The Handbook to English Heraldry

by Charles Boutell

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]

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.