Читать книгу Fictitious & Symbolic Creatures in Art - John Vinycomb - Страница 3

“One chief source of illustration is to be found in the most brilliant, and in its power on character, hitherto the most effective of the Arts—HERALDRY.”

Ruskin,

“Relation of Wise Art and Wise Science.”

Heraldry is par excellence the science of symbols. A pictorial device is subject to no exact or regular law, provided it carries its meaning with it. Heraldry, on the contrary, insists on the observance of certain definite and easily understood rules constituting it a science, by the observance of which any one acquainted with heraldic language may, from a concise written description (or blazon as it is termed), reconstruct at any time the symbol or series of symbols intended, and with perfect accuracy; for a heraldic emblem once adopted remains unchangeable, no matter with what amount of naturalness or conventionality it may be done, or with what quaintness or even grotesqueness it may be treated; the symbol remains intact. “A lion rampant,” “a dragon,” or any other heraldic figure is, therefore, a fixed and immutable idea, and not to be confounded with any other, no matter what the style of artistic or decorative treatment it may receive.

Notwithstanding the evident intention everywhere in heraldry to be symbolic, in attitude as well as in tinctures, we find the greatest errors and absurdities constantly perpetrated. To many it seems as if it was not considered essential to acquire a knowledge of the rudiments of the science. Heraldry is a living language, and when the attempt is made to express it without proper knowledge the result can only be unmitigated nonsense. By inattention to those principles which regulate the attitude, the tinctures, and the disposition of every part of an armorial achievement, discredit is brought upon the subject, which should fall upon the head of the ignorant designer alone. No matter what heraldic position of an animal may be blazoned (though it admits of only one interpretation), we find the most unwarrantable latitude frequently taken by otherwise skilful artists in depicting it. The designer becomes a law unto himself, and it is posed and treated in a way to suit the fancy of the moment. A lion is only a lion to him, and it is nothing more. To the true herald it is very much more. As a mild instance, see the unkind treatment meted out to the supporters of the Royal Arms. The lion and unicorn are both “rampant,” and the head of the lion is turned towards the spectator (termed guardant). Not content to be represented in the regulation positions, they will be found depicted in most strange and fantastic attitudes not recognised in heraldry—not supporting or guarding the shield, which is their special function. At the head of the Times newspaper they are represented playing at hide and seek round the shield; elsewhere we see them capering and prancing, or we find them sitting, like begging dogs, as if ashamed of themselves and their vocation.

I may here quote from a most admirable work: “That the decorative beauty of heraldry, far from being that of form and colour alone, was also an imaginative one depending much on the symbolic meaning of its designs, there can be no doubt.... Early Christian Art was full of symbols, whose use and meaning were discussed in treatises from the second century onwards. By the eleventh it had become systemised and ranged under various heads,—Bestiaria for beasts, Volucaria for birds, and Lapidaria for stones. It permeated the whole life of the people in its religious uses, and entered romantically into the half-religious, half-mystical observances of chivalry, the very armour of the valiant knight being full of meanings which it was his duty to know.”1

The Symbolism of Attitude or Position

It must be evident to every one who has given any thought to the subject that a definite idea is meant to be conveyed to the mind by the attitude in which an animal is depicted; and such figures are not mere arbitrary signs, like the letters of the alphabet, which of themselves convey no meaning whatever. “A lion rampant” is, as the term suggests, a lion in the act of fighting, rearing on his hind legs to meet his antagonist. He is therefore depicted with wildly tossed mane, staring eyes, and guly mouth; his muscular limbs and distended claws braced up for the combat betoken the energy and power of the noble brute. How different is the idea conveyed by the lion statant in the firm majesty of his pose, calmly looking before him; or couchant, fit emblem of restful vigilance and conscious power, prepared on the instant alike to attack or defend.

Should any reasons be needed to enforce the necessity of adhering strictly to the heraldic law in which attitude plays such an important part, it may be needful only to refer to one or two examples, and cite as an instance in point the noblest of all created beings, and ask whether, of the many acts in which imperious man himself may be heraldically portrayed, the action or position in which he is to be depicted should not indicate distinctly the idea that is to be associated with the representation? whether vauntingly, like the old kings,—

—attributes of his power,—or as a bishop or saint in the act of benediction,—kneeling in prayer as on mediæval seals,—the three savage men ambulant on the shield of Viscount Halifax,—or the dead men strewn over the field on the seal of the city of Lichfield—in each the primary idea is man, but how different the signification! It will therefore be understood that the particular action or posture, or any of the various forms in which real or imaginary creatures may be blazoned in heraldry, gives the keynote to its interpretation, which, in this respect, is nothing if not symbolic.

It will be seen that to interpret the meaning implied in any particular charge, the tinctures, as well as the attitude, must be considered. These, taken in combination with the qualities or attributes we associate with the creature represented, indicate in a threefold manner the complete idea or phase of meaning intended to be conveyed by the composition, and may be thus formulated:

(1) The Creature.—The primary idea in the symbol is in the particular being represented, whether real or fictitious, as a man, a lion, an eagle, a dragon, &c., of the form and accepted character for some particular quality or attribute of mind or body, as fierceness, valour, fleetness, &c.

(2) Attitude.—The various attitudes or positions in which it may be depicted in heraldry, each denoting some special meaning, as rampant, sejant, dormant, &c.

(3) Tincture.—Whether blazoned proper (that is, according to nature) or of some of the heraldic tinctures, as or (gold), gules (red), azure, vert, &c., each tincture, according to the old heralds, bearing a particular and special signification.

Tinctures in armorial devices were, however, not always introduced on these scientific principles or adopted from any symbolic meaning, but as arbitrary variations of colour for distinction merely, and as being in themselves equally honourable; colour alone in many instances serving to distinguish the arms of many families that would otherwise be the same. Hence the necessity for accuracy in blazoning.

Guillam lays down some general rules regarding the symbolic meaning by which all sorts of creatures borne in arms or ensigns are to be interpreted, and by which alone a consistent system can be regulated. “They must,” he says, “be interpreted in the best sense, that is, according to their most generous and noble qualities, and so to the greatest honour of their bearers.... The fox is full of wit, and withal given wholly to filching for his prey. If, then, this be the charge of an escutcheon, we must conceive the quality represented to be his wit and cunning, but not his pilfering and stealing;” and so of other beasts. Even in wild and ruthless animals and fictitious creatures, symbolic heraldry delights in setting forth their most commendable qualities, as fierceness and courage in overcoming enemies, though they may also possess most detestable qualities.

In like manner all sorts of peaceable or gentle-natured creatures must be set forth in their most noble and kindly action, each in its disposition and that which is most agreeable to nature, rather than of an opposite character. Heraldic art thus stamps a peculiar note of dignity for some particular respect in the emblematic figures it accepts, as for some special use, quality or action in the thing depicted; and this dignity or nobility may have a twofold relation, one betwixt creatures of divers kinds, as a lion or a stag, a wolf and a lamb; the other between beings of one and the same kind, according to their various attitudes or positions in which they may be represented, as a stag courant or at speed, and a stag lodged or at bay; a lion rampant and a lion coward—one will keep the field, the other seek safety in flight, just as one attitude conveys a different signification from another.

The Heraldic Spirit—Effective decorative Quality essential in Heraldry

It will be observable that in the hands of a capable designer imbued with the true heraldic spirit, all objects, animate and inanimate, conform after their kind to decorative necessities, and assume shapes more or less conventional, and, as far as is consistent with effective display of the charge, are made to accommodate themselves to the space they must occupy. Fierce and savage beasts are made to look full of energy and angry power, while gentle-natured creatures are made to retain their harmless traits. In a monster of the dragon tribe, strong leathern wings add to his terrors; his jaws are wide, his claws are strong and sharp; he is clothed in impenetrable armour of plates and scales, his breath is fire and flame, lightning darts from his eyes, he lashes his tail in fury; and all the while the artist is most careful so to spread the creature out on shield or banner that all his powers shall be displayed at once.

Whatever liberty the artist may take in his interpretation of the form of bird, beast, or monster, there is, however, a limit to his licence beyond which he may not go. He may not alter the recognised symbolic attitude, nor change the tincture; he is scarcely at liberty to add a feature. He may curl the mane of his lion, fancifully develop its tongue and tail, and display its claws in a manner for which there is little or no authority in nature; but if he add wings, or endow it with a plurality of heads or tails, it instantly becomes another creature and a totally different symbol.2 A wise reticence in treatment is more to be commended than such fanciful extravagance.

The early artists and heralds, in their strivings to exaggerate in a conventional manner the characteristics of animals for their most effective display, appear to have reached the limits of which their art was capable, and important lessons may be gained from their works. With the extended knowledge of natural history, and the advanced state of art at the present day, decorative and symbolic heraldry should take a leading place in the twentieth century, as in the words of Ruskin, it has been “hitherto the most brilliant” and “most effective of the Arts.”

1

“Decorative Heraldry,” by G. W. Eve.

2

The above notes on heraldic treatment are largely adapted from the admirable works on Decorative Art, by Louis F. Day.