The Handbook to English Heraldry

"What! Is it possible? not know the figures of Heraldry! Of what could your father be thinking?" --ROB ROY.

The sentiment unquestionably was his own which Sir Walter Scott made delightful Di Vernon express when, with indignant surprise, she asked Frank Osbaldistone of what his father could have been thinking, that he had been permitted to grow up without any knowledge of Heraldry. Sir Walter was right in his estimate of the high value of Heraldry as an element of education: and, in professing herself a votaress of the Herald's "gentle science," it was quite right in Di Vernon to suggest to other ladies that it would be well for them if Heraldry should find favour in their eyes also. The age of Rob Roy, however, was far from being in harmony with heraldic associations: nor was the author of "Waverley" himself permitted to accomplish more, than to lead the way to that revival of a popular sympathy with every expression of early Art, which now forms one of the most remarkable characteristics of our own era.

In the olden time, in England, the love of Heraldry, which was prevalent amongst all classes, was based upon an intelligent appreciation of its worthiness. A part of the feudal system of the Middle Ages, and at once derived from the prevailing form of thought and feeling, and imparting to it a brilliant colouring peculiar to itself, Heraldry exercised a powerful influence upon the manners and habits of the people amongst whom it was in use. By our early ancestors, accordingly, as Mr. Montagu has so happily written, "little given to study of any kind, a knowledge of Heraldry was considered indispensable:" to them it was the "outward sign of the spirit of chivalry, the index, also, to a lengthened chronicle of doughty deeds." And this Heraldry grew up, spontaneously and naturally, out of the circumstances and requirements of those times. It came into existence, because it was needed for practical use; it was accepted and cherished, because it did much more than fulfil its avowed purpose. At first, simply useful to distinguish particular individuals, especially in war and at the tournament, English Heraldry soon became popular; and then, with no less rapidity, it rose to high honour and dignity.

From the circumstance that it first found its special use in direct connection with military equipments, knightly exercises, and the mêlée of actual battle, mediæval Heraldry has also been entitled ARMORY. Men wore the ensigns of Heraldry about their persons, embroidered upon the garments that partially covered their armour,--and so they called them Coats-of-Arms: they bore these same ensigns on their shields,--and they called them Shields-of-Arms: and in their Armorial Banners and Pennons they again displayed the very same insignia, floating in the wind high above their heads, from the shafts of their lances.

The Heraldry or Armory of England, an honourable and honoured member of the illustrious family of mediæval European Heraldry, may be defined as a symbolical and pictorial language, in which figures, devices, and colours are employed instead of letters. Each heraldic composition has its own definite and complete significance, conveyed through its direct connection with some particular individual, family, dignity, or office. Every such heraldic composition, also, is a true legal possession, held and maintained by an express right and title: and it is hereditary, like other real property, in accordance with certain laws and precedents of inheritance. But in this respect heraldic insignia are singular and unlike other property, inasmuch as it is a general rule that they cannot be alienated, exchanged, or transferred otherwise than by inheritance or other lawful succession. Exceptions to this rule, when they are observed occasionally to have occurred, show clearly their own exceptional character, and consequently they confirm the true authority of the rule itself. It will be understood, as a necessary quality of its hereditary nature, that the significance of an heraldic composition, while "definite and complete" in itself, admits of augmentation and expansion through its association with successive generations. Thus, the Royal Shield of EDWARD III. is "complete" as the heraldic symbol of that great monarch, and of the realm under his rule: and yet this same shield, equally "complete" (with one simple modification) as the heraldic symbol of each successive Sovereign till the death of ELIZABETH, has its significance infinitely augmented and expanded through its hereditary association with all the Sovereigns of the Houses of Plantagenet and Tudor.

Until the concluding quarter of the twelfth century, the traces of the existence of Heraldry are faint and few in number. Early in the thirteenth century the new science began to establish itself firmly amongst our ancestors of that age; and it is certain that, as soon as its character and capabilities were in any degree understood aright, it grew speedily into favour; so that in the reign of HENRY III. (A.D. 1216-1272) Heraldry in England had confirmed its own claims to be regarded as a Science, by being in possession of a system, and a classification of its own.

The Crusades, those extraordinary confederacies without a parallel in the history of civilised nations, were themselves so thoroughly a matter of religious chivalry, that it was only an inevitable result of their existence that they should give a powerful impulse to the establishment and development of Heraldry in its early days.

But Heraldry, from the time of its first appearance in England, was found to be valuable for other uses besides those which so intimately connected it with both real and imitative warfare, with the fierce life-and-death conflict of the battle-field, and with the scarcely less perilous struggle for honour and renown in the lists. Very soon after the Norman Conquest, in consequence of their presence being required to give validity to every species of legal document, SEALS became instruments of the greatest importance; and it was soon obvious that heraldic insignia, with a representation of the knightly shield upon which they were displayed, were exactly suited to satisfy every requirement of the seal-engraver. By such means Heraldry became interwoven as well with the peaceful concerns of everyday life, as with the display of martial splendour and the turmoil of war.

Many attempts have been made to set aside the opinion that the Heraldry of the Middle Ages in England was a fresh creation, a production of indigenous growth: and great is the ingenuity that has been brought into action to carry back the Heraldry of our own country from the commencement of the thirteenth century through the previous elementary stages of its existence, in order to trace its direct lineal descent from certain decorative and symbolical devices that were in use at much earlier periods. The careful and diligent researches, however, of the most learned Heralds have at present led them almost unanimously to reject all such theories as these, as speculative and uncertain. At the same time, it is an indisputable fact that, in all ages of the world, and amongst all races of men, some form of symbolical expression has been both in use and in favour. And it is equally true that this symbolism, whatever it may have been, has generally been found in some way associated with a military life and with the act of warfare. Soldiers, and particularly those in high command, have always delighted to adorn their shields with devices that sometimes were significant of their own condition or exploits, or sometimes had reference to their country, or even to their families; and, in like manner, it has been a universal custom to display similar devices and figures in military standards of all kinds. At the time of the Conquest, as is shown in the famous Bayeux Tapestry of the Conqueror's Consort, the shields and standards of both Normans and Anglo-Saxons were painted, and perhaps the latter were embroidered, with various figures and devices; but certainly without any heraldic significance or any personal associations being indicated by these figures and devices, which bear a general resemblance to the insignia of the Legions and Cohorts of Imperial Rome. Figures Nos. 5 and 6 give representations of the standards that are introduced into the Bayeux Tapestry. The same species of decoration, consisting chiefly of painted patterns, with discs, stars, crescents, and some other figures, continued in use in our own country until superseded by a true Heraldry; and may also be assumed to have prevailed in England in much earlier times.

In still more remote ages a more decided heraldic system was displayed upon signets, coins, shields, and standards. In this ancient Heraldry, if so it may be termed, occasionally the important and characteristic quality of hereditary association in certain devices is apparent. Thus, Virgil (Æneid, vii. 657) assigns to Aventinus "_insigne paternum_" upon his shield--his hereditary device, derived by him from his father. But these devices generally appear to have their significance in a greater or a less degree restricted, amongst the ancients, to certain particular incidents; consequently in all these examples there is nothing to show that the man who bore one device at one time, did not bear another device at another time.[1] For example, Æschylus, the Greek tragedian (B.C. 600), has recorded that Capaneus, when attacking the city of Thebes, bore on his shield the figure of a warrior carrying a lighted torch, with the motto, "I will fire the city!" But, on another occasion, we have reason to believe that the same Capaneus bore quite a different device, applicable to that other occasion; and this deprives these ancient devices, heraldic as they are in their general character, of that special personal association which true Heraldry requires and, indeed, implies. The beautiful painted vases, the works of Greek artists, that are discovered in such extraordinary numbers and in perfect preservation in some parts of Italy, constantly give most striking representations of the shields of ancient Greek warriors and other personages, with what appear heraldic devices displayed upon them. These shields illustrate, in a remarkable manner, both the appropriate significance of particular devices, and the usage then prevalent for a variety of devices to be borne on different occasions by the same individual. Shields upon vases in the collections in the Museum of the Louvre at Paris, and in the British Museum, where they are easy of access, contain a great variety of devices. The examples, Nos. 7, 8, 9, and 10, are from our own National Collections. No. 7, the shield black, the border and the pegasus red; No. 8, the shield black, and the two dolphins white; No. 9, the shield black, with a border adorned with red discs, the serpent white; No. 10, the shield black, with purple border, the three human legs conjoined white. The shields, Nos. 9 and 10, are both borne by the goddess +ATHÊNÊ+ (Minerva); and the remarkable device displayed on No. 10 is also found on the coins of ancient Sicily. Other similar shields display lions, horses, dogs, wild boars, fish, birds, clusters of leaves, chariots and chariot-wheels, votive tripods, serpents, scorpions, with many others, including occasional examples of human figures. In another collection I have seen an anchor and an Amazon's bow. A device differing from that in No. 10 only in having the conjoined limbs in armour, will be found in our own English Heraldry to be the armorial ensign of the Isle of Man.