CHAPTER VII
Armorial Accessories

The armorial shield, and, in a rather less degree, the crest, are in an especial sense essential parts of an heraldic achievement, and have always been considered fully representative of their bearers. Therefore they may be used together, or singly, without the supporters or other accessories to which their owner may be entitled. On the other hand, supporters, though they may be employed without the arms to support badges or monograms, have, in that case, little more than the force of fanciful devices.

Fig. 158.—Seal of John de Segrave (c. 1300).
Fig. 159.—Seal of Anne Countess of Devon.
Fig. 160.—Seal of Ralph Neville, Earl of Westmoreland.

Supporters were in their origin badges which had acquired permanence by custom in the same way that the arms of the shield had acquired it at an earlier time. Thus, in addition to the regular armorials which so profusely adorned the Seals, certain badges were freely used which from association acquired in many cases a permanence by frequent recurrence equal to that of the arms with which they were associated. In this way lions appear in many of the Great Seals, notably in those of Edward III and in the beautiful seal of Henry IV. Such emblems were placed decoratively in any spaces that were suitable, and in the simpler seals the intervals between the circumscription and the more or less triangular shield within it invited their display, as in Fig. 158, the seal of John de Segrave (c. 1300), which has a garb on either side of the shield. In Fig. 159, the seal of Anne Countess of Devon, lions occupy similar spaces, but with their backs to the shields. The seal of Ralph Neville, Earl of Westmoreland, Fig. 160, shows greyhounds, which, though of subordinate proportion, have assumed the regular pose of supporters; while in the splendid seal of Edmond Beaufort, Duke of Somerset, Fig. 161, the finely designed supporting figures have complete heraldic force. Another fine example is that of William Lord Hastings, Fig. 162. The connexion between ancient Badges and the Supporters in present use is easily traced, and, as one instance of many, it will suffice to mention the white lion Badge of Mowbray, which has become one of the supporters of the Duke of Norfolk. The actual recognized use of these accessories appears to have begun at the end of the fourteenth century; and to have become firmly established in the following one.

Fig. 161.—Seal of Edmond Beaufort, Duke of Somerset.

The idea that supporters originated in fantastically dressed pages at a tournament seems to have little or no foundation, and though there may have been some such representation of already established devices, later statements on the subject have probably been much over-valued.

Fig. 162.—Seal of William Lord Hastings. Fifteenth Century.

Viollet-le-duc quotes an instance of a celebrated tournament, which was held on May Day, 1346, at Chambery, when Amedee VI of Savoy had his shield hung on a tree and guarded by two lions. The interesting fact is mentioned that the shields, helms and crests of the knights who figured at this tournament remained in the Church of St. Francis at Chambery, until 1660 or thereabouts. Then the church was redecorated, and in the disregard for antiquity, which we find so difficult to understand, the relics of chivalry disappeared.

At first and for a considerable time the proportion of supporters to the arms was very satisfactory, being bold without over emphasis, but during the sixteenth and following centuries, a tendency to increase their size was felt, and it is in this respect that modern sculptured heraldry is lacking in balance, for to over-accentuate the supporters is necessarily to minimize the arms, and so divert interest from the central motive.

When the space to be filled by the achievement demands it, the pose of the supporters may be varied to a considerable extent, but the rampant position should always be adhered to when it is possible. Where, for instance, the space is wide, as on a mantelpiece, there is no heraldic objection to placing the figures in a couchant position on either side of the shield, an arrangement that has been frequently resorted to in Friezes.

Sanction is given to this freedom of treatment by the fact that it is not usual in blazoning supporters to specify the heraldic attitude, except in so far as it affects the pose of the head. That is to say, if the head is in the normal position, in profile, the figure is blazoned, for example, a lion Or. If it were guardant or regardant, the fact would likewise be mentioned but not the general pose, rampant or anything else.

In the fifteenth and sixteenth centuries the supporters were sometimes employed in pairs, and sometimes singly, to hold up the banners of arms that were represented in heraldic manuscripts or sculptured on monuments, and they were then usually placed in a sejant position. In some instances, more frequent in Italy and Germany than in this country, supporters bear crested helms on their heads in a very curious way. An English instance is on the seal of Edmond Mortimer, A.D. 1372, mentioned by Boutell.

On the seals of the fifteenth century onwards, the supporters were freely adapted to the available spaces, without much, if any, regard for actual physical support to any other part of the achievement. It was heraldically sufficient that they were present, and the rest was left to the taste and skill of the designer.

The variety of supporters has of course increased with the number of those entitled to bear them, and creatures are now used which, though perfectly suitable in an allusive way, are not equally adapted to the ordinary heraldic treatment, and the result of working in an outworn groove appears when Troop horses, Camels, Elephants, and so forth are seen climbing up the side of a shield, instead of standing beside it. Admit that the rampant attitude in an animal that does not ramp is not obligatory, and the difficulty is easily overcome with every advantage to the dignity of the composition.

The idea of moral support would also be much to the advantage of symbolic human figures that are already burdened in a variety of ways, for the sight of a figure, with both hands full, trying to obey a non-existent law as to touching the shield that it “supports” is pathetically ridiculous. Nevertheless, the hold on the shield is of value in linking a design together, when it can be effected without violence to ease and probability.

Too great freedom of natural treatment is not desirable, for it is out of harmony with the especial decorative quality of heraldry, so that one objects to the natural animal supporters that characterized the illustrations of the eighteenth century, prowling from behind the shields, not as heraldic error, but as wanting in dignity as decorative design.

As a general rule, with some few special exceptions, the right to bear supporters is confined to Peers and Peeresses and to the highest classes, Knights Grand Cross or analogous ranks, of Orders of Knighthood. Knights of the Garter, of the Thistle, or of S. Patrick are entitled as such to bear Supporters, but as members of those orders are now invariably Peers, the question does not arise.

Fig. 163.—Amorini Supporters from Venice.

Figures of Angels and Amorini that are not considered to have the technical qualification of heraldic supporters are of constant occurrence in ornamental art, and symbolical figures holding the shields of arms are posed in the spandrels of arches with admirable effect and perfect propriety, and the fact that symbolic figures are sometimes adopted as actual heraldic supporters can hardly be allowed to cramp decorative art in so important a particular, nevertheless the distinction should be recognized.

At Venice there is an admirably designed incised tablet in which Amorini stand beside the shield, each supporting on a pole one of the two large crests, Fig. 163; and the demi-angels which support the Royal Arms on the spandrels of the screen of Henry V. Chantry at Westminster, and the series of similar figures holding Badges in various parts of the Abbey should also be noted.

Another admirable work in which Amorini figure is the fine panel of the Arms of Cardinal Wolsey, which faces the Crown Court at Hampton Court Palace, Fig. 164, a work that is no less remarkable for the strength and bold relief of its heraldry than for the grace and beautiful modelling of the figures.

Under the head of supporters reference may also be made to the eagles, double or single-headed, on which in certain cases armorials are borne as a mark of special privilege. The arms of Princes and Peers of the Holy Roman Empire are borne on the double-headed Imperial Eagle, like those of the Duke of Marlborough as Prince of Mindelheim, as a privilege inherent in their rank. The single-headed eagle of the Kingdom of Prussia supports in a similar way the armorials of The Countess of Derby, to one of whose ancestors, Lord Carnarvon, Ambassador at Berlin at the end of the seventeenth century, the privilege was granted by Frederick William I. It therefore appears on her book plate, which I am permitted to reproduce here, Fig. 165.

Fig. 164.—Sculptured Arms of Cardinal Wolsey. Hampton Court Palace.

Other accessories consist of Crowns, Coronets, Insignia of Order of Knighthood, Mottoes, Symbols of Office, Medals or any other emblem of personal dignity or ornament.

The principal of these, the Imperial Crown, was, in its earliest form, a decorated circlet which was frequently of a most beautiful and elaborate character, but whose decoration, apart from its general form, had not acquired specific symbolic force, unless the fleur-de-lis that sometimes appeared as part of it may be so regarded. If so, it was probably introduced with the same idea of religious symbolism, as an emblem of the Resurrection, or of the Virgin Mary, or of the Trinity, which caused it to be used on sceptres and in other ways. The crowns of the early seals show traces of arches in some instances, but it was only in the time of Henry V that the crown, the one that succeeded the “golden care” of Shakespeare, finally became arched.

The number of the arches, as of the fleurs-de-lis and the crosses pattée that were added, varied from time to time, but since the restoration of Charles II the essential details have remained constant, though the general shape has changed with the contemporary taste in other ornament. A considerable variety of form is also found in the same period, the arches in Tudor times having sometimes the Gothic pointed character, as it appears in Fig. 166, on the reverse of the beautiful golden Bulla with which Henry VIII sealed the treaty of the Field of the Cloth of Gold. In this instance it will be observed that the number of arches is doubled, and the fleurs-de-lis and crosses pattée proportionately increased. In a similar way the Scottish Royal Crown is represented with an unusually large number of crosses and fleurs-de-lis on the rim.

Fig. 165.—The Countess of Derby’s Bookplate.
Geo. W. Eve.

In other examples, notably those sculptured on St. George’s Chapel in Windsor Castle, the arch is much flattened and the crosses and fleurs-de-lis stand high on the rim, thus producing a certain squareness which is very happily suggestive of strength. It was this type of crown that influenced the treatment of those on the present Royal bookplates. In the seventeenth century the arches were depressed where they cross, and in the Georgian period the extent of the depression was very considerable, as may be seen in the maces of that time.

Fig. 166.—Golden Bulla with which the Treaty of the Field of the Cloth of Gold was Sealed. Sixteenth Century.

It seems to evidence the want of intention, and that ignoring of symbolic value that was characteristic of the time, for otherwise the idea would certainly have suggested itself that the orb, the emblem of sovereignty, should be held strongly up, and the crown be made to suggest its adequacy to its pre-eminent dignity.

Doubtless this was in sympathy with the somewhat heavy curves of other ornament, but its effect is common-place, weak and unfortunate. The general character of the present day shape is a return to the more beautiful pointed arch, and Fig. 167 is the form approved by His Majesty for official use. It is to be understood that this does not refer to the actual crown, which has remained much as it was in the time of Charles II, but to its heraldic equivalent.

Fig. 167.—The Royal Crown as sanctioned for official use.

The decoration of the arches may take many forms, sometimes consisting of large pearls, as in the usual way, sometimes of architectural crockets as in much of the carved decoration, or as jewelled running ornament composed of national Badges, or of oak-leaves and acorns as in that which is known as the Imperial State Crown. A fine example of the Tudor crown occurs in the stained glass roundel of the Arms of Queen Jane Seymour, in which the arches are crocketted, and the crosses have the cusped character that was prevalent at this period, Fig. 168.

Fig. 168.—Arms of Queen Jane Seymour, Stained Glass Roundel. Sixteenth Century.

In the jewels on the rim, no attempt is usually made to copy those of the actual crown and great variety of jewelled decoration is therefore possible. The gems are most often represented of antique form, that is to say, cut en cabuchon, instead of in facets, thus presenting a decorative simplicity that is very suitable to ornamental effect.

With regard to the cross on the orb the former remarks concerning crosses pattée are especially applicable, and in addition it should be observed how much more satisfactory it is for the lines of the lower limb of the cross to be produced from the circumference of the orb than for the corners to be projected beyond it. In the latter case the cross has the unfortunate effect of being balanced on the orb instead of rising from and being part of it.

The essential form of the crown, then, is a circlet heightened with crosses and fleurs-de-lis alternately, from which rise two arches that spring from behind the crosses pattée and uphold the orb, which is itself surmounted by a cross.

Care is necessary in order that the curves of the arches may be kept sufficiently flat, for otherwise too much tendency to a half-circle may result.

The crosses and fleurs-de-lis offer remarkable opportunities for strong, graceful, and varied treatment, and if they are kept fairly high, and well defined, the dignity of the design is much enhanced.

The cap which is enclosed in the actual crown is of purple velvet, but is represented heraldically as of crimson, and is lined with ermine, which being turned up at the edge, appears round the lower rim.

The Coronets of the sons and daughters of the Sovereign have similar circlets to that of the crown, but are not enarched, except in the case of the Prince of Wales, who has one arch supporting an orb. The latter coronet is usually drawn from a point of view from which the complete arch is seen spreading from side to side. Fig. 169.

Other Princes and Princesses bear coronets that are varied according to nearness to the Throne, the grandchildren of the Sovereign having ducal leaves in place of two of the crosses, while nephews have similar leaves in place of all the fleurs-de-lis. This must not be taken as an invariable rule of heraldry but as an indication of the system that is observed in framing the Royal Warrants by which alone the right to these coronets, and also to the Royal marks of cadency (q.v.) is conferred.

Fig. 169.—Coronet of the Prince of Wales.

Royal coronets, other than that of the Prince of Wales, do not change automatically as private marks of cadency do, but being arranged under the same Royal Warrant by which the arms are assigned, they remain as so designated until they are changed by the same authority.

The Coronets of Peers were definitely assigned to the various ranks by warrant of Charles II, having by that time become developed into distinctive forms, as the Crown had been, from the circlets which in themselves were marks of high rank and were so used ceremonially in conferring a title.

The coronet of a Duke is composed of eight ornamental leaves of equal height, wrongly called strawberry leaves, set on a rim which is ornamented with jewel-like tracery but not with actual gems. Eight being the full number of leaves, five of which are visible in representation.

A Marquis’s coronet has four leaves alternately with an equal number of silver balls, called pearls, which are set on points to the height of the leaves, and the coronet is always represented as so posed that three leaves and two balls are visible. It is directed that in all coronets the balls shall be of silver and not counterfeit pearls.

An Earl’s coronet has eight balls raised on high points and showing between them leaves which are set low down. Five balls and four alternate leaves are usually shown. This form is evidently derived from the beautiful coronet that is sculptured on the tomb of Thomas Fitzalan, Earl of Arundel, 1445, and in the same way that the coronet of another Earl of Arundel (A.D. 1487) foreshadowed that of a duke. The former of these is very fine, having groups of three pearls on alternate points, and with the leaves also on points to the same height as the others.

A Viscount’s coronet is a circle with surface decorations which, like all the preceding, is as in that of a Duke and has sixteen silver balls set close on the rim, and of them nine are shown.

A Baron’s coronet has six silver balls, also set directly on the rim and not on points, the circlet in this instance being plain, i.e., without indications of jewel forms.

In the warrant of Charles II it is directed that all the coronets shall be worn over a cap of crimson velvet lined with ermine, and having a tassel of gold at the top. This cap, however, is not an essential part of the coronet, although a head covering of considerable distinction in itself. During the greater part of the Middle Ages the temporal peerage consisted principally of earls and barons, the former distinguished by the circlet of gold, which was variously decorated, and the latter by a cap of crimson lined with fur. For military purposes, the coronet was fixed to the helmet, and at other times it was placed, for practical reasons of comfort among others, round the cap which formed part of contemporary costume, as may be seen in many of the beautiful French and Italian medals of the fifteenth century, notably in one of Louis XII at the end of that period. Fig. 143. In another composition of about the same time, a head of King Herod has a crown which encircles a cap of the shape usually ascribed, in modern times, to a Cap of Maintenance. The last-named head covering is one of much interest as an early subject of privilege, although but little appears to be known about it. Its shape was obviously not its distinctive quality, and it must therefore have been the material or colour which constituted its especial value; and having regard to the sumptuary restrictions concerning the wearing of ermine, among other things, it seems probable that its lining of this fur was its distinctive quality, and that being prohibited to those of inferior rank, it would naturally be the cap that would be associated with a coronet when it was actually worn. Thus was formed the prototype of the coronets as described in the warrants of the end of the seventeenth century, when caps of this character had ceased to be part of the ordinary costume of people of position. The cap is therefore a means of wearing the coronet and no indication of definite rank and may certainly be omitted in heraldic design, since it adds nothing to what is signified by the coronet itself and is not an essential part of it.

This view would appear to have been the contemporary official one, for many of the Garter plates subsequent to the warrant of Charles II have no caps to the coronets, and that of John, Duke of Argyle, 1700, may be cited as an example, among others.

By the before-mentioned warrant, the use of the ermine-lined caps was extended to barons equally with other ranks of the peerage.

The rank of Baronet, also hereditary, is of two classes, one of which was instituted in 1611 to encourage the plantation of Ulster, and the other in 1624 for the plantation of Nova Scotia. All new creations of the rank of baronet are of the former kind, and the Badge consists of the well-known red hand of Ulster on an argent field. This is borne on the coat of arms either on a canton or on a small escutcheon, whichever is most convenient, and if the latter it may be anywhere on the main shield in the same way that a mark of cadency is placed. The Badge of a Baronet of Nova Scotia is an actual jewel like that of an order and usually appears below the shield pendent from its ribbon of orange tawny silk. It is also worn round the neck like the insignia of an order, and consists of an oval medallion on which is the Cross of St. Andrew behind a shield ensigned with the Imperial crown and charged with the Arms of Scotland, and on the margin of the badge is the motto “Fax mentis honestæ gloria.”

The Insignia of Orders of Knighthood are also among the most important and decorative accessories, either surrounding the shield, such as collars, the Garter, and the motto circle of other orders; or suspended below it as crosses and jewels.

Fig. 170.—Arms of John second Earl of Mar, K.G., 1634. Modelled gesso, afterwards painted. Geo. W. Eve.

Knights of the Garter surround the shields of their arms with representations of the Garter inscribed with the motto of the order, “Honi soit qui mal y pense,” in the well-known way. It was formerly light blue, but since the time of George I has been of the dark rich colour to which it has given the name of Garter Blue. The buckle, motto and other embellishments are of gold and it is now edged with the same. This last, however, is purely decorative, but has become usual from about the sixteenth century. The motto begins above the buckle, which is always placed in the dexter side, and may be in any character of lettering that seems fit. Fig. 170 shows a gartered shield from the series at Alloa House. The collar consists of twenty-six small garters (in allusion to the Sovereign and twenty-five Knight Companions), each enclosing a rose, alternately with an equal number of knots, the whole being joined together with links of gold. It is notable that the roses are Tudor ones, the collar having been added to the insignia of the great Order by Henry VII, and are a red rose within a white one and a white within a red alternately. Depending from the collar is the representation of St. George slaying the Dragon, the jewel which is known as the Great George. Composed of gold and enamel it was frequently richly jewelled, and otherwise treated as a splendid subject for artistic elaboration. When the collar is used with the arms it is placed outside the Garter. These constitute the insignia that are immediately associated with the shield, but there are in addition the Star, the Ribbon and the Lesser George. The Star is worn on the left breast, consists of groups of rays, in silver or diamonds, arranged in eight points, and bearing in the centre the enamelled Cross of St. George encircled with the Garter.

The Lesser George, the jewel which is worn pendent at the side from the ribbon of the order which is worn over the left shoulder, consists of an oval badge of a similar group to that of the Great George, but placed within the Garter which forms a frame to the badge. It will be noticed that the Great George has no containing form.

The Collar when it surrounds the shield is placed outside the Garter, and either one or both may be used to enclose a crest or other device. In thus using the collar of an order in a decorative way, it will not be necessary to represent the actual number of pieces in it, but only their nature and the proper order in which they occur, and a considerable latitude may be taken in treating the details so long as their essential character remains clear.

The custom of encircling arms with the Garter has influenced the whole British practice with regard to orders of knighthood, other orders using in a similar way the motto circle which forms part of their badge.

The foreign practice is to use the collar with its badge to surround the arms, or in other cases to suspend a badge from its riband below the shield.

A knight of several orders uses principally that which is of superior rank either alone or in conjunction with others. In the latter case the emblem of the superior is innermost in surrounding the shield; and is the dexter of two, or the most central of a greater number, when dependent from it. When, however, some special allusion is intended the insignia of an inferior order may be used alone.

Thus in the case of an achievement that was to be used in connexion with a specific order, the insignia of that order would be properly used to the exclusion of one of superior rank.

It will be understood that the heraldic bearing of such insignia is a privilege that need not always be exercised, and when it is, may be used in a variety of ways. Thus the Garter may closely surround the shield in the familiar way or may encircle the whole achievement as in some coins and medals, or even be straightened out as in the design of some of the Tudor bookbindings.

In view of cases that have actually occurred, it should be noted that stars of orders must not be suspended below a shield as a badge may be, though they may be embodied in accessory design in a suitable way. That is to say, that only those decorations should hang below the shield which actually have a pendent character and hang from collars, ribbons, and so forth, while stars may decorate panels, be enclosed in tracery, or be employed in any other way that is not unsuitable to their naturally appliqué character.

The Order of the Thistle has a Collar composed of thistles alternating with a badge made of four sprigs of the ancient rue interlaced, the whole being enamelled in the proper colours. Depending from the centre thistle of the collar is the Badge, a star of eight points bearing the figure of St. Andrew supporting his white cross. His gown is green and the surcoat purple, and he stands on a mount of green. When not used with the collar the Jewel hangs from the dark green ribbon that is worn over the left shoulder. Fig. 171 from the series at Alloa House shows a method of treating the collar in gesso photographed before painting. The star of the order consists of a silver St. Andrew’s cross having rays issuing from its angles and bearing in the centre a thistle within a circle of green enamel, that is edged with gold and bears in golden letters the motto, “Nemo me impune lacessit.” It is this circle and motto that are placed round the shields of the knights of the order and sometimes with the collar in addition.

Fig. 171.—Shield with Collar of the Order of the Thistle. Arms of John, sixth Earl of Mar, K.T. Gesso, before painting. Geo. W. Eve.

The Knights of the Order of St. Patrick surround their arms with the sky-blue circle of that order inscribed with the motto, “Quis separabit,” and the date MDCCLXXXIII. The Collar is composed of roses and harps alternately, tied together with knots of gold. The roses are double and are white within red, and red within white alternately, like those of the Garter collar. In the centre is an imperial crown ensigning a harp from which hangs the badge of gold, oval in shape, and surrounded with a wreath of shamrocks which encloses the circle of light blue enamel on which is the motto and the date MDCCLXXXIII in golden letters. Within the circle is the cross of St. Patrick, Gules on a field Argent, surmounted with a trefoil slipped and with each of its leaves charged with an imperial crown, Or. The star is of eight points, the perpendicular and horizontal rays being larger than the diagonal ones, and bears the device within a motto circle exactly similar to those of the badge, but without the shamrock wreath. These are the three principal orders which form a group that is somewhat apart from the rest.

In the foregoing orders consisting, as was customary in earlier times, of a Grand Master and of Knight Companions ranking equally among themselves, the amount of insignia associated with their arms is unimportant as a mark of rank, the simplest being equally efficacious heraldically with the more elaborate. In the case, however, of orders which are divided into classes, the different parts of the insignia have acquired a special importance as indications of rank within the order which must be very carefully observed.

Taking the Order of the Bath as typical, the lowest rank, that of Companion (C.B.), is shown by suspending the badge below the shield. The next grade, Knight Commander (K.C.B.), in addition to the suspended badge, encircles the shield with the motto of the order. And finally, a Knight Grand Cross (G.C.B.) adds to the preceding the collar of the order round his arms, outside the motto circle. It must be noted that the order has two divisions, civil and military, whose badges differ. The rest of their insignia is identical, except that a wreath of laurel accompanies the motto circle of the Military Division.