Journal of the Society of Arts : Volume LI, No. 2623 [‎710r] (9/32)

JOURNAL OL THE SOCIETY 01 ARTS.
February 27, 19:3.]
307
some of the MSS., especially in such as
are of large extent or of frequent repetition
when economy of time and labour was desired.
When, however, circumstances allowed, time
and skill were not spared in the elaboration of
the work. It is of course for this reason that
the heraldry in architectural decoration is
generally found to be among the best work of
its period.
In the ceremonial shields, this elaboration is
very great. They were made of layers of
various materials, such as canvas, stretched on
wooden frames, and the changes were then
modelled in gesso, and afterwards gilt and
painted, or were fashioned in stamped leather
and pinned down to the surface. The spaces
were diversified with the beautiful tracery
known as diapering, and the whole result was
rich and beautiful in the extreme. Large
numbers of these shields were made in Italy
down to a late period. A most admirable
English example is the shield at Canterbury
Cathedral, said to be that of the Black Prince.
Here the lions are admirably distributed, full
of power and life, and less extravagantly drawn
than those of John of Eltham at Westminster
Abbey, but they lack something of leonine
character. The Jleur de Its of France are
beautifully free and graceful, and though so dis
similar in shape to the lions, are equally well
designed to occupy their spaces and equally
well proportioned to them. The whole work,
which is so excellent an example now of some
of the best qualities of heraldic design, has
suffered from the wear of the centuries, but
when it was uninjured must have been superb.
The lack of leonine character in the lions
might naturally be expected when it is remem
bered that they were the descendants of
generations of copies and, therefore, were not
consciously generalised from objects seen by
the artist. Even when he did see a lion his
acquired ideas were too strong for him, so that
one in a 13 th century book of sketches, though
noted in the margin as “ drawn from the quick,”
is very like its patternlike fellows.
Whether the treatment was simple or elabo
rate, however, its breadth of effect and decora
tive quality were nearly always conspicuous.
These various methods, both satisfactory in their
way, are of special interest to those who re
quire A booklet formed of a single gathering of nested bifolia. historic sanction to a choice of treatment,
in opposition to the opinion that, as certain
methods of work, or works of a certain period are
good, they are, in addition, perfect and every
thing else is wrong. So, when a flat treatment, in
h ly rmony or contrast with surrounding decora
tion seems desirable, the armorials may be
done flatly, and when on the other hand a
more elaborate treatment seems fit, modelling
in relief or any other suitable means of
decorative effect maybe employed. I he old
work itself, full of variety and freedom, teaches
us how to look at the subject without pedantry,
but not without knowledge. It teaches the
right of individual treatment combined with
selection, and illustrates in a measure the
essentially artistic principles taught to Kip
ling’s primaeval ballad-maker by his totem,
“ There are nine and sixty ways of composing tribal lays,
And every single one of them is right.”
It is not meant, however, that ignorant and
reckless scribbling is right. Order as well as
freedom is necessary, and this can only be-
secured by a study of the subject from all
points of view.
The early treatment of the crest, helm, and
mantling will also amply repay study. Being
made of light material, and having its weight,
which was still considerable, supported by the
shoulders on which the helm rested, the crest
was of conspicuous size and is so represented.
In early times it is said to have been one of the
privileges of knighthood, and this would'
additionally explain its emphasis. The helm
was usually that known as the great helm, to-
distinguish it from the helmet, basinet or other
form of head armour. The latter, having a
visor or front which opened, and a movable'
neck, came into use in the 15 th century to-
meet the desire for lightness and mobility in
actual battle, and thenceforward crests and-
the great helms that bore them were reserved
for the tournament and other military solem
nities. There was another especially practical
reason for this disuse. It had been found
that a crest was a dangerous ornament in
actual battle, for at close quarters it served as
an excellent handle by which to pull down the
wearer’s head. King Stephen is said to have
been taken prisoner in this manner. The
m a ntling, which was at first quite simple,
scon became of the greatest value as an
element of composition, and the importance
of its free possibilities of line was quickly
recognised. From a mere representation of
the helm drapery, it thenceforth developed
through various forms until it became in many
instances similar to the contemporary archi
tectural tracery, when, as in the 15 th century
carvings, it surrounded the shield and orna
mented the surface of the panel in a very
complete and beautiful way.
By the Tudor time heraldry had ceased to be