thumb|The German [[Hyghalmen Roll was made in the late 15th century and illustrates the German practice of repeating themes from the arms in the crest (Roll of arms).]]
Heraldry (also known as armoury) is a discipline relating to the design, display, study and transmission of armorial bearings. A full heraldic achievement may include a coat of arms on a shield, helmet and crest, together with accompanying devices, such as supporters, badges, banners, and mottoes. Heraldic achievements are formally described in a blazon.
Although the use of various devices to signify individuals and groups goes back to antiquity, both the form and use of such devices varied widely, as the concept of regular, hereditary designs, constituting the distinguishing feature of heraldry, did not develop until the High Middle Ages. It is often claimed that the use of helmets with face guards during this period made it difficult to recognise one's commanders in the field when large armies gathered together for extended periods, necessitating the development of heraldry as a symbolic language, but there is little support for this view. "the shorthand of history", and "the floral border in the garden of history". In modern times, individuals, public and private organisations, corporations, cities, towns, regions, and other entities use heraldry and its conventions to symbolise their heritage, achievements, and aspirations.
Related disciplines include vexillology (the study of flags), genealogy, and the studies of ceremony and rank.
History
Precursors
Various symbols have been used to represent individuals or groups for thousands of years. The earliest representations of distinct persons and regions in Egyptian art show the use of standards topped with the images or symbols of various gods, and the names of kings appear upon emblems known as serekhs, representing the king's palace, and usually topped with a falcon representing the god Horus, of whom the king was regarded as the earthly incarnation. Similar emblems and devices are found in ancient Mesopotamian art of the same period, and the precursors of heraldic beasts such as the griffin can also be found. The Greek and Latin writers frequently describe the shields and symbols of various heroes, and units of the Roman army were sometimes identified by distinctive markings on their shields. At least one pre-historic European object, the Nebra sky disc, is also thought to serve as a heraldic precursor.
Until the nineteenth century, it was common for heraldic writers to cite examples such as these, and metaphorical symbols such as the "Lion of Judah" or "Eagle of the Caesars", as evidence of the antiquity of heraldry itself; and to infer that the great figures of ancient history bore arms representing their noble status and descent. The Book of Saint Albans, compiled in 1486, declares that Christ himself was a gentleman of coat armour. These claims are now regarded as the fantasy of medieval heralds, as there is no evidence of a distinctive symbolic language akin to that of heraldry during this early period; nor do many of the shields described in antiquity bear a close resemblance to those of medieval heraldry; nor is there any evidence that specific symbols or designs were passed down from one generation to the next, representing a particular person or line of descent.
The medieval heralds also devised arms for various knights and lords from history and literature. Notable examples are the toads attributed to Pharamond, the cross and martlets of Edward the Confessor, and the various arms attributed to the Nine Worthies and the Knights of the Round Table. These too are readily dismissed as fanciful inventions, rather than evidence of the antiquity of heraldry.
<gallery class="center" style="center">
File:Narmer Palette serpopard side.jpg|Reverse of the Narmer Palette, circa 3100 BC. The top row depicts four men carrying standards. Directly above them is a serekh containing the name of the king, Narmer.
File:NAMA Mycènes bouclier 2.jpg|Fresco depicting a shield of a type common in Mycenaean Greece.
File:Hoplitodromos Staatliche Antikensammlungen 1471.jpg|Vase with Greek soldiers in armour, ca. 550 BC.
File:RMW - Legionärsschild.jpg|A reconstruction of a shield that would have been carried by a Roman Legionary.
File:Bodl Canon.Misc.378 roll159B frame28.jpg|alt=Shields from the "Magister Militum Praesentalis II". From the Notitia Dignitatum, a medieval copy of a Late Roman register of military commands.|Shields from the "Magister Militum Praesentalis II". From the , a medieval copy of a Late Roman register of military commands. However, it is likely the art on the shields are made to fit the time/age and not from the original.
File:Harold dead bayeux tapestry.png|The death of King Harold, from the Bayeux Tapestry. The shields look heraldic, but do not seem to have been personal or hereditary emblems.
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Origins of modern heraldry
thumb|upright=0.6|Enamel from the tomb of [[Geoffrey Plantagenet, Count of Anjou, one of the earliest depictions of modern heraldry.]]
The development of the modern heraldic language cannot be attributed to a single individual, time, or place. Although certain designs that are now considered heraldic were evidently in use during the eleventh century, most accounts and depictions of shields up to the beginning of the twelfth century contain little or no evidence of their heraldic character. For example, the Bayeux Tapestry, illustrating the Norman invasion of England in 1066, and probably commissioned about 1077, when the cathedral of Bayeux was rebuilt, depicts a number of shields of various shapes and designs, many of which are plain, while others are decorated with dragons, crosses, or other typically heraldic figures. Yet no individual is depicted twice bearing the same arms, nor are any of the descendants of the various persons depicted known to have borne devices resembling those in the tapestry.
Similarly, an account of the French knights at the court of the Byzantine emperor Alexius I at the beginning of the twelfth century describes their shields of polished metal, devoid of heraldic design. A Spanish manuscript from 1109 describes both plain and decorated shields, none of which appears to have been heraldic. The Abbey of St. Denis contained a window commemorating the knights who embarked on the Second Crusade in 1147, and was probably made soon after the event; but Montfaucon's illustration of the window before it was destroyed shows no heraldic design on any of the shields.
In England, from the time of the Norman conquest, official documents had to be sealed. Beginning in the twelfth century, seals assumed a distinctly heraldic character; a number of seals dating from between 1135 and 1155 appear to show the adoption of heraldic devices in England, France, Germany, Spain, and Italy. A notable example of an early armorial seal is attached to a charter granted by Philip I, Count of Flanders, in 1164. Seals from the latter part of the eleventh and early twelfth centuries show no evidence of heraldic symbolism, but by the end of the twelfth century, seals are uniformly heraldic in nature.
One of the earliest known examples of armoury as it subsequently came to be practiced can be seen on the tomb of Geoffrey Plantagenet, Count of Anjou, who died in 1151. An enamel, probably commissioned by Geoffrey's widow between 1155 and 1160, depicts him carrying a blue shield decorated with six golden lions rampant. He wears a blue helmet adorned with another lion, and his cloak is lined in vair. A medieval chronicle states that Geoffrey was given a shield of this description when he was knighted by his father-in-law, Henry I, in 1128; but this account probably dates to about 1175.
The earlier heraldic writers attributed the lions of England to William the Conqueror, but the earliest evidence of the association of lions with the English crown is a seal bearing two lions passant, used by the future King John during the lifetime of his father, Henry II, who died in 1189. Since Henry II was the son of Geoffrey Plantagenet, it seems reasonable to suppose that the adoption of lions as an heraldic emblem by Henry or his sons might have been inspired by Geoffrey's shield. John's elder brother, Richard the Lionheart, who succeeded his father on the throne as Richard I, is believed to have been the first to have borne the arms of three lions passant-guardant, still the arms of England, having earlier used two lions rampant combatant, which arms may also have belonged to his father. Richard I is also credited with having originated the English crest of a lion statant (now statant-guardant).
The origins of heraldry are sometimes associated with the Crusades, a series of military campaigns undertaken by Christian armies from 1096 to 1487, with the goal of reconquering Jerusalem and other former Byzantine territories captured by Muslim forces during the seventh century. While there is no evidence that heraldic art originated in the course of the Crusades, there is no reason to doubt that the gathering of large armies, drawn from across Europe for a united cause, would have encouraged the adoption of armorial bearings as a means of identifying one's commanders in the field, or that it helped disseminate the principles of armoury across Europe. At least two distinctive features of heraldry are generally accepted as products of the crusaders: the surcoat, an outer garment worn over the armour to protect the wearer from the heat of the sun, was often decorated with the same devices that appeared on a knight's shield. It is from this garment that the phrase "coat of arms" is derived. Also the lambrequin, or mantling, that depends from the helmet and frames the shield in modern heraldry, began as a practical covering for the helmet and the back of the neck during the Crusades, serving much the same function as the surcoat. Its slashed or scalloped edge, today rendered as billowing flourishes, is thought to have originated from hard wearing in the field, or as a means of deadening a sword blow and perhaps entangling the attacker's weapon.
Heralds and heraldic authorities
The spread of armorial bearings across Europe gave rise to a new occupation: the herald, originally a type of messenger employed by noblemen, assumed the responsibility of learning and knowing the rank, pedigree, and heraldic devices of various knights and lords, as well as the rules governing the design and description, or blazoning of arms, and the precedence of their bearers. As early as the late thirteenth century, certain heralds in the employ of monarchs were given the title "King of Heralds", which eventually became "King of Arms."
thumb|upright|Two [[pursuivants wearing tabards at the Garter Service, Windsor Castle, 2006: Peter O'Donoghue, Bluemantle Pursuivant (left), and Alastair Bruce of Crionaich, Fitzalan Pursuivant Extraordinary (right)]]
In the earliest period, arms were assumed by their bearers without any need for heraldic authority. However, by the middle of the fourteenth century, the principle that only a single individual was entitled to bear a particular coat of arms was generally accepted, and disputes over the ownership of arms seems to have led to gradual establishment of heraldic authorities to regulate their use. The earliest known work of heraldic jurisprudence, De Insigniis et Armis, was written about 1350 by Bartolus de Saxoferrato, a professor of law at the University of Padua. The most celebrated armorial dispute in English heraldry is that of Scrope v Grosvenor (1390), in which two different men claimed the right to bear azure, a bend or. The continued proliferation of arms, and the number of disputes arising from different men assuming the same arms, led Henry V to issue a proclamation in 1419, forbidding all those who had not borne arms at the Battle of Agincourt from assuming arms, except by inheritance or a grant from the crown.
Beginning in the reign of Henry VIII of England, the English Kings of Arms were commanded to make visitations, in which they travelled about the country, recording arms borne under proper authority, and requiring those who bore arms without authority either to obtain authority for them, or cease their use. Arms borne improperly were to be taken down and defaced. The first such visitation began in 1530, and the last was carried out in 1700, although no new commissions to carry out visitations were made after the accession of William III in 1689. There is little evidence that Scottish heralds ever went on visitations.
In 1484, during the reign of Richard III, the various heralds employed by the crown were incorporated into England's College of Arms, through which all new grants of arms would eventually be issued. The college currently consists of three Kings of Arms, assisted by six Heralds, and four Pursuivants, or junior officers of arms, all under the authority of the Earl Marshal; but all of the arms granted by the college are granted by the authority of the crown. In Scotland Court of the Lord Lyon King of Arms oversees the heraldry, and holds court sessions which are an official part of Scotland's court system.
Similar bodies regulate the granting of arms in other monarchies and several members of the Commonwealth of Nations, but in most other countries there is no heraldic authority, and no law preventing anyone from assuming whatever arms they please, provided that they do not infringe upon the arms of another. Heraldic devices were depicted in various contexts, such as religious and funerary art, and in using a wide variety of media, including stonework, carved wood, enamel, stained glass, and embroidery.
As the rise of firearms rendered the mounted knight increasingly irrelevant during the sixteenth and seventeenth centuries, and the tournament faded into history, the military character of heraldry gave way to its use as a decorative art. Freed from the limitations of actual shields and the need for arms to be easily distinguished in combat, heraldic artists designed increasingly elaborate achievements, culminating in the development of "landscape heraldry", incorporating realistic depictions of landscapes, during the latter part of the eighteenth and early part of the nineteenth century. These fell out of fashion during the mid-nineteenth century, when a renewed interest in the history of armoury led to the re-evaluation of earlier designs, and a new appreciation for the medieval origins of the art. In particular, a late use of heraldic imagery has been in patriotic commemorations and nationalistic propaganda during the nineteenth and early twentieth centuries. Since the late nineteenth century, heraldry has focused on the use of varied lines of partition and little-used ordinaries to produce new and unique designs.
Heraldic achievement
Elements of an achievement
A heraldic achievement consists of a shield of arms, the coat of arms, or simply coat, together with all of its accompanying elements, such as a crest, supporters, and other heraldic embellishments. The term "coat of arms" technically refers to the shield of arms itself, but the phrase is commonly used to refer to the entire achievement. The one indispensable element of a coat of arms is the shield; many ancient coats of arms consist of nothing else, but no achievement or armorial bearings exists without a coat of arms.
From a very early date, illustrations of arms were frequently embellished with helmets placed above the shields. These in turn came to be decorated with fan-shaped or sculptural crests, often incorporating elements from the shield of arms; as well as a wreath or torse, or sometimes a coronet, from which depended the lambrequin or mantling. To these elements, modern heraldry often adds a motto displayed on a ribbon, typically below the shield. The helmet is borne of right, and forms no part of a grant of arms; it may be assumed without authority by anyone entitled to bear arms, together with mantling and whatever motto the armiger may desire. The crest, however, together with the torse or coronet from which it arises, must be granted or confirmed by the relevant heraldic authority. and the former Republic of Bophuthatswana; in the United States, the arms of North Dakota use an escutcheon in the shape of a stone arrowhead, while the arms of Connecticut require a rococo shield; the Scottish Public Register specifies an oval escutcheon for the Lanarkshire Master Plumbers' and Domestic Engineers' Association, and a square shield for the Anglo Leasing organisation. and many different shapes have prevailed during different periods of heraldic design, and in different parts of Europe.
One shape alone is normally reserved for a specific purpose: the lozenge, a diamond-shaped escutcheon, was traditionally used to display the arms of women, on the grounds that shields, as implements of war, were inappropriate for this purpose. This distinction was not always strictly adhered to, and a general exception was usually made for sovereigns, whose arms represented an entire nation. Sometimes an oval shield, or cartouche, was substituted for the lozenge; this shape was also widely used for the arms of clerics in French, Spanish, and Italian heraldry, although it was never reserved for their use. In recent years, the use of the cartouche for women's arms has become general in Scottish heraldry, while both Scottish and Irish authorities have permitted a traditional shield under certain circumstances, and in Canadian heraldry the shield is now regularly granted.
The whole surface of the escutcheon is termed the field, which may be plain, consisting of a single tincture, or divided into multiple sections of differing tinctures by various lines of partition; and any part of the field may be semé, or powdered with small charges. The edges and adjacent parts of the escutcheon are used to identify the placement of various heraldic charges; the upper edge, and the corresponding upper third of the shield, are referred to as the chief; the lower part is the base. The sides of the shield are known as the dexter and sinister flanks, although these terms are based on the point of view of the bearer of the shield, who would be standing behind it; to the observer, and in all heraldic illustration, the dexter is on the left side, and the sinister on the right.
The placement of various charges may also refer to a number of specific points: nine in number according to some authorities, but eleven according to others. The three most important are fess point, located in the visual centre of the shield; the honour point, located midway between fess point and the chief; and the nombril point, located midway between fess point and the base.
The metals are or and argent, representing gold and silver, respectively, although in practice they are usually depicted as yellow and white. Five colours are universally recognised: gules, or red; sable, or black; azure, or blue; vert, or green; and purpure, or purple; and most heraldic authorities also admit two additional colours, known as sanguine or murrey, a dark red or mulberry colour between gules and purpure, and tenné, an orange or dark yellow to brown colour. These last two are quite rare, and are often referred to as stains, from the belief that they were used to represent some dishonourable act, although in fact there is no evidence that this use existed outside of fanciful heraldic writers. Perhaps owing to the realisation that there is really no such thing as a stain in genuine heraldry, as well as the desire to create new and unique designs, the use of these colours for general purposes has become accepted in the twentieth and twenty-first centuries. A more recent addition is the use of copper as a metal in one or two Canadian coats of arms.
There are two basic types of heraldic fur, known as ermine and vair, but over the course of centuries each has developed a number of variations. Ermine represents the fur of the stoat in its white winter coat, when it is called an ermine. It consists of a white, or occasionally silver field, powdered with black figures known as ermine spots, representing the black tip of the animal's tail. Ermine was traditionally used to line the cloaks and caps of the nobility. The shape of the heraldic ermine spot has varied considerably over time, and nowadays is typically drawn as an arrowhead surmounted by three small dots, but older forms may be employed at the artist's discretion. When the field is sable and the ermine spots argent, the same pattern is termed ermines; when the field is or rather than argent, the fur is termed erminois; and when the field is sable and the ermine spots or, it is termed pean.
Vair represents the winter coat of the red squirrel, which is blue-grey on top and white underneath. To form the linings of cloaks, the pelts were sewn together, forming an undulating, bell-shaped pattern, with interlocking light and dark rows. The heraldic fur is depicted with interlocking rows of argent and azure, although the shape of the pelts, usually referred to as "vair bells", is usually left to the artist's discretion. In the modern form, the bells are depicted with straight lines and sharp angles, and meet only at points; in the older, undulating pattern, now known as vair ondé or vair ancien, the bells of each tincture are curved and joined at the base. There is no fixed rule as to whether the argent bells should be at the top or the bottom of each row. At one time vair commonly came in three sizes, and this distinction is sometimes encountered in continental heraldry; if the field contains fewer than four rows, the fur is termed gros vair or beffroi; if of six or more, it is menu-vair, or miniver.
A common variation is counter-vair, in which alternating rows are reversed, so that the bases of the vair bells of each tincture are joined to those of the same tincture in the row above or below. When the rows are arranged so that the bells of each tincture form vertical columns, it is termed vair in pale; in continental heraldry one may encounter vair in bend, which is similar to vair in pale, but diagonal. When alternating rows are reversed as in counter-vair, and then displaced by half the width of one bell, it is termed vair in point, or wave-vair. A form peculiar to German heraldry is alternate vair, in which each vair bell is divided in half vertically, with half argent and half azure. All of these variations can also be depicted in the form known as potent, in which the shape of the vair bell is replaced by a T-shaped figure, known as a potent from its resemblance to a crutch. Although it is really just a variation of vair, it is frequently treated as a separate fur.
When the same patterns are composed of tinctures other than argent and azure, they are termed vairé or vairy of those tinctures, rather than vair; potenté of other colours may also be found. Usually vairé will consist of one metal and one colour, but ermine or one of its variations may also be used, and vairé of four tinctures, usually two metals and two colours, is sometimes found.
Three additional furs are sometimes encountered in continental heraldry; in French and Italian heraldry one meets with plumeté or plumetty, in which the field appears to be covered with feathers, and papelonné, in which it is decorated with scales. In German heraldry one may encounter kursch, or vair bellies, depicted as brown and furry; all of these probably originated as variations of vair.
Considerable latitude is given to the heraldic artist in depicting the heraldic tinctures; there is no fixed shade or hue to any of them.