Transcriber's Notes

Changes to the text are limited to correction of typographical errors are listed at the end of the book. Minor corrections to formatting or punctuation are made without comment.

Most figures and plates include a link to a larger image, except for some whose size or quality does not warrant it. Illustrations and plates have been re-positioned to appear as close as possible following the first reference in the text, while retaining their numbered order. Plate XXX and Plate XXXI appeared in reverse order in the original book.

Text in blackletter font is presented as larger, bold and italic.

Footnotes have been numbered sequentially throughout the book and re-positioned at the end of chapters.

Links to Table of Contents; List of Illustrations; Index.

THE ARTISTIC CRAFTS SERIES
OF TECHNICAL HANDBOOKS
EDITED BY W. R. LETHABY

HERALDRY

BANNER OF THE ARMS OF KING GEORGE THE FIFTH.

HERALDRY FOR
CRAFTSMEN & DESIGNERS

BY W. H. ST. JOHN HOPE
LITT.D., D.C.L., WITH DIAGRAMS
BY THE AUTHOR AND
NUMEROUS ILLUSTRATIONS
COLOURED LITHOGRAPHS
AND COLLOTYPE REPRODUCTIONS
FROM ANCIENT
EXAMPLES

PUBLISHED BY JOHN HOGG
13 PATERNOSTER ROW
LONDON 1913

Printed by Ballantyne & Company Ltd London

EDITOR'S PREFACE

In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.

In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and, putting aside vain survivals, are prepared to say what is good workmanship and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on 'design' as a mere matter of appearance. Such 'ornamentation' as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach