Metal.—Although heraldry in metal work has so wide a range, from the massive bronze gate to the badge worked on a buckle, that it can only be partially dealt with in a general work, it is desirable to touch upon such parts of so large a subject as may help the student to find in early work good examples for present application. The value of the beautiful metal coffret, the jewel case of the Middle Ages, for instance, to the designing of the modern box, whether it be intended for a similar use or as the repository of a city’s thanks to a hero, is obvious. Even the obsolete weapons of early times may be made useful for their decoration, as admirable models for the making of trowels and other ceremonial implements whose after character as souvenirs of interesting occasions renders them suitable to, if indeed it does not demand, heraldic or symbolic decoration.
Of the large work the stately bronze doors of Henry VII’s Chapel in Westminster Abbey are among the most distinguished examples in their perforated design of work whose duty is rather that of a gate than a door. The panels are filled with badges in pierced work, the Beaufort Portcullis, Henry’s favourite badge, the Falcon and Fetterlock of York, the entwined roses of York and Lancaster, and the Royal Monogram, all telling their story in terms of beautiful metal work. Within is the monument with the effigies of the King and Queen recumbent on the tomb, while at the foot amorini support a shield of arms and at the corners are placed angels who once held crowns. Designed by Torregiano and executed by him or under his direction, it is without doubt the most splendid and complete heraldic metal work of its time and style in this country. Over the gates in the grille which surrounds the tomb are the Royal Arms, France and England quarterly with the dragon and greyhound supporters. The latter was the badge of the Nevilles, but the former, the Dragon of Cadwallader, was of especial value in the King’s eyes. It denoted his descent from Llewellyn and King Arthur, and perhaps he liked to feel that his greatness was not wholly dependent upon York and Lancaster. It had been flown, on a flag of the Tudor colours, argent and vert, on the field of Bosworth when the “White Boar” was slain and his crown was plucked from the hawthorn bush into which it had fallen and placed on the head of the victor. As badges, the dragon and the greyhound are repeated on the upper part all round the grill and in its parapet portcullises and roses alternate in the cuspings of the tracery. One of these dragons is shown in Fig. 173. Even the great candle sconces are Tudor roses placed horizontally, which support crowns whose crosses and fleur-de-lis form a decorative rim. As heraldic design the proportion of the parts, the vigour of the animals and the excellence of the spacing (and this may be especially seen in the supporters over the gates) leave nothing to be desired, while the general arrangement of the repeated heraldic motives in a decorative and yet reticent way is as admirable an example as can be found.
Fig. 177.—Dragon from the Grills in Henry VII’s Chapel, Westminster Abbey. Sixteenth Century.
Fig. 178.—Memorial Brass to Sir J. de Brewys, Wiston Church, Sussex.
Relief in metal work, cast or wrought, was very fully employed in the Renaissance monuments in place of the flatter treatment which preceded it. The mediaeval memorials more frequently employed the flat decoration done in Champlevé enamel fixed into the spaces of sculptured stone, or else the incised metal slab, somewhat similar in its method of production, which is known as a Monumental Brass. These are so comparatively numerous and of such admirable workmanship as to form one of the most interesting and instructive means of studying most that pertains to good heraldry. They were executed with great care, and afford examples of almost every kind of application of arms and badges to costume. Their wealth of heraldic lore is ably set forth in the works of Creeny, Waller, and others, and a single illustration must suffice here. Fig. 178 is the interesting brass to the memory of Sir John de Brewys, which is in many respects typical. The figure of the knight in his armour, his hands in an attitude of prayer, his head resting on his great helm, which bears his crest, and his feet on a couchant lion. Around him are shields of his arms six times repeated, and between them on little scrolls the words “Jesus” and “Mercy” many times occur.
The method of work is very similar to that of the Champlevé enamels, allowing for the difference in scale, the lines being boldly incised in the metal with chisel-like tools and then filled in with black or colour much after the way of the niello and enamel of the smaller and more precious work, a hard waxy composition being used as the colouring material.
Among the smaller metal work of domestic use, the firedogs, firebacks, hinges, locks and other parts of furniture, there is no lack of examples. The slabs of cast iron that are known as firebacks were very generally used as spaces for heraldry, the emphatic central position which they shared with the chimney-piece making them similarly appropriate. With the revival of dog-grates the accompanying fireback has also returned to favour, and a study of old castings therefore becomes additionally necessary. The Tudor examples are usually very excellent and bold in design, as in that illustrated here (Fig. 179), which displays the Royal Arms, probably of Henry VIII. In a form of work which is to be subjected to the action of fire, and even to be seen for the most part through lighted fuel, a design is obviously fitting in proportion to the degree of elimination of unessential detail that is effected, and in the case in point this has been most efficiently done. The arms, and the lower part of the centre generally, are much fireworn, but anything of this nature simpler and finer in pose and modelling than are the supporters it would be difficult to find, while the proportion and spacing of the whole composition leave nothing to be desired. Fig. 180 is another well-designed Tudor example, the arms being those of Queen Elizabeth, who sometimes used the greyhound for a supporter as her father had done, instead of the dragon.
