Read Ebook: La San-Felice Tome 01 by Dumas Alexandre

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Ebook has 1106 lines and 66767 words, and 23 pages

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

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

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

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

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

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

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

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

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

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

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

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

INDEX 293

HERALDRY AS ART

Introductory

In dealing with heraldry from the artist's point of view, as a decorative subject which offers interesting scope for technical effort, it will not be necessary to go overmuch into the question of its origin, nor to elaborate its history beyond what is needed to give such knowledge of its methods as may help the doing of present work or the intelligent appreciation of the old. Nevertheless, the archaeological aspect of the subject, the conditions and rules of its existence, must also be carefully studied in order to ensure the correctness of the statement that heraldry makes and of which heraldic art is the expression.

As for its origin, we may safely say that heraldry, in its essence, began when man first used natural forms to symbolize, and ascribe to himself, those qualities--strength, courage, cunning--which he had full cause to recognize in the beasts with whom he struggled for existence; when he reproduced, as well as he could, their ferocious aspect, to strike terror into his human enemies while satisfying his own warlike vanity, and so adopted them as badges or even as totems.

In Europe heraldry began to be systematized somewhere about the eleventh century, and it flourished exceedingly until about the middle of the sixteenth century, the period thus indicated being that of its greatest strength and beauty.

The Crusades, in their aggregation of troops of various nationalities, helped to extend, in showing the necessity for, a regular system of heraldry as a means of distinguishing one party from another, and the feudal system itself with its numerous groups, each under its knightly or noble head in ever-extending subordination, conduced to the same end.

The Tournaments which played so brilliant a part in the splendours of the Middle Ages also afforded fresh and greatest scope for heraldic magnificence. Being restricted for the most part to competitors of noble birth, many of whom were attracted from distant places, they afforded opportunity for observation and comparison of the various bearings. They naturally suggested the inclusion of foreign as well as native armorials in the heraldic MS. of the times, as we find them depicted in the Rolls of Arms. The necessity for well-ordered arrangement soon made itself felt, and thence was evolved systematic heraldry as it now exists. The rules thus originated, being based on the ever-present difficulties which arose in the actual use of coat armour, were admirable for their purpose, for they were devised with a common-sense regard for the conditions under which they were to be applied, were at first simple and therefore easily understood.

The manner in which the arms were displayed was the most conspicuous that was possible, every suitable space that offered itself being employed to bear them in one form or another. Thus in time they appeared on the shield, helmet and surcoat, and also on the ailettes, those flat pieces of steel which were used to still further deflect a blow which had slid from the helmet and might otherwise have injured the shoulder.

The use of heraldry in battle or tournament by no means exhausted its possibilities, however, for even in the warlike Middle Ages armorials were used by priests and women, and by statesmen whose services were those of the council chamber rather than of the field. In every case their strong personal and allusive quality was felt to the full, and intensified the human interest in ordinary things. So that the enamelled brooch of Queen Eleanor, with its arms of her warrior husband Edward I linked with her own, becomes something more than a mere fastening; and the armorial robes of the noble wife who wears her husband's armorials on her mantle, covering and protecting her own arms embroidered on her gown, are made beautiful expressions of a chivalrous idea.

Besides the creatures which were taken to signify strength, courage, fidelity and other virtues, there were also those which symbolized the great mystery of the perpetuation of life, which has appealed to the imagination of man throughout historic times. The Peacock, in the periodical renewing of his splendour of plumage; the Swan, emerging in spotless beauty from the dusky obscurity of its cygnet state, both expressed this universal idea. To Christian chivalry the Peacock typified the Resurrection and therefore Immortality, and the Swan became the emblem of that cult of womanhood which was so beautiful and characteristic of knightly regard. The symbolism of the Cross and the emblems of saints and martyrs form a large part of heraldry, as is natural. Plants and flowers were naturally taken to express beautiful qualities--constancy, purity, love--as with similar intention they may still be acceptably employed in the wreaths and garlands which are, on occasion, associated with armorials.

Symbolism of this kind has been lost to heraldry, not, however, leaving it without significance; for arms have also allusive meanings that are no less interesting as records of incidents that are thought worthy of remembrance.

Many mediaeval bearings originated in this way, the belt and buckles of Pelham, which commemorate the capture of the French king at Poitiers, for instance. The more modern kind of heraldic symbolism occurs in the arms of the great Admiral Sir Cloudesley Shovel, who commemorated his victory over the fleets of Turkey and France at the end of the seventeenth century by adding two crescents in chief, and a fleur-de-lis in base to his existing coat, gules a chevron ermine. In our own time successful generals embody in their armorials the badges of regiments with which they have been connected, or bear allusions to places where their successes have been won. In a more peaceful field the skill and assiduity of a distinguished physician may be rewarded by the addition to his arms of some part of the Royal insignia, to mark for all time the services he has rendered to the State. Such arms are conferred by special grant, and are called Arms of Augmentation or Augmentations of Honour. In this way the inherent qualities of heraldry are seen to be very stable and to remain constant through the ages in spite of changes of manners and of general environment.

Our heraldry, which quickly reached a high degree of decorative excellence, developed as a system, in a natural way, on the line of its own necessities; as did its artistic expression in a great measure, though the latter owed much to transmitted designs and helped to perpetuate in Western art the beasts and birds and strange composite conceptions of the East. These ancient prototypes of familiar heraldic forms are singularly interesting, as sometimes possessing in a very marked degree qualities, such as vigorous expression and characteristic generalization of form, which teach valuable lessons in their application to modern use.

Although at first the mediaeval draughtsman followed the drawing of his imported or traditional motives very closely , he soon began to treat them in his own way, the way that came to be considered peculiarly heraldic. In thus handling his motives he was entirely himself, and the outcome was the natural result of the splendid sense of design which characterized him. The style is rightly considered purely heraldic because it arose from its own heraldic conditions, and was the result of the very sane intention that the thing done should be suited to the use to which it was to be put, viz. to serve as a distinctive badge which could be seen, and easily read at a distance or when in motion. Such conditions dictated simple directness of treatment and resulted in that bold clear definition which combined with good distribution and the fine balance of colour that results from it, to produce a very decorative whole. Thus, as so frequently happens in other ways, the treatment at first suggested by reasons of practical convenience resulted in an effect of great decorative value. The method of depicting the pattern-like figures varied, as was natural, with the materials employed and with other varying circumstances, and, where opportunity served, a high degree of elaboration was reached; but whether the treatment was simple or elaborate, breadth of effect and decorative quality are nearly always conspicuous. The various methods of working, each satisfactory in its own way, are extremely interesting, as giving historic sanction to the choice of treatment in heraldic expression, and in opposition to the narrow view that as a certain kind of work admirably suits its purpose in its own place that same treatment should be obligatory in all other cases. The old work confirms the broader view, so that when a flat treatment, for example, in harmony or in contrast with surrounding decoration, seems desirable, the armorials may be done flatly; and when, on the other hand, a more elaborate treatment seems fit, modelling in relief or any other means of decorative expression may be properly employed. Nevertheless, the broad-minded advice to "do as you like" has been sometimes taken too literally. Order as well as freedom is necessary to the doing of good work, and that can only be secured by study of the subject from the systematic or archaeological, as well as from the artistic side.

Heraldic art reached its greatest strength in the fourteenth century, as appears in what was perhaps the most beautiful example of the work of the period, the shield of arms in Canterbury Cathedral, said to be that of Edward the Black Prince . It is probably one of the shields that were used for his funeral. Here the lions of the English coat are admirably distributed and are full of power and spirit. The fleurs-de-lis of France are beautifully free and graceful, and are equally well-designed to occupy their spaces and as well proportioned to them. The whole work, which is so valuable a lesson in the best qualities of heraldic design, has suffered from the wear of the centuries; but sufficient remains to show that when uninjured it must have been superb.

Heraldic art continued finely decorative and expressive for a very considerable time until the forms which had shown so much spontaneity became more pattern-like, reverting in a measure to the character of such of the earlier figures as more nearly reproduced those of the textiles; for the fourteenth century examples, such as that to which we have just referred, show a conscious effort to express the attributes of strength and vitality which were associated with and were symbolized by the animals that were depicted. In the late mediaeval work this vivifying force became weakened under the numbing influence that is inseparable from the reiterated use of forms that have become stereotyped. In respect to the appeal which visible expression makes to the ordinary mind as opposed to mere diagrammatic indication, the best work of the fourteenth century in its effort to depict recognized attributes links itself in intention with the work of the Renaissance, although the methods that were employed differed so greatly.

At the end of the fifteenth century the personal bearing of heraldry in war had almost ceased, but it remained an important feature of the tournaments during the whole period of their existence.

Besides satisfying the martial sense which ever delights in brilliance and colour, it also gratified the desire for the expression of meaning in decoration, a mental attitude which heraldry exactly fitted. And heraldry thenceforward became mainly decorative, while retaining the allusive and symbolic qualities that are hardly separable from it.

In Tudor times the number of armorials increased in a very marked degree, no doubt sharing in the impetus given to the arts in England by the much-needed peace which followed the dynastic wars of York and Lancaster. As though to link it with that welcome event, beautiful and simple flowers added their charm to heraldry in notable quantity, and gillyflowers, columbine, marygold, and many more, appear on shields of arms and in crests, as well as in the garlands which were so admirably used as decorative accessories to the armorials.

The Gothic heraldry, in common with the other decorative arts, having become formalized into a style from which the human interest had to a great extent gone, a change took place in harmony with the new feeling; but in the revolt from the formalism of late Gothic art heraldry frequently went to the opposite extreme, and employed naturalistic forms in an unsuitable way.

Much of the Renaissance work, however, retained some of the best qualities of the Gothic, in the pose of the figures and in the general composition, while in addition it attempted a more detailed characterization than before.

In many respects it was very admirable and seems, in its suggestion of individual thought working on the traditions of an older style, to suggest the lines on which modern heraldic design might develop. German heraldry has followed these lines to a large extent, and though it has perhaps become over-florid, is still full of proofs of the advantage which results from continued touch with the Gothic.

The work that was produced under these influences was marked by great vitality, variety and grace, until it, in its turn, became weak and uninteresting, so that by the seventeenth century it had degenerated into sheer stiff ugliness that it is almost impossible to connect with the graceful strength of its prototypes.

Holbein, who worked here from 1526 until his death, executed, besides his paintings, many designs for goldsmith's work and so forth, and has left some few heraldic drawings, probably designs for the decoration of books, such as dedicatory plates, or for stained glass; but the Italian influence was overpowering, and he left little permanent impression on heraldic style. An example of his heraldry may be referred to in Fig. 221, p. 243.

As time went on, and the practical use of heraldry in the field became more remote, the sense of proportion became weakened, the decorative distribution of the early work was no longer sought after, and the general loss of grip is everywhere perceptible in the design; while in the execution, especially in later times, minute finish of detail took the place of the earlier breadth of treatment. The marked inferiority of the heraldry to the other decorative work of its time points to a general loss of interest in the expression of heraldry, although its use was tenaciously adhered to, and it is abundantly evident that in the period which extended from the early seventeenth century until recent times regard for heraldry was mainly directed to its systematic side and to the ever-increasing detail of its rules and precedents.

However, the Gothic revival in the early part of last century again directed attention to heraldry, and the work of Williment, Pugin, Powell, Burges and others, showed once more how decoratively and expressively it could be handled when it was seriously studied and applied.

With reference to the old examples, a study of which is absolutely necessary in order to understand the principles which underlie all heraldic design, it will be well to sound a note of warning against making a fetish of the work of any period, however good; against mere copying of old examples however excellent, except, of course, for purposes of study. To merely copy and piece together bits of precedent is not the way to make an artistic thing at all. A copy can have no vitality of its own, and cannot even reproduce that of its original. Even Pugin and Powell cannot be said, in spite of all their sympathy and power of draughtsmanship, to have altogether succeeded in suggesting the intense vigour which characterized the work of the originals that were followed. A broad view must be taken if new work is to harmonize with new conditions or be anything more than a mere shadow of a preceding style.

Heraldry in its setting forth may be regarded in two ways. As the depicting of an actual shield, crest, helm and so forth, as they would be shown in a picture of a tournament, for instance; or, as a presentation of the heraldic facts in the way that is thought most expressive without having too much regard to preceding renderings. The former way seems more suitable to the execution of ancient and historic arms or of such as are to accompany Gothic surroundings, and the latter to be more likely to harmonize with modern decorative conditions, as well as to possess more vitality and variety in itself. This harmony with surrounding decoration, whether on a wall or in a book or in any other way, is one of the essentials of good design and must be continually kept in mind. Another, equally important, is that work should be designed with direct regard to the materials and methods by which it is to be done. These very obvious points cannot be too often insisted upon, however wearisome the reiteration, for neglect of them is at the bottom of most bad work.

Careless treatment of the heraldry, with which it is, nevertheless, obliged to deal more or less, sooner or later, seems to pervade applied art and to spoil what is otherwise meritorious work. Doubtless much of the mischief arises from fear lest improving the drawing or composition may violate heraldic rules; and this brings us to the necessity of acquiring so much knowledge of the systematic side of heraldry as will suffice to show what points are really essential , and what, on the other hand, may be modified or ignored. This may best be done by study of the system of heraldic description known as blazon, which is described further on. But before proceeding to do so it will be necessary to deal first with an heraldic composition as a whole.

Evolution of Shield Forms

The armorial group, called an "Achievement" of Arms, principally consists of the shield and the crest, the latter supported on its helm, and accompanied by the mantling or lambrequins, and in addition, mottoes, coronets, supporters and other accessories proper to the occasion may form part of its composition. The term "achievement" may be applied to any heraldic group whether it be a complete presentation of full armorials or only a selected part of them. In the simple arrangement of shield, helmet and crest, the proportion of the parts to each other remained fairly constant from the end of the thirteenth century down to the Renaissance, that is to say throughout the whole mediaeval period, and may be taken roughly to be rather more than two-fifths of the whole height for the shield and rather less than three-fifths for the helmet and crest.

This, it need hardly be said, must not be taken for actual measurement, but only as suggesting the relative weight in the design of its component parts. The result of these proportions is to bring the helm a little above the actual middle of the composition, and its place is then found to be a very satisfactory one, in which it serves as a central point on which the other objects group themselves. There is also seen to be due scope for the clear definition of the details of both arms and crest, while there is an appropriate suggestion of dignity in the whole effect. The principal artists of the Renaissance, D?rer above all, appear to have fully appreciated this, similar proportions appearing in the best type of Renaissance work as in that of the Gothic period.

Such proportions were no doubt suggested by those of the actual things themselves, but not wholly so; for in other cases the object of the artist was rather to display the armorials to the best effect than to copy their appearance when they were being used in another way.

In a similar way the arms in the group over the point of the arch of the chantry of Henry V near by are extremely small, a part of the mantling is even allowed to fall over them, because they are fully displayed on the shields supported by angels in the spandrils below.

The shape of the space that is available for displaying the achievement and the character of the bearings also influenced proportion, so that a crest may be exaggerated, or a shield may be comparatively enlarged, in the latter case in order to accommodate quarterings perhaps, and the sense of proportion may still be satisfied because of the evident reason for the treatment.

The object of an achievement being to display the armorials in the most distinctive way, it follows that the subordinate parts of it, especially the helmet and mantling, should all be designed to that end, that their lines should compose in such a way as to concentrate the attention on the more important subjects, and that their details, however intricate, should not detract from a broad effect. In short, they should be so arranged as to support the central motive and not to compete with it. Whatever the style of the design it should first of all express the subject in the most explicit way, and carefully avoid letting scrolls outshine the crest or mantling distract attention from the shield which is encompassed by it.

Choice of method should naturally be based on the desire to represent things in the most direct way and by the simplest means that are suitable to the purpose in hand, using exactly the right amount of elaboration, from the perfect simplicity demanded by a figure in perforated iron, through the varying detail of different forms of applied art, stained glass, enamel, modelling, carving, painting and engraving. There is always great charm about simple treatment that is at the same time expressive, but the right simplicity can only be reached through knowledge, and is a very different thing from the emptiness which ignorance hopes to have mistaken for it. Clearness of statement expressed by vigour of drawing, beauty of line, balance of mass and harmonious coherence of composition, are obviously essential qualities; and when to these are added suitability to environment and material, the result will be that expression of rightness which constitutes style, whatever the style may be.

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