Heraldry as art: An account of its development and practice, chiefly in EnglandEve, G. W. (George William)
History
Heraldry as art: An account of its development and practice, chiefly in England
Eve, G. W. (George William)
Heraldry -- Great Britain
has become one of the supporters of the Duke of Norfolk. The actual
recognized use of these accessories appears to have begun at the end of
the fourteenth century; and to have become firmly established in the
following one.
[Illustration: FIG. 161.--Seal of Edmond Beaufort, Duke of Somerset.]
[Illustration: FIG. 162.--Seal of William Lord Hastings. Fifteenth
Century.]
The idea that supporters originated in fantastically dressed pages at
a tournament seems to have little or no foundation, and though there
may have been some such representation of already established devices,
later statements on the subject have probably been much over-valued.
Viollet-le-duc quotes an instance of a celebrated tournament, which was
held on May Day, 1346, at Chambery, when Amedee VI of Savoy had his
shield hung on a tree and guarded by two lions. The interesting fact is
mentioned that the shields, helms and crests of the knights who figured
at this tournament remained in the Church of St. Francis at Chambery,
until 1660 or thereabouts. Then the church was redecorated, and in the
disregard for antiquity, which we find so difficult to understand, the
relics of chivalry disappeared.
At first and for a considerable time the proportion of supporters to
the arms was very satisfactory, being bold without over emphasis, but
during the sixteenth and following centuries, a tendency to increase
their size was felt, and it is in this respect that modern sculptured
heraldry is lacking in balance, for to over-accentuate the supporters
is necessarily to minimize the arms, and so divert interest from the
central motive.
When the space to be filled by the achievement demands it, the pose of
the supporters may be varied to a considerable extent, but the rampant
position should always be adhered to when it is possible. Where, for
instance, the space is wide, as on a mantelpiece, there is no heraldic
objection to placing the figures in a couchant position on either side
of the shield, an arrangement that has been frequently resorted to in
Friezes.
Sanction is given to this freedom of treatment by the fact that it is
not usual in blazoning supporters to specify the heraldic attitude,
except in so far as it affects the pose of the head. That is to say,
if the head is in the normal position, in profile, the figure is
blazoned, for example, a lion Or. If it were guardant or regardant, the
fact would likewise be mentioned but not the general pose, rampant or
anything else.
In the fifteenth and sixteenth centuries the supporters were sometimes
employed in pairs, and sometimes singly, to hold up the banners of
arms that were represented in heraldic manuscripts or sculptured on
monuments, and they were then usually placed in a sejant position.
In some instances, more frequent in Italy and Germany than in this
country, supporters bear crested helms on their heads in a very curious
way. An English instance is on the seal of Edmond Mortimer, A.D. 1372,
mentioned by Boutell.
Public-domain text, read in full here on John Shaqi.
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