Part 2

_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.

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.

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:--

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.

Ex. Gyrony of eight pieces, argent and gules.

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.

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.

Ex. Argent, a fusil, purpure.

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

Ex. Gules, a mascle, argent.

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

Ex. Azure, a fret, argent.

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

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.

Ex. Argent, a pile, azure.

The _inescutcheon_ is a small escutcheon borne within the shield.

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.

Ex. Azure, an orle, argent.

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

Ex. Azure, a flanche, argent.

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

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.

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.

Ex. Or, a double tressure, gules.

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

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.

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

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

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

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

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

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

Six roundlets; two, two, two, paleway.

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.

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.

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.

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.

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.

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

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

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

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.

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.