The Manual of Heraldry Part 26

VOIDER. A subordinate ordinary.

[Ill.u.s.tration: Voider]

Ex. Azure, a voider, argent.

[Ill.u.s.tration: Volant]

VOLANT. The French word for flying. It is used in Heraldry to express the same action.

VORANT. Swallowing or devouring: any animal, in a charge, devouring another creature.

[Ill.u.s.tration: Vorant]

Ex. Argent, a serpent crowned, or, vorant an infant.

VULNED. A word that signifies wounded, used in emblazonry to denote an animal wounded by another creature.

VULNING. Any creature in the act of wounding itself.

[Ill.u.s.tration: Vulning]

Ex. Argent, a pelican's head, erased, vulning.

WALLED. A term sometimes used in Heraldry. When an ordinary is edged or guarded by an embattled wall.

[Ill.u.s.tration: Walled]

Ex. Azure, on a pale, walled on each side with three battlements argent, an endorse gules.

WAVY. Curved lines, undulating like the waves of the sea.

[Ill.u.s.tration: Wavy]

Ex. Argent, the lower half of the s.h.i.+eld three bars wavy, azure.

WHITE. This word is only used to describe a plain fur. It is represented as argent.

WINGED. When the wings of a bird, or those of chimerical figures which are drawn with wings, are of a different tincture to their bodies, they are said to be winged. Thus, in the arms of the state of Venice there is a lion sejant guardant, winged or.

[Ill.u.s.tration: Wings erect]

WINGS ERECT. Wings are called erect when their long feathers point upwards.

[Ill.u.s.tration: Wings inverted]

WINGS INVERTED. When the feathers point downwards.

WIVERN. A chimerical animal, the upper part resembling a dragon.

[Ill.u.s.tration: Wivern]

Ex. Argent, a wivern, wings raised.

[Ill.u.s.tration: Wreath]

WREATH. A chaplet of two different-coloured silks wound round each other, and placed on the top of the helmet for the crest to rest upon.

In Heraldry it is usually drawn straight, as in the lower example.

CHAP. VIII.

HERALDRY IN CONNECTION WITH HISTORY, ARCHITECTURE, INTERIOR DECORATION, COSTUME, AMUs.e.m.e.nT, RELIGIOUS SOLEMNITIES, FUNERAL RITES, ETC.

In the preface to this Manual, we stated that Heraldry might be considered as the symbolic history of the n.o.bility of Britain, from the Conquest to the reign of Elizabeth. It would require a volume of far greater pretensions than this to enter fully upon the heraldic history of the peerage; but the a.s.sertion may be borne out by merely glancing at the supporters of the s.h.i.+elds containing the arms of the British monarchs during that period.

Supporters were not introduced in English heraldry previous to the reign of Richard II. The s.h.i.+eld of this luxurious monarch is supported on each side by an angel habited, and beneath the s.h.i.+eld by a white hart couchant, gorged and chained or, beneath a tree. The s.h.i.+eld of Henry IV., the founder of the Lancastrian dynasty, was supported on the dexter side by a swan, on the sinister side by an antelope, both gorged and lined or. The s.h.i.+eld of the gallant Henry V. was supported on the dexter side by a lion rampant guardant, crowned or; on the sinister side by an antelope, gorged and chained. Henry VI. had two antelopes as supporters to his achievement. The s.h.i.+eld of the gallant Yorkist Edward IV. is supported on the dexter side by a lion rampant argent, the tail pa.s.sed between his legs, and turned over his back; on the sinister by a white hart, and in some instances by a bull.

The supporters of the s.h.i.+eld of Richard III. were two boars rampant argent, tusked and bristled or. Henry VII., as a descendant of the Welch prince Cadwallader, a.s.sumed the red dragon as the supporter of the dexter side of his s.h.i.+eld; the sinister was supported by a greyhound argent, collared gules. The s.h.i.+eld of Henry VIII. was supported on the dexter side by a lion guardant, crowned or; on the sinister by a dragon gules. Edward VI. had the same supporters. Mary on her marriage with Philip of Spain, empaled the arms of Spain and England as baron and femme; the dexter side of the s.h.i.+eld was supported by the imperial eagle, the sinister by a lion rampant, crowned or. Queen Elizabeth rescued England from this degradation; the crowned lion rampant of England resumed his place as the supporter of the dexter side of the s.h.i.+eld, and the red dragon on the sinister. On the union of England with Scotland, the supporters of the royal arms were, on the dexter side a lion guardant, crowned or, on the sinister maned and unguled or, white unicorn, gorged and chained of the same.

The supporters of the royal arms have continued the same to the present time; and, as an emblem of union and strength, long may they continue.

The reader may easily read the vicissitudes and changes of dynasty in the great change of these emblems of support and dignity during the period of time that elapsed from the reign of Richard II. to James I.; and even the brief notice here given would enable the reader to determine the date of any building if the royal arms and supporters were placed within it.

Heraldry had taken too firm a hold of the minds of the higher cla.s.ses of society to escape the notice of the architects who were engaged by the sovereigns of England and by the wealthy barons, to erect those splendid ecclesiastical edifices that still exist as the architectural gems of Britain. Westminster Abbey teems with heraldic ornament, not only in the gorgeous chapel of Henry VII., but in those parts of the structure erected at a much earlier period. During the time when those styles of Gothic architecture prevailed that are now called the decorated and the perpendicular, the roof, the columns, the stained gla.s.s windows, the seats, altar, tombs, and even the flooring, were filled with emblazonment. A branch of art which our forefathers found so useful as an ornament to architecture cannot be beneath the notice of those who are desirous of treading in their footsteps.

Nor was heraldic ornament confined to architecture. It formed the grand embellishment of the interior of the palaces and baronial castles,

"The gorgeous halls which were on every side, With rich array and costly arras dight."

The canopies of state, the furniture and plate, were all emblazoned with the arms of the royal and n.o.ble owners. And even at the present day, heraldry is far more effective for interior decoration than the unmeaning Italian scroll-work that is subst.i.tuted for it. Some idea of the value of both may be formed by glancing at the interior decoration of the new Royal Exchange; and it is to be regretted that the s.h.i.+elds containing the arms of the different countries should not have occupied the walls, as an indication of the spot where the natives of those countries might be found; and that the compartments of the ceiling, if such ornament should be found in a building of this kind at all, should not be filled with the Italian floral scroll decoration.

In a preceding chapter of this Manual, the reader has been informed that the arms of a knight were emblazoned on the surcoat or outer garment that was worn over his armour, which was the origin of the term Coat of Arms. Heraldic emblazonment was plentifully strewed over the mantles of the n.o.bility when they a.s.sembled on state solemnities.

Nor was this ornament confined to the garments of males. Ladies delighted to appear in the cognizances of their lords, or in their own paternal bearings. Armourists that have amused themselves by treating on the curious and obsolete terms of heraldry, have supposed that the flanch and flasque represent that part of female attire which covered the body from the lower part of the neck to the waist, and that this part of the ladies' dress contained the heraldic bearing. Our contracted s.p.a.ce will not allow our indulging in fanciful research, nor would it benefit our readers if we did so. Suffice it that we have ample proof that heraldry formed the decoration of female attire.

Numerous instances may be found, either in stained gla.s.s, monumental bra.s.ses, or illuminated genealogies, of female figures bearing heraldic devices on their apparel. A married lady or widow had her paternal arms emblazoned upon the fore part of her vest, which by ancient writers is called the kirtle, and the arms of the husband on the mantle, being the outer and the most costly garment, and therefore deemed the most honourable. This is called bearing arms kirtle and mantle.

Our frontispiece contains two figures kneeling, taken from _Dallaway's Heraldry_. They are to be found in an illuminated pedigree of the Weston family. The male figure is that of Sir John de Weston, of Weston-Lizars, in Staffords.h.i.+re, and Isabel his wife, whose paternal name was Bromley. In three quarterfoils beneath the figures are s.h.i.+elds: the first contains the arms of Weston, sable, an eagle displayed or, with a lable argent, fretty gules; the centre s.h.i.+eld is argent, fretty gules; that under the lady is her paternal arms, quarterly per fess dancette, or and gules. The figure of the knight is represented in chain armour, over which is a surcoat, on which his arms are emblazoned. The vest or kirtle of the lady is formed entirely of the colours of her arms disposed quarterly, and parted horizontally, or fessways, by the line dancette. As both the knight and his lady appear together, each bears their own arms; but if either had been drawn separately, the arms of both would have appeared on one person; if on the male, they would have been empaled baron and femme upon the surcoat; if on the female, they would have appeared on kirtle and mantle. This lady is drawn with a kirtle only.

In some of the later monumental bra.s.ses, the arms on female figures are arranged differently; the arms of the baron appearing on the outside of the mantle, hanging over the dexter shoulder, the paternal arms of the femme on the lining of the mantle turned outwards on the sinister side of the figure.

The reader will find, by referring to the word TOURNAMENT in the Dictionary, that Heraldry formed the great embellishment of that animated and costly amus.e.m.e.nt: and that the attainment of heraldic honours was the only means of gaining permission to join in it, and by this means only was a pa.s.sport obtained to high society. These honours, which cost some trouble in gaining, could be lost by misconduct. Arms were forfeited for uncourteous demeanour, disregard of authority, falsehood, oppression, and ungentlemanly conduct; and there can be little doubt but, in a semi-barbarous age, when prowess in the field of battle was considered the highest acomplishment, that the dread of a blot on the escutcheon, or a reversal of the s.h.i.+eld of arms, restrained many a proud baron in his tyrannical proceedings to those beneath him, and tended to keep down the insolence of the upstart favourites of royalty. Heraldry tended to soften and polish the manners, and, by the introduction of the manufacture of silken housings tapestry, and carpeting, to increase the comforts and pleasures of society, and compelled those who were anxious to exhibit the insignia of gentility, to seek distinction by other means than rapine and violence.

The term Canting Heraldry frequently occurs in ancient and modern authors. It is a term of contempt and derision, applied to symbolic bearings that are a.s.sumed without the authority of the Heralds'

College. In many cases they allude to the name or occupation of the bearer: the motto is probably a pun upon the figures contained in the s.h.i.+eld, or some technical expression used by the parties in their agricultural or commercial pursuits.

No person, when heraldry was in its greatest repute, dared a.s.sume any cognizance or bearing without permission of the Earl Marshal or the Kings-at-Arms. Any individuals, who presumed, by a.s.sumption, to offend the laws of the court of honour, were liable to heavy fines and personal duresse, which in many instances have been rigidly enforced.