Reverting to the various shapes of shield, however, the degeneration is explained by a remark of Mr. G. W. Eve in the able book which he has recently published under the title of "Decorative Heraldry," in which, alluding to heraldic art in general, he says (p. 235):-- "With the Restoration heraldry naturally became again conspicuous, with the worst form of the Renaissance character in full sway, the last vestiges of the Gothic having disappeared. Indeed, the contempt with which the superseded style was regarded amounted to fanaticism, and explains, in a measure, how so much of good could be relinquished in favour of so weak a successor." Later came the era of gilded embellishments, of flowing palms, of borders decorated with grinning heads, festoons of ribbon, and fruit and flowers in abundance. The accompanying examples are reproduced from a book, Knight and Rumley's "Heraldry." The book is not particularly well known to the public, inasmuch as its circulation was entirely confined to heraldic artists, coach-painters, engravers, and die-sinkers. Amongst these handicraftsmen its reputation was and is great. With the school of design it adopted, little or no sympathy now exists, but a short time ago (how short many of those who are now vigorous advocates of the Gothic and mediæval styles would be startled to realise were they to recognise actual facts) no other style was known or considered by the public. As examples of that style the plates of Knight and Rumley were admittedly far in advance of any other book, and as specimens of copperplate engraving they are superb. Figs. 30, 31, and 32 show typical examples of escutcheons from Knight and Rumley; and as the volume was in the hands of most of the heraldic handicraftsmen, it will be found that this type of design was constantly to be met with. The external decoration of the shield was carried to great lengths, and Fig. 31 found many admirers and users amongst the gallant "sea-dogs" of the kingdom. In fact, so far was the idea carried that a trophy of military weapons was actually granted by patent as part of the supporters of the Earl of Bantry. Fig. 30, from the same source, is the military equivalent. These plates are interesting as being some of the examples from which most of the heraldic handicraft of a recent period was adapted. The {66} official shield eventually stereotyped itself into a shape akin to that shown in Fig. 32, though nowadays considerable latitude is permitted. For paintings which are not upon patents the design of the shield rests with the individual taste of the different officers of arms, and recently some of the work for which they have been responsible has reached a high standard judged even by the strictest canons of art. In Scotland, until very recently, the actual workmanship of the emblazonments which were issued from Lyon Office was so wretchedly poor that one is hardly justified in taking them into consideration as a type. With the advent into office of