the case of an assumption by Royal Licence of an
additional surname, coat-of-arms, and crest. In German heraldry such
quartered coats are usually accompanied by all their respective crests,
which are placed along the top of the coat in an arched line, each on
its proper helmet, and all facing inwards.
Distinctive personal marks on English shields are few; the commonest is
the Ulster hand which is used as an augmentation by Baronets. The rank
of Baronet, which is hereditary, was instituted by James I. in 1611. By
the original Statutes of the Order, Baronets in order to qualify for
the rank had to maintain "thirty soldiers three years at eightpence a
day in the Province of Ulster in Ireland." A Baronet had to prove that
he was a gentleman by birth and to possess property to the value of
£1000 per annum.
The arms of Ulster are a red left hand appaumé on a silver ground,
and the origin of this curious coat is said to be that on an Irish
expedition for the acquisition of new territory in ancient days, the
ancestor of the O'Neiles, finding that an adversary was reaching the
coveted shore more quickly than he was, cut off his left hand, and
threw it ashore, thereby establishing a "first landing" claim to the
new territory. The claim was allowed, and so the successful chieftain
became the first king of Ulster and the ancestor of the succeeding
kings.
The Ulster hand, either with or without its silver shield, usually
shows either on the honour point in the centre of a shield, in the
dexter chief, or in the centre chief, but there is no definite rule as
to its position.
In 1625 a similar hereditary rank was instituted for Nova Scotia in
North America, but since 1801 all Baronets have been "of the United
Kingdom." The Baronets of Ulster and of the United Kingdom both use the
Ulster hand as their symbol, borne upon their shield, but the Baronets
of Nova Scotia indicate their rank in another way. The badge of a
Baronet of Nova Scotia hangs from the base of his shield, suspended
by a tawny ribbon; the badge is oval, and shows "argent, a saltire
azure, thereon an inescutcheon of the arms of Scotland ensigned with an
Imperial Crown, the whole encircled by a fillet on which are the words
'FAX MENTIS HONESTAE GLORIA.'"
Concerning the Knights of the English Langue of the Order of St. John
of Jerusalem, Guillim says that they may wear "their Paternal coat
armour insigned with this cross on the chief of their Paternal Coat."
The cross he speaks of is, he says, that of Amadeus, Earl of Savoy
(Gu., a cross argent), who fought in company with the Knights of St.
John at the Siege of Acre in the thirteenth century, and, the Grand
Master being slain, put on his dress and demeaned himself so gallantly
that he was asked to allow the Order to adopt his coat-of-arms.
In the Charter of Incorporation of this Order granted by Queen
Victoria in 1888, it is ordained that "Knights of Justice may bear the
Arms of the Order, viz. Gules, a cross argent embellished alternately
in each of the principal angles with a Lion guardant and a Unicorn,
both passant or," as a chief on their coat-of-arms. The lion and the
unicorn were added to the then existing arms of the English Langue of
the Order by George IV.
Knights of other Orders and Knights Bachelors do not, as such, use any
augmentations on their shields.
Several forms of marks of cadency are given in the _Book of St.
Albans_, printed in the fifteenth century, and many more had been used
in mediæval times, but the manner of indicating cadency which has
lasted until the present day is the only one that it is necessary to
describe here.
In an old window at St. Mary's Church, Warwick, the six sons of the
Earl of Warwick, who died in the thirty-fourth year of Edward III., are
marked by the six following devices on their shields:--
[Illustration: 1st, a Label]
[Illustration: 2nd, a Crescent]
[Illustration: 3rd, a Mullet or spur rowel, sometimes pierced]
[Illustration: 4th, a Martlet]
[Illustration: 5th, an Annulet]
[Illustration: 6th, a Fleur-de-lys]
Gerard Legh in his _Accedens of Armory_ mentions three more such
marks:--
7th, a Rose. 8th, a Cross moline. 9th, a double Quatrefoil.
The first six are often met with, but the last three very rarely.
The Royal Family all use labels as cadency marks, distinguished by
charges upon them, or by the number of points, differences which are
all specially granted, the eldest son always wearing a plain silver
label of three points.
English coronets seem to have followed a definite line of development,
but they were not actually settled as to their respective designs until
the time of Charles II., at whose coronation all the ranks of the
Peerage carried their respective coronets exactly in their present
form.
At first coronets of rank were only circlets of metal, then on this
circlet were put balls or "pearls" (as in the portrait of King Alfred
on the Dowgate Hill brooch, or the coronet of a Baron or Viscount),
then the pearls were ornamentally tripled, and this trefoil soon
turned into a leaf form (_e.g._ the coronet of an Earl or Marquis,
alternately pearls and leaves), and finally leaves alone figure as the
mark of the highest peerage rank of a subject (_e.g._ the coronet of a
Duke, leaves only).
The Royal Crown has gone through a similar line of development, but in
this case the trefoil has evolved into two different forms, that of the
cross pattée, and that of the fleur-de-lys. These forms became fixed in
the time of Henry VII., the existing crown of England being essentially
of the same pattern as that then finally adopted, arches and all.
While fully appreciating the fact that the forms of modern coronets
only date from the time of Charles II., it is still interesting to
inquire by what methods peers of earlier date marked their dignity
pictorially, and it seems that this was done by means of the use of
a crest-chapeau, and the use of a helmet under it. But in sculpture
certain forms of coronets also appear. Crowns and coronets are placed
immediately upon the top of the shield. Over the crown or coronet comes
the helmet, and over the helmet the crest.
The Royal Crown of England has followed a definite line of development,
and, as mentioned above, it reached its present form in the time of
Henry VII., but, curiously enough, on the only known book-stamp that
is attributed to this king the crown is shown in a more ancient form,
that of a circlet ornamented with fleurs-de-lys of different sizes.
The centre cross pattée on the English crown was not used before it
was invented by Henry VI., and it first shows on his seal for foreign
affairs.
[Illustration]
The Royal Crown of England now has upon the circlet four crosses pattée
and four fleurs-de-lys, and from the tops of the crosses rise two
complete arches, bearing a mound and cross at their point of junction.
The Stuart crowns often show two more arches, rising from the tops of
the fleurs-de-lys, and this peculiarity was lately shown on the diamond
crown made for the coronation of Queen Alexandra. The Royal crowns are
richly jewelled.
[Illustration]
The coronet of the Prince of Wales is the same as the crown of the
Sovereign, except that it has only one arch and no jewels. The single
arch was granted, for the future, by Charles II.; before that the
princely coronet had no arch. The older form of this coronet can still
be seen on the Prince of Wales's badge of three ostrich feathers, which
are held together by a coronet of the old shape. The three feathers are
said to have been the badge of John, King of Bohemia, who was killed by
the Black Prince at Crécy in 1346. The motto "ICH DIEN" also belonged
to the King of Bohemia.
The coronets of younger children of the Sovereign are the same as that
of the Prince of Wales, but without the arch.
[Illustration]
The coronets of Princes, grandchildren of the Sovereign, are the same
as those of the younger children of the Sovereign, except that the two
outer crosses pattée are replaced by strawberry leaves.
[Illustration]
Charles II. settled all these matters as they now are, and also
ordained that Princes, grandchildren or nephews of the Sovereign,
being also Dukes, should wear on their coronets four crosses pattée
alternately with four strawberry leaves.
[Illustration]
The Black Prince was the first English Duke. The title derives from
Dux, a leader, and was, and still is, a sovereign title in many
instances. The Black Prince was created a Duke in 1337 by his father
Edward III. On the Prince's tomb at Canterbury he wears over his helmet
a coronet which shows ten or more leaves on short pyramidal points
rising from the circlet. The present ducal coronet is probably a
survival of this form. The Black Prince's helmet with chapeau and crest
is also preserved at Canterbury. On the tomb of John Beaufort, Duke of
Somerset (1444), at Wimborne Minster, he is shown wearing a coronet
set with several trefoils or leaves rising from the circlet. The same
design shows in _Prince Arthur's Book_ (1501-2) at the College of
Arms, where the banner of Charles Brandon, Duke of Suffolk, is ensigned
with a coronet bearing several leaves resembling strawberry leaves.
At the coronation of Edward VII., the official description of a Duke's
coronet is "of silver gilt, and on the circle eight strawberry leaves."
Pictorially five of these leaves are shown.
[Illustration]
The first English Marquis was Robert de Vere, created Marquis of Dublin
by Richard II. in 1387. A Lord Marcher was a Governor or Ruler of
the Marches, or Frontiers, but the dignity did not become hereditary
until the fourteenth century. It was a position of much importance and
responsibility. The coronet of a Marquis is nearly the same as that of
a Duke, but each alternate leaf is turned into a silver ball or pearl.
At the coronation of Edward VII., the official description of a
Marquis's coronet is "of silver gilt, and on the circle four gold
strawberry leaves and four silver balls alternately, the latter a
little raised on points above the rim." Pictorially three strawberry
leaves and two pearls are shown.
[Illustration]
The title of Earl, or Eorl, is one of Anglo-Saxon origin, and probably
derived from the Danish Jarl. Eorls were warriors and had charge of
shires, but by the Normans they were called Counts. It is the oldest
English title of nobility.
The Saxon form of name has, however, in this case, proved the most
lasting, but the remains of the Norman nomenclature exist in the title
of Countess, and also in the name County. The Earl or Shire man had his
deputy, the Sheriff, and he became the Vice-count or "Viscount." Hugh
Lupus, created Earl of Chester by the Conqueror, is said to have been
the first properly constituted English hereditary Earl. The coronet
worn by Henry Lacy, Earl of Lincoln, in the early fourteenth century,
and which is said by Sandford to have been shown on the Earl's tomb
in St. Paul's Cathedral, was a simple circlet; and so is that worn
by William de Valence, Earl of Pembroke, who died in the thirteenth
century, on his tomb at Westminster.
Margaret, Countess of Richmond, the mother of Henry VII., wears, on her
tomb at Westminster, a coronet with eight leaves and eight pearls on
points; essentially the same form of a Countess's coronet as used now.
But on her seal she uses a circlet from which rise alternately roses
and fleurs-de-lys, five roses and four fleurs-de-lys, each on a short
pyramidal point. This shows that at that time there was no definite
pattern.
On the tomb, at Windsor, of Charles Somerset, Earl of Worcester, who
died about the middle of the sixteenth century, is a coronet with
nine trefoils, or leaves, of equal size, and his son Henry, Earl of
Worcester (_d._ 1549), on his tomb in the Parish Church at Chepstow,
shows a coronet of leaves and pearls, all on short pyramidal stems,
rising from the circlet. Except for the proportion of the stems this
coronet is the same as that now used. At a little later date, in
Elizabeth's reign, I think the Earl's coronet took definite shape, and,
among others, it shows both on the seals of Dudley, Earl of Leicester,
and Charles Howard, Earl of Nottingham, essentially in its present
form.
[Illustration]
At the coronation of Edward VII. the official description of an Earl's
coronet is "of silver gilt, and on the circle eight silver balls
raised upon points, with gold strawberry leaves between the points."
Pictorially five points with pearls and four strawberry leaves are
shown.
A Viscount is a Vicecomes, or deputy for a Count or Earl. The Earls
have retained their Saxon name, but the Viscount has kept the Norman
equivalent of their rank as Sheriffs. Both the Earl and his Viscount
were originally county officials. Since 1441 the title has been one
of hereditary rank. The first English Viscount was John, Viscount
Beaumont, so created by Henry VI. The first English Viscount to wear a
coronet was Robert, Lord Cecil of Effingdon, who was created Viscount
Cranbourn by James I. in 1605, and his coronet was essentially the same
as is now used.
[Illustration]
At the coronation of Edward VII., the official description of a
Viscount's coronet is "of silver gilt and on the circle sixteen silver
balls." Pictorially nine of these silver balls are shown.
The Barons are probably the modern representatives of the ancient Saxon
Thanes. It is an old Norman name for the Thane, and it is found often
enough in ancient documents. Guillim says that citizens of London were
called "Barons Londonni," and in _Domesday_ there is mention of Barons
of Warwick. There were Barons of the Exchequer, and there are still the
Barons of the Cinque Ports. But none of these were hereditary titles.
Edward III., however, created William de la Pole an hereditary Baron,
and since that time the dignity has been generally hereditary. Baronies
were at first held by Tenure, that is by reason of the existence of
adequate territorial possessions, and Guillim says that this essential
was forgone by Henry III., who created Barons by Writ. In later times,
when the rank became hereditary, Baronies by Writ have been heritable
through the female line, and because of this, Baronial titles have in
many instances been held by several allied families, with different
family names.
The coronet of a Baron was originally a plain circlet, but Charles
II. ordained that in future there should be six balls upon it, and
the Barons at his coronation wore such additional ornamentation. In
Ireland, however, this form of Barons' coronets had already been fixed
by James I.
At the coronation of Edward VII., the official description of a Baron's
coronet is "of silver gilt and on the circle six silver balls at equal
distances." Pictorially four silver balls are shown.
[Illustration]
The coronet of a King-of-Arms is of silver gilt, and on the circlet is
inscribed the words "MISERERE MEI DEUS SECUNDUM MAGNAM MISERICORDIAM
TUAM," taken from the 51st Psalm. From the circlet rise alternately
long and short oak leaves.
[Illustration]
The Kings-of-Arms, Heralds, and Pursuivants were incorporated as a
College by Richard III. in 1483, and Derby House in the city, now the
College of Arms, was given to them as their headquarters in 1555.
Kings-of-Arms wore coronets from the beginning; a portrait of William
Bruges, the first Garter King-of-Arms, in 1420, in an illuminated
manuscript, shows him wearing a coronet on which are four trefoils, or
leaves, upon short pyramidal stems. On the grant of arms of the Tallow
Chandlers' Company, John Smert, Garter King-of-Arms in 1456, is shown
wearing a coronet on which are three leaves and two pearls or balls.
Sir William Dugdale, Garter King-of-Arms during the latter half of the
seventeenth century, wore a coronet with twelve oak leaves of equal
height on the circlet, on which there was no inscription. The coronet
as now used was probably first decided upon early in the eighteenth
century.
Heralds and Kings-of-Arms are entitled to surround their arms
with the ancient collar of SS. The same honour is allowed to the
Serjeants-at-Arms and several of the Judges.
Imitation jewels are repoussé upon the circlets of all these coronets,
except those of Barons and Heralds. No English crowns or coronets,
except those worn by the Sovereign or the Queen Consort, have any real
jewels upon them.
Crowns and coronets are only officially worn in England on the occasion
of the coronation, and then with the ordered coronation dress. They are
put on when the crown is put upon the head of the Sovereign. But if
they are held over the head of the owner it appears to be sufficient,
as in Sir George Hayter's beautiful picture of the coronation of Queen
Victoria, the Duchess of Cambridge is shown with a Lady-in-Waiting
holding her coronet over her head. The Duchess was wearing a very
handsome diamond tiara which, no doubt, she considered more becoming
than her coronet.
Crowns and coronets are properly depicted without any cap within
them, but when they are worn it is always over the Peer's cap, known
variously as a Cap of Estate, of Maintenance, or of Dignity. The same
cap is also used in many early instances as a crest-chapeau. The cap
is the same for all ranks, from the Sovereign to the King-of-Arms; it
consists of a red velvet cap lined with white silk and turned up with
miniver, which is white ermine fur having small dots or tufts of black
horsehair sewn into it at intervals. At the top is an ornamental gold
button, with fringes of gold thread.
[Illustration]
The earliest figure of a cap of this sort can be seen on the Black
Prince's helmet over his tomb at Canterbury; it has been painted red
and miniver, but is now in a very bad condition. The crest stands upon
it.
The Cap of Estate, without any crown or coronet over it, is worn by the
Sovereign on the way to the coronation, and it is also generally borne
on a cushion by one of the great officers of State when the Sovereign
is present in State or Semi-State. It is carried by the Marquis of
Winchester or his representative. Peers used such caps pictorially
before they showed coronets, and on fifteenth and sixteenth century
seals the Cap of Estate marks a high rank. It commonly shows on the
seals of Dukes and Earls in conjunction with a helmet. The chapeau
in early times seems to end in two swallow-tails, but now it is worn
round. As a crest support in modern times it is rarely granted, but
there still remain a few instances of its use.
Although it is correct to depict coronets without the Cap of Estate, it
is also correct to show them with it. In the latter case the miniver
turn-up comes just below the lower rim of the circlet. It is a common
mistake to show the miniver turn-up without the velvet Cap above it,
which is obviously absurd.
In the absence of a crown or coronet the Helmet rests directly on the
upper part of a shield. In fifteenth and sixteenth century seals it
shows very large in comparison with the coat-of-arms, and so does the
crest; the helmet often shows the guige or shield belt, and the shield
often hangs _couchée_ or sideways. The Helmet, so says Guillim, is
the true mark of English nobility, and it certainly shows as such on
seals dating from the fourteenth until about the end of the sixteenth
century, when rank coronets began to be used instead of, or together
with, a corresponding form of helmet.
From the early seventeenth century the shapes and metals of the helmets
denoting rank have been clearly laid down, and they are as follows:--
[Illustration: _Royal._--A Helmet of Gold, with six bars, set
affrontée.]
[Illustration: _Peers._--A Helmet of Silver, barred, with five bars,
and garnished gold, usually set in profile, but Dukes sometimes used it
affrontée.]
[Illustration: _Baronets_ and _Knights_.--A Helmet of Steel, garnished
with silver, without bars, the visor open, and set affrontée.]
[Illustration: _Esquires._--A Helmet of Steel, the visor closed, and
set in profile.]
On the Helmet, between it and the crest support, comes the mantling,
the survival of the helmet cover torn in war, and showing in strips,
now ornamentally treated. The main metals and colours of the
coat-of-arms should be repeated in the mantling.
To wear a crest at a Tournament implied more social status than the
possession of a shield, and in the latter part of the fourteenth
century all great nobles were very careful to display their crests,
but lesser gentry had to be content with their shields only. In early
visitations coats-of-arms were frequently granted without crest at all.
Later, in Jacobean times, crests were sometimes given to persons
already bearing arms, and they became commoner. Whenever ancestral
coats-of-arms are quartered with a given coat, the corresponding
crests may also be worn, but in English usage this is rarely done. In
the event, however, of an additional surname being adopted by Royal
Licence, with the corresponding coat-of-arms and crest, the second
crest is commonly used; but it is very rare in English Heraldry to show
more than two crests.
Crests are undoubtedly derived from the fact that in the days of
Armour, Knights were completely covered up and required some evident
mark by which they could be recognised. To meet this difficulty a
coloured device set on the top of a man's helmet offered an obvious and
ornamental solution. Such a crest was strictly personal; the retainers
of a Knight wore his badge and his colours, but never his crest. The
modern use of livery colours and badges can be well seen in the case
of the Beefeaters at the Tower. Very ancient helmets were sometimes
ornamentally coloured.
The crest "Crista," a cockscomb, was often of a fan or cockscomb shape
on the top of a helmet, but gradually it assumed more distinguishing
peculiarities. On the Great Seal of Richard I., on the equestrian side,
a cockscomb crest shows on the King's helmet, with a lion of England
on the flat base of it. The whole coat-of-arms sometimes shows on the
Fan crest, as it does in the crest of the City of London. The original
Fan, however, in this instance, has become curiously modified into the
shape of a dragon's wing.
Crests are carried on some sort of support; those usually found are one
or other of the following:--
On a crest-chapeau, the old cap of maintenance, dignity, or of
estate. It was, and is, usually used by persons of high
rank. The earliest remaining example of the use of the
crest-chapeau is in Canterbury Cathedral, and a model of
one is there on the helmet of the Black Prince, over his
tomb. The cap is of red velvet turned up with miniver; it
is not a round cap like its modern representative, but is
of an elongated shape, ending in two swallow-tails.
Issuing from an heraldic coronet showing three strawberry
leaves, the colour of the coronet being exemplified in the
official grant. This coronet does not appear to have any
meaning.
Issuing from a Mural coronet, sometimes granted to Army
officers.
Issuing from a Naval coronet, sometimes granted to Naval
officers.
On a fillet or twisted torse of the chief metal and chief
colour of the coat-of-arms with which it is used. This
fillet is the commonest crest support, and the others,
chapeau or coronet, are themselves sometimes set upon a
torse. It should be stated in the grant.
Crests carry the same cadency marks as occur on the coat-of-arms.
Crests are of very ancient use; marks of dignity worn upon the head are
among the earliest signs of chieftainship used by mankind. A savage
chief would readily wear a rare bird's feather in his head as a mark
of dignity, or even his own hair matted into particular forms, as the
Zulus still do. As for feathers, we still wear them on our heads as
indications of rank; they can be found on the ceremonial hats of all
the great Orders of Knighthood, on the hats of the Staff of our army
as well as on several Regimental head-dresses, and on the hats of our
Civil Servants.
Knights and Companions, or Esquires, of Orders of Knighthood show the
badge or badges of the Order or Orders to which they belong suspended
from the proper ribbon from the base of their shields. Medals are
seldom so shown. Knights Commanders of Orders of Knighthood usually,
in addition, surround their coats-of-arms with the ribbon and motto of
their senior Order. From this ribbon may depend the badges of all the
Orders to which the Knight belongs. Knights Grand Cross may further
surround their coats-of-arms with the collars of any or all the Orders
having collars to which they belong, the badge of each depending from
its proper collar. When several collars are shown they are sometimes
halved, each badge always being so arranged as to hang from a link of
its own collar.
Many officials besides those already mentioned are entitled to show
emblems of their office outside their shields, but few of these show
on book-stamps. An instance, however, may be seen on one of the stamps
used by Samuel Pepys, where he shows two anchors behind his shield
as a mark of his position as Secretary to the Admiralty. In the same
way Field-Marshals are entitled to place crossed batons behind their
shields.
Clergymen of high rank sometimes ensign their coats-of-arms with a
Mitre, but as non-combatants they use no crests. Archbishops and
Bishops impale the Arms of their See with their own paternal coats,
the official coat taking the dexter position. Deans also and lesser
ecclesiastical dignitaries in many cases impale their family coats with
an official one, in the same way.
The origin of Supporters to coats-of-arms is a matter upon which there
is much difference of opinion. It is probable that as now used they
are partly of utilitarian and partly of decorative origin. Badges
and charges on coats-of-arms have often developed into Supporters.
Henry VIII., in 1528, borrowed one of the lions of England from his
coat-of-arms and adopted him as a Dexter Supporter, a dignity he has
retained ever since.
At Tournaments, before the combatants entered the Lists their banners
and shields were displayed and held by retainers or pages. These
serving-men were dressed in their Lord's livery or in some fancy dress.
So that a Knight's shield would be recognised not only by the devices
upon it, but also by the colours and appearance of its Supporter.
Many foreign shields, and ancient English ones also, show only one
Supporter, and it is likely enough that when pictorial heraldry began
generally to show Supporters, a second Supporter was often added for
the sake of uniformity alone. In King Arthur's Book at the College of
Arms, illuminated quite early in the sixteenth century, banners are
shown with only one Supporter holding them up.
Supporters were regularly used by persons of high rank from early in
the fifteenth century; they carry on them any marks of cadency which
may be on the shield to which they belong. The right to use Supporters
depends upon the wording of the grant of Arms concerned. Practically
they are now seldom granted except to Peers. In the past, however, many
commoners have been granted Supporters for their coats-of-arms, by
Royal Warrant, and some of these are hereditary. This is a point which
would be specified in the grant, and without such specification the
Supporters would not be hereditary.
In Scotland ancient usage is allowed to be a good cause for using
Supporters.
Supporters have at present no defined status, they indicate no rank;
but the tendency now is to restrict their use, and it is quite probable
that some day they will become actual evidences of Peerage rank, as
they probably originally were. No list of English Heraldic Supporters
has yet been published.
Mottoes largely derive from War-cries. In England they are not
mentioned in grants of arms, and very rarely in visitation books.
Mottoes are not hereditary, but can be changed at the will of any
armigerous person. Officers of arms will record mottoes by request,
provided they do not infringe any existing rights.
In Scotland, however, mottoes are recognised officially; they are
subject to grant, and their position with regard to the coat-of-arms
or crest to which they belong is specified. Heraldic mottoes appear to
have been used in England in the sixteenth century; they show on some
of the Garter Plates at Windsor. Mottoes often accompanied badges,
and in many cases they may have been transferred from them to the
coat-of-arms or to the crest.
The motto "DIEU ET MON DROIT" was adopted by Edward III., in allusion
to his claim to the Throne of France. In 1801, on the Legislative
union of Great Britain and Ireland, the title of King of France, as
well as the coat-of-arms of France which had appeared on the English
coat-of-arms ever since the time of Edward III., was discontinued, but
the motto has been retained and is still used. Useful lists of English
mottoes are given in several editions of Burke's _Peerage_, and in the
1905 edition of Fairbairn's _Crests_.
Some elementary knowledge of heraldic terms and bearings must be
acquired before it is possible to use any of the ordinaries, or lists
of coats-of-arms, arranged according to the divisions of shields and
the bearings upon them.
Fortunately the primary and, at the same time, the most important
divisions of a shield are few and easily learnt. They had originally a
structural origin, and although I begin with a line in my analysis, it
is likely that the charges were originally first; for instance, a red
scarf tied across the top of a shield would develop heraldically into
"a chief gu." In the same way a red scarf tied from top to bottom of
an iron shield would become heraldically "sa., a pale gu." and so on.
There are now proper proportions for all these charges, but in practice
they are not strictly adhered to.
A large number of coats are not divided up at all, but are simply
charged with bearings that may be easily identified if the colours
are known; such coats have frequently animal forms upon them, a Lion
rampant or an Eagle displayed, or more than one animal arranged in a
certain order. Such coats can generally be easily found in an Ordinary,
but the colour in old seals and on old books is seldom given, and this
often makes any unsupported identification very doubtful.
[Illustration]
The shield may be divided by a centre perpendicular line from top to
bottom; this is called division _per Pale_, and when the dividing line
is thickened it becomes a charge, and is described "a Pale." A husband
impales his wife's coat with his own, on the sinister side, except when
the lady is an heraldic heiress, when her coat will be found on an
escutcheon of Pretence in the centre of her husband's shield. Children
of such a marriage are entitled to quarter their mother's coat with
their paternal coat. They can also use any ancestral quarterings to
which their mother was entitled.
[Illustration]
[Illustration]
[Illustration]
When a shield is divided by a central horizontal line it is said to be
divided _per Fess_, and when the dividing line is thickened it becomes
a charge and is called "a Fess." Several small fesses are called bars,
or the shield may be described as "Barry."
[Illustration]
[Illustration]
If the perpendicular pale and the horizontal fess lines are combined,
a shield becomes "Quartered" or "Quarterly," and if these lines are
thickened we get the Cross, of which there are several varieties,
_e.g._ cross pattée, with the ends flattened out like feet; cross
crosslet with each end crossed by a little bar; cross moline with
double-pointed ends; cross fleury with triple-pointed ends, and so on.
If a shield is covered all over with reduplications of the quartering
lines, so as to be divided into a number of little squares, or
quarterings, it is said to be chequy or compony.
[Illustration]
[Illustration]
[Illustration]
[Illustration]
[Illustration]
When a shield is divided diagonally, either from right to left, or
from left to right, which must be specified, it is said to be _per
Bend_, dexter or sinister, as the case may be. If either of these lines
is thickened so as to become a charge it is called "a Bend" (dexter
or sinister). If the dexter and sinister dividing Bend lines are
combined, a division _per Saltire_ is the result, and if these lines
are thickened so as to become a charge, it is called "a Saltire." If
the upper triangle in the Saltire is drawn down into a narrow point
and forms a charge, it is called "a Pile." There may be several of
these, and their number, position, and colour are always stated. If
the Saltire lines are repeated so as to cover the entire shield with
diamond-shaped spaces, it is said to be Lozengy, and if these lines are
thickened so as to become charges, it is called Fretty, and the little
bars are interlaced.
[Illustration]
If now the dividing lines of a quartered coat and those of a coat
divided per Saltire be combined, we get a division known as Gyronny,
common in Scottish heraldry.
[Illustration]
[Illustration]
If a shield is divided by an angular line in a gable form, the two
lowest lines of a division per Saltire, it is called _per Chevron_,
and if this line is thickened so as to become a charge, it is called a
Chevron.
[Illustration]
[Illustration]
When a third part of the top of a shield is marked off by a horizontal
line it forms what is called a Chief, and when the top left-hand corner
is marked off as a small square, measuring about a third of the chief,
it is called a Canton, and is often an honourable augmentation to a
coat-of-arms, granted for some distinguished service.
[Illustration]
When a shield has a narrow border all round it, it is called a Bordure,
and this is also often an honourable augmentation, difference, or mark
of cadency on a family coat-of-arms.
The boundary lines of all these charges are normally straight, but they
may also be either
[Illustration: <i>Engrailed</i>]
[Illustration: <i>Embattled</i>]
[Illustration: <i>Indented</i>]
[Illustration: <i>Dancetty</i>]
[Illustration: <i>Wavy</i>]
[Illustration: <i>Raguly</i>]
[Illustration: <i>Nebuly</i>]
and a few more which are rarely met with.
Charges are usually placed on shields in certain positions which
follow one or other of the main lines of division which have just been
enumerated.
For instance, the three lions of England are arranged one under the
other, on an imaginary line running from the top to the bottom of the
shield. If such a broad line existed it would be called a Pale, so
the lions are said to be "In, or Per Pale." Similarly, they might be
arranged "In Fess" or "In Bend," and so on.
All charges and bearings on shields should be shown flat except
The Fret, which is interlaced.
Fretty, a small fret repeated, also interlaced.
Roundels in colour, which should be shown as hemispherical. They
doubtless represent the bosses on a shield. The metal roundels,
however, the Bezant of gold, and the Plate of silver, no doubt
represent coins, and are shown flat; and that Cadency marks may
correctly be represented, as in relief on a shield.
Heraldic charges are numerous, and if any prolonged investigation is
likely to be required their names and forms will have to be learnt.
But a few of the commoner charges may well be explained here, as such
explanation may possibly in many cases save a long search.
[Illustration: A <i>Dragon</i> is a monster with scales all over
him; he has four legs ending in eagle's talons and a
spear-head at the end of his tail, his wings are like the
wings of a bat, with a claw at the end of each rib.]
[Illustration: A <i>Griffin</i> has the head, front legs, and wings
of an eagle, and the hind-quarters of a lion.]
[Illustration: A <i>Wyvern</i> has a dragon's head and wings, with
two eagle's legs, his tail is curled round itself and ends
in a spear-point. He is scaly all over.]
A _Cockatrice_ is a Wyvern with a cock's head.
A _Basilisk_ is a cockatrice with its tail ending in a
dragon's head.
A _Lion_ shows one eye, one ear, and stands upon one foot,
rampant. He has a mane, and his tail has a tuft at the end,
and he shows no spots. If a lion is otherwise depicted it
must be mentioned in the blazon. A lion showing two eyes
and two ears is a lion "Leopardé."
A _Leopard_ shows two eyes and two ears; he has no mane and
his tail is not tufted. He should show spots and be
"nowhere shaggy." If he only shows one eye and one ear he
is a leopard "Lionné."
Most of the other animals explain themselves, but there are a few
curious charges, no doubt survivals of common forms, which also retain
their ancient heraldic names, and these forms and names are useful to
remember; among them the following occur perhaps most frequently:--
[Illustration: A Caltrap.]
[Illustration: A Chess-rook.]
[Illustration: A Clarion.]
[Illustration: A Fer-de-Moline.]
[Illustration: A Fermail.]
[Illustration: A Fountain.]
[Illustration: A Fret.]
[Illustration: A Fusil.]
[Illustration: A Mascle.]
[Illustration: A Maunch or Sleeve.]
[Illustration: A Pheon.]
[Illustration: A Rustre.]
[Illustration: A Water Bouget.]
Heraldic Shields changed their forms at different periods, but it is
not necessary to trouble much about that here, as coats-of-arms on
books are always simple in shape. But it may be noted that unmarried
ladies or widows show their arms in the form of a Lozenge. Guillim
says, "This form is derived from the fusil, or spindle for yarn, single
women being called spinsters." The lozenge is an inconvenient form,
and it is broadened out whenever possible. When a wife's coat is shown
on an escutcheon of Pretence in the centre of her husband's shield, it
loses its lozenge form.