Part 6

This is the character of many examples occurring down to about the year 1650, when a greater profusion of mantling began to be shown: of this the seal of Sir Edward Nicholas, engraved on p. 45, is a good example; and it is the first instance I have noticed in which the folds of the mantling come out _from behind_ the shield, thus marring its distinctness. Usually, although the volume of foldings increases, they are kept away from it, so as to leave the impression of the shield standing out and quite clear. In this, too, the folds extend higher up on either side of the crest than is usual in earlier examples.

It may be interesting here to note that of the fifty-nine seals attached to the death warrant of Charles I., in 1648-9--following the very accurate engraving in _Monumenta Vetusta_, vol. ii,--twenty-one show mantlings, eleven are distinctly without, ten are doubtful, and the remaining seventeen seals are quite illegible.

From about 1650 many beautifully cut signets are found--the arms, with helmets, crests, and mantlings, the points of which rise up on either side of the crest, thus filling up that empty space. The seal of the Cordwainers of Oxford, made in 1680, is a favourable example of the date (_Arch. Journal_, vol. vi, pp. 159 and 279).

About 1680 I have observed tassels sometimes appear as a finish to the lower ends of mantlings, as in the seal of Thomas Bate, engraved on p. 45; also in a signet of 1683, in _Miscellanea Genealogica et Heraldica_ for 1886, p. 143; and elsewhere.

Shields set in frames of scroll-work, without mantlings, were prevalent from the beginning of the seventeenth century. For an example, see a signet of Fetherston, 1638, engraved in the _Visitation of Warwick_ (Harleian Society).

From about 1670 cornucopiæ, with flowers, &c., appear, supporting shields more or less egg-shaped; and some of them are most exquisitely engraved. But even at so late a date, I have not observed tincture lines introduced.

I have noticed very few seals about this time in the Jacobean taste. Probably no room was left in so confined a space for scroll-work around the base of the shield. But mantlings--rather heavy, although not voluminous, and kept up pretty high--are found towards the end of this seventeenth century. In many cases also, at this time, plain Georgian shields occur, without mantling.

Early in the eighteenth century seals are found in late Jacobean frames, open and with trellis-work, adorned with rushes and flowers, and without mantlings.

The influence of Chippendale taste strongly affected seals from about 1750 to 1775.

Many followed in the style of Adam, with ribbons and festoons of flowers, and sometimes lightly scrolled frames. These, of course, are without mantlings.

We are thus brought to the end of the eighteenth century. Only occasionally have I met with mantlings between about 1740 and 1800; but I must explain that it is very difficult to get together a body of examples of the eighteenth century: such are not old enough to be figured in engravings, and documents likely to bear them are not of sufficient interest to be examined for any other purpose. I trust fellow-students who read this book will sketch, with their dates, all instances of this epoch: it is only in that way we can get together a body of evidence.

It seems to have been very common, also, for successive generations to repeat the style of their seals, as if that were as important as the heraldry displayed; and thus instances of the several variations occur, perhaps, much later than their legitimate dates--as classified above, from many examples. I know one family whose seals from 1718 to 1840 show, with only one or two exceptions, "the tasteless though still prevalent form" No. 80, and without any mantlings.

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Although taking DRAWINGS and STONE CARVINGS together, there are certain differences observable in each; for instance, we constantly find, in monumental sculptures of the sixteenth century, designs with mantlings above and scroll-work below, which very closely correspond with Jacobean book-plates and engravings such as did not appear till about 1720. I would refer to Thoroton's _History of Notts_, p. 227; where is engraved a monument, at Wollaton, to Henry Willoughby, who died 1581, which is quite Jacobean in taste and treatment. Another equally so is at Newark-upon-Trent Church: this was erected in 1661, to Thomas Atkinson (Thoroton's _Notts_, p. 200). Another with cornucopiæ and scrolls stands in West Lake Church, to the memory of Richard Mansfield, who died 1624 (Thoroton's _Notts_, p. 27). This last exactly corresponds with some of Hollar's beautiful designs, in Sandford's _Genealogical History_, published in 1677; and it is very remarkable that these are a distinct _advance upon_ Hollar's own designs in the preface and dedication to the Bysse edition of Nicholas Upton, which he engraved in 1654; while for nearly fifty years this monumental example had stood in West Lake Church, and we know it was only one of many similar English works. I have many times noticed that sculpture precedes engravings or paintings. It is, I think, inherently so: designing in the round comes first, to be afterwards translated, by skilful and artistic and educated shading, into the flat.

Through the kindness of Dr. Jackson Howard, Maltravers Herald, and Messrs. Mitchell and Hughes, I am able to shew the engraving (from _Miscell. Genealogica et Heraldica_ for 1884, p. 99) of a very unusual mantling from the Confirmation of Arms in 1526, by Thomas Hawley, Clarenceux, to Francoys Galuerdet, a native of Rhodes, and Receiver General in England for the Hospital of St. John of Jerusalem. This mantling is unusually small; there is no helmet, and the torce is beautifully worked [compare the brass to Sir Wm. Say, lithograph No. 71]. I put this forward first because of its early date, and it seems that at this time mantlings in heraldic drawings, grants, &c., were kept very small.

It will be convenient to describe, and in a numbered list as follows, the variations observed at successive dates.

1.--From 1550 to 1570 there is a tendency to keep the greater portion of mantlings above the shield. They are of smaller volume, and one fold is allowed to wander down on each side, ending in a tassel about one-third down the depth of the shield. A very characteristic example is engraved in _Miscell. Genealogica et Heraldica_ for June, 1887, being the grant to Thomas ffletewood, of London, 1st June, 1545. In the grant to John Lambard, 15th January, 1551 (engraved in _Archæologia Cantiana_, vol. v, p. 247), such a mantling has four tassels, two above carried up somewhat high, and two below standing about one-third down the shield. The mantling to the arms of Goodricke, engraved in Gerard Legh's _Accedens of Armory_, edition 1562, is of the same character, but without tassels.

2.--A little later the number of folds is observed to increase, and the tassels are carried down further and turn inwards towards the base point of the shield.

3.--In a grant dated 1572, which is printed in _Miscell. Genealogica et Heraldica_, vol. i, p. 321, occurs the first instance I have noticed of the foldings coming from behind the shield, and the same may be seen in a grant of 1575, printed in Sylvanus Morgan's _Sphere of Gentry_, lib. ii, p. 74.

4.--From about 1590 to 1630 a return to the simpler style is observable; a single fold wandering away from the body and reaching with tassels to the base of the shield. Occasional instances return wholly to the descriptions given under 1 and 2.

5.--After about 1620 the volume of mantling gradually increased, and seemed to be purposely so arranged as to come out from behind, probably because it was found in drawings to give artistic relief to the shield.

6.--By about the year 1670 mantlings are frequently found of excessive volume, and in a mass, which would be solid were it not skilfully broken by lighter hackings appearing in the central portions; the folds come down in heavy masses, sometimes like great sausages or cucumbers, to the bottom of the shield. Examples of such may be seen in Sandford's _Genealogical History_, 1677, and in book-plates engraved in _Miscell. Genealogica et Heraldica_, December, 1886, p. 184, and elsewhere. The skill of the artist affects wonderfully the quality of these designs; it is not only the chiaro-oscuro, but the turning of a line may often sparkle with genius. Sometimes they are extremely flat and heavy, for instance, in the map attached to Thoroton's _Notts_, 1677, may be seen a specimen, which is a great contrast to Hollar's designs in Sandford's _Genealogical History_, published in the same year. Again, the frontispiece to Carter's _Honor Redivivus_, published in 1673, shows flat waves, and behind the shield, coming out two-thirds down its length, the edges rippling into leaves and hackings, while the folds extend down to a boldly hacked and curled cartouche for the motto, out of which spring two branches of olive.

Instances of this style continue to occur down to 1750. We find them so engraved in Guillim's _Display_, 1724, also in the _English Baronetage_, 1741, and in some of the engravings in Atkyn's _Gloucestershire_, 1768.

7.--About the year 1700 appeared for a few years, perhaps we may say till about 1720, book-plates and dedicatory arms with great hacked foldings twisted round and looking something like Catherine-wheel fireworks. Two or four of these occur in book-plates, and sometimes as many as six, three on each side. We notice that these are conventional exaggerations of the less pronounced circular foldings and turnings seen so early as 1677 in some of Hollar's engravings in Sandford's _Genealogical History_. An engraving at p. 185 in Chauncey's _History of Hertford_, published in 1700, is especially interesting; it shows a monument, dated 1662, to Hewytt, in Sawbridgeworth Church, where the carver has struggled to avoid the long ugly folds ("cucumbers"), and has introduced very vigorously twisted leaves and hacks which almost approach those conventional Catherine-wheel fireworks as found in book-plates of a later date, say from 1700 to 1720. I would point out that all the armorial engravings in Chauncey's _Herts_ are well worth studying: the mantlings are hacked all over, and extend about four-fifths down the shields in endless small and vigorous twists, the shields themselves being variations of No. 16. Some of the engravings in Plot's _Natural History of Oxfordshire_, published in 1705, show the same character, also some of those in Atkyn's _History of Gloucestershire_, published in 1768.

8.--The rebound from this taste led to small mantlings, kept a good deal at the top of the shield, even although there were no supporters, as in a peer's coat of arms, to prevent their downward flow. These occur also when the bases of the shields in Jacobean book-plates are finished off with scroll work, trellis, scales, &c., &c.; the upper part of the shield being ornamented with such smallish mantlings. In Blomefield's _Norfolk_, 1739, ribbon scrolls extend all round some of the shields in the place of a mantling; while in what is, I suppose, a book-plate, Holland impaling Upton, printed in the pedigrees at the beginning of vol. i, acanthus leaves occur in the base, and break out occasionally, where convenient, from such scrolls, which are arranged round the upper part of the shield. Scrolls are strictly architectural ornaments, and not _vegetables_. These correspond to the French style called "Bombé," in which curves and undulations of surface in ribbons, &c., were rolled and tossed about for artistic effect. But with our English examples of monuments of the sixteenth century in the same taste (see p. 80), we need not consider that our Jacobean style was borrowed from the French, although that nation, for a full century, ending in 1790, guided the artistic tastes of Europe.

9.--During the Chippendale fashion all martial elements disappear, helmets and mantlings are swept away, and we see the style of Louis XV. borrowed from the prevailing French taste, broken shell-shaped woodwork, rocks, and shell curves (rocaille coquille), hence called "Rococo." It was well enough in the frames of mirrors and furniture, but seems strangely out of place around a cardioid shield of arms, with festoons of flowers and spikes of reeds or grass, while perhaps Cupids or Greek vases on brackets are introduced. Nevertheless, the genius of Chippendale sublimated this into specimens of great beauty. Chippendale's _Books of Designs_ were published in 1759, i vol., folio, and in 1762, i vol., folio.

10.--Mantlings, of course, continued to be shown in grants of arms. We find about 1775 they appear to be smaller again, and confined to the top of the shield, often being carried rather high up on each side of the crest, and frequently ending at the base in two tassels [see a grant 1779, _Miscell. Genealogica et Heraldica_, second series, vol. iii, p. 41].

11.--This style continued to the beginning of the nineteenth century, when I have observed very light and graceful mantlings thrown about in airy and much hacked foldings, and generally ending in tassels (see a grant 1803, _Miscell. Genealogica et Heraldica_, original series, vol. ii, p. 20). This character is also seen in many book-plates of this date.

12.--I must now say a few words on the style introduced and skilfully enforced by Robert and James Adam. They, too, adopted from the French, and by their skill and artistic taste developed to great perfection the style of Louis XVI. (1774-90). The rage for this fashion arose in Europe upon the discovery at Pompeii of Roman frescoes preserved in their original colours. The brothers Adam caught the exact spirit of these, and produced heraldic designs, consisting of shell-fluted scrolls, with light and airy festoons of flowers and ribbons, surrounding shields almost invariably Georgian No. 25. The festoons were frequently extended in graceful curves, from pegs, just as we see them in the recovered Roman arabesques, or on the walls of the Petit Trianon. Robert and James Adam published their book in three vols., imp. folio, 1773-1822. For examples of this style see Dugdale's _Warwickshire_, 1765; Hutchin's _Dorset_, 1774; Hasted's _Kent_, 1778; Rudder's _Gloucestershire_, 1779 (one specimen only); Nichol's _Leicestershire_, 1795; Shaw's _Staffordshire_, 1798; Manning and Bray's _Surrey_, 1804. This long list will show how extremely popular the Adam style continued to be for about thirty years.

13.--As early as 1500, a fan-shaped mantling with rounded base appears; it was formed of an unhacked cloth with many closely folded rays, and occasionally two tassels are attached to the _upper_ corners and hang down as supports on each side of the shield, which stands in the middle--see examples engraved in _Herald and Genealogist_, vol. viii, p. 247; _Archæologia Cantiana_, vol. v, p. 248; _Miscell. Genealogica et Heraldica_, first series, vol. ii, p. 100; &c., &c. This design is continued until after 1700, but seems less closely folded at the later dates, when they are often found in ornamental achievements in pedigrees.

14.--A curious example of a mantling is engraved _Herald and Genealogist_, vol. viii, p. 254, in which a square sheet or cloth, having no hacking, and attached to the helmet, is folded-in round the edges; through these a cord is passed, ending in two tassels which extend a little below the bottom of the mantle. This portion of the cloth, as well as the back, hangs down straight without any folds. The result is that the shield stands out against the deeply shaded back ground within these folded-in edges, they being in high light. The MS. from which this is taken is dated 1645, and the shield displays the arms of Helsby.

15.--The earliest instance I have noticed of those large unhacked square sheets or mantles called by Porney "drapery," which are drawn up through two rings or ribbons at the upper corners and fall in folds, while in the middle stands the shield of arms, occurs in a monument at Holme Pierpoint to the Countess of Kingston, which bears date 1649 (Thoroton's _Notts_, p. 90). Such are also engraved in the _Sphere of Gentry_, 1661; and in the _English Baronetage_, 1741. These are occasionally to be met with down to 1840. In French heraldry they are commonly found.

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In _Archæologia Cantiana_, vol. x, p. 329, is engraved a curious tent-shaped "drapery," drawn over the helm and held there by a ducal coronet, from which starts the crest, while beneath, and in the middle of the sheet, stand the shield of arms and supporters. This is from "The Confirmation of Supporters, Crest and Arms to Sir Edward Dering, Knt. and Bart., by Sir Wm. Segar, Garter." The first baronet was created 1st Feb., 1626, and Sir Wm. Segar died in 1633; so the date of this drawing is within those seven years.

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It must be evident that each artist gave a certain character and style of his own to his work; at the same time the various fashions noted above are found strongly prevailing at the dates given. They were what was approved by the public taste, and any variations only extend to more or less skilful working out. It will be noticed that public taste has several times alternated between sparse and voluminous mantlings. There are indications at the present time which seem to point to a return, within a few years, of the massive convolutions seen during the last quarter of the seventeenth century.

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In ledger stones and monuments from 1650 the characteristics given above are followed until about 1780, when other kinds of decoration--palm branches, festoons, and scrolls--very largely superseded mantlings.

IMPORTANT NOTE ON TINCTURE-LINES IN SEALS.

My readers would notice at page 52 and again at page 79 that I could not accept the statements that seals so early as 1648-9 could possibly show tincture-lines. I therefore gave my authorities, and showed pretty evidently that I could not, in the face of other _facts_, accept them. Since the writing of those pages, Mr. W. H. St. John Hope has very kindly examined for me the original document preserved among the muniments at the House of Lords, and reports that in _none_ of the seals attached to the death-warrant of Charles I. are the tinctures indicated by lines. It is not for me to explain how so accurate an observer as the late Mr. Planché made such a mistake. I think it is probable that the late Mr. Bouttell followed him and enlarged somewhat. The fact, however, is now definitively settled.

I had observed that in those earlier printed books which have copper plates, the invention of Father Silvester de Petra Sancta had been very cautiously and undecidedly adopted. In Spelman's _Aspilogia_ [included in that small folio published by Edward Bysse in 1654, and to which I have frequently referred as containing also the works of Nicholas Upton and John de Bado Aureo] most of the shields have tincture lines; but in some of the copper plates, signs of various planets are given instead of those letters for tinctures which are usually seen in "tricks."

NOTE TO PAGE 36.

I have no doubt that the curious projecting point to which the attention of the reader has been drawn, was meant as a protection against the "Coup de jarret," that terrible feat of arms which aimed at severing the muscles behind the knee, a spot necessarily covered by leather only, and therefore peculiarly vulnerable.

INDEX.

SHIELDS FIGURED ON PLATE I, PAGE 11.

No. Pages.

1--12, 18, 19, 72 2--12, 14, 21, 24 3--Introduced 5, 11, 12, 13, 17 4--11, 12, 17, 24 5--16, 21, 22, 24, 26, 32, 38 6--14, 15, 18, 20, 21, 72 7--22, 24, 38 8--59 9--37, 60 10--37, 60 11--37, 60 12--37, 60 13--61 14--61 15--61, 62 16--62 17--62, 63 18--62 19--63 20--63 21--64 22--64 23--65 24--65 25--65 26--65, 66 27--66 28--66 29--66 30--... 31--67 32--67 33--67, 68 34--67, 68 35--68 36--70 37--... 38--... 39--70 40--71 41--71 42--68, 71 43--68, 71

* * * * *

Adam style, 86

Animals in the fields of seals, 18, 22, 23, 24, 27, 32

Bosses in round shields, 4; in other shapes, 13, 14, 16

Bombé style, 84

Bouches, 16, 24, 31, 37

Chaplets or Wreaths, 54

Chippendale style, 85

Counterseals, 75

Crosses and other signs beginning inscriptions, 21

Dates on seals, 43

Death Warrant of Charles I., 52, 54, 88

Decorations on the field in seals, 16, 21, 23, 32

Decline in the style of seals, 27, 30, 33, 44, 49

Guiges, 6, 21

Gunpowder, use of, 26

Helmets, 59

Inscriptions, style of, given at the end of each century; cross and other signs at their commencement, 21

Ledger stones, 88

Lines, dots, ropes, &c., surrounding seals, 21

Mantlings, 39 to 43; sixteenth century and later, 77 to 87; fan-shaped, 86; square sheets, 86, 87

Mottoes, 58

Palm branches, 55

Rococo style, 85

Seals sometimes used for a long period, 9, 29; lines, dots, ropes, &c., surrounding, 21; time required in making, 27, Note; decorations on the fields, 16, 21, 23, 32; animals in fields of, 18, 22, 23, 24, 27, 32; inscriptions, crosses, and other signs at their beginning, 21; unfolded scrolls in, 32; counterseals, 75; secreta, 76; dates on seals, 43; decline in style of, 27, 30, 33, 44, 49

Secreta, 76

Shields, round, 1, 26, 36, 38; laws relating to, 2; heart-shaped, 13, 15, 71; eared, 73 to 75; square, 5, 19, 20, 38; lozenges, 20; turned round at base, 14, 69, 72; curved outwards, 24, 33 to 36; curious point in sinister base, 36, 89; John of Gaunt's shield, 29; the Black Prince's shield, 30; length of shields, 4, 7; their use abandoned in war, 8, 24 to 26; introduction of gunpowder not the cause, 26; bosses in round shields, 4; in other shapes, 13, 14, 16

Sources of information, 9, 49

Supporters, 56

Targetiers, 5

Tincture lines, 52, 79, 88

Torces, 43, 81

Wreaths or Chaplets, 54

Being deeply impressed with the great value of a "CORPUS SIGILLORUM" which would bring together in one view a large number of English Seals of each century for the eye to rest upon and so to comprehend the varying styles at different dates, Mr. Grazebrook puts forward the following proposal to see if a sufficient number of Subscribers will be found to support him, and meet the heavy expense of producing such a work. It is obvious that to lessen the number of illustrations would impair its usefulness, and Mr. Grazebrook would not undertake the book unless it can be thoroughly carried out. What he contemplates would show perhaps fifty selected characteristic seals for each century from the eleventh to the seventeenth, displayed in order of date. So large a number would not be needed at the earliest or latest dates, but for some of the periods a greater number ought to be given. Students now get together such collections in tracings and drawings--as the labour of years; and it is feared very few have perseverance enough to carry out fully their aim, but without such exact data conclusions must be guess-work. Mr. Grazebrook has such a collection for his own use, and knows from experience what a great advantage it is.