Part 51 (1/2)
[Ill.u.s.tration: FIG. 665.--Carriage Panel of Georgiana, Marchioness of Cholmondeley.]
Unofficial heraldry had sunk to an even lower style of art, and {399} the regulation heraldic stationer's types of s.h.i.+eld, mantling, and helmet are awe-inspiring in their ugliness.
The term ”mantle” is sometimes employed, but it would seem hardly quite correctly, to the parliamentary robe of estate upon which the arms of a peer of the realm were so frequently depicted at the end of the eighteenth and in the early part of the nineteenth centuries. Its popularity is an indication of the ever-constant predilection for something which is denied to others and the possession of which is a matter of privilege. Woodward, in his ”Treatise on Heraldry,” treats of and dismisses the matter in one short sentence: ”In England the suggestion that the arms of peers should be mantled with their Parliament robes was never generally adopted.” In this statement he is quite incorrect, for as the accepted type in one particular opportunity of armorial display its use was absolutely universal. The opportunity in question was the emblazonment of arms upon carriage panels.
In the early part of the nineteenth and at the end of the eighteenth centuries armorial bearings were painted of some size upon carriages, and there were few such paintings executed for the carriages, chariots, and state coaches of peers that did not appear upon a background of the robe of estate. With the modern craze for ostentatious unostentation (the result, there can be little doubt, in this respect of the wholesale appropriation of arms by those without a right to bear these ornaments), the decoration of a peer's carriage nowadays seldom shows more than a simple coronet, or a coroneted crest, initial, or monogram; but the State chariots of those who still possess them almost all, without exception, show the arms emblazoned upon the robe of estate. The Royal and many other State chariots made or refurbished for the recent coronation ceremonies show that, when an opportunity of the fullest display properly arises, the robe of estate is not yet a thing of the past. Fig. 665 is from a photograph of a carriage panel, and shows the arms of a former Marchioness of Cholmondeley displayed in this manner. Incidentally it also shows a practice frequently resorted to, but quite unauthorised, of taking one supporter from the husband's s.h.i.+eld and the other (when the wife was an heiress) from the arms of her family. The arms are those of Georgiana Charlotte, widow of George James, first Marquess of Cholmondeley, and younger daughter and coheir of Peregrine, third Duke of Ancaster. She became a widow in 1827 and died in 1838, so the panel must have been painted between those dates. The arms shown are: ”Quarterly, 1 and 4, gules, in chief two esquires' helmets proper, and in base a garb or (for Cholmondeley); 2. gules, a chevron between three eagles' heads erased argent; 3. or, on a fesse between two chevrons sable, three cross crosslets or (for Walpole), and on an {400} escutcheon of pretence the arms of Bertie, namely: argent, three battering-rams fesswise in pale proper, headed and garnished azure.” The supporters shown are: ”Dexter, a griffin sable, armed, winged, and membered or (from the Cholmondeley achievement); sinister, a friar vested in russet with staff and rosary or” (one of the supporters belonging to the Barony of Willoughby D'Eresby, to which the Marchioness of Cholmondeley in her own right was a coheir until the abeyance in the Barony was determined in favour of her elder sister).
”In later times the arms of sovereigns--the German Electors, &c.--were mantled, usually with crimson velvet fringed with gold, lined with ermine, and crowned; but the mantling armoye was one of the marks of dignity used by the Pairs de France, and by Cardinals resident in France; it was also employed by some great n.o.bles in other countries. The mantling of the Princes and Dukes of Mirandola was chequy argent and azure, lined with ermine. In France the mantling of the Chancelier was of cloth of gold; that of Presidents, of scarlet, lined with alternate strips of ermine and _pet.i.t gris_. In France, Napoleon I., who used a mantling of purple seme of golden bees, decreed that the princes and grand dignitaries should use an azure mantling thus seme; those of Dukes were to be plain, and lined with vair instead of ermine. In 1817 a mantling of azure, fringed with gold and lined with ermine, was appropriated to the dignity of Pair de France.”
The pavilion is a feature of heraldic art which is quite unknown to British heraldry, and one can call to mind no single instance of its use in this country; but as its use is very prominent in Germany and other countries, it cannot be overlooked. It is confined to the arms of sovereigns, and the pavilion is the tent-like erection within which the heraldic achievement is displayed. The pavilion seems to have originated in France, where it can be traced back upon the Great Seals of the kings to its earliest form and appearance upon the seal of Louis XI. In the case of the Kings of France, it was of azure seme-de-lis or. The pavilion used with the arms of the German Emperor is of gold seme alternately of Imperial crowns and eagles displayed sable, and is lined with ermine. The motto is carried on a crimson band, and it is surmounted by the Imperial crown, and a banner of the German colours gules, argent, and sable. The pavilion used by the German Emperor as King of Prussia is of crimson, seme of black eagles and gold crowns, and the band which carries the motto is blue. The pavilions of the King of Bavaria and the Duke of Baden, the King of Saxony, the Duke of Hesse, the Duke of Mecklenburg-Schwerin, the Duke of Saxe-Weimar-Eisenach, the Duke of {401} SaxeMeiningen-Hildburghausen, the Duke of Saxe-Altenburg, and the Duke of Anhalt are all of crimson.
In German heraldry a rather more noticeable distinction is drawn than with ourselves between the lambrequin (_Helmdecke_) and the mantle (_Helmmantel_). This more closely approximates to the robe of estate, though the _helmmantel_ has not in Germany the rigid significance of peerage degree that the robe of estate has in this country. The German _helmmantel_ with few exceptions is always of purple lined with ermine, and whilst the mantel always falls directly from the coronet or cap, the pavilion is arranged in a dome-like form which bears the crown upon its summit. The pavilion is supposed to be the invention of the Frenchman Philip Moreau (1680), and found its way from France to Germany, where both in the Greater and Lesser Courts it was enthusiastically adopted. Great Britain, Austria-Hungary, Spain, Portugal, and Wurtemberg are the only Royal Arms in which the pavilion does not figure. {402}
CHAPTER XXV
THE TORSE, OR WREATH
The actual helmet, from the very _earliest_ heraldic representations which have come down to us, would sometimes appear not to have had any mantling, the crest being affixed direct to the (then) flat top of the helmet in use.
But occasional crests appear very early in the existence of ”ordered”
armory, and at much about the same time we find the ”textile” covering of the helmet coming into heraldic use. In the earliest times we find that frequently the crest itself was continued into the mantling. But where this was not possible, the attaching of the crest to the helmet when the mantling intervened left an unsightly joining. The unsightliness very soon called forth a remedy. At first this remedy took the form of a coronet or a plain fillet or ribbon round the point of juncture, sometimes with and sometimes without the ends being visible. If the ends were shown they were represented as floating behind, sometimes with and sometimes without a representation of the bow or knot in which they were tied. The plain fillet still continued to be used long after the torse had come into recognised use. The consideration of crest coronets has been already included, but with regard to the wreath an a.n.a.lysis of the Plantagenet Garter plates will afford some definite basis from which to start deduction.
Of the eighty-six achievements reproduced in Mr. St. John Hope's book, five have no crest. Consequently we have eighty-one examples to a.n.a.lyse. Of these there are ten in which the crest is not attached to the lambrequin and helmet by anything perceptible, eight are attached with fillets of varying widths, twenty-one crests are upon chapeaux, and twenty-nine issue from coronets. But at no period governed by the series is it possible that either fillet, torse, chapeau, or coronet was in use to the exclusion of another form. This remark applies more particularly to the fillet and torse (the latter of which undoubtedly at a later date superseded the former), for both at the beginning and at the end of the series referred to we find the fillet and the wreath or torse, and at both periods we find crests without either coronet, torse, chapeau, or fillet. The fillet must soon afterwards (in the fifteenth century) have completely fallen into desuetude. {403} The torse was so small and unimportant a matter that upon seals it would probably equally escape the attention of the engraver and the observer, and probably there would be little to be gained by a systematic hunt through early seals to discover the date of its introduction, but it will be noticed that no wreaths appear in some of the early Rolls. General Leigh says, ”In the time of Henry the Fifth, and long after, no man had his badge set on a wreath under the degree of a knight.
But that order is worn away.” It probably belongs to the end of the fourteenth century. There can be little doubt that its twisted shape was an evolution from the plain fillet suggested by the turban of the East. We read in the old romances, in Mallory's ”Morte d'Arthur” and elsewhere, of valiant knights who in battle or tournament wore the favour of some lady, or even the lady's sleeve, upon their helmets. It always used to be a puzzle to me how the sleeve could have been worn upon the helmet, and I wonder how many of the present-day novelists, who so glibly make their knightly heroes of olden time wear the ”favours” of their lady-lovers, know how it was done? The favour did not take the place of the crest. A knight did not lightly discard an honoured, inherited, and known crest for the sake of wearing a favour only too frequently the mere result of a temporary flirtation; nor to wear her colours could he at short notice discard or renew his lambrequin, surcoat, or the housings and trappings of his horse.
He simply took the favour--the colours, a ribbon, or a handkerchief of the lady, as the case might be--and twisted it in and out or over and over the fillet which surrounded the joining-place of crest and helmet. To put her favour on his helmet was the work of a moment. The wearing of a lady's sleeve, which must have been an honour greatly prized, is of course the origin of the well-known ”maunch,” the solitary charge in the arms of Conyers, Hastings, and Wharton. Doubtless the sleeve twined with the fillet would be made to encircle the base of the crest, and it is not unlikely that the wide hanging mouth of the sleeve might have been used for the lambrequin. The dresses of ladies at that period were decorated with the arms of their families, so in each case would be of the ”colours” of the lady, so that the sleeve and its colours would be quickly identified, as it was no doubt usually intended they should be. The accidental result of twining a favour in the fillet, in conjunction with the pattern obviously suggested by the turban of the East, produced the conventional torse or wreath. As the conventional slas.h.i.+ngs of the lambrequin hinted at past hard fighting in battle, so did the conventional torse hint at past service to and favour of ladies, love and war being the occupations of the perfect knight of romance. How far short of the ideal knight of {404} romance the knight of fact fell, perhaps the frequent bordures and batons of heraldry are the best indication. At first, as is evident from the Garter plates, the colours of the torse seem to have had little or no compulsory relation to the ”livery colours” of the arms. The instances to be gleaned from the Plantagenet Garter plates which have been reproduced are as follows:--
Sir John Bourchier, Lord Bourchier. Torse: sable and vert. Arms: argent and gules.
Sir John Grey, Earl of Tankerville. Torse: vert, gules, and argent. Arms: gules and argent.
Sir Lewis Robsart, Lord Bourchier. Torse: azure, or, and sable. Arms: vert and or. [The crest, derived from his wife (who was a daughter of Lord Bourchier) is practically the same as the one first quoted. It will be noticed that the torse differs.]
Sir Edward Cherleton, Lord Cherleton of Powis. Torse: gules and sable.
Arms: or and gules.
Sir Gaston de Foix, Count de Longueville. Torse: or and gules. Arms: or and gules.
Sir William Nevill, Lord Fauconberg. Torse: argent and gules. Arms: gules and argent.
Sir Richard Wydville, Lord Rivers. Torse: vert. Arms: argent and gules.
Sir Henry Bourchier, Earl of Ess.e.x. Torse: sable and vert. Arms: argent and gules. [This is the same crest above alluded to.]
Sir Thomas Stanley, Lord Stanley. Torse: or and azure. Arms: or and azure.
Sir John Bourchier, Lord Berners. Torse: gules and argent. Arms: argent and gules. [This is the same crest above alluded to.]
Sir Walter Devereux, Lord Ferrers. Torse: argent and sable. Arms: argent and gules. [The crest really issues from a coronet upon a torse in a previous case, this crest issues from a torse only.]