CHAPTER XXII
_MISCELLANEOUS:-- Coins-- Seals-- Heraldry in Architecture; in Monuments; in Illuminations; in Encaustic Tiles-- Heraldic Personal Ornaments, and various Heraldic Decorations-- Conclusion._
"The Spandrels over the Wall-arcading are exquisitely beautiful... Those in the western arm contained Shields of a large number of the great men of the day ... the few which remain are nobly executed." --GLEANINGS FROM WESTMINSTER ABBEY, by G. G. Scott, R.A.: 2nd Edition, p. 33.
I. The HERALDRY OF THE COINAGE, in addition to the Shields of Arms of successive Sovereigns, exemplifies the changes that have taken place in the form and adornment of the Crown, and it also is rich in various Badges and Devices having an historical significance.
In Coins the Royal Shield is sometimes quartered by a cross charged upon it, as in the silver penny of EDWARD VI. A mediæval ship, having a sail covered with heraldic blazonry, appears on the _Noble_--a coin worthy of its name. A figure of the King in armour (not particularly well proportioned to the size of the vessel), his sword in one hand, and his Shield of arms in the other, is also represented in these fine examples of mediæval numismatic art. A ship without any sail, but in its stead charged with the Royal Shield heightened by a Cross, forms the reverse of another excellent coin, the _Angel_, the obverse bearing a figure of ST. MICHAEL with his lance thrusting down the dragon. The Angel of EDWARD IV. on either side of the Cross has the initial E and the white rose of York; and the legend is-- PER : CRVCEM : TVA : SALVA : NOS : XTE : REDEMPT : ("By thy Cross save us, O Redeemer Christ!"). A Crowned Rose, with a Royal Cypher, is another favourite device; as in the Shilling of Henry VIII., with the legend-- POSVI : DEV : ADIVTOREM : MEVM : ("I have placed God (before me as) my helper").
Such are a few examples of the early Heraldry of English Coins. More recently, and particularly in our own Coinage, Heraldry and Art have declined together, so that feeble designs, but too commonly executed with lamentable consistency, are associated with heraldic inaccuracies which continue uncorrected to this day--witness the _tressure of Scotland_ often incorrectly blazoned on the Royal Shield; and poor BRITANNIA, in her old position, sitting forlorn on the copper and bronze coinage, as if conscious of being constrained to display on her oval Shield an obsolete blazonry, that placed the reign of Queen VICTORIA in the eighteenth century![12]
[Footnote 12: The specimens of the existing Coinage of Europe, displayed at the Universal Exposition, at Paris, showed that if the art of the English Mint is now at a low ebb, the prevailing standard of numismatic art is not a single degree higher, the coins of France alone being in many respects an honourable exception to the general rule.]
II. To what has been already said on the value of heraldic SEALS I desire here to add a few words, in the hope of inducing all students of Heraldry to study them with the most diligent care.
Casts of fine impressions are not difficult to obtain. Almost every accessible fine Seal has been copied by Mr. Ready, of the British Museum, who supplies admirable casts at a very moderate cost. The Scottish Seals of the late Mr. H. Laing, of Edinburgh, were purchased on his decease by the authorities of the British Museum. The most satisfactory casts are made in gutta-percha, which may be gilt by simply rubbing a gold powder with a soft brush upon them, after slightly warming their surfaces. Moulds for reproducing casts or impressions may be made in gutta-percha; and from these moulds casts, also in gutta-percha, may be obtained. The process is very simple: the gutta-percha, softened by immersion in hot water, is pressed upon an impression in relief, until a perfect intaglio is formed. When this mould is cold and hard, it will stamp an impression upon gutta-percha softened in the same manner.
[Illustration: No. 442.--Seal of Lord Bardolf.]
I add to the examples of fine heraldic Seals that I have already given, the richly traceried Seal bearing the armorial Shield of JOHN, Lord BARDOLF, of Wormegay in Norfolk, about A.D. 1350; No. 442. This most beautiful Seal, which in the original in diameter is only one and one-sixth inches, has been somewhat enlarged in the engraving, in order to show the design more plainly. The arms of BARDOLF are--_Az., three cinquefoils or_.
The liberality and kindness of Mr. Laing enable me to associate with the Seal of Lord BARDOLF a small group of additional examples of Scottish Seals: two of them are good illustrations as well of English as of Scottish Heraldry, and they exemplify the usage of introducing Gothic traceries into the composition of Seals with Shields of Arms: in both these examples, however, the leading outlines only of the traceries remain, and the rich cusping (which is so perfect in the Seal of Lord BARDOLF) is lost. No. 443, the Seal of WILLIAM MURE, A.D. 1397, has a Shield bearing--_Arg., on a fesse az. three mullets of the field_. No. 444, the Seal of THOMAS MONYPENY, A.D. 1415, has the Shield _couchée_ charged with _Az., a chevron between three crosses crosslets fitchée issuing from as many crescents arg._: the Crest, on a helm, is a bird, probably a popinjay or parrot. The Seal of RICHARD STUART, No. 445, probably about 1350, may be compared with No. 414, p. 249: in the smaller and earlier example, the solitary individual who represents the crew may be assumed to be Richard Stuart himself; his vessel displays two banners which are evidently affected by contrary currents of air, and a pennon.
[Illustration: No. 443.--Seal of William Mure.]
[Illustration: No. 444.--Seal of Thomas Monypeny.]
[Illustration: No. 445.--Seal of Richard Stuart.]
[Illustration: No. 447.--Counter Seal of Earl Thomas de Beauchamp, A.D. 1344]
The noble Seal, No. 446 (_see_ Frontispiece), engraved from a most perfect impression recently discovered appended to a document in the guardianship of the Dean and Chapter of Westminster, represents its illustrious owner, THOMAS DE BEAUCHAMP, K.G., third Earl of WARWICK, in armour, with his shield and jupon charged with the armorial insignia of Beauchamp (_gu., a fesse between six crosses crosslets or_), and with the same insignia repeated upon the bardings of the charger upon which the Earl is mounted. The engraving of the Seal itself appears on the Frontispiece to this Volume: and the Counter-Seal, one of the most beautiful and most perfect examples in existence of the early seal-engraver's art, is here represented in No. 447. The Shield displayed on this Counter-Seal is charged only with the Arms of the NEWBURGHS (_chequée or and az., a chevron erm._), from whom the Earldom of Warwick passed by inheritance to the House of Beauchamp. The inscription is commenced on the Seal, No. 446, and continued on the Counter-Seal, No. 447, and is as follows:-- S : THOE : COMITIS : WARRWYCHIE : ANNO : REGNI : REGIS : E : T'CII : POST : CÕQVEST[Vm] : ANGLIE : SEPTIO : DECIO : ET : REGNI : SVI : FRANCIE : QVARTO-- "The Seal of Thomas, Earl of Warwick, in the seventeenth year of the reign of King Edward III. (of that name) after the Conquest of England, and the fourth of his reign over France." Thus, the date of the execution of this fine Seal is the year 1344. The Earl himself died in 1369.
A second Beauchamp Seal is also represented in the Frontispiece. This is the Seal of RICHARD DE BEAUCHAMP, K.G., fifth Earl of WARWICK, who died in the year 1439. The Heraldry in this example is particularly interesting. The Shield, charged with _Newburgh_ and _Beauchamp_ quarterly, is couchée from the helm of the Earl which is ensigned with his coronet and crest; and on either side is _a bear with a ragged staff_, the famous Badges of the BEAUCHAMPS: No. 448 (_see_ Frontispiece). The Inscription is-- SIGILL : RIC : DE : BELLO : CAMPO : COMIT : WARWICH-- "The Seal of Richard de Beauchamp, Earl of Warwick" (see pages 223 and 224).
III. In GOTHIC ARCHITECTURE Heraldry is always a consistent, beautiful, and most effective accessory. Indeed, so thoroughly is the spirit of Heraldry in harmony with the great Architecture which grew up in the Middle Ages, that Heraldry must be considered rather as an element of its nature than as an allied Art. Gothic Architecture is essentially heraldic; and hence, as well as from its elastic nature and its equally consistent and happy applicability to every use and requirement, it is peculiarly appropriate as our own national style.
From the earliest years of its existence as a definite Science, Heraldry is found to be most intimately associated with the Gothic Architecture of England: and happy it was for the early Heralds, that in their days the English Gothic was at work in the full strength of its first maturity. And this alliance was never interrupted, or permitted to decline from its original cordiality. As long as the Gothic flourished, Heraldry held its own place in Architecture. And in the finest works that exist amongst us, relics of the grand Gothic Ages of English Architecture, Heraldry is ever present to adorn them with its graphic records. In the spandrels of arcades, in panels, upon bosses in vaulting, in stained glass, in encaustic floor-tiles, and indeed in almost every position in which such ornamentation could be admissible, the early Herald is found to have been the fellow-worker with the early Gothic architect. Gothic Architecture, accordingly, has preserved for us very noble collections and specimens of the most valuable illustrations of our national Heraldry. Canterbury and York Cathedrals, and the Abbey Churches of Westminster and St. Alban's, with the Chapel of King's College, Cambridge, are especially rich in heraldic treasures: and Westminster Hall and the northern Castles of Alnwick and Warkworth may be specified as noble examples of secular Architecture, which retain their heraldic enrichments.
IV. Gothic MONUMENTS, and in common with them their successors of the Renaissance era, abound in every variety of armorial blazonry. And fine examples of heraldic Monuments are no less abundant, than are the Shields and other insignia that appear on particular memorials. The principles which directed the selection of Shields to be introduced into the composition of early Monuments are worthy of careful consideration: and the same remark is no less applicable in the case of Architecture. I must be content to specify a very small group of heraldic Monuments of especial interest and value. In Westminster Abbey: the Monuments of Queens ALIANORE of Castile, PHILIPPA of Hainault, ELIZABETH TUDOR, and MARY STUART; the Monuments of King EDWARD III. and King HENRY VII.; and those of ALIANORE DE BOHUN, Duchess of GLOUCESTER, the Countess of LENNOX, the Countess of DERBY, the two DE VALENCES, Earls of Pembroke, EDMUND, Earl of Lancaster, Lord BOURCHIER, and Sir GILES DAUBENEY, K.G. In Canterbury Cathedral: the Monuments of the BLACK PRINCE, and of HENRY IV. and JOANNA of Navarre. In Salisbury Cathedral: the Monument of Earl WILLIAM LONGESPÉE. In St. Alban's Abbey Church: the Monuments of HUMPHREY, Duke of GLOUCESTER, and of the Abbots WHEATHAMSTEDE and RAMRYGE. Also, other fine Monuments in the Churches at Elsyng in Norfolk, Ewelme and Northleigh in Oxfordshire, King's Langley in Hertfordshire, and Cobham in Kent; in Beverley Minster, and in the Beauchamp Chapel at Warwick.
V. In the ILLUMINATIONS of the Middle Ages Heraldry has a place of honour: and in the revival of that early Art, which is held in such high estimation at the present day, Heraldry ought to occupy a position of corresponding prominence. This implies in the Illuminators of to-day some knowledge of Heraldry, and at least some degree of familiarity with good early examples. I venture to suggest, therefore, to students of Illumination the study both of the Herald's Art and his Science, as no unimportant part of their preparation for the practice of the Art of Illumination on the principle of the sagacious maxim of a great modern painter, quoted by Mr. RUSKIN in his "Seven Lamps of Architecture"--"Know what you have to do, and _then_ do it."
VI. In the ornamentation of early ENCAUSTIC or INLAID PAVEMENT TILES, Shields of Arms and various heraldic devices frequently occur: and in many examples the Shields of Arms are arranged with much skill and in excellent taste, to form decorative compositions in combination with foliage and traceries. Numerous heraldic Tiles of a very interesting character remain in the Cathedrals of Worcester, Gloucester, and Exeter; and in the Churches of Great Malvern, King's Langley, the Abbey Church of St. Alban, and many others. The student will observe that the devices upon these Tiles are frequently _reversed_, evidently the result of the neglect to reverse the designs upon the original dies or stamps.
VII. Heraldic blazonry was highly esteemed in the Middle Ages as a becoming decoration for PERSONAL COSTUME. The Knights wore their _Coats of Arms_, and they carried and used their _Shields of Arms_, and their armorial insignia were displayed upon their weapons and upon the various accessories of their personal equipment. The Ladies adapted this usage to their own Costume, and they also wore _Mantles and Dresses of Arms_; and many of their personal ornaments were strictly heraldic. Without even suggesting now to our Ladies any revival of heraldic costume, properly so called--such as dresses, mantles, or shawls emblazoned with the bearings of armorial shields--I certainly do desire to see Heraldry exercising a powerful influence in all designs for personal ornaments, the works of the goldsmith and the jeweller more especially. Badges also may supply the motive for designing many patterns that are to adorn fabrics used for costume: and, in like manner also, the designs woven into carpets, curtains, and various other fabrics may be derived with the greatest advantage from the same source. The loom is employed in blazoning heraldic insignia in white damask: why should it not work, under judicious and cautious guidance, in silk and velvet, in satin and every woollen fabric?[13]
[Footnote 13: I have lately seen a design for the embroidery of a dress for a young lady of the Clan CAMPBELL; its characteristic features are the Scottish Thistle and the Myrtle, the latter the Badge of the Campbells. I may express my approval of the motive of this design: others, as I have reason to believe, have approved the treatment of it.]
It must be understood, however, that heraldic ornaments and devices, unless they be of such a character that they are universally applicable, must have a reference to the wearer, or they degenerate at once into heraldic parodies. Personal ornaments, costume, furniture, if heraldic, must display devices that have a significance as well as a beauty: such costume and ornaments must be, not "becoming" only to the wearer, but (in the heraldic acceptation of that term) "belonging" also. And so in every instance.
For purposes of universal decoration and adornment, Heraldry is no less applicable now than when EDWARD III. or HENRY IV. reigned in England. Happily, a taste for furniture and all the appliances of every-day life in the Gothic style is gradually becoming prevalent; and this is inseparable from the use of Heraldry for the purposes of ornamentation. I presume that the fallacy of regarding the Gothic style of Art as exclusively ecclesiastical in its associations and uses, or as no less necessarily inseparable from mediæval sentiments and general usages, is beginning to give way to more correct views, as the true nature of the Gothic and its original universal employment are better understood. I consider it to be unnecessary for me, therefore, to enter here, in support of my own sentiments, into any detailed explanations to show that the revival of a Style of Art which flourished in bygone ages, and with it the revival of Heraldry as it was invented and grew into its early dignity and popularity, are in no way or degree whatever connected with an implied return to the mode of life of four, five, or six centuries ago. We have used Roman and even what we intended to be Greek Architecture in nineteenth-century England; we are still in the habitual use of Roman and Greek designs for every variety of decoration; and of late we have added Egyptian and Scandinavian works of Art to the deservedly prized collections of models, that we have formed for the express purpose of imitating them: and yet we do not consider that we thus in any way bind ourselves to adopt Roman, or Greek, or Egyptian, or Scandinavian costumes or customs; nor in our use of the Arts of Antiquity do we perceive any demonstration of retrogression in ourselves.
It is the same with Mediæval Heraldry and Gothic Art. We may apply to our own times, our own uses, our own delight, what the old Heralds and the Gothic Artists have taught us, without even dreaming of wearing armour or re-establishing the feudal system. True Heraldry (for it is with Heraldry that I am now more especially concerned) is a Science, and it also is an Art, for all time--for our times, and for future times, as well as for the times that are past. If we understand and appreciate it, we shall not fail to use and to apply it aright.
[Illustration: No. 449.--Seal of Sir WALTER SCOTT, of Branxholm and Kirkurd, A.D. 1529. (Laing).]
From the initial-letter of my first