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THE MANUAL OF HERALDRY:

Being a Concise Description of the Several Terms Used, and
Containing a Dictionary of Every Designation in the Science

Illustrated by Four Hundred Engravings on Wood

Fifth Edition

London:
Arthur Hall, Virtue & Co.
25, Paternoster Row.
London:
R. Clay, Printer, Bread Street Hill.







CHAPTER I.

ORIGIN OF COATS OF ARMS.


Heraldry is the science which teaches how to blazon or describe in
proper terms armorial bearings and their accessories.

Many volumes have been written on the origin of Heraldry and even on
the antiquity of separate charges contained in an escutcheon: it would
be filling the pages of an elementary work on Heraldry to little
purpose to enter upon an inquiry as to the exact period of the
introduction of an art that has existed in some degree in all
countries whose inhabitants have emerged from barbarism to
civilization. In all ages men have made use of figures of living
creatures, trees, flowers, and inanimate objects, as symbolical signs
to distinguish themselves in war, or denote the bravery and courage of
their chief or nation.

The allegorical designs emblazoned on the standards, shields, and
armour of the Greeks and Romans--the White Horse of the Saxons, the
Raven of the Danes, and the Lion of the Normans, may all be termed
heraldic devices; but according to the opinions of Camden, Spelman,
and other high authorities, hereditary arms of families were first
introduced at the commencement of the twelfth century. When numerous
armies engaged in the expeditions to the Holy Land, consisting of the
troops of twenty different nations, they were obliged to adopt some
ensign or mark in order to marshal the vassals under the banners
of the various leaders. The regulation of the symbols whereby the
Sovereigns and Lords of Europe should be distinguished, all of whom
were ardent in maintaining the honour of the several nations to which
they belonged, was a matter of great nicety, and it was properly
entrusted to the Heralds who invented signs of honour which could not
be construed into offence, and made general regulations for their
display on the banners and shields of the chiefs of the different
nations. The ornaments and regulations were sanctioned by the
sovereigns engaged in the Crusade, and hence the origin of the present
system of Heraldry, which prevails with trifling variations in every
kingdom of Europe.

The passion for military fame which prevailed at this period led to
the introduction of mock battles, called Tournaments. Here the Knights
appeared with the Heraldic honours conferred upon them for deeds of
prowess in actual battle. All were emulous of such distinctions. The
subordinate followers appeared with the distinctive arms of their
Lord, with the addition of some mark denoting inferiority. These marks
of honour at first were merely pieces of stuff of various colours cut
into strips and sewn on the surcoat or garment worn over armour, to
protect it from the effect of exposure to the atmosphere. These strips
were disposed in various ways, and gave the idea of the chief, bend,
chevron, &c. Figures of animals and other objects were gradually
introduced; and as none could legally claim or use those honourable
distinctions unless they were granted by the Kings of Arms, those
Heraldic sovereigns formed a code of laws for the regulation of titles
and insignia of honour, which the Sovereigns and Knights of Europe
have bound themselves to protect; and those rules constitute the
science of Heraldry which forms the subject of the following pages.




CHAP. II.

VARIOUS SORTS OF ARMS.


Arms are not only granted to individuals and families, but also to
cities, corporate bodies, and learned societies. They may therefore be
classed as follows:--

Arms of DOMINION, PRETENSION, CONCESSION. COMMUNITY, PATRONAGE,
FAMILY. ALLIANCE, AND SUCCESSION.

_Arms of Dominion or Sovereignty_ are properly the arms of the kings
or sovereigns of the territories they govern, which are also regarded
as the arms of the State. Thus the Lions of England and the Russian
Eagle are the arms of the Kings of England and the Emperors of Russia,
and cannot properly be altered by a change of dynasty.

_Arms of Pretension_ are those of kingdoms, provinces, or territories
to which a prince or lord has some claim, and which he adds to his
own, though the kingdoms or territories are governed by a foreign king
or lord: thus the Kings of England for many ages quartered the arms
of France in their escutcheon as the descendants of Edward III., who
claimed that kingdom, in right of his mother, a French princess.

_Arms of Concession_ are arms granted by sovereigns as the reward of
virtue, valour, or extraordinary service. All arms granted to subjects
were originally conceded by the Sovereign.

_Arms of Community_ are those of bishoprics, cities, universities,
academies, societies, and corporate bodies.

_Arms of Patronage_ are such as governors of provinces, lords of
manors, &c., add to their family arms as a token of their superiority,
right, and jurisdiction.

_Arms of Family_, or paternal arms, are such as are hereditary and
belong to one particular family, which none others have a right to
assume, nor can they do so without rendering themselves guilty of a
breach of the laws of honour punishable by the Earl Marshal and the
Kings at Arms. The assumption of arms has however become so common
that little notice is taken of it at the present time.

_Arms of Alliance_ are those gained by marriage.

_Arms of Succession_ are such as are taken up by those who inherit
certain estates by bequest, entail, or donation.


SHIELDS, TINCTURES, FURS, &c.

The _Shield_ contains the field or ground whereon are represented the
charges or figures that form a coat of arms. These were painted on the
shield before they were placed on banners, standards, and coat armour;
and wherever they appear at the present time they are painted on a
plane or superficies resembling a shield.

[Illustration: Escutcheon]

[Illustration: Lozenge]

Shields in Heraldic language are called Escutcheons or Scutcheons,
from the Latin word _scutum_. The forms of the shield or field upon
which arms are emblazoned are varied according to the taste of the
painter. The Norman pointed shield is generally used in Heraldic
paintings in ecclesiastical buildings: the escutcheons of maiden
ladies and widows are painted on a lozenge-shaped shield. Armorists
distinguish several points in the escutcheon in order to determine
exactly the position of the bearings or charges. They are denoted in
the annexed diagram, by the first nine letters of the alphabet ranged
in the following manner:

[Illustration]


|-----------------|
|  A     B     C  |          A, the dexter chief.
|                 |          B, the precise middle chief.
|        D        |          C, the sinister chief.
|                 |          D, the honour point.
|        E        |          E, the fess point.
|                 |          F, the nombril point.
|        F        |          G, the dexter base.
|                 |          H, the precise middle base.
|  G     H     I  |          I, the sinister base.
 \               /
   \ --------- /



The dexter side of the escutcheon answers to the left hand, and the
sinister side to the right hand of the person that looks at it.


TINCTURES.

By the term _Tincture_ is meant that variable hue which is given to
shields and their bearings; they are divided into colours and furs.

The colours or metals used in emblazoning arms are--

  yellow,
  white,
  red,
  blue,
  black,
  green,
  purple,
  orange,
  murrey.


These colours are denoted in engravings by various lines or dots, as
follows:

[Illustration: OR]

OR, which signifies _gold_, and in colour yellow, is expressed by
dots.

[Illustration: ARGENT]

ARGENT signifies _silver_ or _white_: it is left quite plain.

[Illustration: GULES]

GULES signifies _red_: it is expressed by lines drawn from the chief
to the base of the shield.

[Illustration: AZURE]

AZURE signifies _blue_: it is represented by lines drawn from the
dexter to the sinister side of the shield, parallel to the chief.

[Illustration: VERT]

VERT signifies _green_: it is represented by slanting lines, drawn
from the dexter to the sinister side of the shield.

[Illustration: PURPURE]

PURPURE, or _purple_, is expressed by diagonal lines, drawn from the
sinister to the dexter side of the shield.

[Illustration: SABLE]

SABLE, or _black_, is expressed by horizontal and perpendicular
lines crossing each other.

[Illustration: TENNE]

TENNE, which is _tawny_, or _orange_ colour, is marked by diagonal
lines drawn from the sinister to the dexter side of the shield,
traversed by perpendicular lines from the chief.

[Illustration: SANGUINE]

SANGUINE is _dark red_, or _murrey_ colour; it is represented by
diagonal lines crossing each other.

In addition to the foregoing tinctures, there are nine roundlets or
balls used in Armory, the names of which are sufficient to denote
their colour without expressing the same.

[Illustration: BEZANT]

BEZANT, _Or_.

[Illustration: HURTS]

HURTS, _Azure_.

[Illustration: PLATE]

PLATE, _Argent_.

[Illustration: TORTEAUX]

TORTEAUX, _gules_.

[Illustration: GOLPE]

GOLPE, _purpure_.

[Illustration: ORANGE]

ORANGE, _tenne_.

[Illustration: POMEIS]

POMEIS, _vert_.

[Illustration: PELLET]

PELLET, _sable_.

[Illustration: GUZES]

GUZES, _sanguine_.


FURS.

_Furs_ are used to ornament garments of state and denote dignity: they
are used in Heraldry, not only for the lining of mantles and other
ornaments of the shield, but also as bearings on escutcheons.

WHITE, represented by a plain shield, like argent.

[Illustration: ERMINE]

ERMINE--white powdered with black tufts.

[Illustration: ERMINES]

ERMINES--field sable, powdering argent.

[Illustration: ERMINOIS]

ERMINOIS--field or, powdering sable.

[Illustration: PEAN]

PEAN--field sable; powdering, or.

ERMYNITES--Argent, powdered sable, with the addition of a single red
hair on each side the sable tufts. This fur is seldom seen in English
heraldry; and it is impossible to give an example without using
colour.

[Illustration: VAIR]

VAIR--argent and azure. It is represented by small bells, part
reversed, ranged in lines in such a manner, that the base argent is
opposite to the base azure.

[Illustration: COUNTER-VAIR]

COUNTER-VAIR, is when the bells are placed base against base, and
point against point.

[Illustration: POTENT]

POTENT--an obsolete word for a crutch: it is so called in Chaucer's
description of Old Age.

  "So eld she was that she ne went
  A foote, but it were by potent."

The field is filled with small potents, ranged in lines, azure and
argent.

[Illustration: POTENT COUNTER-POTENT.]

POTENT COUNTER-POTENT. The heads of the crutches or potents touch each
other in the centre of the shield.




CHAP. III.

LINES USED IN PARTING THE FIELD.


Escutcheons that have more than one tincture are divided by lines; the
straight lines are either perpendicular |, horizontal --, diagonal
line dexter \, and diagonal line sinister /.

Curved and angular lines are numerous, and each has an Heraldic name
expressive of its form. The names and figures of those most commonly
used by English armorists are as follow:--

Engrailed

[Illustration: Engrailed]

Invected

[Illustration: Invected]

Wavy, or undé

[Illustration: Wavy]

Embattled, or crenelle

[Illustration: Embattled]

Nebule

[Illustration: Nebule]

Indented

[Illustration: Indented]

Dancette

[Illustration: Dancette]

Angled

[Illustration: Angled]

Bevilled

[Illustration: Bevilled]

Escartelle

[Illustration: Escartelle]

Nowy, or franché

[Illustration: Nowy]

Dove-tailed

[Illustration: Dove-tailed]

Embattled grady: sometimes called battled embattled

[Illustration: Embattled grady]

Potent

[Illustration: Potent]

Double arched

[Illustration: Double arched]

Arched or enarched

[Illustration: Arched]

Urdée

[Illustration: Urdée]

Radient

[Illustration: Radient]

If a shield is divided into four equal parts, it is said to be
quartered: this may be done two ways, viz.--

[Illustration: Quartered per cross]

QUARTERED PER CROSS--The shield is divided into four parts, called
quarters, by an horizontal and perpendicular line, crossing each other
in the centre of the field, each of which is numbered.

[Illustration: Quartered per Saltier]

QUARTERED PER SALTIER, which is made by two diagonal lines, dexter and
sinister, crossing each other in the centre of the field.

[Illustration: Quarterings]

The Escutcheon is sometimes divided into a great number of parts, in
order to place in it the arms of several families to which one is
allied; this is called a genealogical achievement. The compartments
are called QUARTERINGS.


DIFFERENCES.

All members of the same family claim the same bearings in their coat
of arms; and to distinguish the principal bearer from his descendants
or relatives, it was necessary to invent some sign, so that the degree
of consanguinity might be known. These signs are called DIFFERENCES.
During the Crusades the only difference consisted in the bordure or
border, which, as the name implies, was a border or edging running
round the edge of the shield. The colour and form of this border
served to distinguish the leaders of the different bands that served
under one duke or chieftain. The same difference might be used to
denote a diversity between particular persons descended from one
family. At the present time they are not used to denote a difference,
but as one of the ordinaries to a coat of arms. The annexed example
exhibits the arms of the Monastery of Bermondsey. Party per pale,
azure and gules; a bordure, argent. This bordure is plain; but they
may be formed by any of the foregoing lines.

[Illustration: Monastery of Bermondsey arms.]

[Illustration: or, a bordure engrailed, gules]

The annexed example is or, a bordure engrailed, gules.

The differences used by armorists at the present time are nine in
number. They not only distinguish the sons of one family, but also
denote the subordinate degrees in each house.

The Heir, or first son, the LABEL

[Illustration: Label]

Second Son, the CRESCENT

[Illustration: Crescent]

Third Son, the MULLET

[Illustration: Mullet]

Fourth Son, the MARTLET

[Illustration: Martlet]

Fifth Son, the ANNULET

[Illustration: Annulet]

Sixth Son, the FLEUR-DE-LIS

[Illustration: Fleur-de-Lis]

Seventh Son, the ROSE

[Illustration: Rose]

Eighth Son, the CROSS MOLINE

[Illustration: Cross Moline]

Ninth Son, the DOUBLE QUATREFOIL

[Illustration: Double Quatrefoil]

Should either of the nine brothers have male children, the eldest
child would place the label on the difference that distinguished his
father; the second son would place the crescent upon it; the third the
mullet; continuing the same order for as many sons as he may have.

The label only, is used in the arms of the royal family as a
difference; but the points of the label are charged with different
figures to distinguish the second and succeeding sons. The arms of the
sons of King George III. were thus distinguished: the shield of the
arms of the Prince of Wales by a label; the Duke of York's by the
label, the centre point of which was charged with a red cross; that
of the Duke of Clarence by a label, the dexter and sinister points
of which were charged with an anchor, the centre point with the red
cross; each of the succeeding sons were differenced by charges on the
points of the labels.

All the figures denoting differences are also used as perfect charges
on the shield; but their size and situation will sufficiently
determine whether the figure is used as a perfect coat of arms, or is
introduced as a difference or diminution.

Sisters have no differences in their coats of arms. They are permitted
to bear the arms of their father, as the eldest son does after his
father's decease.

Guillim, Leigh, and other ancient armorists mention divers figures,
which, they assert, were formerly added to coats of arms as marks of
degradation for slander, cowardice, murder, and other crimes, and to
them they give the name of abatements of honour; others have called
them blots in the escutcheon: but as no instance can be produced of
such dishonourable marks having been borne in a coat of arms, they
may justly be considered as chimerical, or at any rate obsolete,
and unworthy of consideration at the present time. Porney pithily
observes, "that arms being marks of honour, they cannot admit of any
note of infamy, nor would any one bear them if they were so branded.
It is true, a man may be degraded for divers crimes, particularly high
treason; but in such cases the escutcheon is reversed, trod upon, and
torn in pieces, to denote a total extinction and suppression of the
honour and dignity of the person to whom it belonged."

The only abatement used in heraldry is the baton: this denotes
illegitimacy. It is borne in the escutcheons of the dukes that assume
the royal arms as the illegitimate descendants of King Charles the
Second.

[Illustration: Baton]




CHAP. IV.

HONOURABLE ORDINARIES.


Honourable ordinaries are the original marks of distinction bestowed
by sovereigns on subjects that have become eminent for their services,
either in the council or the field of battle. Volumes have been
written upon the origin and form of the honourable ordinaries. These
long and tedious inquiries can only be interesting to antiquaries: it
is sufficient for the tyro in Heraldry to know that they are merely
broad lines or bands of various colours, which have different names,
according to the place they occupy in the shield; ancient armorists
admit but nine honourable ordinaries--the chief, the pale, the bend,
the bend sinister, the fess, the bar, the chevron, the cross, and the
saltier.

The _chief_ is an ordinary terminated by an horizontal line, which, if
it is of any other form but straight, its form must be expressed; it
is placed in the upper part of the escutcheon, and occupies one third
of the field.

Ex. Argent, on a chief, gules, two mullets, sable.

[Illustration: Chief]

Any of the lines before described may be used to form the chief.

[Illustration: Chief]

Ex. Argent, a chief, azure, indented.

The chief has a diminutive called a _fillet_; it must never be more
than one fourth the breadth of the chief.

[Illustration: Fillet]

Ex. Or, a chief, purpure, in the lower part a fillet, azure.

This ordinary may be charged with a variety of figures, which are
always named after the tincture of the chief.

It may be necessary to inform the reader that, in describing a coat
of arms, the general colour of the shield or the field is first
described, then the honourable ordinaries, their tinctures, then the
object with which they are charged. We shall have to remark more
particularly on the order of describing ordinaries, tinctures, and
charges on coats of arms, when we treat of the rules of heraldry; but
the student might have been confused if this brief direction had been
omitted, as we shall have to describe every shield of arms in the same
order.

The _pale_ is an honourable ordinary, consisting of two perpendicular
lines drawn from the top to the base of the escutcheon, and contains
one third of the width of the field.

[Illustration: Pale]

Ex. Azure, a pale, or.

The pale may be formed of any of the lines before described; it is
then called a _pale engrailed, a pale dancette_, &c.

The pale has a diminutive called the _pallet_, which is one half the
width of the pale.

[Illustration: Pallet]

Ex. Argent, a pallet, gules.

The pale has another diminutive one fourth its size; it is called an
_endorse_.

[Illustration: Endorse]

Ex. Argent, a pale between two endorses, gules.

The pale and the pallet may receive any charge; but the endorse is
never to be charged with any thing.


THE BEND.

The _bend_ is an honourable ordinary, formed by two diagonal lines
drawn from the dexter chief to the sinister base, and contains the
fifth part of the field if uncharged; but if charged with other
figures, the third part of the field.

[Illustration: Bend]

Ex. Argent, a bend, vert.

The bend has four diminutives, viz. the _garter_ which is half the
breadth of the bend.

[Illustration: Garter]

Ex. Argent, a garter, gules.

The _cotice_ which is the fourth part of the bend. Cotices generally
accompany the bend in pairs; thus a bend between two cotices is said
to be cotised.

[Illustration: Cotice]

Ex. Gules, a bend, argent, coticed of the same.

The _riband_, which is one third less than the garter and the
_bendlet_, must never occupy more than one sixth of the field.

[Illustration: Riband]

Ex. Argent, a riband vert.

[Illustration: Bendlet]

Ex. Gules, two bendlets, engrailed, argent.

The _bend sinister_ is the same breadth as the bend dexter, and is
drawn from the sinister to the dexter side of the shield.

[Illustration: bend sinister]

Ex. Argent, a bend sinister, purpure.

The _scarpe_ is the diminutive of the bend sinister, and is half its
size.

[Illustration: scarpe]

Ex. Argent, a scarpe, purpure.

The _baton _is the fourth part of the bend, and, as before mentioned,
it is a mark of illegitimacy, and seldom used in Heraldry, but by the
illegitimate descendants of royalty.

[Illustration: baton]

Ex. Gules, a baton, sable, garnished, or.


THE FESS AND BAR.

The _fess_ is formed by two horizontal lines drawn above and below the
centre of the shield. The fess contains in breadth one third of the
field.

[Illustration: fess]

Ex. Argent, a fess, azure.

The _bar _is formed in the same manner as the fess, but it only
occupies the fifth part of the field. It differs from the fess, that
ordinary being always placed in the centre of the field; but the bar
may be placed in any part of it, and there may be more than one bar in
an escutcheon.

[Illustration: Bar]

Ex. Gules, two bars, argent.

The _closet_ is a diminutive of the bar, and is half its width.

[Illustration: Closet]

Ex. Argent, two closets, azure.

The _barrulet_ is half the width of the closet.

[Illustration: Barrulet]

Ex. Gules, two barrulets, argent.

The annexed example is to illustrate the word _gemels_, which is
frequently used to describe double bars. The word _gemels_ is a
corruption of the French word _jumelles_, which signifies double.

[Illustration: Gemels]

Ex. Azure, two bars, gemels, argent.

When the shield contains a number of bars of metal and colour
alternate, exceeding five, it is called _barry_ of so many pieces,
expressing their numbers.

[Illustration: Barry]

Ex. Barry of seven pieces, argent and azure.


THE CHEVRON.

The figure of the _chevron_ has been described as representing the
gable of a roof. It is a very ancient ordinary, and the less it is
charged with other figures the more ancient and honourable it appears.

[Illustration: Chevron]

Ex. Argent, a chevron, gules.

The diminutives of the chevron, according to English Heraldry, are the
_chevronel_, which is half the breadth of the chevron.

[Illustration: Chevronels]

Ex. Argent, two chevronels, gules.

And the _couple-close_, which is half the chevronel.

[Illustration: Couple-closes]

Ex. Gules, three couple-closes interlaced in base, or.

_Braced_ is sometimes used for interlaced. See the word BRACED in the
Dictionary.


THE CROSS.

This, as its name imports, was the distinguishing badge of the
Crusaders, in its simplest form. It was merely two pieces of list or
riband of the same length, crossing each other at right angles. The
colour of the riband or list denoted the nation to which the Crusader
belonged. The cross is an honourable ordinary, occupying one fifth of
the shield when not charged, but if charged, one third.

[Illustration: Cross]

Ex. Or, a cross, gules.

When the cross became the distinguishing badge of different leaders in
the Crusades, the simple form given in the preceding example was not
generally adopted. Some bordered the red list with a narrow white
edge, others terminated the arms of the cross with short pieces of the
same colour, placed transversely, making each arm of the cross have
the appearance of a short crutch; the ends of these crutches meeting
in a point, make the cross potent. There is so great a variety of
crosses used in Heraldry that it would be impossible to describe them
within the limits of this introduction to Heraldry. The reader will
find a great number of those most used in English Heraldry described
and illustrated in the Dictionary. He of course will understand, if a
coat of arms comes under his notice where this ordinary is described
as a cross engrailed, a cross invected, &c., that the form of the
cross is the same as that in the last example, but that the lines
forming it are engrailed, invected, &c. Small crosses borne as charges
are called crosslets.

See the words CROSS, CROSSLETS, in the Dictionary.


THE SALTIER.

The _saltier_ was formed by making two pieces of riband cross
diagonally, having the appearance of the letter X, or, speaking
heraldically, the bend and bend sinister crossing each other in the
centre of the shield. The saltier, if uncharged, occupies one-fifth of
the field; if charged, one-third.

[Illustration: Saltier]

Ex. Gules, a saltier, argent.

Like the cross, the saltier may be borne engrailed, wavy, &c., and the
termination of the arms of the saltier varied; but there are not so
many examples of the variation of the form in the saltier as in the
cross.




CHAP. V.

SUBORDINATE ORDINARIES.


In order more particularly to distinguish the subordinates in an army
(the chieftains of different countries alone being entitled to the
preceding marks of honour), other figures were invented by ancient
armorists, and by them termed subordinate ordinaries. Their names and
forms are as follows:--

[Illustration: Gyron]

The _gyron_ is a triangular figure formed by drawing a line from the
dexter angle of the chief of the shield to the fess point, and an
horizontal line from that point to the dexter side of the shield.

The field is said to be _gyrony_ when it is covered with gyrons.

[Illustration: Gyrony]

Ex. Gyrony of eight pieces, argent and gules.

[Illustration: Canton]

The _canton_ is a square part of the escutcheon, usually occupying
about one-eighth of the field; it is placed over the chief at the
dexter side of the shield: it may be charged, and when this is the
case, its size may be increased. The canton represents the banner of
the ancient Knights Banneret. The canton in the example is marked A.

See KNIGHTS BANNERET in the Dictionary.

The _lozenge_ is formed by four equal and parallel lines but not
rectangular, two of its opposite angles being acute, and two obtuse.

[Illustration: Lozenge]

Ex. Argent, a lozenge, vert.

The _fusil_ is narrower than the lozenge, the angles at the chief and
base being more acute, and the others more obtuse.

[Illustration: Fusil]

Ex. Argent, a fusil, purpure.

The _mascle_ is in the shape of a lozenge but perforated through its
whole extent except a narrow border.

[Illustration: Mascle]

Ex. Gules, a mascle, argent.

The _fret_ is formed by two lines interlaced in saltier with a mascle.

[Illustration: Fret]

Ex. Azure, a fret, argent.

_Fretty_ is when the shield is covered with lines crossing each other
diagonally and interlaced.

[Illustration: Fretty]

Ex. Gules, fretty of ten pieces, argent.

At the present time it is not usual to name the number of pieces, but
merely the word fretty.

The _pile_ is formed like a wedge, and may be borne wavy, engrailed,
&c.; it issues generally from the chief, and extends towards the base,
but it may be borne in bend or issue from the base.

See PILE and IN PILE in Dictionary.

[Illustration: Pile]

Ex. Argent, a pile, azure.

The _inescutcheon_ is a small escutcheon borne within the shield.

[Illustration: Inescutcheon]

Ex. Argent, a pale, gules, over all an inescutcheon or, a mullet
sable.

An _orle_ is a perforated inescutcheon, and usually takes the shape of
the shield whereon it is placed.

[Illustration: Orle]

Ex. Azure, an orle, argent.

The _flanche_ is formed by two curved lines nearly touching each other
in the centre of the shield.

[Illustration: Flanche]

Ex. Azure, a flanche, argent.

In the _flasque_ the curved lines do not approach so near each other.

[Illustration: Flasque]

Ex. Azure, a flasque, argent.

In the _voider_ the lines are still wider apart; this ordinary
occupies nearly the whole of the field: it may be charged.

[Illustration: Voider]

Ex. Azure, a voider, argent.

The _tressure_ is a border at some distance from the edge of the
field, half the breadth of an orle: the tressure may be double or
treble.

[Illustration: Tressure]

Ex. Or, a double tressure, gules.

Tressures are generally ornamented, or borne flory or counter flory as
in the annexed example.

[Illustration: Ornamented double tressure]

Ex. Argent, a double tressure, flory and counter-flory, gules.


CHARGES BORNE IN COATS OF ARMS.

At first when the Feudal System prevailed, not only in England, but
other parts of Europe, none but military chieftains bore Coats of
Arms. And as few persons held land under the Crown but by military
tenure, that is, under the obligation of attending in person with
a certain number of vassals and retainers when their services were
required by the king for the defence of the state, heraldic honours
were confined to the nobility, who were the great landholders of the
kingdom. When they granted any portion of their territory to their
knights and followers as rewards for deeds of prowess in the field or
other services, the new possessors of the land retained the arms of
their patrons with a slight difference to denote their subordinate
degree. The ingenuity of the armorist was not then taxed to find a
multitude of devices to distinguish every family. And when chivalry
became the prevailing pursuit of all that sought honour and
distinction by deeds of arms and gallant courtesy, the knights assumed
the privilege that warriors in all ages have used; viz. that of
choosing any device they pleased to ornament the crests of their
helmets in the field of battle, or in the mock combat of the
tournament: the knight was known and named from the device used as
his crest. Thus the heralds, in introducing him to the judges of the
field, or to the lady that bestowed the prizes, called him the Knight
of the Swan, the Knight of the Lion, &c., without mentioning any other
title. And knights whose fame for gallantry and prowess was firmly
established, had their crests painted over their coats of arms. In two
or three generations the bearer of the arms established his right to
a new crest, and the heralds, to preserve the memory of the ancient
honour of the family, introduced the old crest into the coat of arms,
either as a charge upon the principal ordinary, or on an unoccupied
part of the field. This will in some measure account for the variety
of animals and parts of animals found in shields of arms. When the
sovereigns of Europe, to decrease the power of the great barons,
bestowed estates and titles not only for deeds of arms, but wisdom in
council, superior learning, and other qualities which the original
bearers of arms thought beneath their notice, the heralds were obliged
to invent new symbols in emblazoning the arms of the modern nobility;
and when arms were granted to civic and commercial corporations, and
to private individuals who had no claim to military honours, we can
easily conceive that the ingenuity of the armorists was severely
tested, and excuse the apparent confusion that prevailed in granting
arms after the War of the Roses. Sir William Dugdale, in his treatise
entitled "Ancient Usage in bearing Arms", states that, "Many errors
have been and are still committed in granting coats of arms to such
persons as have not advanced themselves by the sword, being such as
rise by their judgment or skill in arts, affairs, and trades"; with
good reason affirming that the latter should however only be allowed
"notes or marks of honour fit for their calling, and to show forth the
manner of their rising, and not be set off with those representations
which in their nature are only proper for martial men."

It would be utterly impossible to give either a graphic or written
description of all the charges in a book of this size or even in one
ten times as large. The sun, moon, stars, comets, meteors, &c.,
have been introduced to denote glory, grandeur, power, &c.; lions,
leopards, tigers, serpents, stags, have been employed to signify
courage, strength, prudence, swiftness, &c.

The application to certain exercises, such as war, hunting, music,
fishing, &c., has furnished lances, swords, armour, musical
instruments, architecture, columns, chevrons, builders' tools, &c.
Human bodies, or distinct parts of them, are frequently used as
charges. Trees, plants, fruits, and flowers have also been admitted
to denote the rarities, advantages, and singularities of different
countries.

The relation of some creatures, figures, &c. to particular names
has been a fruitful source for variety of arms. Thus, the family of
Coningsby bears three conies; of Arundel, six swallows; of Corbet, a
raven; of Urson, a bear; of Camel, a camel; of Starky, a stork; of
Castleman, a castle triple-towered; of Shuttleworth, three
weaver's shuttles. Hundreds of other names might be given, but the
before-mentioned will be sufficient to show the reader the origin of
many singular charges in coats of arms.

Not only were natural and artificial figures used, but the lack of
information on Zoology and other branches of Natural History led to
the introduction of fabulous animals, such as dragons, griffins,
harpies, wiverns, &c. A great number of charges, indeed most of them
that require explanation, will be found in the Dictionary of Heraldic
Terms, which will prevent the necessity of describing them more at
large in this part of the book.


THE EXTERNAL ORNAMENTS OF ESCUTCHEONS.

The ornaments that accompany or surround escutcheons were introduced
to denote the birth, dignity, or office of the person to whom the coat
of arms belongs. We shall merely give the names of the various objects
in this place, and refer the reader to the different words in the
Dictionary. Over regal escutcheons are placed the crown which pertains
to the nation over which the sovereign presides. The crown is
generally surmounted with a crest: as in the arms of the kings of
England, the crown is surmounted by a lion statant, guardant, crowned.

Over the Papal arms is placed a tiara or triple crown, without a
crest.

Above the arms of archbishops and bishops the mitre is placed instead
of a crest.

_Coronets_ are worn by all princes and peers. They vary in form
according to the rank of the nobleman. A full description will be
found in the Dictionary of the coronets of the prince of Wales, royal
dukes, dukes, marquises, earls, viscounts, and barons.

_Helmets_ are placed over arms, and show the rank of the person to
whom the arms belong: 1st, by the metal of which they are made; 2dly,
by their form; 3dly, by their position. See the word HELMET in the
Dictionary.

_Mantlings_ were the ancient coverings of helmets to preserve them and
the bearers from the injuries of the weather. It is probable that they
were highly ornamented with scroll-work of gold and silver, and their
borders or edges cast into fanciful shapes. They are now formed into
scroll-work proceeding from the sides of the helmet, and are great
ornaments to an escutcheon. See a more full description under the word
MANTLING.


CHAPEAUX.

A _chapeau_ is an ancient hat or rather cap of dignity worn by dukes.
They were formed of scarlet velvet and turned up with fur. They are
frequently used instead of a wreath under the crests of noblemen and
even gentlemen.

The wreath was formed by two large skeins of silk of different colours
twisted together. This was worn at the lower part of the crest, not
alone as an ornament, but to protect the head from the blow of a mace
or sword. In Heraldry the wreath appears like a straight line or roll
of two colours generally the same as the tinctures of the shield. The
crest is usually placed upon the wreath.

The crest is the highest part among the ornaments of a coat of arms.
It is called crest from the Latin word _crista_, which signifies comb
or tuft.

Crests were used as marks of honour long before the introduction of
Heraldry. The helmets and crests of the Greek and Trojan warriors are
beautifully described by Homer. The German heralds pay great attention
to crests, and depict them as towering to a great height above the
helmet. Knights who were desirous of concealing their rank, or wished
particularly to distinguish themselves either in the battle field or
tourney, frequently decorated their helmets with plants or flowers,
chimerical figures, animals, &c.; these badges were also assumed
by their descendants. The difference between crests and badges as
heraldic ornaments is, that the former are always placed on a wreath,
in the latter they are attached to the helmet. The scroll is a label
or ribbon containing the motto: it is usually placed beneath the
shield and supporters; see the word MOTTO in the Dictionary.




CHAP. VI.

MARSHALLING CHARGES ON ESCUTCHEONS BY THE RULES OF HERALDRY.


The symbolic figures of Heraldry are so well known to those acquainted
with the science in every kingdom of Europe, that if an Englishman was
to send a written emblazonment or description of an escutcheon to
a French, German, or Spanish artist acquainted with the English
language, either of them could return a properly drawn and coloured
escutcheon; but a correct emblazonment would be indispensable. A
single word omitted would spoil the shield.


I.

The reader has already been informed that in emblazoning an
escutcheon, the colour of the field is first named; then the principal
ordinary, such as the fess, the chevron, &c., naming the tincture and
form of the ordinary; then proceed to describe the charges on the
field, naming their situation, metal, or colour; lastly, describe the
charges on the ordinary.


II.

When an honourable ordinary or some one figure is placed upon another,
whether it be a fess, chevron, cross, &c., it is always to be named
after the ordinary or figure over which it is placed, with either the
words surtout or overall.


III.

In the blazoning such ordinaries as are plain, the bare mention of
them is sufficient; but if an ordinary should be formed of any of the
curved or angular lines, such as invected, indented, &c., the lines
must be named.


IV.

When a principal figure possesses the centre of the field, its
position is not to be expressed; it is always understood to be in the
middle of the shield.


V.

When the situation of a principal bearing is not expressed, it is
always understood to occupy the centre of the field. Ex. See Azure, an
annulet argent, p. 48. (Dictionary)


VI.

The number of the points of mullets must be specified if more than
five: also if a mullet or any other charge is pierced, it must be
mentioned.


VII.

When a ray of the sun or other single figure is borne in any other
part of the escutcheon than the centre, the point it issues from must
be named.


VIII.

The natural colour of trees, plants, fruits, birds, &c., is to be
expressed in emblazoning by the word _proper_; but if they vary from
their natural colour, the tincture or metals that is used must be
named.


IX.

Two metals cannot come in contact: thus or, cannot be placed on
argent, but must be contrasted with a tincture.

X.

When there are many figures of the same species borne in coats of
arms, their number must be observed as they stand, and properly
expressed. The annexed arrangements of roundlets in shields will show
how they are placed and described.

[Illustration: Two roundlets in pale]

[Illustration: Two roundlets in fess]

The two roundlets are arranged in pale, but they may appear in chief
or base; or in fess, as in No. 2.

[Illustration: Three roundlets, two over one]

Three roundlets, two over one; if the single roundlet had been at the
top, it would have been called _one over two_.

[Illustration: Three roundlets in bend]

Three roundlets in bend. They might also be placed in fess, chief,
base, or in pale.

[Illustration: Four roundlets, two over two]

Four roundlets, two over two. Some armorists call them _cantoned_ as
they form a square figure.

[Illustration: Five roundlets in saltier]

Five roundlets; two, one, two, in saltier.

[Illustration: Five roundlets in cross]

Five roundlets; one, three, one, or in cross.

[Illustration: Six roundlets paleway]

Six roundlets; two, two, two, paleway.

[Illustration: Six roundlets in pile]

Six roundlets; three, two, one, in pile.

There are seldom more figures than seven, but no matter the number;
they are placed in the same way, commencing with the figures at the
top of the shield, or in chief. If the field was strewed all over with
roundlets, this would be expressed by the word _semé_.

_Marshalling coats of arms_, is the act of disposing the arms of
several persons in one escutcheon, so that their relation to each
other may be clearly marked.

In Heraldry, the husband and wife are called _baron and femme_; and
when they are descended from distinct families, both their arms are
placed in the same escutcheon, divided by a perpendicular line through
the centre of the shield. As this line runs in the same direction, and
occupies part of the space in the shield appropriated to the ordinary
called the pale, the shield is in heraldic language said to be _parted
per pale_. The arms of the baron (the husband) are always placed on
the dexter side of the escutcheon; and the femme (the wife), on the
sinister side, as in the annexed example.

[Illustration: Parted per pale, baron and femme, two coats]

Parted per pale, baron and femme, two coats; first, or, a chevron
gules; second, barry of twelve pieces, azure and argent.

If a widower marries again, the arms of both his wives are placed on
the sinister side, which is parted per fess; that is, parted by an
horizontal line running in the direction of the fess, and occupying
the same place. The arms of the first wife are placed in the upper
compartment of the shield, called the chief; the arms of the second
wife in the lower compartment, called the base.

[Illustration: Parted per pale, baron and femme, three coats]

Parted per pale, baron and femme, three coats;--first, gules, on a
bend azure, three trefoils vert: second, parted per fess, in chief
azure, a mascle or, with a label argent for difference. In base
ermine, a fess, dancette gules. The same rule would apply if the
husband had three or more wives; they would all be placed in the
sinister division of the shield.

Where the baron marries an heiress, he does not impale his arms with
hers, as in the preceding examples, but bears them in an escutcheon of
pretence in the centre of the shield, showing his pretension to her
lands in consequence of his marriage with the lady who is legally
entitled to them. The escutcheon of pretence is not used by the
children of such marriage; they bear the arms of their father and
mother quarterly, and so transmit them to posterity. Annexed is an
example of the arms of the femme on escutcheon of pretence.

[Illustration: Baron and femme, two coats]

Baron and femme, two coats; first, gules, a saltier argent; second, on
an escutcheon of pretence, azure, a chevron, or.

If a peeress in her own right, or the daughter of a peer, marries a
private gentleman, their coats of arms are not conjoined paleways, as
baron and femme, but are placed upon separate shields by the side of
each other; they are usually inclosed in a mantel, the shield of the
baron occupying the dexter side of the mantel, that of the femme the
sinister; each party has a right to all the ornaments incidental to
their rank. The femme claiming the arms of her father, has a right to
his supporters and coronet. The baron, who only ranks as an esquire,
has no right to supporters or coronet, but exhibits the proper helmet,
wreath, and crest.

The peeress, by marrying one beneath her in rank, confers no dignity
on her husband, but loses none of her own. She is still addressed as
"your ladyship," though her husband only ranks as a gentleman; and it
is for this reason that the arms cannot be conjoined in one shield as
baron and femme.

Ex. Baron and femme, two atchievements. First, azure, a pile or, crest
a star of six points, argent; second, gules, a cross flory argent,
surmounted by an earl's coronet: supporters, on the dexter side a stag
ducally gorged and chained, on the sinister side a griffin gorged and
chained; motto, Honour and Truth.

[Illustration: Baron and femme, two atchievements]

In the arms of the femme joined to the paternal coat of the baron, the
proper differences by which they were borne by the father of the lady
must be inserted.

If the arms of the baron has a bordure, that must be omitted on the
sinister side of the shield.

Archbishops and bishops impale the paternal arms with the arms of the
see over which they preside, placing the arms of the bishopric on the
dexter, and their paternal arms on the sinister side of the shield; a
bishop does not emblazon the arms of his wife on the same shield with
that which contains the arms of the see, but on a separate shield.

Arms of augmentation are marshalled according to the direction of the
College of Heralds: they are usually placed on a canton in the dexter
chief of the shield; in some cases they occupy the whole of the chief.
The mark of distinction denoting a baronet is usually placed on an
escutcheon, on the fess point of the shield.

The rules here laid down apply to funeral atchievements, banners, &c.
The only difference, as will be seen by the annexed examples, is, that
the ground of the hatchment is black, that surrounds the arms of the
deceased, whether baron or femme, and white round the arms of the
survivor.

[Illustration: 1]

In fig. 1. the black is left on the dexter side, showing that the
husband is deceased, and that his wife survives him.

[Illustration: 2]

Fig. 2. shows that the husband survives the wife.

[Illustration: 3]

Fig. 3. shows that the husband and his first wife are deceased, and
that the second wife is the survivor.

[Illustration: 4]

Fig. 4. The shield on the dexter side of the hatchment is parted per
pale; first, the arms of the bishopric; second, the paternal arms of
the bishop. The shield on the dexter (sic) side is the arms of the bishop
impaling those of his wife as baron and femme; the ground of the
hatchment is black round the sinister side of this shield, showing
that it is the wife that is dead.

[Illustration: 5]

Fig. 5. is the hatchment of a lady that has died unmarried. The arms
of females of all ranks are placed in a lozenge-shaped shield.

[Illustration: 6]

Fig. 6. is the hatchment of the widow of a bishop; the arms are the
same as those displayed at fig. 4.: here the lozenge-shaped shield
is parted per pale. Baron and femme:--first, parted paleways, on
the dexter side the arms of the bishopric, on the sinister side the
paternal arms of the bishop. Second, the arms of the femme: the widow
of a bishop has a right to exhibit the arms of the see over which her
husband presided, as though (sic) his death has dissolved all connection
with the see. She has a right to emblazon all that will honour her
deceased husband.

For banners, pennons, guidons, cyphers, hatchments, &c., and all other
matters where heraldic emblazonment is used in funeral processions,
the reader is referred to the Dictionary.




CHAP. VII.

ORDER OF PRECEDENCY.


The order of precedency to be observed in England was settled by an
act of parliament passed in the thirty-first year of the reign of
Henry VIII. The order has been varied at different periods to accord
with the alterations in the families of the reigning monarchs, and
the creation of new offices. The following table shows the order of
precedency at the present time, viz. the eighth year of the reign of
Queen Victoria.

  The Queen.
  The Prince of Wales.
  The Queen's Children.
  Prince Albert of Saxe Cobourg and Gotha.
  The Queen's Uncles.
  The Children of the Queen's Uncles.

The following dignitaries precede all Dukes, except those of the blood
royal:--

  Archbishop of Canterbury, primate of all England.
  Lord High Chancellor or Keeper.
  Archbishop of York, primate of England.
  Lord High Treasurer.
  Lord President of the Privy Council.
  Lord Privy Seal.

The following dignitaries precede all of their own degree:--

  The Earl Marshal.
  Lord Steward of her Majesty's household.
  Lord Chamberlain.
  Secretaries of State.

  Dukes according to the date of their patent.
  Marquises according to the date of their patent.
  Dukes' eldest Sons.
  Earls according to their patents.
  Marquises' eldest Sons.
  Dukes' younger Sons.
  Viscounts according to their patents.
  Earls' eldest Sons.
  Marquises' younger Sons.
  Bishops of London, Durham, and Winchester; all other Bishops
    according to their seniority of consecration.
  Barons according to their patents.
  Speaker of the House of Commons.
  Viscounts' eldest Sons.
  Earls' younger Sons.
  Barons' eldest Sons.
  Knights of the Garter, commoners.
  Privy Councillors, commoners.
  Chancellor of the Exchequer.
  Chancellor of the Duchy of Lancaster.
  Lord Chief Justice of the King's Bench.
  Master of the Rolls.
  The Vice-Chancellor of England.
  Lord Chief Justice of the Common Pleas.
  Lord Chief Baron of the Exchequer.
  Judges and Barons of the degree of the Coif, according to seniority
  Viscounts' younger Sons.
  Barons' younger Sons.
  Baronets.
  Knights of the Bath.
  Knights Commanders of the Bath.
  Field and Flag Officers.
  Knights Bachelors.
  Masters in Chancery.
  Doctors graduate.
  Serjeants at Law.
  Esquires of the King's Body.
  Esquires of the Knights of the Bath.
  Esquires by creation.
  Esquires by office.
  Clergymen, Barristers at Law, Officers in the Royal Navy and Army who
    are Gentlemen by Profession, and Gentlemen entitled to bear arms.
  Citizens.
  Burgesses.

The Lords Spiritual of Ireland rank next after the Lords Spiritual of
Great Britain; the priority of signing any treaty or public instrument
by the members of the government is always taken by rank of place, not
by title.

The style prefixed to the titles of the peerage of Great Britain and
Ireland are as follows :--

  Princes of the Blood, His Royal Highness.
  Archbishops, His Grace.
  Dukes, The Most Noble His Grace.
  Marquesses, the Most Honorable.
  Earls, Viscounts, and Barons, The Right Honorable.
  Bishops, The Right Reverend.


       *       *       *       *       *




DICTIONARY OF HERALDIC TERMS.


ABAISSÉ. A French word, generally used in heraldry instead of the
English word abased. When the fess, or any other ordinary properly
placed above the fess point of the shield, is brought below it, that
ordinary is said to be _abaissé_.

ABATEMENT. Any figure added to coats of arms tending to lower
the dignity or station of the bearer. Thus, the baton, denoting
illegitimacy, is an abatement: so, also, are the differences in coats
of arms showing the degrees of consanguinity.

ADDORSED. Any animals set back to back. See LION.

ALLERION. An eagle displayed, without beak or feet.

[Illustration: Allerion]

Ex. Argent, an allerion gules.

ALTERNATE. Figures or tinctures that succeed each other by turns.

AMETHYST. A precious stone of a violet colour, the name of which was
formerly used instead of purpure, to denote the purple tincture when
emblazoning the arms of the English nobility.

ANNULET. A small circle borne as a charge in coats of arms.

[Illustration: Annulet]

Ex. Azure, an annulet argent. Annulets are added to arms for a
difference. See DIFFERENCES, p. 13. [CHAP. III.]

ANCIENT. A small flag or ensign. The bearer of the flag was called by
its name. _Iago_ was ancient to the troops commanded by _Othello_.

  "This is Othello's ancient, as I take it.
  The same indeed, a very valiant fellow."   SHAKSPEARE.

ARCHBISHOPS. Church dignitaries of the first class. There are but two
in England--the Archbishop of Canterbury and the Archbishop of York.
The former is the first peer of England next to the royal family, and
has the title of _Grace_ given to him; and likewise _Most Reverend
Father in God_. He is styled Primate of all England, and Metropolitan.

The Archbishop of York has precedence of dukes and great officers of
state, except the lord chancellor. He is called _His Grace_ and
_Most Reverend Father in God_; and styled _Primate of England_ and
_Metropolitan_.

ARGENT. The French word for silver, of which metal all white fields or
charges are supposed to consist.

[Illustration: Argent]

ARMED. This word is used to express the horns, hoofs, beak, or talons
of any beast or bird of prey, when borne of a different tincture from
those of their bodies.

[Illustration: Armed]

Ex. Crest, a demi-griffin armed, gules.

ARMORIST. A person skilled in the bearings of coats of arms, and all
relating to their emblazonment.

ARMS. A word derived from the Latin _arma_, which signifies in
Heraldry a mark of honour, serving to distinguish states, cities,
families, &c.

ARROWS. Short darts feathered at the ends.

[Illustration: Arrows]

Ex. Argent, three arrows paleways, points in chief sable, feathered.

ASPECTANT. Animals placed face to face in a charge are said to be
aspectant. If they are about to attack each other, they are said to be
combatant.

ASSUMPTIVE. Arms assumed without being sanctioned by a grant from the
College of Heralds.

ASSURGENT. A man or beast rising out of the sea is said to be
assurgent.

ATCHIEVEMENT. The coat of arms fully emblazoned according to the rules
of Heraldry. The lozenge-shaped atchievements that are displayed on
the outside of the houses of persons deceased are commonly called
Hatchments.

ATTIRED. When the horns of a stag are of a different tincture to its
head, it is said to be attired.

[Illustration: Attired]

Ex. Argent, a stag lodged, proper, attired, or

AUGMENTATION. This word signifies in Heraldry a particular mark of
honour, granted by the sovereign in consideration of some noble
action, or by favour; and either quartered with the family arms, or on
an escutcheon or canton.

[Illustration: Augmentation]

Ex. Ermine, on a chevron azure, three foxes' heads erased, argent. The
augmentation is in a canton azure, a fleur-de-lis argent.

AZURE. The French word for _blue_: it is distinguished in heraldic
engraving by lines running parallel to each other in an horizontal
direction, as in the annexed example.

[Illustration: Azure]

BADGE. A distinctive mark worn by servants, retainers, and followers
of royalty or nobility, who, being beneath the rank of gentlemen, have
no right to armorial bearings. The rose and crown is the badge of the
servants, &c., of the Kings of England: they are displayed as in the
annexed example.

[Illustration: Badge (Rose and Crown)]

BANDED. Anything tied with a band.

[Illustration: Banded]

Ex. Argent. Three arrows proper, banded.

BANNER. The principal standard of a knight. The great banner borne at
the funeral of a nobleman contains all the quarterings of his arms: it
varies in size according to the rank of the deceased. The banner of
the sovereign is five feet square; that of a prince or duke, four feet
square; for all noblemen of inferior rank, three feet square.

BANNER ROLL is a small square flag containing a single escutcheon of
the deceased. Thus, if there are twelve quarterings in the banner,
the same number of banner rolls will be required to be borne in
the funeral procession. The annexed engraving shows the banner and
banner-roll.

[Illustration: Banner roll]

BAR. An honourable ordinary, occupying one-fifth of the shield. It may
be placed in any part of the field. It has two diminutives, the closet
and barrulet.

[Illustration: Bar]

Ex. Ermine, two bars gules.

BARBED. Bearded. It is also applied to roses.

[Illustration: Barbed]

Ex. Azure, a rose argent, barbed, and seeded proper.

BARON. The lowest title of the peerage of Great Britain.

BARON AND FEMME. Terms used in Heraldry to denote the arms of a man
and his wife, marshalled together. See p. 38. [CHAP. VI.]

BARRULET. The smallest diminutive of the bar. The closet is half the
bar; the barrulet half the closet.

[Illustration: Barrulet]

Ex. Gules, two barrulets argent.

BARRY. A field divided transversely into several equal parts, and
consisting of two different tinctures interchangeably disposed.

[Illustration: Barry]

Ex. Barry of eight pieces, azure and argent.

BATON. BATUNE. BASTON. It is generally used as an abatement in coats
of arms to denote illegitimacy.

[Illustration: Baton]

Ex. Or, a cross gules, over all a baton argent.

BATTERING RAM. An instrument used for battering down walls before
gunpowder was known in Europe: it is frequently borne as a charge in a
coat of arms.

[Illustration: Battering ram]

Ex. Argent, a battering ram proper.

BATTLE AXE. An ancient military weapon, frequently borne on arms as a
mark of prowess.

[Illustration: Battle axe]

Ex. Argent, three battle axes gules two over one.

BATTLEMENTS. Divisions or apertures on the top of castle walls or
towers.

[Illustration: Battlements]

Ex. Gules, three towers embattled argent.

BEAKED. The beak of a bird being of a different tint from the body is
said to be beaked.

[Illustration: Beaked]

Ex. An eagle's head erased, beaked, or.

BEAVER. That part of the helmet that defends the sight.

[Illustration: Beaver]

BELLED. Having bells.

[Illustration: Belled]

Ex. Argent, a barrulet gules, belled with three bells proper.

BEND. One of the honourable ordinaries formed by two diagonal lines
drawn from the dexter chief to the sinister base; it generally
occupies a fifth part of the shield if uncharged, but if charged one
third.

[Illustration: Bend]

Ex. Azure, a bend argent.

BEND SINISTER. Is the reverse of the bend; it is seldom found in coats
of arms, as it is reckoned an abatement.

[Illustration: Bend sinister]

Ex. Argent, a bend sinister gules.

IN BEND. Figures placed in a slanting direction from the dexter chief
to the sinister base are said to be in bend.

[Illustration: In bend]

Ex. Or, three torteaux in bend.

BENDLET. A diminutive of the bend, of the same shape, but only half
the width of the bend.

BENDY. This word serves to denote a field divided diagonally into
several bends, varying in metal and colour.

[Illustration: Bendy]

Ex. Bendy of six pieces, azure and argent.

BESANT, or BEZANT. Gold coin of Byzantium; when they appear in a coat
of arms their colour is not described: a besant is always or.

[Illustration: Besant]

BILLETS. This charge is, by some authors, supposed to represent tiles
or bricks; by others that it represents a letter or billet. The name
and form of the charge most accords with the latter opinion.

[Illustration: Billets]

Ex. Argent, three billets azure, two over one.

BISHOPS. Church dignitaries: they are barons of the realm, and have
precedence next to viscounts: they have the title of _lords_, and
_right reverend fathers in God_.

BLAZON. To describe in proper colours, or lines representing colours,
all that belongs to coats of arms. Arms may also be emblazoned by
describing the charges and tinctures of a coat of arms in heraldic
terms.

BLUE-MANTEL. A title of one of the pursuivants at arms. See HERALD.

BORDURE or BORDER. This was the most ancient difference in coats of
arms, to distinguish different branches of the same family. It is a
border round the edge of the shield. Its situation is always the same;
but the inner edge may be varied.

[Illustration: Bordure]

Ex. Argent, a sinister hand couped at the wrist and erected gules,
within a bordure azure.

BOTTONNY. See CROSS BOTTONNY.

BOUJET. An ancient water bucket, frequently borne in shields of arms.

[Illustration: Boujet]

Ex. Argent, a boujet proper.

BRACED. Two figures of the same form, interlacing each other.

[Illustration: Braced]

Ex. Vert, two triangles braced, argent.

BRASED and BRAZED are words sometimes used by ancient armorists. They
always describe things interlaced or braced together.

BROAD ARROW. An ancient weapon of war, thrown by an engine. It is
frequently borne as a charge in coats of arms.

[Illustration: Broad arrow]

Ex. Argent, a broad arrow gules.

CABOCHED or CABOSHED. Beasts' heads borne without any part of the
neck, and full faced.

[Illustration: Caboched]

Ex. Argent, a stag's head caboshed, proper.

CALTROP. An iron instrument made to annoy an enemy's cavalry. They
were formed of iron, being four spikes conjoined in such a manner that
one was always upwards. It is found in many ancient coats of arms.

[Illustration: Caltrop]

Ex. Argent, a caltrop proper.

CANTON. The French word for corner. It is a small square figure,
generally placed at the dexter chief of the shield, as in the annexed
example.

[Illustration: Canton]

CELESTIAL CROWN. Distinguished from any other crown by the stars on
the points or rays that proceed from the circlet.

[Illustration: Celestial crown]

CHAPEAU. Cap of maintenance or dignity, borne only by sovereign
princes. It is formed of crimson or scarlet velvet, lined with ermine.

[Illustration: Chapeau]

CHAPLET. An ancient ornament for the head, granted to gallant knights
for acts of courtesy. It is frequently borne as a charge in a shield
of arms, and always tinted in its natural colours. [Illustration:
Chaplet]

Ex. Argent, a chaplet proper.

CHARGE. The figures or bearings contained in an escutcheon.

CHECKY. The field covered with alternate squares of metal and fur.

[Illustration: Checky]

Ex. Checky, sable and argent.

CHEVRON. This ordinary is supposed to represent the rafters of the
gable of a house.

[Illustration: Chevron]

Ex. Or, a chevron gules.

CHEVRONEL. The diminutive of the chevron, being one half its size.

[Illustration: Chevronel]

Ex. Argent, two chevronels gules.

CHIEF. One of the honourable ordinaries. It is placed on the upper
part of the shield and contains a third part of it. The letters show
the points in the chief. A is the dexter chief; B, the precise middle
chief; C, the sinister chief.

[Illustration: Chief]

CHIMERICAL FIGURES. Imaginary figures, such as griffins, dragons,
harpies, &c.: all of them will be found under their proper names.

CINQUE FOIL. Five leaves conjoined in the centre.

[Illustration: Cinque foil]

CIVIC CAP. A cap of dignity borne by mayors of cities or corporate
bodies: it is formed of sables garnished with ermine.

[Illustration: Civic cap]

CLARION. A horn or trumpet borne in this shape in English and German
coat-armour.

[Illustration: Clarion]

Ex. Azure, three clarions or.

CLENCHED. The fingers pressed towards the palm of the hand.

[Illustration: Clenched]

Ex. Azure, a dexter arm vambraced couped, the fist clenched proper.

CLOSE. A bird with its wings closed.

[Illustration: Close]

CLOSET. A diminutive of the bar, being only one half its width.

[Illustration: Closet]

Ex. Or, two closets azure.

CLOSEGIRT. A figure whose dress is fastened round the waist.

[Illustration: Closegirt]

Ex. Gules, an angel erect with wings expanded or, dress closegirt.

COAT ARMOUR, or Surcoat. A loose garment worn over the armour of a
knight; hence the term coat of arms. On this garment were emblazoned
the armorial bearings of the wearer.

[Illustration: Coat Armour]

COCKATRICE. A chimerical animal, a cock with a dragon's tail and
wings.

[Illustration: Cockatrice]

COLLARED. Having a collar. Dogs and inferior animals are sometimes
collared: the supporters and charges are generally said to be gorged.
See GORGED.

COMBATANT. A French word for fighting. See LION.

COMPLEMENT. The Heraldic term for the full moon. When this figure is
introduced as a charge in a coat of arms, it is called a moon in her
complement.

COMPONY. A term applied to a bordure, pale, bend, or any other
ordinary, made up of squares of alternate metal and colour.

[Illustration: Compony]

Ex. Argent, an inescutcheon azure, border compony, or and gules.

CONJOINED. Joined together.

[Illustration: Conjoined]

Ex. Argent, three legs armed, conjoined at the fess point at the upper
extremity of the thigh, flexed in a triangle, garnished and spurred,
or.

CONY. An heraldic name for a young rabbit.

[Illustration: Cony]

COTICE. One of the diminutives of the bend: cotices are generally
borne on each side of the bend.

[Illustration: Cotice]

Ex. Gules, a bend argent, coticed of the same.

The cotices are frequently of a different tincture from the bend they
cotice.

COUCHANT. The French word for lying down with the breast towards the
earth, and the head raised. See LION COUCHANT.

COUNT. A nobleman that was deputed by the king to govern a county or
shire: the title is not used in the British Peerage; his rank is equal
to an earl.

COUNTER. In Heraldry implies contrariety, as in the following
examples:--

COUNTER-CHANGED. The intermixture of metal with colours opposed to
each other.

[Illustration: Counter-changed]

Ex. Per pale, or and azure, on a chevron, three mullets all
counter-changed.

COUNTER SALIENT. Two animals leaping different ways from each other.

[Illustration: Counter salient]

Ex. Argent, two foxes counter salient.

COUNTER PASSANT. Two animals passing the contrary way to each other.

[Illustration: Counter passant]

Ex. Or, two lions passant counter passant gules, the uppermost facing
the sinister side of the escutcheon, both collared sable, garnished
argent.

COUNTER FLORY. Any ordinary ornamented with fleurs-de-luce: the points
of the flowers run alternately in a contrary direction.

[Illustration: Counter flory]

Ex. Or, a pale purpure, flory and counter flory gules.

COUPED. From the French word _couper_, to cut. The cross in the
example is couped, part of it being cut off, so as not to touch the
edges of the shield.

[Illustration: Couped]

Ex. Azure, a cross couped argent.

COUPED. The head or limbs of any animal cut close is called couped.

[Illustration: Couped]

Ex. Argent, a boar's head proper couped.

COUPLE-CLOSE. One of the diminutives of the chevron, half the size of
the chevronel.

[Illustration: Couple-close]

Ex. Argent, three couple-closes interlaced vert.

COURANT. Running.

[Illustration: Courant]

Ex. Argent, a stag proper courant.

CRENELLE. The French heraldic term for embattled. See EMBATTLED.

[Illustration: Crenelle]

CRESCENT. The half moon with its horns turned upwards.

[Illustration: Crescent]

Ex. Azure, a crescent argent.

CREST. The ornament on the upper part of the helmet in Heraldry placed
over coats of arms, either with or without the helmet. By referring to
the title-page of this work the crests of Great Britain will be found
with all the adornments of regal helmets.

The English crest is a crown surmounted by a lion statant guardant
crowned, or.

The Scottish crest is an imperial crown, surmounted by a lion sejant
guardant, displaying two sceptres or.

The Irish crest is an ancient diadem surmounted by an embattled tower,
a stag courant issuing from the portal.

The crest of Wales is a dragon passant guardant, gules.--The whole of
these crests, with mantlings, &c., are emblazoned on the title-page of
this Manual.

[Illustration: Crest]

Crests are usually displayed upon a wreath as in the annexed example,
which is a demi-lion rampant. If a crest this size had been placed
upon an helmet of proportionate size it must have occupied a sixth
part of this page, and the shield containing the arms to be in
proportion considerably larger: in showing the crest without the
helmet proportion is of little consequence. See HELMET, WREATH, and
MANTLING.

CRESTED. A cock or other bird, whose comb is of a different tincture
from the body, is said to be crested. See JOWLOPED.

CRINED. This is said of an animal whose hair is of a different
tincture from its body.

[Illustration: Crined]

Ex. Argent, a mermaid gules, crined or.

CROSIER. The pastoral staff of a bishop or abbot: a very frequent
charge in ecclesiastical arms.

[Illustration: Crosier]

Ex. Or, a crosier gules, in bend.

CROSS. An honourable ordinary, more used as a charge in a coat of arms
than any of the others. During the Crusades for the recovery of the
Holy Land, the troops of the different nations that joined in the
Crusade displayed crosses on their banners and arms: every soldier
bore a cross upon his dress; this was composed of two pieces of list
or riband of equal length, crossing each other at right angles. The
soldiers of France attached their national emblem, the fleur-de-lis,
to the ends of the members of the cross; hence the introduction of the
cross flory. The Crusaders from the Papal dominions placed transverse
pieces on each member of the plain cross, and by this means
transformed it into four small crosses springing from a centre,
forming what is now called the cross-crosslet. It would be impossible
within the limits of this work to give an example of all the crosses
that have been introduced as bearings in coats of arms. Berry, in his
comprehensive work on Heraldry, gives nearly two hundred examples,
without giving all that might be found. The following are the crosses
most used in English Heraldry.

[Illustration: Cross]

Cross

[Illustration: Cross potent]

Cross potent

[Illustration: Cross flory]

Cross flory

[Illustration: Cross crosslet]

Cross crosslet

[Illustration: Cross bottonny]

Cross bottonny

[Illustration: Cross pattee]

Cross pattee

[Illustration: Cross raguly]

Cross raguly

[Illustration: Cross patonce]

Cross patonce

[Illustration: Cross moline]

Cross moline

[Illustration: Cross quadrate]

Cross quadrate

[Illustration: Cross quarter-pierced]

Cross quarter-pierced

[Illustration: Cross of Calvary]

Cross of Calvary

[Illustration: Cross fitchy]

Cross fitchy

[Illustration: Cross patriarchal]

Cross patriarchal

[Illustration: Cross potent rebated]

Cross potent rebated

CURTANA. The pointless sword of mercy is the principal in dignity of
the three swords that are borne naked before the British monarchs at
their coronation.

[Illustration: Curtana]

CROWN AND CORONETS.

[Illustration: Crown, king of England]

The crown of the king of England.

[Illustration: Coronet, prince of Wales]

Coronet of the prince of Wales

[Illustration: Coronet, princess of England]

Of a princess of England

[Illustration: Coronet, marquis]

Of a marquis

[Illustration: Coronet, royal duke]

Of a royal duke

[Illustration: Coronet, earl]

Of an earl

[Illustration: Coronet, duke]

Of a duke

[Illustration: Coronet, viscount]

Of a viscount

[Illustration: Coronet, baron]

Coronet of a baron

DANCETTE. A zig-zag figure with spaces between the points, much larger
than in the indented.

[Illustration: Dancette]

Ex. Argent, a pale, dancette vert.

DEBRUISED. Any animal that has an ordinary placed upon it is said to
be debruised.

[Illustration: Debruised]

Ex. Argent, a lion rampant guardant gules, debruised by a fess azure.

DECRESSANT, or DECRESCENT. A moon in its wane, whose horns are turned
to the sinister side of the escutcheon.

[Illustration: Decressant]

Ex. Azure, a moon decrescent, proper.

DEMI, or DEMY. This particle is always joined to a substantive, and
signifies half; as, a demi-lion, _i.e._ half a lion.

DETRIMENT. The moon is said to be in its detriment when it is
eclipsed.

[Illustration: Detriment]

Ex. Argent, the moon in her detriment sable.

DEXTER. A word used in Heraldry to signify the right side of any
thing.

DIADEM, a circle of gold with points rising from it, worn by ancient
kings as the token of royalty. The diadem of most of the monarchs
of Europe, as represented in ancient statuary, stained glass, and
paintings, resembles the annexed engraving; the kings of England, from
the Conquest to Henry VII., all wore a diadem of this shape.

[Illustration: Diadem]

DIAMOND. The hardest and most valuable of precious stones; it was
formerly used by English heralds to denote black or sable in blazoning
the arms of the nobility.

DIFFERENCE. The term given to a certain figure added to coats of
arms to distinguish one family from another, and to show how distant
younger branches are from the elder or principal branch. See p. 13.
[CHAP. III.]

DIMINUTION. A word sometimes used instead of difference.

DISPLAYED. A bird whose wings are expanded and legs spread is said to
be displayed.

[Illustration: Displayed]

Ex. Argent, an eagle displayed sable.

DORMANT. The French word for sleeping, used to denote the posture of a
lion, or any other beast reposing. See LION.

DOUBLINGS. The lining of robes of state, as also the rows of fur set
on the mantles of peers.

DOUBLE TRESSURE. Two Tressures, or orles, one within the other.

[Illustration: Double Tressure]

DOVETAILED. A term borrowed from carpentry to show tinctures joined
together by reversed wedges, which, being shaped like doves' tails,
are by joiners called dovetailing.

[Illustration: Dovetailed]

Ex. Quarterly per pale dove-tailed, or and gules.

DRAGON. An imaginary monster; a mixture of beast, bird, and reptile.
It is frequently borne in crests and charges.

[Illustration: Dragon]

Ex. Argent, a dragon proper, tail nowed.

DRAGON'S HEAD. Part of a celestial constellation, used by ancient
English heralds to denote tenne when emblazoning the arms of
sovereigns; this style of heraldry has become obsolete.

DRAGON'S TAIL. Part of the same constellation; formerly used to denote
sanguine.

DUKE. The highest degree of British peerage next to the prince of
Wales. This title is derived from the Latin word _dux_: the title of
Duke was known in other parts of Europe long before it was introduced
into England. The first person that was created a duke in this country
was Edward the Black Prince, who was created duke of Cornwall by his
father Edward the third. The title has since that time belonged to the
first born son of the monarch of England. A duke formerly possessed
great authority over the province that formed his dukedom, and had
large estates annexed to his title to support its dignity. At the
present time dukes are created by patent, and their dukedom is merely
nominal, neither power nor possessions being annexed to the title.

EAGLE. _Aquila_ in Ornithology. In Heraldry the eagle is accounted
one of the most noble bearings, and ought to be given only to such as
greatly excel in the virtues of generosity and courage, or for having
done some singular service to their sovereign.

EAGLET is a diminutive of eagle, properly signifying a young eagle.
In Heraldry, when several eagles are on the same escutcheon, they are
termed eaglets.

EARL. The third degree of British peerage. Under the Danish and Saxon
kings this was the highest title known in England conferred upon a
subject. It was formerly the custom upon creating an earl to assign
him, for the support of his state, the third penny from the fines and
profits of the sheriff's court, issuing out of the pleas of the shire
whence the earl took his title; as, formerly, there was no count or
earl but had a county or shire for his earldom. When the number of
earls was increased, they took their titles from towns and villages.
An earl is now created by patent.

EARL-MARSHAL OF ENGLAND. A very ancient, and formerly a very
important, officer, who had several courts under his jurisdiction, as
the Court of Chivalry, the Court of Honour. He still presides over the
Heralds' College, and nominally over the Marshalsea Court. The title
of Earl Marshal of England is now, and has been for some ages,
hereditary in the noble family of the Howards.

EASTERN CROWN. A crown with rays proceeding from a circle, called
by heralds an Eastern crown, is found in ancient achievements. The
annexed cut shows its form.

[Illustration: Eastern Crown]

EMBATTLED. A line, formed like the battlements on a wall or tower, is
said to be embattled or crenelle. When the line is used to form one
of the ordinaries, it is said to be embattled. See the lines, p. 11.
[CHAP. III.]

[Illustration: Embattled]

Ex. Gules, a bend sinister embattled, argent.

EMBATTLED GRADY. Where the battlements gradually rise one above
another.

[Illustration: Embattled Grady]

Ex. Argent, a fess gules, embattled grady. See the lines, p. 11.
[CHAP. III.]

EMBOWED. Any thing bent or curved, like a bow.

[Illustration: Embowed]

Ex. Gules, a dolphin naiant embowed or.

EMERALD. The name of a precious stone formerly substituted for vert in
emblazoning the arms of the nobility of England.

EN ARRIÈRE. An expression borrowed from the French, to signify any
creature borne with its back to view.

[Illustration: En arrière]

Ex. Argent, an eagle proper en arrière.

ENDORSE. The smallest diminutive of the pale.

[Illustration: Endorse]

Ex. Argent, a pale between endorses gules.

ENGRAILED. Any object being edged with small semi-circles, the points
turning outwards, is said to be engrailed.

[Illustration: Engrailed]

Ex. Argent, a pale azure engrailed.

ENHANCED. A term applied to bearings placed above their usual
situation.

[Illustration: Enhanced]

Ex. Argent, three bendlets, enhanced gules.

ENSIGNED. This word, in heraldic description, means ornamented.

[Illustration: Ensigned]

Ex. Argent, a man's heart gules, ensigned with a celestial crown or.

ERASED. Signifies any thing torn or plucked off from the part to which
nature affixed it; generally applied to the head and limbs of man or
beast.

[Illustration: Erased]

Ex. Argent, a leg erased at the midst of the thigh gules.

ERECT. This is said of any animal or parts of animals, naturally
horizontal, being placed in a perpendicular direction.

[Illustration: Erect]

Ex. Argent, a boar's head erect, and erased.

ERMINE. A white fur with black spots, represented as in the annexed
example.

[Illustration: Ermine]

ERMINES. This fur is represented by white spots on a black field.

[Illustration: Ermines]

ERMINOIS. A fur, the field, or, the spots or tufts, sable, as in the
annexed example.

[Illustration: Erminois]

ESCALOP. The shell of a sea-fish, used to decorate the palmers on
their way to and from Palestine; frequently used as a charge in
Heraldry.

[Illustration]

ESCUTCHEON. This word is sometimes used to express the whole coat of
arms, sometimes only the field upon which the arms are painted. It
more generally denotes the painted shields used at funerals. The
field, if the husband is dead and wife survives, is black on the
dexter side only; if the wife is deceased, it is black on the sinister
side; if both, it is black all over. The example shows that this is
the escutcheon of a deceased baron, whose lady survives.

[Illustration]

ESCUTCHEON OF PRETENCE. A small escutcheon, on which a man bears the
coat of arms of his wife, being an heiress. See p. 40. [CHAP. VI.]

[Illustration: Ex. Argent, a chevron or, between three crosslets
sable, on the fess point surtout the chevron an escutcheon of pretence
gules, three quatrefoils argent.]

ESQUIRE. The degree below a knight and above a gentleman. Those to
whom this title is due by right, are all the younger sons of noblemen
and their heirs male for ever, the four esquires of the king's body,
the eldest sons of baronets, of all knights and of their heirs male:
those who bear superior offices, as magistrates, high sheriffs,
mayors, and aldermen, have it during their continuance in office and
no longer. For the helmet of an esquire, see page 84.

[Illustration: Etoile.]

ETOILE. The French word for a star. It differs from the mullet in the
number of points, and four of the points being rayant.

FESS. An honourable ordinary occupying the third part of the shield
between the centre and the base.

[Illustration: Fess]

Ex. Argent, a fess gules.

[Illustration: Fess Point.]

FESS POINT. The exact centre of the escutcheon, as seen in the annexed
example. See the escutcheon lettered at p. 6., where this point is
marked with the letter E. [CHAP. II.]

FIELD. The whole surface of the shield or escutcheon: it is the ground
upon which the colours, tinctures, furs, ordinaries, and charges, are
represented.

FIGURED. Those bearings which are depicted with a human face, are said
to be figured.

[Illustration: Figured]

Ex. Gules, three bezants figured.

FILLET. The only diminutive belonging to the chief; its width is
one-fourth of the chief, and is always placed at the base of it. See
CHIEF, p. 18. [CHAP. IV.]

FIMBRIATED. An ordinary having a border of a different tincture is
said to be fimbriated.

[Illustration: Fimbriated]

Ex. Azure, a bend gules, fimbriated argent.

FITCHY. Is from the French word _fiché_, fixed. It is generally
applied to crosses which have their lower branch pointed, so that it
could be fixed in the ground. See CROSS FITCHY.

FLANCHES. Are formed of two curved lines placed opposite each other.

[Illustration: Flanche]

Ex. Azure, a flanche argent.

FLANK. That part of an escutcheon between the chief and the base.

[Illustration: Flank]

Ex. Argent, three mullets gules, accompanied with seven cross
crosslets fitchy sable--three in chief, one in fess, two in flanks,
one in base.

FLASQUES. A subordinate ordinary formed by curved lines placed
opposite each other, but not so near as in flanches.

[Illustration: Flasque]

Ex. Azure, a flasque argent.

[Illustration: Fleur-de-lis.]

FLEUR-DE-LIS. Supposed to represent the garden-lily. It is the bearing
of the Bourbons of France, but is frequently introduced in English
charges.

FLORY. Signifies flowered or adorned with the fleur-de-lis. See FLORY
COUNTER-FLORY, and CROSS-FLORY.

FRET. Two laths interlaced with a mascle.

[Illustration: Fret]

Ex. Azure, a fret argent.

FRETTY. This word denotes a field covered with fretwork or laths
interlacing each other.

[Illustration: Fretty]

Ex. Gules, fretty argent.

THE FUSIL. Is longer than the lozenge: the upper and lower ends are
more acute.

[Illustration: Fusil]

Ex. Or, a fusil purpure.

[Illustration: Galley.]

GALLEY. An ancient vessel propelled by oars; frequently used in
shields of naval officers.

[Illustration: Gambe.]

GAMBE. An obsolete French word, signifying a leg, and is still used in
Heraldry, for the leg of a lion or other creature borne in coats of
arms.

GARBE. The heraldic term for a sheaf of any kind of corn.

[Illustration: Garbe]

Ex. Argent, a garbe proper.

GARTER. One of the diminutives of the bend, being half the size.

[Illustration: Garter]

Ex. Or, a garter vert.

[Illustration: Garter.]

GARTER. The insignia of the most noble order of the knights of the
garter. It is formed of blue velvet edged with gold wire, and lined
with white satin; on the velvet is embroidered the motto of the order.
See KNIGHT.

[Illustration: Gauntlet.]

GAUNTLET. Armour for the hand.

GAZE. An intent look. This is said of a deer standing still, and
turning its head to look earnestly at any object.

[Illustration: Gaze]

Ex. Argent, a stag at gaze proper.

[Illustration: Gemels.]

GEMELS. This word signifies double. The example contains two double
bars, which in heraldic language would be called two bars gemels.

[Illustration: Golp.]

GOLPS. Roundlets of a purple tincture. The colour is not stated, as
the name denotes the colour.

GORGED. Any animals, particularly birds, that have collars round the
neck, are said to be gorged.

[Illustration: Gorged]

Ex. A swan's head erased at the neck, ducally gorged or.

[Illustration: Griffin.]

GRIFFIN or GRYPHON. A chimerical animal, half bird, half beast.

[Illustration: Guidon.]

GUIDON. A small semi-oval flag used in funeral processions. It is
generally charged with the paternal arms of the deceased.

[Illustration: Gules.]

GULES. Signifies red. It is represented in engraving by lines running
parallel with each other, from the chief to the base, as in the
example.

[Illustration: Gutty.]

GUTTY. A term derived from the Latin word _gutta_, a drop. A field
bearing drops, as in the example, is called gutty.

[Illustration: Gyron.]

GYRON. A triangular figure formed by two lines from one of the angles
of the shield to the centre. The gyron may be drawn in any part of the
shield, but it is generally placed as in the annexed example.

GYRONNY. When the field is covered with gyrons, their points uniting
in the centre.

[Illustration: Gyronny]

Ex. Gyronny of eight pieces, azure, argent, and gules.

HABERGEON. A coat of mail: it is also called a corslet and cuirass.

[Illustration: Habergeon]

Ex. Argent, an habergeon proper.

HABITED. Clothed figures, either as charges or supporters, are said to
be habited.

[Illustration: Harpy.]

HARPY. A chimerical animal, having the head and breast of a woman, and
the body and legs of a bird.

HAURIENT. A fish, in a perpendicular direction, with its head upwards.

[Illustration: Haurient]

Ex. Argent, a salmon proper haurient.

HELMET. An ancient piece of defensive armour for the head; it covered
the face, leaving an aperture in the front, secured by bars: this was
called the visor. The helmet is now placed over a coat of arms; and by
the metal from which it is made, the form, and position, denotes the
rank of the person whose arms are emblazoned beneath it.

The helmets of sovereigns are formed of burnished gold; those of
princes and peers, of every degree, silver figured with gold; knights,
esquires, and gentlemen, polished steel.

The helmets of the king, the royal family, and peers, are open-faced
and grated: the number of bars served formerly to distinguish the
bearer's quality. The helmets of knights are open-faced, without bars.
Esquires and gentlemen are known by the close helmet.

[Illustration: Grated helmet, direct front view.]

The position of the helmet is a mark of distinction. The direct front
view of the grated helmet belongs to sovereign princes and dukes.

[Illustration: Grated helmet, profile.]

The grated helmet in profile is common to all degrees of peerage under
a duke.

[Illustration: Open helmet, direct front view.]

The helmet without bars, with the beaver open, standing directly
fronting the spectator, denotes a knight.

[Illustration: Closed helmet, profile.]

The closed helmet seen in profile is appropriated to esquires and
gentlemen. See CREST, BEAVER, MANTLING.

HERALD. An officer at arms, whose business it is to declare war,
proclaim peace, marshal all the solemnities at the coronation;
baptisms, marriages, and funerals of the sovereign and nobility; and
to ascertain and blazon coats of arms.

The principal herald is Garter-King-at-Arms. It is his office to
regulate the solemnities, and emblazon the arms of the sovereign,
knights, and officers of the most noble order of the Garter.
Garter-King-at-Arms likewise presides over all heraldic ceremonies of
the Court. His crown of gold is formed with oak leaves, one shorter
than the other, springing from a circlet of gold, having engraved upon
it the words "MISERERE MEI DEUS." His tabard, as principal herald, is
of crimson velvet, splendidly embroidered with the arms of England.

Clarencieux and Norroy are called provincial kings-at-arms, the former
regulating all things connected with Heraldry in the provinces south
of the Trent; the latter in the provinces north of the Trent. They
have likewise crowns; and though the office of herald is not of so
much importance now as it was formerly, it is still considered a post
of great honour and emolument.

There are eight heralds that are not kings-at-arms. Their tabards
are of silk, embroidered with the royal arms. They are called York,
Lancaster, Somerset, Richmond, Chester, and Windsor. George the First
created a new herald called Hanover, and another called Gloucester.

The kings-at-arms, heralds, and pursuivants, form the Heralds'
College, by whom all matters connected with the coats of arms of every
gentleman in the kingdom are arranged and determined.

HILTED. The handle of a sword tinctured.

[Illustration: Hilted]

Ex. Argent, a sword proper couped, hilted or.

[Illustration: HONOUR POINT]

HONOUR POINT. That part of the shield between the precise middle chief
and the fess point. In the annexed example the large dot in the centre
shows the fess point; the point within the letter D, the _honour
point_. See p. 6. [CHAP. II.]

HORNED. This term is used to denote that the horn of a unicorn is of a
different tincture from his body.

[Illustration: Horned]

Ex. Azure, three unicorns' heads proper, erased, horned or.

HUMETTY. A term used to denote an ordinary, parts of which are couped
or cut off, so that it does not touch the edges of the shield.

[Illustration: Humetty]

Ex. Argent, a fess humetty gules, between three mullets sable.

[Illustration: HURTS]

HURTS. Blue roundlets: the colour is expressed in the name; therefore
the tincture is not otherwise named in emblazoning a coat of arms.

[Illustration: Spearhead imbued.]

IMBUED. Weapons spotted with blood are said to be imbued. The example
shows a spearhead imbued.

IMPALED. Two coats of arms, conjoined paleways, in one shield.

[Illustration: Impaled]

Ex. Argent, a fess gules, impaled with argent, a bend azure. See p.
38. [CHAP. VI.]

INCRESCENT. The new moon, with her horns turned towards the dexter
side of the shield.

[Illustration: Increscent]

Ex. Azure, a moon increscent argent.

INDENTED. A serrated figure, much smaller than the dancette.

[Illustration: Indented]

Ex. Or, a chief gules, indented.

INESCUTCHEON. The name given to small escutcheons forming a bearing of
a coat of arms.

[Illustration: Inescutcheon]

Ex. Argent, three inescutcheons gules.

INVECTED. A line formed with small semicircles, with the points turned
inward. Any ordinary drawn with this line is called invected.

[Illustration: Invected]

Ex. Argent, a bend gules, invected between two hurts.

ISSUANT, or ISSUING. Rays or other charges proceeding from any part of
the escutcheon. See RAY.

KNIGHT. A title of honour conferred upon a subject for eminent
services performed in war. In the course of time, knights that had
gained riches and high titles formed societies under the control and
direction of their monarchs in every part of Europe. The limits of
this work will only permit us to notice the orders of knighthood
introduced into England.

The KNIGHTS-BACHELORS were the earliest order of knighthood in
England. The title was conferred for services in war. It was merely
personal, and, like the knighthood conferred upon individuals at the
present time, did not descend to their posterity.

[Illustration: Knights-Banneret]

KNIGHTS-BANNERET. This ancient and honourable order has become
extinct. It obtained the title of banneret from the knights having
the right of having a square banner borne before them on the field
of battle, and at jousts and tournaments. Sir W. Segar gives the
following account of the creation of a knight-banneret:--"It is a
military order, and can only be conferred upon persons that have
performed some heroic act in the field. When this action is known to
the king, or general of the army, he commands the attendance of the
gallant warrior, who is led, between two knights, into the presence of
the king or general with his pennon of arms in his hand, and there
the heralds proclaim his merit, and declare him fit to become a
knight-banneret, and thenceforth to display a banner in the field.
Then the king or general causes the point of the pennon to be cut off
to make it square; it is then placed at the top of his lance, and the
new-made knight returns to his tent, the trumpets sounding before
him." Knights-banneret were certainly created in the reign of Edward
I., but how long before that time it is impossible to tell.

KNIGHTS OF THE GARTER. This is considered the most honourable order
of knighthood in Europe: it was founded by Edward III. in 1349; the
fraternity consists of twenty-six knights, to which are added the
princes of the blood royal. The king of England is the sovereign of
the order; their officers are a prelate, chancellor, registrar, and
king-at-arms.

The college of the order is in Windsor Castle, with the chapel of St.
George and the chapter-house. These buildings were erected by the
royal founder expressly for the accommodation of the knights of the
garter.

The garter is considered the principal ensign of this order: it is
worn on the left leg below the knee; it is formed of blue velvet,
edged with gold: on the velvet is embroidered the motto of the order,
HONI SOIT QUI MAL Y PENSE.

The collar is of gold, weighing thirty ounces troy weight, and
contains twenty-six garters enamelled proper, in each a rose gules
between; the garters are connected by knots. The George is attached to
this collar: it represents St. George (the patron Saint of the order)
attacking the dragon; it is of gold enamelled, and may be enriched
with jewels at the pleasure of the possessor.

THE KNIGHTS OF ST. PATRICK. This illustrious Irish order was founded
by George III., 1783. It consists of the sovereign, a grand
master, the princes of the blood royal, and thirteen knights. The
lord-lieutenant for the time being is grand master. The device on the
jewel of this order is argent, a cross saltier gules surmounted with
a trefoil vert, charged with three imperial crowns or, the whole
inclosed in a circle of gold, bearing the motto QUIS SEPARABIT.
MDCCLXXXIII. An engraving of this jewel will be found on the sinister
side of the title-page.

THE KNIGHTS OF THE THISTLE. The most ancient order of the Thistle was
founded by James V. of Scotland, 1540, and revived by James II., king
of Great Britain, 1687, incorporated by Queen Anne, whose statutes
were confirmed by George I. The order consists of the sovereign and
twelve brethren or knights. Their motto is the national motto, NEMO ME
IMPUNE LACESSET; their badge or jewel, St. Andrew, supporting a cross,
surrounded with rays of gold, an engraving of which will be found on
the dexter side of the title-page.

[Illustration: Knight and Baronet]

KNIGHT AND BARONET. A degree of honour next to a baron, created by
King James I. to induce the English gentry to settle in the province
of Ulster. The title is knight and baronet; it is hereditary: the arms
are distinguished by an augmentation of a human hand gules, generally
borne on an escutcheon in the centre of the shield.

[Illustration: Knight and Baronet of Nova Scotia]

KNIGHT AND BARONET OF NOVA SCOTIA. A new creation during the reign
of George I. to induce capitalists to settle in that part of North
America. The title is hereditary: the arms are argent, St. Andrew's
Cross gules surtout, an escutcheon or, with a lion rampant gules
within a double tressure of the same, surmounted by a king's crown as
a crest.

KNIGHTS OF THE BATH. An ancient and honourable military order of
knighthood. The date of its origin is too remote to be traced with
certainty: by some authors it is said to have been instituted in
Normandy before the Conquest; it was re-established in England by
Henry IV., and revived by George I. The chapel of this order is Henry
VII.'s chapel in Westminster Abbey: the Dean of Westminster for the
time being is always dean of the order of the Bath. The number of the
knights is according to the pleasure of the sovereign. At the close of
the late war the Prince Regent, afterwards George IV., remodelled this
order of knighthood; and to enable himself to bestow marks of honour
upon the naval and military officers that had distinguished themselves
on the ocean and in the field, he divided the order into three
classes: first, all the noblemen that were Knights of the Bath were
henceforth to be called Knights Grand Crosses of the Bath, which
was also the title of the commanders of fleets and armies that were
rewarded by being admitted into the highest class of this noble order.

The second class are called Knights Commanders of the Bath; a great
number of naval and military officers above the rank of captains in
the navy and majors in the army are admitted into this class.

The third class is styled Companions of the Order of the Bath, and is
open to officers of inferior rank.

The Knights Grand Crosses of the Bath attach the initials K.G.C.B. to
their names and titles.

The Knights Commanders use the initials K.C.B.

The Companions are known by the initials C.B.

[Illustration: Label]

LABEL. The noblest of abatements serving as a difference between the
eldest and the junior sons. See DIFFERENCE.

LANGUED. A term derived from the French word _langue_, tongue. It
signifies in Heraldry that the tongue of a bird or beast is of a
different tincture from the body.

LION. The strength, courage, and majestic deportment of this noble
animal, has gained him the regal titles of monarch of the forest and
king of beasts. Ancient heralds selected the figure of the lion as
symbolic of command, strength, power, courage, and other qualities
attributed to that animal. Armorists have introduced lions to denote
the attributes of majesty, might, and clemency, subduing those that
resist, and sparing those that yield to authority. The lion has been
depicted in every attitude which could by any means be construed into
a compliment to the person the sovereign delighted to honour, by
raising him to a rank that enabled him to bear arms. Was it a warrior,
who, though victorious, was still engaged in struggling with the foes
of his sovereign, the lion rampant was considered a proper emblem of
the hero. The warrior having overcome his enemies in the field, yet
retaining his military command for the safety and honour of his
country, was typified by the lion statant gardant. We might easily
find examples to show the propriety of the emblem for all the
positions of the lion introduced as charges in coats of arms; but the
two given will be sufficient: the rest may easily be imagined by the
intelligent reader. The following are the most usual positions in
which the lion appears in shields of arms:--

[Illustration: Rampant]

Rampant.

[Illustration: Rampant gardant]

Rampant gardant.

[Illustration: Rampant regardant]

Rampant regardant.

[Illustration: Salient]

Salient.

[Illustration: Statant gardant]

Statant gardant.

[Illustration: Passant]

Passant.

When the lions' heads are placed in the same position as in rampant
gardant and regardant, they are then said to be passant gardant and
regardant.

[Illustration: Sejant]

Sejant.

[Illustration: Couchant]

Couchant.

[Illustration: Dormant]

Dormant.

Thus far the lion is drawn in natural positions; these are considered
the most honourable, as they have never been properly inserted in arms
but for persons of high authority and pre-eminent courage and virtue.
There are a great many deviations from the above, which are marks of
great honour. It is considered that a lion cannot bear a rival in the
field; therefore if two or more lions are introduced they are supposed
to be lion's whelps, or in Heraldic terms lioncels.

[Illustration: Two lioncels addorsed]

Two lioncels addorsed or back to back.

[Illustration: Lioncels combatant]

Lioncels combatant.

[Illustration: Lion rampant double-headed]

Lion rampant double-headed.

[Illustration: An incorporated lion gardant in the fess point]

An incorporated lion gardant in the fess point.

There are a great number of ways of introducing this charge: many
of them will be seen under the proper words that describe their
condition: such as the word debruised, where the lion is confined by
the fess passing over it; demi-lion or half lion; but the examples
here given will be sufficient to explain their positions, active or
passive. If no mention is made of the tincture it is always supposed
that they are proper, that is, to be coloured like nature: they are
introduced in arms of every metal and tincture known in Heraldry.

[Illustration: Lodged]

LODGED. A stag sitting on the ground with its head erect, is said to
be lodged.

LOZENGE. An angular figure, known as diamond-shaped, to distinguish it
from the square.

[Illustration: Lozenge]

EX. Or, a lozenge vert.

LOZENGY. Covered with lozenges.

[Illustration: Lozengy]

EX. Lozengy gules and argent.

LUNA. The moon: it formerly signified argent in emblazoning the arms
of sovereigns.

MANCHE. An ancient sleeve with long hangings to it.

[Illustration: Manche]

EX. Argent, a manche, gules.

MANED. When the manes of horses, unicorns, &c. are of a different
tincture from their bodies they are said to be maned.

MANTLE. A long robe or cloak of state.

MANTLING. The flowing drapery forming the scroll-work displayed on
either side of the helmet from beneath the wreath, representing the
ancient covering of the helmet, used to protect it from stains or
rust. When the mantling incloses the escutcheon, supporters, &c.,
it represents the robe of honour worn by the party whose shield it
envelopes. This mantle is always described as doubled, that is, lined
throughout with one of the furs, as ermine, pean, vary. For examples
of mantling, see the arms and crests of England, Scotland, and
Ireland.

MARQUIS. The second order of nobility in England, next in rank to a
duke.

MARSHAL. A title of honour. See EARL MARSHAL.

TO MARSHAL. To place persons in due order, according to their
precedency, in public processions, such as coronations, proclamations
of peace or war, funerals, &c.

MARSHALLING ARMS. The disposing of several coats of arms belonging
to distinct families in the same escutcheon, together with their
ornaments, parts, and appurtenances.

MARTLET. An imaginary bird said to be without legs; it is used both as
a charge and a difference.

[Illustration: Martlet]

EX. Argent, a martlet, gules.

MASCLE. An open lozenge-shaped figure, one of the subordinate
ordinaries.

[Illustration: Mascle]

EX. Argent, a mascle, vert.

MEMBERED. A term used to express the beak and legs of a bird when they
are of a different tincture from its body.

MERCURY. The name of the planet, used by ancient heralds to describe
purple in blazoning the arms of sovereigns.

METAL. The two metals used in Heraldry are gold and silver, called or
and argent. It is against the rules of Heraldry to place metal upon
metal, or colour upon colour, unless for special reasons. Therefore,
if the field be of any colour, the bearing must be of one of the
metals, and on the contrary, if the field be of one of the metals, the
bearing must be of some colour.

MILLRIND. The iron placed in the centre of a grindstone to protect
the hole in the centre from the action of the axis; it is a charge
frequently borne on escutcheons of persons connected with agriculture.

[Illustration: Millrind]

EX. Argent, a millrind, gules.

[Illustration: MITRE.]

MITRE. A sacerdotal ornament for the head, worn by Roman Catholic
archbishops and bishops on solemn occasions. Certain English abbots
formerly wore mitres, and they are frequently found as charges in the
arms of abbeys and monasteries. The annexed is a representation of the
mitre of the archbishops and bishops of the church of England, borne
as a mark of distinction over the arms of the see, or over their
paternal achievements, when impaled with the arms of their see. The
prelates of the Protestant Church of England never wear mitres.

[Illustration: MITRE.]

The Bishops of Durham were formerly princes of the Palatinate of
Durham, and wore a ducal coronet surmounted by a mitre. They still
retain the coronet and mitre as an heraldic distinction, borne over
the arms of the bishopric.

MORION. A steel cap or helmet formerly worn by foot soldiers below the
rank of gentlemen.

MOTTO. A word or short sentence inserted in a scroll, which is
generally placed beneath the escutcheon; in some instances it is
placed above the crest. The motto frequently alludes to the name of
the bearer of the arms, as the motto of the Right Honourable Lord
Fortescue--FORTE SCUTUM SALUS DUCUM, a strong shield is the safety of
commanders. Sometimes the motto is the watchword or war-cry in the
battle where the original bearer won the honours that are retained
by his descendants. Generally the motto is founded upon the piety,
loyalty, valour, fortitude, &c. of the persons to whom arms were
granted.

[Illustration: MOUND.]

MOUND. A globe encircled with a band and surmounted with a cross; it
is an ensign of royalty, signifying dominion.

MULLET. From the French word _molette_, the rowel of a spur: it is
generally drawn with five points, as in the annexed example: when more
points are used they are named.

[Illustration: Mullet]

EX. Azure, a mullet or.

MURAILE. A French term for walled.

MURREY. A word used by ancient armorists instead of sanguine.

NAIANT. A French term for swimming. This term is used in Heraldry when
a fish is drawn in an horizontal position.

[Illustration: Naiant]

EX. Argent, a salmon proper, naiant, its head towards the sinister
side of the shield.

NAISSANT. A French word signifying coming out. It is used when a lion
or any other animal appears to be rising out of the centre of an
ordinary.

[Illustration: Naissant]

EX. Or, from the midst of a fess, gules, a lion rampant naissant.

NEBULÉ, or NEBULY. A French word, signifying cloudy, represented by a
curved line, thus--

[Illustration: NEBULÉ, or NEBULY.]

NOBILITY. Under this denomination are comprehended--dukes, marquises,
earls, viscounts, and barons only. Archbishops and bishops are
included in the rank of clergy.

NOMBRIL POINT. That part of the shield below the fess point. See page
6. letter F. [CHAP. II.]

NORROY. The name of one of the Kings-at-Arms. See King-at-Arms.

NOWED. This word signifies tied or knotted, and is applied to
serpents, wiverns, or any animals whose tails are twisted and enfolded
like a knot.

[Illustration: EX. Argent, a serpent nowed proper.]

OGRESSES. Black roundlets.

OR. The French word for gold. This tincture is denoted in engraving by
small points.

[Illustration: EX. Or, a bend gules.]

ORANGES. Roundlets tinctured tenne.

ORDINARY. A term used to denote the simple forms which were first used
as heraldic distinctions, and therefore called honourable ordinaries,
as conferring more honour than later inventions. They are the chief,
pale, bend, bend sinister, fess, bar, chevron, cross, and cross
saltier. There are thirteen subordinate ordinaries. The form, size,
and place that the honourable and subordinate ordinaries occupy in an
achievement are all described in the Manual, and in this Dictionary
under their different names.

[Illustration: ORLE.]

ORLE. A subordinate ordinary composed of double lines going round the
shield at some distance from its edge; it is half the width of the
bordure.

OVER ALL. This expression describes a figure borne over another and
obscuring part of it.

[Illustration: Over all]

EX. Quarterly or and gules, over all a bend vair.

PALE. One of the honourable ordinaries formed by two perpendicular
lines drawn from the base to the chief. The pale occupies one third of
the shield.

[Illustration: Pale]

EX. Azure, a pale or

PALL. A scarf in the shape of the letter Y, forming part of the
vesture of a Roman Catholic prelate. It is introduced as the principal
bearing of the archbishops of Canterbury, Armagh, and Dublin.

[Illustration: Pall]

Ex. Azure, on a pall argent, four crosses fitchy sable, in chief a
cross pattee of the second.

[Illustration: PALLET]

PALLET. A diminutive of the pale.

PALY. A field divided by perpendicular lines into several equal parts
of metal and tincture interchangeably disposed.

[Illustration: Paly]

Ex. Paly of four, argent and gules.

PARTY or PARTED signifies divided, and applies to the several parts of
an escutcheon parted by a line, which always runs in the direction
of one or more of the honourable ordinaries, as may be seen in the
following examples:--

[Illustration: Parted per pale and par bend sinister]

PARTED PER PALE AND PER BEND SINISTER Counterchanged, or and gules.

[Illustration: Parted per pale and per chevron]

PARTED PER PALE AND PER CHEVRON. Gules and or, counter changed.

PARTY PER FESS. A shield parted in the centre by an horizontal line
through the fess point.

[Illustration: Party per fess]

Ex. Party per fess, engrailed, argent and gules.

PARTY PER PALE. This signifies a shield parted by a perpendicular line
down the centre, so that one shield may contain two coats of arms.

[Illustration: Party per pale]

Ex. Parted per pale, gules and argent.

PASCHAL LAMB, or HOLY LAMB.

[Illustration: Paschal lamb]

Ex. Argent, a lamb passant, carrying a banner charged with a cross.

PASSANT. Passing or walking. See LION PASSANT and PASSANT GUARDANT.

PATONCE. See CROSS.

PATTE. A cross small in the centre, wide at the ends. See CROSS.

PATRIARCHAL CROSS. Cross used by patriarchs in the Greek church. See
CROSS.

PEARL. A precious stone, used by ancient heralds for argent in
emblazoning the arms of peers.

PEAN. The name of a fur, the field sable, the tufts or.

PEER. Name given to all persons included in the rank of nobility.

PELLETS. A name given to black roundlets.

PENDANT. A shield suspended or hanging from a branch of a tree,
or from a nail. Shields of arms frequently appear drawn thus in
architecture, and when described are said to be pendant.

[Illustration: Pennons]

PENNONS. Small flags borne at the end of a lance of an esquire or
gentleman bearing his paternal arms. The end of the pennon was cut
off upon the person being created a knight banneret. See BANNERET.
Penoncels or Pencils were small flags decorating the helmet or the
horse armour. They are now only used at funerals. The large flag in
the engraving is a pennon, the smaller, penoncels or pencils.

PHEON. A missile instrument with a barbed head, thrown from a cross
bow.

[Illustration: Pheon]

Ex. Argent, a pheon proper.

PIERCED OR PERFORATED. Cut through the centre.

[Illustration: Pierced]

Ex. Argent, a mullet pierced, sable, on a chief azure, three mullets
pierced, of the first.

PILE. An angular figure like a wedge, formed by lines running from the
dexter and sinister chief to the middle base.

[Illustration: Pile]

Ex. Argent, a pile, purpure.

IN PILE. Arms or other charges that are placed so as to form the shape
of a pile are said to be borne in pile.

[Illustration: In pile]

Ex. Argent, three swords in pile, their points towards the base.

PLATE. One of the six roundlets; its colour is argent, but the
tincture is not mentioned, as the plate is always silver.

POMEIS. Green roundlets.

[Illustration: Pommelled]

POMMELLED. The pommel of the sword is the round ball or knob at the
end of the hilt of a sword.

[Illustration: Portcullis]

PORTCULLIS. A grating suspended by chains, used to defend the entrance
to a castle.

POTENT. The ancient name of a crutch: when the field is covered with
figures like small crutches it is called potent; when the heads of the
crutches touch each other it is called counter potent.

[Illustration: Potent and counter potent]

Ex. Argent and azure, potent and counter potent. Some armorists call
counter potent vary cuppy.

PRINCE. The only Principality in Great Britain is that of Wales. The
title of Prince of Wales is usually conferred upon the eldest son of
the British monarch. All other sons, grandsons, brothers, uncles, and
nephews, are called princes of the blood royal. For instance, the
Duke of Cambridge, the uncle of Queen Victoria, is styled His Royal
Highness Prince Adolphus Frederick Duke of Cambridge.

His son is styled Prince George of Cambridge.

PRINCESS. Daughter of a sovereign. In England the eldest daughter
of the monarch is called the Princess Royal; the others by their
Christian names.

PROCLAMATION. A publication by the authority of the King.
Proclamations of peace or war, or other matters of importance, are
usually read by one of the heralds. They are addressed to the whole
community under their different orders or ranks, viz. Clergy,
Nobility, Gentry, Burgesses, and Commons.

PROPER. This word is used to denote that animals introduced as charges
in an escutcheon appear in their natural colour. Modern writers on
Heraldry consider this word superfluous, as the omission of the name
of any metal or tincture is quite sufficient to make any person
conclude that a lion, horse, or other animal is to be represented as
it appears in nature.

[Illustration: Purpure]

PURPURE. The colour of purple, described in engraving by lines drawn
diagonally from the sinister to the dexter side of the shield.

PURSUIVANTS. Four officers of the Heralds' College, whose duty it
is to attend the King-at-Arms on public occasions, and preside over
certain departments of the Heralds' Office.

They are called--Rouge Croix,
                 Blue Mantle,
                 Rouge Dragon,
                 Portcullis.

They are entitled to rank as gentlemen, but not esquires.

[Illustration: Quartered]

QUARTERED. A shield divided into four equal parts by a cross is said
to be quartered. The quarter occupying the dexter chief is marked 1,
or the first quarter; that occupying the sinister chief, 2; the dexter
base, 3; the sinister base, 4; as in the annexed example.

QUARTERLY. This term is used to signify that the shield is quartered.
In describing the royal arms of England we should say--Quarterly,
first and fourth gules, three lions passant guardant, or. Second, or,
a lion rampant gules, within a double tressure of the same, flory and
counter flory. Third, azure, a harp or, stringed, argent.

[Illustration: Quartered or Parted per Saltier]

QUARTERED OR PARTED PER SALTIER. A field divided by diagonal lines
crossing each other in the centre of the field.

[Illustration: Quarter foil]

QUARTER FOIL. A four-leaved flower.

QUARTERINGS. An escutcheon divided into any number of squares is said
to contain as many quarterings; they may be as numerous as the arms
required. An escutcheon containing a number of quarterings is called a
genealogical achievement.

QUADRATE. Square. See CROSS QUADRATE.

QUARTER PIERCED. See CROSS QUARTER PIERCED.

RADIENT. Any charge having rays or beams about it.

[Illustration: Radient]

Ex. Azure, a pale, or, radient.

RAGULY. Any bearing that is ragged, like the trunk or limbs of a tree
lopped of its branches, is said to be raguly. See CROSS.

RAMPANT. Any beast in a fighting attitude. See LION RAMPANT.

RAY. A stream of light proceeding from a luminous body.

[Illustration: Ray]

Ex. Azure, a ray of the sun issuing out of the dexter corner of the
escutcheon. The lines on each side are not noticed.

REST. The figure inserted in the illustration of the word "clarion" is
by some writers on Heraldry thought to represent a rest for a lance,
and they give the charge that name. See CLARION.

REGARDANT. An animal looking towards the sinister side of the shield.
See LION REGARDANT.

RIBAND. A diminutive of the bend.

[Illustration: Riband]

Ex. Gules, a riband, or.

ROUNDLETS. Small round figures, all named from different metals and
tinctures. See p. 8. [CHAP. II.]

RUBY. A precious stone, formerly used instead of gules.

SABLE. The term used in Heraldry for black.

SALIENT. An animal springing forward. See LION SALIENT.

SALTIER. One of the honourable ordinaries, by Scottish heralds called
St. Andrew's Cross.

[Illustration: Saltier]

Ex. Argent, a saltier, gules

SANGUINE. One of the heraldic tinctures. It is a dark red or blood
colour. By some armorists it is called murrey. The latter word is
considered obsolete.

SAPPHIRE. The name of a precious stone, formerly used to express
azure.

SARDONYX. A precious stone, formerly used to denote sanguine in
emblazoning the arms of the English nobility.

SATURN. The name of a planet, used to denote sable in emblazoning the
royal arms by ancient armorists.

[Illustration: Sceptre]

SCEPTRE. A royal staff; an ensign of sovereignty borne in the hand. It
was originally a javelin without a head. Sceptres of the present
time are splendidly decorated with jewellery. The annexed engraving
represents two sceptres of the kings of England: _the sceptre with
the dove_ is of gold, three feet seven inches long; the circumference
of the handle is three inches, and two inches and a quarter at the end
of the staff; the pomel is decorated with a fillet of table diamonds
and other precious stones; the mound at the top is enriched with a
band of rose diamonds; upon the mound is a small cross of Calvary,
over which is a dove with its wings expanded, as the emblem of mercy.

_The royal Sceptre with the Cross_ is of gold; the handle is plain,
and the upper part wreathed; it is in length two feet nine inches, the
fleur-de-lis of six leaves; the mound, and the cross above it, are
richly embellished with amethysts and diamonds.

SCARPE. A diminutive of the bend sinister.

[Illustration: Scarpe]

Ex. Argent, a scarpe, gules.

SCROLL. The riband below the escutcheon, on which the motto is
inscribed.

SEEDED. When the seed of a rose or any other flower is of a different
tint from the petal, it is called seeded. The heraldic colour of the
seed in the centre of a flower is or, but, as in other proper names,
the colour of the seed is not mentioned unless it is of a different
tincture.

[Illustration: Set foil or Six foil]

SET FOIL OR SIX FOIL. Six leaves conjoined in the centre.

SEGREANT. This term is used to describe a griffin displaying its wings
as if about to fly.

[Illustration: Segreant]

Ex. A griffin rampant, segreant, gules.

SEJANT. French word for sitting. See LION SEJANT.

SEMÉ. A French word for strewed. A field powdered or strewed with any
object is said to be semé: thus a shield may be semé of fleur-de-lis,
semé of hearts, &c.

SINISTER. A term used in Heraldry to signify the left side of any
object. Thus a bend proceeding from the top of the left side of the
shield is called a bend sinister.

SLIPPED. Torn from the stock or branch.

[Illustration: Slipped]

Ex. Azure, three laurel leaves slipped, argent.

SOL. A planet, formerly used to denote or, in emblazoning royal arms.
It is the Latin name for the sun.

SOL, or THE SUN IN ITS SPLENDOUR. The sun is said to be in its
splendour when it is figured (that is, delineated with a human face)
and surrounded with rays. Sometimes this figure is called a sun in its
glory.

[Illustration: Sol, or The Sun in its Splendour]

Ex. Azure, a sun in its splendour.

STANDARD. A large square flag bearing the whole of the achievements of
the monarch or nobleman, as seen in the royal standard of England. The
royal standard, when placed before the pavilion of the monarch either
at a tournay or in an encampment, was eleven yards long and three
yards broad.

The length of the standard when borne in the field denoted the rank
of the leader: that of a duke was seven yards long; a peer of lower
degree raised a standard five yards in length; that of a knight
banneret was only four. In modern times standards of peers or knights
banneret are seldom displayed but in funeral processions. The standard
is then long and narrow, and pointed at the end; that of a duke is
about fifteen feet in length, peers of lower degree about twelve.

The flag borne as the ensign of a regiment of cavalry is called a
standard. The flags of foot soldiers are called colours.

STAR. This celestial figure is always represented as argent, and is
supposed to have six rays or points; if they have more points the
number must be named. See ETOILE.

STATANT. An animal standing still with all its legs on the ground. See
LION STATANT.

SUPPORTERS are figures standing on the scroll, placed on each side of
the shield as if to support it. Supporters in English Heraldry are
granted only to persons included in the rank of nobility or to knights
banneret by favour of the sovereign.

The origin of this addition to the external ornaments of the
escutcheon may be traced to the practice which originally prevailed
in the regulation of tournaments. Some days prior to the tournament
taking place, each knight desirous of entering the lists was required
to hang up his shield, upon which his arms were emblazoned, at
the place appointed by the prince or nobleman that proclaimed the
tournament, that they might be examined by the heralds, to prevent
unqualified persons entering the lists. Each shield thus exhibited
was guarded or supported by the servants of the knight to whom it
belonged, and to disguise their livery these guardians of the shield
assumed the appearance of savages, Moors, lions, griffins, and various
other animals.

In after times, on the creation of a peer, the Heralds selected the
supporters they deemed most appropriate, having some allusion either
to the deeds, name, title, arms, or motto of the newly-created peer.

SURMOUNTED. A figure or bearing having another over it.

[Illustration: Surmounted]

Ex. Gules, a sword erect in pale, argent, surmounted by two keys,
saltier, or.

SURTOUT. The French word for "over all." See ESCUTCHEON OF PRETENCE
and OVER ALL.

TALBOT. A dog formerly used for hunting. It is formed something
between a hound and a beagle, with a large snout, and long, round,
thick ears.

[Illustration: Talbot]

Ex. Argent, a talbot's head erased, semé of billets.

TENNE, or TAWNEY. One of the tinctures used in emblazoning arms. It
signifies orange colour, and is represented in engraving by lines
drawn diagonally from the sinister to the dexter side of the shield,
traversed by perpendicular lines from the base to the chief.

[Illustration: Tiara]

TIARA. The Pope's mitre, with its triple crowns.

TINCTURE. A term used in Heraldry to express colour.

TOPAZ. The name of a precious stone, formerly used instead of or, in
emblazoning the arms of the English nobility.

TORTEAUX. Red roundlets.

[Illustration: Torteaux]

Ex. Argent, three torteaux in bend, sinister.

TOURNAMENTS were combats of honour, in which persons of noble birth
entered the lists to gain reputation in feats of arms. The name is
derived from _tourner_, to turn, from the horsemen turning frequently
as they rode round the enclosure, and during the course of the
engagement. The design of tournaments was to train the nobility to
the use of arms; none, therefore, were admitted to these sports but
persons of noble birth, who could prove their descent, at least, by
three generations. They were also required to be men of unspotted
honour and integrity.

It was customary for princes, on some public festivity or rejoicing,
to appoint a day for these entertainments, and give public notice to
the knights in their own territories, as well as in the neighbouring
states.

The knights generally made their appearance four days before the
combat. They endeavoured to excel each other in the splendour of their
equipage and dress, and in the excellence and beauty of their horses,
which were adorned with the most costly caparisons. Their armorial
ensigns were displayed with great pomp during three days, that all who
viewed them might judge if they were worthy of entering the lists. The
field where the tournament was to be held was railed in with pales.
This place was called the lists. A king was appointed to preside over
the sports, as were also judges to examine the knights' armour and
arms, and to see that no unfair advantage was taken. A number of other
officers were appointed, which our space will not allow us to mention.

A short distance from the lists were the galleries and pavilions for
the spectators; the most splendid was that fitted up for the lady who
presided as queen of the tournament and her attendants, all splendidly
attired. The most noble and most beautiful ladies of the court crowded
to these martial entertainments to inspire the combatants with ardour,
by giving them some token or favour, such as a scarf, veil, or
bracelet, with which the knight adorned his helmet or spear.

Their arms were lances of light wood, without iron at the top; swords
without edge or point; in some instances wooden swords were used.
The knights were formed into two parties, and entered the lists by
different barriers, riding round the lists several times to pay their
respects to their sovereign and the ladies. At length the heralds
sounded to arms; the quadrils, or troop, took their stations; when the
charge was sounded, the knights rushed against each other with the
utmost impetuosity. The clashing of swords, the sounding shields, the
war-cry of the knights, who shouted the name of their ladye-love in
the midst of the mimic strife, greatly excited the spectators, who, in
return, cheered and encouraged the combatants. When the knights were
brave and determined, the contest lasted some hours; the vanquished,
that is, those who were thrown from their horses, withdrew from the
lists as quietly as possible, leaving the field to their successful
opponents. The victory was decided by the number of knights unhorsed.
The prizes to the victors were adjudged and delivered by the queen
and the ladies. This authority of the fair sex contributed greatly to
polish the manners of the nobility and gentry of the middle ages, who
were anxious to court the favour of those who were the distributors of
public honours.

Sometimes this entertainment was followed by jousts. Two cavaliers,
out of gallantry, would break a lance in honour of the ladies. These
were followed by others until the lists were again cleared for the
tournament. The difference between tournaments and jousts was, that
the former were in the nature of battles, the latter of duels.

When the sports were over, the heralds and pursuivants declared the
names and titles of the knights, and proclaimed the heraldic ornaments
which the emperor, king, or prince that presided at the tournament
granted to those whom he pleased to reward or favour.

Notwithstanding all the precautions to prevent the mischief that might
happen at these martial exercises few were exhibited in which a great
number were not wounded, some killed in the melée, others crushed by
the falling of the scaffolds, or trod to death by the horses. Kings,
princes, and gallant knights from every part of Europe have perished
at different times while attending or taking part in those mimic
battles. Successive popes thundered out their anathemas against all
that encouraged this warlike and dangerous amusement. Those who
perished in these sanguinary entertainments were denied the honour of
Christian burial; and yet, so strong was the passion of the nobility
of Europe for these martial sports, from a desire to display their
grandeur, courage, and address before the ladies and the assembled
multitude, that no bulls, decretals, or anathemas of the church were
able to restrain them. The use of gunpowder, and the consequent
inutility of armour to defend the person in battle, gradually put
an end to these animating shows. The tragical death of Henry II. of
France, in 1559, who was accidentally killed in a tournament, caused
laws to be passed prohibiting their being held in that kingdom. They
were continued in England till the beginning of the seventeenth
century.

An attempt was made to revive these martial exhibitions in Scotland, a
few years ago, by Lord Eglintoun, the acknowledged leader in all manly
sports, elegant athletic exercises, and baronial liberality. This
noble peer proclaimed a tournament to be held at Eglintoun Castle on
the 28th and 29th of August, 1839. The lists were duly prepared, a
covered pavilion was erected for the accommodation of the ladies,
which would contain 3000 persons. In front of this pavilion was the
throne of the Queen of Beauty and her attendants. Around the lists,
at convenient distances, were arranged the tents or pavilions of the
knights, over which floated the gonfalon, or great banner, emblazoned
with the arms and motto of the knight to whom the tent was
appropriated, penons and penoncils fluttered at each angle of the
pavilion, and the shield was placed over the entrance. The knights
vied with each other in the decoration of their pavilions; all was in
accordance with ancient customs: and if the shade of Froissart had
witnessed the scene, it could not have complained of modern innovation
or misplaced ornament. The procession of the King of the tournament,
the Queen of Beauty, with the judges, heralds, pursuivants,
halberdiers, musicians, men-at-arms, as also the splendid retinues
of the noble challenger and the gallant knights, presented a scene
unparalleled for magnificence and heraldic emblazonment since the days
of Edward IV. Every form was observed in this modern tournament; and a
more interesting scene for the historian, the antiquary, and armorist,
could not be exhibited. Unfortunately, the continued rain cast a gloom
over this animated spectacle, which nevertheless excited the highest
admiration of all who beheld it: a spectator of the scene could well
imagine the enthusiasm similar ones would create in the minds of the
gay and brave of former times. It is deemed necessary to briefly
notice the last tournament held in Britain; as any one that requires
full information on every part of heraldic ornament, processional
arrangement, and technical definition, may find positive examples in
the details of this gorgeous exhibition.

TRANSPOSED. Charges or bearings placed contrary to their usual
situation.

[Illustration: Transposed]

Ex. Argent, a pile, azure, issuing from the chief between two others,
transposed.

TREFOIL. Three-leaved grass: the shamrock of Ireland. When a flower or
leaf is introduced as a charge in a shield of arms, if it is of its
natural colour, or, in heraldic language, proper, the tincture is not
named, but if of any other colour it must be described.

[Illustration: Trefoil]

Ex. Argent, three trefoils, gules, one over two.

[Illustration: Tressure]

TRESSURE. An ordinary not so broad as an orle. It generally forms a
border to the inescutcheon. Tressures are frequently borne double,
and sometimes treble. They are generally ornamented flory and
counter-flory. The example contains only a single tressure. The
arms of Scotland exhibit an example of a double tressure flory and
counter-flory, as exhibited in the shield on the title-page of this
Manual. See DOUBLE TRESSURE.

TRICORPORATED. Three lions rampant, conjoined, under one head,
guardant, in the fess points. See LIONS.

TRIPPING. The motion of deer, between running and walking.

[Illustration: Tripping]

Ex. Argent, a stag proper, tripping.

[Illustration: Turband]

TURBAND. In coats of arms, where the knight was a Crusader, this
figure often appears. It was the form of the sultan's turban at that
period.

[Illustration: Turreted]

TURRETED. A wall or castle having small turrets. In the annexed
example the square tower has circular turrets at the angles, and is
therefore said to be turreted.

TUSKED. Any animal having tusks of a different tincture from its body
is said to be tusked.

[Illustration: Tusked]

Ex. Argent, a boar's head, erased proper, tusked gules.

UNDY. A term used to express the word wavy by Gwillim and other
ancient armorists.

[Illustration: Wavy]

Ex. Argent, a bend undy, gules.

[Illustration: Vair]

VAIR. A kind of fur formerly used for the lining the garments of
knights. It is represented in engraving by the figures of small bells
ranged in lines, as in the annexed example. Unless the colour of the
fur is named, vair is always argent and azure. The bend, the cross and
saltier, are sometimes formed of this fur.

VAMBRACED. Armour for the arms.

[Illustration: Vambraced]

Ex. Argent, three dexter arms, vambraced, couped.

VAMPLATE. A word used by ancient heralds for armour for the hand,
instead of gauntlet.

VENUS. The name of the planet, used for the colour vert by ancient
heralds, who emblazoned the arms of sovereigns by planets instead of
metals and colours.

VERDOY. A bordure charged with eight leaves.

[Illustration: Verdoy]

Ex. Vert, a bordure argent, verdoy, of trefoils.

[Illustration: Vert]

VERT. Green. It is represented in engraving by diagonal lines drawn
from the dexter to the sinister side of the shield.

VISCOUNT. A title of honour, a degree below an earl.

VOIDED. A term applied when any part of an ordinary is left open to
the field.

[Illustration: Voided]

Ex. Gules, a bend sinister, voided, argent.

VOIDER. A subordinate ordinary.

[Illustration: Voider]

Ex. Azure, a voider, argent.

[Illustration: Volant]

VOLANT. The French word for flying. It is used in Heraldry to express
the same action.

VORANT. Swallowing or devouring: any animal, in a charge, devouring
another creature.

[Illustration: Vorant]

Ex. Argent, a serpent crowned, or, vorant an infant.

VULNED. A word that signifies wounded, used in emblazonry to denote an
animal wounded by another creature.

VULNING. Any creature in the act of wounding itself.

[Illustration: Vulning]

Ex. Argent, a pelican's head, erased, vulning.

WALLED. A term sometimes used in Heraldry. When an ordinary is edged
or guarded by an embattled wall.

[Illustration: Walled]

Ex. Azure, on a pale, walled on each side with three battlements
argent, an endorse gules.

WAVY. Curved lines, undulating like the waves of the sea.

[Illustration: Wavy]

Ex. Argent, the lower half of the shield three bars wavy, azure.

WHITE. This word is only used to describe a plain fur. It is
represented as argent.

WINGED. When the wings of a bird, or those of chimerical figures which
are drawn with wings, are of a different tincture to their bodies,
they are said to be winged. Thus, in the arms of the state of Venice
there is a lion sejant guardant, winged or.

[Illustration: Wings erect]

WINGS ERECT. Wings are called erect when their long feathers point
upwards.

[Illustration: Wings inverted]

WINGS INVERTED. When the feathers point downwards.

WIVERN. A chimerical animal, the upper part resembling a dragon.

[Illustration: Wivern]

Ex. Argent, a wivern, wings raised.

[Illustration: Wreath]

WREATH. A chaplet of two different-coloured silks wound round each
other, and placed on the top of the helmet for the crest to rest upon.
In Heraldry it is usually drawn straight, as in the lower example.

       *       *       *       *       *




CHAP. VIII.

HERALDRY IN CONNECTION WITH HISTORY, ARCHITECTURE, INTERIOR
DECORATION, COSTUME, AMUSEMENT, RELIGIOUS SOLEMNITIES, FUNERAL RITES,
ETC.


In the preface to this Manual, we stated that Heraldry might be
considered as the symbolic history of the nobility of Britain, from
the Conquest to the reign of Elizabeth. It would require a volume of
far greater pretensions than this to enter fully upon the heraldic
history of the peerage; but the assertion may be borne out by merely
glancing at the supporters of the shields containing the arms of the
British monarchs during that period.

Supporters were not introduced in English heraldry previous to the
reign of Richard II. The shield of this luxurious monarch is supported
on each side by an angel habited, and beneath the shield by a white
hart couchant, gorged and chained or, beneath a tree. The shield of
Henry IV., the founder of the Lancastrian dynasty, was supported on
the dexter side by a swan, on the sinister side by an antelope, both
gorged and lined or. The shield of the gallant Henry V. was supported
on the dexter side by a lion rampant guardant, crowned or; on the
sinister side by an antelope, gorged and chained. Henry VI. had two
antelopes as supporters to his achievement. The shield of the gallant
Yorkist Edward IV. is supported on the dexter side by a lion rampant
argent, the tail passed between his legs, and turned over his back;
on the sinister by a white hart, and in some instances by a bull.
The supporters of the shield of Richard III. were two boars rampant
argent, tusked and bristled or. Henry VII., as a descendant of the
Welch prince Cadwallader, assumed the red dragon as the supporter
of the dexter side of his shield; the sinister was supported by a
greyhound argent, collared gules. The shield of Henry VIII. was
supported on the dexter side by a lion guardant, crowned or; on the
sinister by a dragon gules. Edward VI. had the same supporters. Mary
on her marriage with Philip of Spain, empaled the arms of Spain
and England as baron and femme; the dexter side of the shield was
supported by the imperial eagle, the sinister by a lion rampant,
crowned or. Queen Elizabeth rescued England from this degradation; the
crowned lion rampant of England resumed his place as the supporter of
the dexter side of the shield, and the red dragon on the sinister. On
the union of England with Scotland, the supporters of the royal arms
were, on the dexter side a lion guardant, crowned or, on the sinister
maned and unguled or, white unicorn, gorged and chained of the same.
The supporters of the royal arms have continued the same to the
present time; and, as an emblem of union and strength, long may they
continue.

The reader may easily read the vicissitudes and changes of dynasty in
the great change of these emblems of support and dignity during the
period of time that elapsed from the reign of Richard II. to James
I.; and even the brief notice here given would enable the reader to
determine the date of any building if the royal arms and supporters
were placed within it.

Heraldry had taken too firm a hold of the minds of the higher classes
of society to escape the notice of the architects who were engaged by
the sovereigns of England and by the wealthy barons, to erect those
splendid ecclesiastical edifices that still exist as the architectural
gems of Britain. Westminster Abbey teems with heraldic ornament, not
only in the gorgeous chapel of Henry VII., but in those parts of the
structure erected at a much earlier period. During the time when
those styles of Gothic architecture prevailed that are now called the
decorated and the perpendicular, the roof, the columns, the stained
glass windows, the seats, altar, tombs, and even the flooring, were
filled with emblazonment. A branch of art which our forefathers found
so useful as an ornament to architecture cannot be beneath the notice
of those who are desirous of treading in their footsteps.

Nor was heraldic ornament confined to architecture. It formed the
grand embellishment of the interior of the palaces and baronial
castles,

  "The gorgeous halls which were on every side,
  With rich array and costly arras dight."

The canopies of state, the furniture and plate, were all emblazoned
with the arms of the royal and noble owners. And even at the present
day, heraldry is far more effective for interior decoration than the
unmeaning Italian scroll-work that is substituted for it. Some idea of
the value of both may be formed by glancing at the interior decoration
of the new Royal Exchange; and it is to be regretted that the shields
containing the arms of the different countries should not have
occupied the walls, as an indication of the spot where the natives
of those countries might be found; and that the compartments of the
ceiling, if such ornament should be found in a building of this
kind at all, should not be filled with the Italian floral scroll
decoration.

In a preceding chapter of this Manual, the reader has been informed
that the arms of a knight were emblazoned on the surcoat or outer
garment that was worn over his armour, which was the origin of the
term Coat of Arms. Heraldic emblazonment was plentifully strewed over
the mantles of the nobility when they assembled on state solemnities.
Nor was this ornament confined to the garments of males. Ladies
delighted to appear in the cognizances of their lords, or in their own
paternal bearings. Armourists that have amused themselves by treating
on the curious and obsolete terms of heraldry, have supposed that the
flanch and flasque represent that part of female attire which covered
the body from the lower part of the neck to the waist, and that
this part of the ladies' dress contained the heraldic bearing. Our
contracted space will not allow our indulging in fanciful research,
nor would it benefit our readers if we did so. Suffice it that we have
ample proof that heraldry formed the decoration of female attire.

Numerous instances may be found, either in stained glass, monumental
brasses, or illuminated genealogies, of female figures bearing
heraldic devices on their apparel. A married lady or widow had her
paternal arms emblazoned upon the fore part of her vest, which by
ancient writers is called the kirtle, and the arms of the husband on
the mantle, being the outer and the most costly garment, and therefore
deemed the most honourable. This is called bearing arms kirtle and
mantle.

Our frontispiece contains two figures kneeling, taken from _Dallaway's
Heraldry_. They are to be found in an illuminated pedigree of the
Weston family. The male figure is that of Sir John de Weston, of
Weston-Lizars, in Staffordshire, and Isabel his wife, whose paternal
name was Bromley. In three quarterfoils beneath the figures are
shields: the first contains the arms of Weston, sable, an eagle
displayed or, with a lable argent, fretty gules; the centre shield
is argent, fretty gules; that under the lady is her paternal arms,
quarterly per fess dancette, or and gules. The figure of the knight
is represented in chain armour, over which is a surcoat, on which his
arms are emblazoned. The vest or kirtle of the lady is formed
entirely of the colours of her arms disposed quarterly, and parted
horizontally, or fessways, by the line dancette. As both the knight
and his lady appear together, each bears their own arms; but if either
had been drawn separately, the arms of both would have appeared on one
person; if on the male, they would have been empaled baron and femme
upon the surcoat; if on the female, they would have appeared on kirtle
and mantle. This lady is drawn with a kirtle only.

In some of the later monumental brasses, the arms on female figures
are arranged differently; the arms of the baron appearing on the
outside of the mantle, hanging over the dexter shoulder, the paternal
arms of the femme on the lining of the mantle turned outwards on the
sinister side of the figure.

The reader will find, by referring to the word TOURNAMENT in the
Dictionary, that Heraldry formed the great embellishment of that
animated and costly amusement: and that the attainment of heraldic
honours was the only means of gaining permission to join in it, and
by this means only was a passport obtained to high society. These
honours, which cost some trouble in gaining, could be lost by
misconduct. Arms were forfeited for uncourteous demeanour, disregard
of authority, falsehood, oppression, and ungentlemanly conduct; and
there can be little doubt but, in a semi-barbarous age, when prowess
in the field of battle was considered the highest acomplishment, that
the dread of a blot on the escutcheon, or a reversal of the shield of
arms, restrained many a proud baron in his tyrannical proceedings
to those beneath him, and tended to keep down the insolence of the
upstart favourites of royalty. Heraldry tended to soften and polish
the manners, and, by the introduction of the manufacture of silken
housings tapestry, and carpeting, to increase the comforts and
pleasures of society, and compelled those who were anxious to exhibit
the insignia of gentility, to seek distinction by other means than
rapine and violence.

The term Canting Heraldry frequently occurs in ancient and modern
authors. It is a term of contempt and derision, applied to symbolic
bearings that are assumed without the authority of the Heralds'
College. In many cases they allude to the name or occupation of the
bearer: the motto is probably a pun upon the figures contained in the
shield, or some technical expression used by the parties in their
agricultural or commercial pursuits.

No person, when heraldry was in its greatest repute, dared assume any
cognizance or bearing without permission of the Earl Marshal or the
Kings-at-Arms. Any individuals, who presumed, by assumption, to offend
the laws of the court of honour, were liable to heavy fines and
personal duresse, which in many instances have been rigidly enforced.


THE END.

       *       *       *       *       *




AUGUST, 1862.

NEW WORKS AND NEW EDITIONS

PUBLISHED BY

ARTHUR HALL, VIRTUE & CO., 25, PATERNOSTER ROW.

       *       *       *       *       *

This day, price 7s. cloth gilt,

THINGS HARD TO BE UNDERSTOOD;

OR, EXPLANATIONS OF DIFFICULT DOCTRINES AND MISINTERPRETED TEXTS.

By the Rev. JOHN CUMMING, D.D., F.R.S.E

       *       *       *       *       *

This day, price 7s. 6d., post 8vo., cloth,

A NOBLE PURPOSE NOBLY WON.

AN OLD, OLD STORY.

By the Author of "Mary Powell"

New and Cheaper Edition.

       *       *       *       *       *

LATELY PUBLISHED BY THE SAME AUTHOR.

THE CHRONICLE OF ETHELFLED.

Price 6s., in antique.

THE COTTAGE HISTORY OF ENGLAND.

With numerous Woodcuts. Price 2s. 6d., in cloth.

OLDEN TALES.

DEBORAH'S DIARY. With Illustrations. Cheap edition, price 2s.

HOUSEHOLD OF SIR THOMAS MORE. Price 2s. 6d.

THE COLLOQUIES OF EDWARD OSBORNE. Price 2s. 6d.

THE OLD CHELSEA BUN HOUSE. Uniform.

       *       *       *       *       *

In post 8vo., price 12s.,

THE CELT, ROMAN, AND SAXON.

A History of the Early Inhabitants of Britain, down to the Conversion
of the Anglo-Saxons to Christianity. Illustrated by the Ancient
Remains brought to light by recent research. By THOMAS WRIGHT, Esq.
M.A., F.S.A. With numerous Engravings. New edition, enlarged.

       *       *       *       *       *

ILLUSTRATED WORKS BY MR. BARTLETT.

NEW EDITIONS AT REDUCED PRICES.

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       *       *       *       *       *

WALKS ABOUT JERUSALEM AND ITS ENVIRONS.

Illustrated by Twenty-four Engravings on Steel, Two Maps, and many
superior Woodcuts.

"We have at length, in this attractive volume, the _desideratum_
of a complete picturesque guide to the topography of
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"The volume is well got up in point of embellishments, and contains
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of England Mag._

"Our impression is, that Jerusalem was never before so successfully
delineated."--_Evangelical Magazine._

       *       *       *       *       *

FOOTSTEPS OF OUR LORD AND HIS APOSTLES

IN SYRIA, GREECE, AND ITALY.

A Succession of Visits to the Scenes of New Testament Narrative. With
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"This is one of the happiest of the many happy Christmas ventures that
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"If beauty of design and execution, combined with elegance of
narrative and trustworthy description, can be any recommendation to
a book, it is sufficient to say that this excellent volume possesses
every one of these features, and establishes its own character without
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       *       *       *       *       *

THE PILGRIM FATHERS;

OR, THE FOUNDERS OF NEW ENGLAND IN THE REIGN OF JAMES THE FIRST.

With Twenty-eight Illustrations on Steel, and numerous Woodcuts.

"This is a good thing well done; a book that ought to be a household
treasure in the family of the more than _fifty millions_ of Englishmen
and Americans, who are, if right-minded men, most deeply interested in
the history it details. The story of the plantation of British America
is, with the sole exception of the Sacred Records, the most important
narrative in the annals of the world. No discovery of new lands like
that of Columbus--no discovery in science, or in arts, approaches it
in the magnitude of its glorious results."--_Standard._

"We can commend Mr. Bartlett's book as handsomely issued, carefully
got together, and full of interesting reading. The illustrations are
sufficiently varied--alternating between the Fens of Lincolnshire,
the flats of Holland, and the scenery of Plymouth Sound."--_Athenæum._

       *       *       *       *       *

PICTURES FROM SICILY.

Illustrated with Twenty-three Engravings on Steel, and several
Woodcuts.

"As a work of reference it is of the highest utility; as an ornamental
book it is unsurpassed; and as a guide to the traveller it has no
equal in the English language."--_Observer._

"This is a very handsome and pleasing pictorial hand-book of the
beauties of Sicily. The illustrations do honour alike to the artist,
engraver, and publishers--and the style is, generally speaking,
graphic and faithful ... with an interest beyond its pictorial
claims."--_Athenæum._

       *       *       *       *       *

FORTY DAYS IN THE DESERT;

ON THE TRACK OF THE ISRAELITES;

OR, A JOURNEY FROM CAIRO BY WADY FEIRAN TO MOUNT SINAI AND PETRA.

Illustrated with Twenty-seven Engravings on Steel, a Map, and numerous
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"Mr. Bartlett has made a book, pleasant in letter-press, as well as
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"A very handsome volume, copiously and cleverly illustrated in
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present."--_Atlas._

"Entertainingly written, and crowded with steel engravings of
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volume."--_Critic._

       *       *       *       *       *

THE NILE BOAT;

OR, GLIMPSES OF THE LAND OF EGYPT.

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       *       *       *       *       *

GLEANINGS ON THE OVERLAND ROUTE.

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we listen with pleasure to his tale. Well executed pictorial
illustrations considerably enhance the merits of this pleasing
work."--_Tait's Magazine._

       *       *       *       *       *

JERUSALEM REVISITED.

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       *       *       *       *       *

ARTHUR HALL, VIRTUE, & CO., 25, PATERNOSTER ROW.

       *       *       *       *       *


WORKS BY THE AUTHOR OF "MARY POWELL."

       *       *       *       *       *

This day, price 7s. 6d., post 8vo., cloth,

THE DAY OF SMALL THINGS.

By the Author of "Mary Powell."

"Close the curtains, draw the sofa by the fire, fit the ottoman to
your feet, and adjust the light. If the reader be thus prepared he is
ready to commence reading 'The Day of Small Things.' What is this neat
and unpretending volume by the authoress of 'Mary Powell?' It is a
string of pearls. Yes. Yet the simile will not be perfect unless the
thread on which they are strung be golden. Then we will accept the
resemblance.... The authoress of 'Mary Powell,' and, we add, 'The Day
of Small Things,' feels her own power, and knows how deeply trifles,
when judiciously introduced, will tell.... It is a cornucopia filled
with rich moral fruits of every kind; and, though small are the hints
thrown out here and there, or the advice casually given, still in the
aggregate their voice becomes powerful, and we find that we have been
reading a powerful lesson while we were scanning the jottings of a
diary.... The work is worthy of its author, and will be a general
favourite."--_Atlas._

       *       *       *       *       *

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POPLAR HOUSE ACADEMY.

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interest, its exquisite traits of nature, or its unaffected,
unobtrusive tone of true piety."--_Literary Gazette._

"In every thing that the author of 'Mary Powell' writes, there is a
pleasant vein of quiet, refined cheerfulness, which, like the tone of
a sweet voice, makes one listen with pleasure."--_Athenæum._

       *       *       *       *       *

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THE GOOD OLD TIMES.

A Tale of Auvergne.

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characters are obviously studies from life--the life of restlessness,
of fear, of devotion, among the friends of martyrs, described by the
chroniclers of that epoch, stained with the blood of fanatical wars
and persecutions. Colette, as delicately and distinctly limned in
the successive chapters, might have formed a figure in the
fifteenth-century group, drawn by a home-inspired artist. Then, the
struggle round the walls of Le Puy is a picture of olden warfare, of
arquebus and halberd battles, of priestly soldiers, sworn to shed no
blood, but casuistically, with a ponderous club, immortalizing the
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       *       *       *       *       *

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WARREN,

THE PROVOCATIONS OF MADAME PALISSY.

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exhibited the extravagances, amounting to crime, of a man of genius
driving on in pursuit of his darling object; and has depicted, as the
title promises, with a good deal of power, the plagues of a wife who
has such a husband."--_Christian Observer._

       *       *       *       *       *

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FAMILY PICTURES.

  TWILIGHT IN AN UNINHABITED HOUSE.
  OF A FINE OLD ENGLISH MERCHANT.
  FATHER AND SON.
  A GENTLEMAN OF THE OLD SCHOOL.
  A GHOST STORY.
  CHARLES LAMB.
  SIR FRANCIS BARING.
  ON LEAVING AN OLD FAMILY HOUSE.
  LONE HEATHS AND HIGHWAYMEN.
  ON THE SACRED AFFECTIONS.
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  FABIAN'S DILEMMA.
  CLAREMONT AND THE PRINCESS CHARLOTTE.
  THE FATHER OF A FAMILY.

       *       *       *       *       *

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THE YEAR NINE.

A Tale of the Tyrol.

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pathos."--_Morning Herald._

"Sweet 'Mary Powell' exchanges her lute for a cymbal, clanging with
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chosen, and the theme inspiriting. 'Hofer' is the hero of her
lute."--_Art-Journal_.

       *       *       *       *       *

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CLAUDE THE COLPORTEUR.

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conversations, and beneficial influence, form the staple of the book--
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"The volume is one of no ordinary merit; for it throws intense
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_Church and State Gazette._

       *       *       *       *       *

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SOME ACCOUNT OF MRS. CLARINDA SINGLEHART.

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       *       *       *       *       *

Third Edition, post 8vo., price 7s. 6d., antique,

YE MAIDEN & MARRIED LIFE OF MARY POWELL.

Afterwards MISTRESS MILTON.

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       *       *       *       *       *

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CHEAP AND POPULAR TALES BY F.E. SMEDLEY.

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FRANK FAIRLEGH;

OR, SCENES FROM THE LIFE OF A PRIVATE PUPIL.

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       *       *       *       *       *

Price 3s. boards; 4s. cloth,

LEWIS ARUNDEL;

OR, THE RAILROAD OF LIFE.

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"Sparkling like a firefly, 'Frank Fairlegh' bustles through the scenes
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       *       *       *       *       *

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THE FORTUNES OF THE COLVILLE FAMILY;

OR, A CLOUD AND ITS SILVER LINING.

       *       *       *       *       *

This day, in fcap., price 2s. boards; 2s. 6d, cloth,

SEVEN TALES BY SEVEN AUTHORS.

Edited by F.E. SMEDLEY, Esq., Author of "Frank Fairlegh," &c.

       *       *       *       *       *

ARTHUR HALL, VIRTUE & CO., 25, PATERNOSTER ROW.

       *       *       *       *       *


ILLUSTRATED WORKS FOR THE YOUNG.

       *       *       *       *       *

Cheap Edition, 2s. boards; fine paper, 4s, cloth gilt,

A BOY'S ADVENTURES IN THE WILDS OF AUSTRALIA.

By WILLIAM HOWITT. With Designs by HARVEY.

"All the boys in England, whether 'old boys' or young ones, will
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adventure."--_Athenæum._

"A capital book, full of humour, adventure, excitement, and
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Australia."--_Church and State Gazette._

"In vivid portraiture of things as they are, it far excels every
publication that has yet reached us from Australia."--_British Banner._

       *       *       *       *       *

Fcap. 8vo., 7s. 6d., cloth lettered,

NAOMI; or, THE LAST DAYS OF JERUSALEM.

By Mrs. J.B. WEBB. New Edition, with Designs by GILBERT, and View and
Plan of Jerusalem.

"It is in truth an admirable little volume, and well worthy of a yet
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"One of the most interesting works we have read for some time. We are
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we cordially wish it further success."--_Metropolitan._

"The plot is easy, natural, and well sustained. The narrative
gracefully written.... Seldom have we read a tale better adapted for
its purpose."--_Monthly Review._

       *       *       *       *       *

Tenth Edition, corrected and enlarged, 18mo., 2s. 6d. cloth; or 3s.
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SELECT POETRY FOR CHILDREN.

With brief Explanatory Notes, arranged for the use of Schools and
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By JOSEPH PAYNE.

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"It is really a treat to see anything so simply good as the little
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devout."--_Congregational Magazine._

"A very pleasing and suitable collection."--_Westminster Review._

       *       *       *       *       *

New and Cheaper Edition, with Illustrations by GILBERT, fcap., 3s. 6d.
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WINTER EVENINGS;

Or, TALES OF TRAVELLERS. By MARIA HACK.

       *       *       *       *       *


Fcap., 3s. 6d. cloth, or 5s. gilt edges,

CANADIAN CRUSOES.

A Tale of the Rice Lake Plains. By Mrs. TRAILL. New and Cheaper
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       *       *       *       *       *

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NURSERY RHYMES.

An ILLUSTRATED EDITION, in large type, with 16 Cuts by GILBERT, 16mo.,
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       *       *       *       *       *

By the same Authors,

ORIGINAL POEMS FOR INFANT MINDS.

New and Improved Edition, with Frontispiece, Two Vols., 18mo., 1s. 6d.
each, cloth gilt.

       *       *       *       *       *

32mo. cloth, gilt edges, 1s.,

BASKET OF FLOWERS;

OR, PIETY AND TRUTH TRIUMPHANT.

A Tale for the Young.

       *       *       *       *       *

16mo. gilt edges, 2s. 6d.,

THE BOY AND THE BIRDS.

By EMILY TAYLOR. With Sixteen fine Woodcuts, from LANDSEER'S Designs.

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       *       *       *       *       *


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COLA MONTI;

OR, THE STORY OF A GENIUS.

A Tale for Boys. By the Author of "John Halifax Gentleman," &c.

With Four Illustrations by FRANKLIN.

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"A simple and pleasing story of school-boy life."--_John Bull._

       *       *       *       *       *

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DOCTOR'S LITTLE DAUGHTER.

THE STORY OF A CHILD'S LIFE AMIDST THE WOODS AND HILLS.

By ELIZA METEYARD. With numerous Illustrations by HARVEY.

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'Children's Library.'"--_Eliza Cook's Journal._

       *       *       *       *       *

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HOW TO WIN LOVE;

OR, RHODA'S LESSON.

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Newspaper._

"Truthfulness, descriptive talent, and pure morality in every
line."--_Literary Gazette._

       *       *       *       *       *

16mo. cloth, price 2s.,

OPEN AND SEE;

OR, FIRST READING LESSONS.

By the Author of "Aids to Development," &c. &c. With Twenty-four
Engravings on Wood.

       *       *       *       *       *

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RECOLLECTIONS OF MRS. ANDERSON'S SCHOOL.

A Book for Girls. By JANE WINNARD HOOPER. Illustrated by FRANKLIN.

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to meet."--_Morning Advertiser._

"An amusing series of descriptions likely to interest the young folks
for whom they are intended."--_Express._

       *       *       *       *       *

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ROBINSON CRUSOE.

With Illustrations.

       *       *       *       *       *

A New and Revised Edition, with Eighty-eight cuts, 18mo. cloth
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RURAL SCENES;

OR, A PEEP INTO THE COUNTRY.

       *       *       *       *       *

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SANDFORD AND MERTON.

With Cuts.

       *       *       *       *       *

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WATTS'S (Dr.) DIVINE AND MORAL SONGS FOR CHILDREN.

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Frontispiece and Fifty-seven Woodcuts.

       *       *       *       *       *

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       *       *       *       *       *

ILLUSTRATED WORKS.

       *       *       *       *       *

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THE ILLUSTRATED BOOK OF SOUTH WALES,

THE WYE, AND THE COAST.

By Mr. and Mrs. S.C. HALL. With Drawings on Wood by J.D. Harding, F.W.
Hulme, W.S. Coleman, D.H. M'Ewen, Birket Foster, and other artists.

       *       *       *       *       *

Cheaper Edition, in One Volume, price 12s. bound in cloth; in morocco,
21s.,

PILGRIMAGES TO ENGLISH SHRINES.

By Mrs. S.C. HALL.

With Notes and Illustrations by F.W. FAIRHOLT, F.S.A.

CONTENTS.

  Birth-place of John Bunyan.
  Burial-place of John Hampden.
  Residence of Hannah More.
  Tomb of Sir Thomas Gresham.
  Tomb of Thomas Gray.
  Birth-place of Chatterton.
  Birth-place of Richard Wilson.
  House of Andrew Marvel.
  Tomb of John Stow.
  Heart of Sir Nicholas Crispe.
  Printing Office of Caxton.
  Shaftesbury House.
  Dwelling of James Barry.
  Residence of Dr. Isaac Watts.
  Prison of Lady Mary Grey.
  Studio of Thomas Gainsborough.
  Tomb of John Kyrle.
  Tomb of William Hogarth.
  Grave of Izaak Walton.
  Grave of William Penn.
  Monument of Wren.
  Grave of Lady Rachel Russel.
  Edgeworthstown.
  Garden of Sir Thomas More.
  Esher--Residence of Jane Porter.
  Grave of Sir Richard Lovelace.
  Grave of Grace Aguilar.
  Dwelling of Edmund Burke.
  Remains of Clarendon House.
  Flaxman's Monument.
  Village of Eyam.
  Monument of Edward Bird, R.A.
  Grave of Mrs. Hofland.
  Chertsey and its Neighbourhood.

"Descriptions of such Shrines come home with deep interest to all
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earnestness which distinguishes Mrs. Hall's writings. That lady's
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thought and action, for taste, and for genius winging its flight in
a noble direction. They are displayed, oftentimes most naturally,
throughout the attractive pages of this volume."--_Observer._

"Mrs. Hall's talents are too well known to require our commendations
of her 'Pilgrimages,' which are every way worthy of the beautiful
woodcuts that illustrate almost every page: and this is very high
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THE

BOOK OF THE THAMES, from its Rise to its Fall.

BY
MR. AND MRS. S.C. HALL

WITH NUMEROUS ILLUSTRATIONS,


THE AUTHORS TO THE PUBLIC.

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Island Rivers."

We have traced the bountiful river from the bubbling well out of
which it issues, in the meadow by Trewsbury Mead--its lonely
birthplace--through its whole course, gathering tributaries, and
passing with them through tranquil villages, populous towns, and
crowded cities; ever fertilizing, ever beautifying, ever enriching,
until it reaches the most populous city of the modern or the ancient
world, forming thence the great highway by which a hundred nations
traverse the globe. Aided by several accomplished artists, we have
largely illustrated this volume, not only by engravings of its
picturesque scenery, but by introducing the various objects of
interest that are found upon its banks.

OPINIONS OF THE PRESS.

"It is a book to endear to us our native England, and, produced with
all the elegance of the printer's and the binder's art, will richly
adorn the drawing-room table."--_Daily News._

"It is by far the pleasantest book, certainly the most complete in
design and execution, that has been published about the Thames for
many years, and we can easily understand that in writing it the
authors performed 'a labour of love.'"--_Morning Post._

"This is one of the best in appearance of the ornamental works of the
season ... the binding and the typography are excellent, and the style
lively, superficial, and showy."--_John Bull._

"A faithful as well as an agreeable guide to whatever of interest
occurs along the entire course of the river. In short, it is a
pleasant, well-written, and very handsome book on the pleasantest
river an author could have to write about."--_Literary Gazette._

IN THREE BINDINGS:

Cloth          18s.
Superbly gilt  21s.
Morocco        26s.

ARTHUR HALL, VIRTUE, & CO., 25, PATERNOSTER ROW.
MENZIES, EDINBURGH.
M'GLASHAN, DUBLIN.