plane. (Art. 43, et seq.) Join V C. (Art. 31.) A parallel zy, to VC, or V W, (viz. to the vanishing line of a plane of rays containing N,) will be the direction (Obs. 6) of the shadow of N z. Another example is the line wv, vanishing on the line A B, somewhere between H and B. Join its vanishing point to V, (Art. 31,) and draw v u, parallel to the vanishing line so found, of a plane of rays containing the given line ww. Lastly, vw, determined by the ray V w, (Obs. 6,) will be the shadow of v w.

Fig. 5 further exemplifies Prob. III. by the representation of the shadows thrown upon three successive planes from the divisions of a window frame. First, upon the ground plane; the shadows of il, gh, &c. perpendicular to the picture vanish with the lines them selves in the centre C of the picture, (Obs. 2,) and have their lengths (Obs. 6) determined by rays Vi, VI, Vg, Vh; while the parallels to the picture in the direction ig, th, &c. have their shadows vanishing in L. (Obs. 14.) Secondly, on the plane that vanishes in A B the shadows of parallels to i, and g h, vanish at the point where V W, the vanishing line of their plane of rays, (Def. 1,) cuts A B, the vanishing line of the plane receiving their shadow. (Obs. 14.) Thirdly, on the plane in the distance, parallel to the picture, the shadow of the line /h at o, will be parallel to the line itself. (Obs. 2 and 14.)

Other examples are given in the foreground of fig. 5 which seem to require no further observation here, and which the student. after the rules above given, may work out for himself, with the exception, perhaps, of the following. The shadow of a plumb line is cast upon a cylinder. Find p, the seat of any point in the plumb line on the ground plane. (Prob. 1.) Draw p L and rj for the shadows of the plumb line on the ground plane and on a plane vanishing in A B. (Obs. 14.) Construct a circular section of the cylinder per pendicular to the ground plane. Divide the section by a diameter representing a parallel to the ground plane, and also by perpendi culars crossing it between 9 and s. Draw q H, s H, and between them draw the representations of any number of parallels crossing px. At the points where they cross pr raise perpendiculars; as also between qands on qs. Let these perpendiculars meet a like number of parallels to s H on the upper surface of the cylinder. The points thus found above p r will show the curve formed by the shadow of the plumb line.

Note (B.)

The science of reflections has reference to three particulars. 1. the reflecting surface. 2. The object to be reflected. 3. The reflected image of the object. Respecting the first of these particulars, we have only space for some observations concerning polished plane surfaces. Respecting the other two particulars we shall treat of them as likewise forming portions of planes.

Obs. 16. The three planes thus distinguished will have a common line of intersection, e a (plate x. fig. 5) or b a. (Plate xii. fig. 3.) 1. The reflecting plane, as c d e. (Fig. 2.)

2. The plane that contains the object to be reflected, as a I Ob, (fig. 3,) or ab de. (Plate x. fig. 5.)

3. The plane that contains the reflected image of the object, as aghe, (fig. 5,) or ai o b. (Plate xii. fig. 3.)

Obs. 17. Their common line of intersection, when parallel to the picture, as co, pq, or rs, (plate x. fig. 5,) will be parallel to W X, the vanishing line of their reflecting plane. (Art. 143.) But when not parallel to the picture, their intersection will vanish where the three vanishing lines, or any two of them, cross each other. (Art. 145.) Thus the common intersection ea, (fig. 5,) vanishes at C where the vanishing lines W CX, (of the reflecting plane,) V CT, (of the plane that contains the object to be reflected,) and HCR (of the plane for constructing the reflection) cross each other.

to the pic

ture.

cy, which is also parallel to the picture. Prolong cy at its extremity Noe e, (c being the seat of y,) till ef equals ey. cf will be the reflection of cy. In the same manner is to be found ok, the reflection of o z. Or, let it be required to find the reflection of y z, also a parallel to the picture, but having another direction. Find e, the seat (Def. 8, Prob. I.) of y, and o, the seat of z. Find also the reflection cf and ok of ey and oz. Then join ƒk. The reflection of y z will be fk.

Obs. 21. Let it next be required to find the reflection of the line iu, (fig. 5,) perpendicular to the picture. Find the points j and t, by the method above stated, (Obs. 20,) and join jt, which will be the reflection sought.

Or, let the reflection be required of r c, inclined to the picture. Draw C m, which obtains m for the seat of r. (Prob. I. No. 2.) Make mn equal to m x. Then join n c. The reflection of cx will be en. In like manner, oj reflects o i, o reflects ou, &c.

Obs. 22. The angle of inclination here made by a plane with the reflecting surface may be made either from or towards the spectator. It is from the spectator when it lies beyond a plane passing through the line of intersection, and perpendicular to the reflecting surface. Thus the angle u o C (fig. 5) made by the plane cu with the surface of the water, is an angle from the spectator; because the plane cu is beyond the plane e y zo, perpendicular to the water.

с

On the other hand, the angle of inclination made with the reflecting surface is towards the spectator when made on this side of the perpendicular plane. Thus the angle x cm, made by the plane with the reflecting plane, is towards the spectator; zo being on this side of cy z o.

Observe a separate example (on the intersection p q) of a reflection with the angle towards the spectator; and another (on the intersection rs) with the angle from the spectator.

Obs. 23. The vanishing line of the plane to be reflected, and that of the plane containing the reflection, will lie on different sides of W X, the vanishing line of the reflecting surface. If the vanishing line, for example, of cou (the plane to be reflected) crosses B A at B; the other vanishing line of the plane cot (containing the reflection) will cross B A at A. Remark also that the angle graduated at A must be of the same number of degrees as the angle graduated at B. In other words, the central distance C A must equal the central distance C B. (Art. 24, 148.) So also of the plane a io c, reflected in the plane njo c, the vanishing line of the former cressing at A must have a central distance A C equal to that of the latter crossing at B on the opposite side of W X.

Obs. 24. The next division of the problem refers to planes of Intersection which the intersection with the reflecting plane is perpendicular to perpendien the picture.

2. Let ea be the common intersection, (Obs. 17,) which being given perpendicular to the picture, must vanish at C. (Art. 73.) Make at C, upon the reflecting surface, and with its vanishing line WX, any given angle of incidence VCW. Next, on the other side of W X, (beneath, as it were, or within the reflecting surface,) make the angle of reflection WCR VCW, the angle of incidence. V C, or V T, is the vanishing line of a bde, the plane to be reflected, and R H the vanishing line of ga eh, the plane containing the image or reflection.

Obs. 25. The reflection here of lines parallel to the picture must be drawn parallel to the vanishing line of the plane containing the image. Thus, as dis parallel to VT, so e h, the reflection of e d must be parallel also to the vanishing line of its plane, namely, parallel to RH. Likewise, ag must be parallel to RH, just as a b, its prototype, is parallel to V T. Prolong, therefore, any portion of de, or of ba, till they touch the reflecting surface, and through the point of contact e, or a, draw eh parallel to R H, and equal to e di and a g, another parallel, equal to a b. These will be the reflections respectively of e d and ab.

Obs. 26. For the reflection of lines perpendicular to the picture, as db; find the seat of b, (Prob. 1. Def. 8,) and make 1g (Obs. 24) equal to lb. 9 will reflect to the furthest extremity of b d. In the same manner, find h, the reflection of the nearest extremity. Draw gh, for the reflection of b d required.

!. Let the intersection of the reflecting plane and of the plane containing the object to be reflected be parallei, (Obs. 18,) as c o, (plate x. fig. 5,) to the picture, and let the reflection be required of a line

Obs. 27. For the reflection of any other lines in the plane baed, draw an occasional base or parallel to e d and V T through the given lines, and let their vanishing points, be noted on VT, the vanishing line of their plane. Next, find their dividing points, and bring each line to its proper full length on the base. Prolong the base to meet the line ea of intersection, and draw through the point of contact a corresponding base or parallel to eh and RH, on the plane vanish

(Art. 82, 88) Thus may the reflection of the hexagon be obtained or of any other diagram.

Observe here, that the angle bal made by the plane abde with the reflecting plane is made towards the spectator. (Obs. 22.) An

other example is added of a plane inclined from the spectator which contains another diagram. For constructing the diagram consult Art. 98, and the Ist Book of Euclid, Prop. 47.

Obs. 28. The concluding division of this problem refers to planes of which the intersection with the reflecting plane is inclined to the picture.

3. Let ur (plate ii. fig. 3) vanishing at P, and, consequently, inclined to the picture, be the common intersection, and let PC be the vanishing line of the reflecting plane. Let here a similar process be pursued as with the intersection perpendicular to the picture, (Obs. 24,) only let the given angle of incidence, and, consequently, of reflection, be made at P. It will be found that the plane gr contains any reflected image of the plane br; hr of ar; and fr of dr. The plane jre u is a portion of the reflecting surface per pendicular to the picture.

Obs. 29. PROBLEM V. Given a reflecting plane inclined to the picture, (as, for example, a plane mirror or other polished plane surface,) to find the reflection of any given line.

It will be necessary to consider this problem also in its reference to the different positions of the common intersection. (Obs. 18.) 1. When the latter is inclined; 2. when it is parallel to the picture. The third case of a perpendicular intersection belongs exclusively to the preceding problem, since all vanishing lines that pass through the centre of the picture must belong to planes perpendicular to the picture. (Art. 65. Also see below, Obs. 32 and 34.)

1. When the common intersection, as ab, (plate xii. fig 3,) is inclined to the picture. Let H he its vanishing point; HM the vanishing line of the reflecting plane c de; and MW the vanishing line of the plane of measure. (Art. 146, 182.) It is required to find the reflections (represented on the plane cd e) of the line L 6, and its plane La; of Ob and its plane O a; of Kb and its plane Ka; of Nb and its plane N a; and of Pb and its plane P a.

Obs. 30. To begin with the reflections of the plane L a perpendicular to the reflecting plane. Let Lb be produced to its vanishing point W, the vanishing point of all perpendiculars to any plane vanishing in H M. (Art. 196.) The angle Lb S or M6 W represents the angle made by the plane La with the reflecting plane, viz, an angle of 90° as measured on the vanishing line of the plane of measure, viz. 25° on one side of R, and 65° on the other side, 256590. For determining the length of braise first the direct distance at R, (Art. 130,) then draw an occasional base EC (through b parallel to M W) of the plane of measure. On this base mark off by means of the dividing point (Art. 85, 98) of /W (to be found between W and M) a portion, as N 6, equal to the original of L b, as seen at the distance of 6. From 6C take off a portion equal to b N. A line from the same dividing point will cut b W in 7; and b 7 will be the reflection of b L.

Obs. 31. In the vanishing line of the plane La, observe that two points are found: H, the vanishing point of the common intersection with the reflecting plane; and W, the vanishing point of intersection with the plane of measure. Join HW. It will be the vanishing line of the plane La, (Art. 31,) which contains on one side of a b the objects to be reflected, and on the other their reflected images.

Obs 32. For the reflexes of the planes O a and K a inclined towards the spectator, (Obs. 22,) let the plane O a make an angle represented by Sb O or Mb D of 47° (viz. 25 + 22 = 47) with the reflecting plane. It is required to find the reflexion of O b. For this purpose count the same number, 47, of degrees along the vanishing line of measure on the side of M opposite to MD. Add 47° to 25°, the number marked at M. (Art. 111.) The result will be the vanishing point marked 72 (or 47 + 25 = 72) of the line of reflexion b o.

Again, let the plane K a make with the reflecting plane an angle, represented by Kb S, of 69 degrees, namely 25 + 44 = 69. To 25 degrees marked at M add 44° marked at the vanishing point of K. For the vanishing point of the reflection let 69 be added to 25. 69+25 94. Out of this number, ninety are disposed of in the parallel C E. The remaining four degrees must therefore be reckoned along M W on the same side of R with the vanishing point of K b. Subtract 4° borrowed from that side. Consequently 904, or 86°, will be the number graduated on RW produced for the vanishing point of bk, the reflection of b K.

Obs. 33. The lengths of the reflections bo and b k may be determined by drawing lines O W and K W, representing perpendiculars to the reflecting plane. (Obs. 30.) OW will cut bo in o, and K W will cut bk ink, and thus determine the lengths.

Obs. 34. Respecting the vanishing lines of the four planes O a and its reflection o a; K a and its reflection ka: observe that they pass through the two vanishing points analogous to those mentioned in Obs. 31, namely, through H, the vanishing point of common intersection, and through the other vanishing point (in MW)

of intersection with the plane of measure. A straight line through Hand D, for example, will be the vanishing line of the rectangle a I Ob.

Obs. 35. For the reflection of the remaining planes Na and Pa inclined from the spectator. (Obs. 22.) Let the plane N a make with the reflecting plane an angle of 65° represented by Nb M. Here it is evident that Nb must coincide with E C. The 25° marked at M being added to 65° will complete the right angle. (25 +65 90.) To find the reflexion of N b; note the difference between 25 and 65, or the point marked 40° on the other side of R. This point is the vanishing point of bn, the reflection of b N.

Again, let the plane P a be reflected, making an angle of 21 degrees with the reflecting plane; namely, vanishing at a point graduated 46°, between which number and 25° (marked at M) there must be that difference. (Art. 111.) To find the reflection. Deduct, on the opposite side of M, 21 degrees, (25 214,) and bp vanishing at the point marked 4° will be the reflection representing, by M 6 p, an angle equal to the angle of incidence, or 21 degrees.

Obs. 36. The lengths of the reflections b n and bp are deter mined as in Obs. 33, by representations of perpendiculars drawn to W through N and P.

Obs. 37. Respecting the vanishing lines of the four planes Na and its reflection na; Pa and its reflection p a; they are drawn through H in the same manner as those in Obs. 33. Only observe that the vanishing line of Na (drawn likewise through H) must be parallel to EC, (Obs. 35,) and consequently will not cross M W, the vanishing line of measure. The plane Na is, in fact, perpendicular to any plane vanishing in H R. (Art. 153.)

Obs. 38. Corollary. The above construction, supposing the points OK LNP to be points in a curve, would suffice for deli neating the reflection of the curve by a line through the corresponding points okinp. The reflection, for example, of any arch of a bridge, might be obtained by adapting to Prob. 1. an operation similar to that just stated, and by making the reflecting plane or ode, represent a smooth surface of water perpendicular to the picture, and with HR for its vanishing line.

Notes on Painting,

Obs. 39. The other remaining division of this problem regards Intersection the position of the common intersection as parallel (Obs. 29) to the parallel to the perspecpicture. tive plane.

2. Let co (plate x. fig. 5) be the common intersection; (Obs. 17 ;) A the centre of the picture; and WX the vanishing line of a reflecting plane which is inclined to the picture. It is required to find the reflection (as in Prob. IV. Obs. 20 and 21) of a line (as cy) perpendicular to the reflecting plane; or parallel, as y z; or inclined, as x c.

Obs. 40. The reflection of cy is obtained in the same manner as that of b L. (Obs. 30. plate xii. fig. 3.) Since A (plate x. fig. 5) is given as the centre of the picture, the line cy will vanish in the vanishing point of all perpendiculars to the plane that vanishes in WX; and its reflection eƒ (as a continuation of c y) will vanish in the same point with cy.

Obs. 41. The reflection of yz may also be obtained as before, (Obs. 20,) by first ascertaining the reflections of cy and oz, (Obs. 39,) and then joining by a line, as ƒk, the reflections ƒ and k, of its extremities y and z.

Obs. 42. The reflection x c (Obs. 39) inclined to the picture and to the reflecting plane may also be obtained as before, (Obs. 21,) by prolonging it to its vanishing point A; and ascertaining its angle as graduated on B A, the vanishing line of the plane of measure. (Art. 82, 148.) Then on the other side of WX reckon from C, the centre of that vanishing line, towards B an equal number of degrees to those marked between A and C. If B be the point so found, join Bc, which produced to n will give cn for the reflection of cr.

Obs. 43. From want of space we here use a diagram from plate x. fig. 5, in illustration of these remarks, (Obs. 39,) instead of one more geometrically correct. It must be plain to the geometrical reader that yf, vanishing at some point in B A produced, cannot be parallel to B. A. Our student, however, will not find it difficult, nor we trust unprofitable, to reconstruct the diagram for himself.

Obs. 44. An example for Prob. V. will be found (plate x. fig. 1, No. 6) in ug hp, which forms the reflection of the pyramid u ghe: (Art. 213:) provided that the base ugh of the pyramid coincides with the reflecting plane which vanishes in a line drawn through U parallel to g h.

μ

Other examples may be drawn also from plate x. (See fig. 1, Nos. 5, 7, and 8) If dabc (No. 5) be supposed the base of a four-sided pyramid placed on a polished surface that vanishes in HL, this will be an example for Prob. IV. and a eb will be the reflection of the pyramid. Also if a similar division be made of the dodecahedron No. 7, (Art. 213,) its upper half with the apex a will

Light and Shade. Obs. 45. If from any point of a reflex two straight lines be drawn to the boundary of the enlightened surface causing that reflex, and if a third line be drawn as a base to complete the triangle, the degree of light at the reflex will be greater in proportion as the angles at the base approach nearer to an equality. Let L (plate vii. fig. 7) be the sun's light passing through an opening in the dome AK RX B: let Z V be a line drawn on an enlightened surface: and suppose the light on K to be transmitted between equal angles, or angles nearly equal. In this situation it is evident (on account of the two triangles on the same base ZV) that the reflex K will have a greater inequality between its angles K ZV and K V Z at the base, than the reflex R has between its angles RZ V and RV Z. Consequently, the point R will receive more light than the point K: and the reflex at X with the angles at Z and V, equal to each other, will be most luminous. Also the point R being nearer the enlightened body than K will be brighter. (Da Vinci, cap. 80.)

Obs. 46. Reflexes when double are brighter than when single. Let L, for example, (fig. 6,) be a luminous body, LP and LU direct reflexes; P and U parts illumined by L: D and G parts of the same bodies illumined by the reflexes; L P G a simple reflex; LPD and LUD a double reflex; the simple reflex G is formed by the enlightened body P T, and the double reflex D by the two enlightened bodies S T and TU. Hence additional brightness at D, while any shadow of that double reflex will be so thin as to be scarcely visible; being found between the incident light, and that of the reflex PD, UD. Da Vinci, cap. 83. (The letter G, at the extremity of the parallel to ▲ U through P, has been inadvertently omitted in the plate.)

Obs. 47. Of various reflexes the most powerful comes from the least distance. (Cap. 78. 124.) Obs. 48. The darkness of the ground receiving a reflex (whether that darkness be made by the local colour of the ground, or from its being in shade) causes a sensible difference in the brightness of the reflex. If the reflex be cast ou a light or bright ground it will not appear to impart much light, but when cast on a dark and shady ground, will be more distinctly visible in proportion to the depth of shade receiving it. (Cap. 82. 86.)

Colour.-Obs. 49. When a reflex from a coloured surface falls

on another surface of the same colour, the latter becomes more vivid. Thus in the folds of drapery the local colour is deeper and more vivid where light is reflected by one part of a fold upon any other part. The reflexes, in like manner, of the human skin, are of a deeper and redder carnation, when in the vicinity of other carnations. (Cap. 81. 125.) The same appearances are given by reflexes from one object upon any other separate object of the same colour. Suppose L (plate vii. fig. 7) a light, Z V a body directly illuminated by it; X another body, out of the reach of L, and only receiving light from Z V, which is supposed of a red colour. In this case the light communicated from Z V, deriving its hue from the local colour of the body, will tinge with red the opposite body X: so that if X were of a red colour before, its redness will now be heightened and rendered much brighter than the red of Z V; but supposing X to have been yellow before, then a colour will result which partakes of both. (Cap.

117. 125.)

Obs. 50. Where different coloured reflexes having the same degree of light are cast upon any colourless surface, the latter will receive its deepest tinge from the nearest reflex, and will receive likewise various additional tints from the others proportioned to their nearness. The object, therefore, reflecting its colour with the greatest vigour upon an opposite body is that which has no colour near it, but of its own kind; and on the contrary of all reflexes, that produced by the greatest number of objects of different colours will be the most dim and confused. (Cap. 86. 124.) This phenomenon may be thus illustrated. Let 'P (plate vii. fig. 6) be a yellow colour reflected upon the point D of the spherical interior B G D A, and let the blue colour U have its reflex upon the same point D. By the mixture of these two colours in D the reflex will be converted into a green, if the ground be white. (Cap. 85.) For a white surface is better disposed than any other for the reception of a coloured reflex. (Cap. 123.)

Obs. 51. But variations in reflexes are caused not only by the local colour of the reflecting surface, but also of the body receiving the reflex. These two local colours mingle and form a third. Thus suppose the spherical interior B X RA be of a yellow colour, and the object Z V blue, and let X be the point where a reflex sent from Z V strikes upon BXRA, the point X in this case will become green.

Obs. 52. All reflected colours, and colours of reflexes, are less vivid than coloured surfaces which receive light from self-luminous bodies; in the same degree as the force of reflected rays must be weaker than of original or primitive rays. (Cap. 87.)

Obs. 53. A reflex from a dim or obscure body upon another of a colourless obscure is scarcely perceptible; while on the contrary, a reflex from the latter upon the former communicates very sensibly both light and colour. (Ibid.)

Obs. 54. Shadow produces similar appearances. A coloured reflex upon a shadowed surface is brighter and more distinguishable in proportion to the depth of shadow. (Ibid.)

Note (D.)

ing was adopted, which, though well calculated to give the Painter "From the foundation of the Venetian school a mode of proceed a greater promptness of execution, a more commanding dexterity of hand, and a more chaste and lively colouring than is to be found in the artists of the Roman or Florentine schools, was also the means of introducing a want of correctness, and a neglect of purity in their outline. Their method was to paint every thing without the prepa ration of a drawing; whereas the Roman and Florentine Painters never introduced a figure of which they had not studied and prepared a model or cartoon. Following the system of his countrymen, Titian painted immediately from Nature; and possessed of a correct eye, attuned to the harmony of effect, he acquired a style of colouring tation, he was little sensible of the select beauty of form, or the perfectly conformable to truth. Satisfied with this identity of imiadaptation of that characteristic expression, so essential to the higher order of Historic Painting. In his works of that description, if we look for the fidelity of the Historian, he will be found, like other artists of his Country, little scrupulous in point of accuracy. He propriety of the costume, nor the accessories best suited to the subneither presents us with the precise locality of the scene, the strict ject, attributes so estimable in the works of those Painters who consulted the best models of antiquity.

Discourse,) seem to have looked at Nature for different purposes; Raffaelle and Titian, says Sir Joshua Reynolds, (in his eleventh they both had the power of extending their view to the whole; but one looked only for the general effect as produced by form, the other as produced by colour. We cannot, he adds, entirely refuse to Titian the merit of attending to the general form of his object as well as colour; but his deficiency lay, a deficiency at least when he is compared with Raffaelle, in not possessing the power, like him, of cor recting the form of his model by any general idea of beauty in his own mind. In his colouring, he was large and general, as in his design he was minute and partial: in the one he was a genius, in the other not much above a copier.

"As Titian," continues Mr. Northcote, "contented himself with a faithful representation of Nature, his forms were fine when he found them in his model. If, like Raffaelle, he had been inspired by a genuine love of the beautiful, it might have led him to have courted it in selected Nature, or in her more attractive charms as found in the polished graces of the antique. The purity of his design thus united to the enchanting magic of his colouring, would have stamped him the most accomplished master the Art has produced." Northcote, Life of Titian, vol. ii. p. 60.

Note (E.)

"In Titian's pictures the tones are so subtly melted, as to leave no intimation of the colours which were on his palette, and it is perhaps in that respect that his system of colouring differs so essentially from that of Rubens, who was accustomed to place his colours one near the other with a slight blending of the tints. He observed that in Nature every object offered a particular surface or character, transparent, opaque, rude, or polished; and that these objects differed in the strength of their tints and in the depth of their shadows. In this diversity he discovered the generality and perfection of his Art. In imitating Nature, he took, as Mengs observes, the principle for the whole. His fleshy tones, composed in Nature chiefly of demitints, he represented totally by demitints, while he divested altogether of demitints those parts in which few were discernible in Nature. By these means he arrived at an indescribable perfection of colou ing." Ibid. p. 65.

HERALDRY.

aldry. HERALDRY, which, from its connection with PAINTING, may be introduced in this portion of our Work, ition, may be defined "The Art of blazoning and assigning Coat Armour;" or, more diffusely, "The theory of classifying, adapting, and explaining certain conventional distinctions impressed on shields and military accoutrements." The definition of this artificial Science is not a little important in the investigation of its History. Inaccuracy in this respect has led to the most discordant opinions regarding its origin. Not to mention the famous Book of St. Albans, which gravely informs us that the Angels are "in cote armoris of knowledge," and the Pedigree of the Saxon Kings in the College of Arms, London, which exemplifies the bearings of Noah and Japhet,* the enthusiastic but authoritative Gwillim removes the origin of his favourite Art only one generation lower, making it proceed from "Osyris, surnamed Jupiter the Just, son to Cham, the cursed son of Noah, called of the Gentiles Janus ;"t whilst Mr. Hallam, following many respectable authorities, places the invention of armorial blazonry in the XIIth century. Scarcely any two professed writers on the subject are agreed on the precise point whence to date their Histories. But this variation is not in reality any argument of obscurity in the matter. Each author has assumed an epoch in the History of Heraldry as its original; but, with the exception of those epochs, the progress of the Art has been an imperceptible transition from the simplest principles to its present intricate and scientific construction. We shall not, therefore, attempt to assign any exact period to its invention, but prefer tracing the Science of Arms from the first rude emblems of warlike adventurers and independent settlements to the knightly cognizances of the Court and the Tourney.

jan

iry.

HISTORY OF THE SYSTEM.

I. Personal Heraldry.

We cannot with Gwillim extract from Diodorus Siculus the arms of Osiris, Hercules, Macedo, and Anubis; nevertheless, we think it highly probable that significant devices on shields and military implements were in early use among the Egyptians. The practice of adorning the shield with some expressive device must be almost as ancient as the weapon itself; this, the nature of Man warrants us to conclude; but there are some circumstances which might give the Egyptians an inclination to extend and improve a practice founded in human propensity. The recent discoveries in Hieroglyphics, while they have proved the existence of a Hieroglyphical alphabet, have also, in part, confirmed the popular opinion, and shown that many of the Egyptian characters were truly symbolical. The high antiquity of those symbols is admitted; and it is quite

incredible that, employed as they were in every variety History. of appropriation, they should have been absent from the decorations of the Egyptian hero; while the early civilization of Egypt will lead us to expect a proportional superiority in the ornamental Arts.

Among the earliest opinions respecting Heraldry, Jewish we may here notice the celebrated tradition of the Heraldry. Rabbins, respecting the Standards of the Hebrew Tribes. That the Tribes of Judah, Ephraim, Dan, and Reuben, were distinguished by peculiar ensigns is positively asserted in the Pentateuch.* The Rabbinical writers inform us that these were banners respectively charged with the figures of a lion, an ox, an eagle grasping a serpent, and a man. But this opinion has been rejected for the soundest reasons. There are no traces of any such distinctions either in the Bible or in any authoritative History. The tendency of the Jews to idolatry, and their late converse with animal objects of adoration in Egypt, render it extremely improbable that any thing of the kind should have been permitted. The whole policy of the Jewish Law is so strongly opposed to the very principles of Heraldic decoration, that the History of that People is certainly the very last wherein we might hope to collect materials for the illustration of the present subject. We think that there is much probability in the conjecture of many commentators, that the Standards of those Tribes bore simply their several names; especially as the Maccabees are supposed to have borne in their banner the letters from which they derived their name,, the initials of unto thee, O Lord?"

66

Who among the gods is like * מי כמך באלהים יהוה

Among the Greeks, however, with whom no similar Greek obstacles subsisted, Heraldry had early attained a consi- Heraldry. derable perfection; to them, according to Herodotus, the Art was derived from the Carians.† We use the term Heraldry advisedly. The Art, it is true, had no connection with those public functionaries from whom it afterwards received its name, and who were as well known and as distinctly recognised in the Heroic times as in the days of Chivalry. It was not till the establishment of Colleges of Arms (institutions subsequent to the latest periods assigned for the origin of Heraldry) that such a connection entirely subsisted. But the Art of adorning military habiliments with expressive devices was in high advancement among the Greeks. If the bearings of the Seven Chiefs who besieged Thebes, so gorgeously blazoned by Eschylus and Euripides, be traditional, the enthusiastic Heralds of the XVIIth and earlier centuries would scarcely exaggerate the antiquity of their Art. But, without settling the question of the existence of a Trojan war, which our sceptical Age has mooted, we can scarcely deny to the Poems of Homer and Hesiod a very considerable antiquity; and the shields of Achilles and Hercules, so elaborately described by those Poets, prove that, in their time at least, the Art had made important progress.‡ The principles of ornament, however, adopted in these

Heraldry. shields, are much less methodical and appropriate than those which apply to the shields of the Antithebans; a circumstance which may lead us to conjecture that the latter are the invention of the later Poets, who lived in an improved condition of the Art. The transition from these to the present refined theory of Heraldry is so easy, that it will not be impertinent to state them. According to Eschylus, Tydeus bore in his shield a full moon, surrounded with stars; Capaneus, a naked man holding a lighted torch, with the motto IIPH ПОAIN; Eteocles, an armed man ascending a ladder placed against a tower, with the motto OYA' AN APH M' EKBAлOI ПYPгOMATON; Hippomedon, Typhon, vomiting smoke and fire, surrounded by serpents; Parthenopaus, a sphinx, holding a man; and Polynices, Justice leading an armed man, with this motto:

ΚΑΤΑΞΩ Τ'ΑΝΔΡΑ ΤΟΝΔΕ ΚΑΙ ΠΟΛΙΝ
ΕΞΕΙ ΠΑΤΡΩΙΑΝ ΔΩΜΑΤΩΝ Τ' ΕΠΙΣΤΡΟΦΑΣ.

Euripides assigns somewhat different appointments to his heroes. According to his enumeration, Parthenopaus exhibited his mother Atalanta chasing the Ætolian boar; Hippomedon, the figure of Argus; Tydeus, the figure of Prometheus, holding in his right hand a torch; Polyneices, the horses of Glaucus; Capaneus, a giant bearing a city on his shoulders; and Adrastus, a hydra of 100 heads, carrying the Thebans off their walls. The shield of Amphiaraus, according to both authors, had no device. Without urging the argument from tradition, and supposing the Poets had no authority for their devices, beyond what fancy, aided by the customs of their own time, suggested, (a supposition certainly somewhat exceeding what might be fairly allowed) we have here a proof of a very considerable advance in Heraldry so early as 450 years before the Christian Era. A principal difference between this and the more modern system appears to be, that, in the former, colour is an unimportant circumstance, in the latter, essential. The devices on ancient shields were, indeed, most commonly expressed in relief on the metal; although Virgilt mentions the picti scuta Labici, concerning whom our want of information is to be much regretted, as the learned Poet most probably wrote from authentic tradition. Another material distinction is the absence in ancient Heraldry of every thing like ordinaries, which form so extensive a department of the new. But with respect to the hereditary property of Arms, this has not always been observed even since the acknowledged existence of Heraldry, as may be seen in the case of the last two Earls of Chester, the two Quincies, Earls of Winchester, and the two Lacies, Earls of Lincoln; no positively hereditary bearings have been found in England before Henry III.'s time; while in some instances, something like hereditary devices may be found among the Ancients, as we shall presently observe. And the assumption of Arms for a peculiar object is not confined to ancient Heraldry, since Stephen, King of England, changed the leopards into Sagittaries, on account of his landing when the Sun was in that Sign.

We have remarked here that the shield of Amphiaraus was blank. Eschylus and Euripides concur in representing this as the effect of his modesty, which

"Amphiaraus, (as Pindarus the Theban Poet affirmeth,) in his expedition to Thebes, bare in his shield a painted dragon." Gwillim, sec. 1. ch. i. Th's author is more loquacious than correct. Perhaps he alludes to Pyth. viii, 66, where this emblem is assigned to Aleman.

En. vii. 796.

would not anticipate a precarious victory. Indeed the History emblems of all his companions in arms had reference to future glories. But, in some instances, heroes more prudently appealed to Memory rather than Hope, and where this was the practice, a maiden shield betokened an undistinguished warrior. Thus the youthful Helenor is designated by Virgil parmâ inglorius albâ ;* and this sentiment is in strict accordance with the usages and opinions of Chivalry.† The plain shield of Camilla‡ was an emblem of purity; nor was this at all at variance with the ideas received at a more advanced period of the Art. But the instance which, above all others, seems to approximate the characters of ancient and modern Heraldry is to be found in the devices granted by Alexander to his followers, with an especial provision that the same should not be borne by any other person throughout his Empire.

Nor was the Crest unknown to antiquity, and it Ancient arose as naturally as the impress of the shield. A plain crests. ridge of rough horsehair, which has been proved by experience an excellent defence against sabre cuts, was the first appendage to the helmet. This was afterwards doubled, tripled, and even quadrupled ;§ whence the pvpaleia, quasi-pipalcía, as Grammarians say, although this etymology may be disputed. Something was necessary to unite this covering to the surface of the hel met, and fancy and art soon contrived to make this supplement ornamental and emblematical. Gems and Statues furnish us abundantly with the forms of animals, &c. used in this manner. Turnus is described by Virgil as bearing for his Crest a Chimæra; and Corvinus, in the Poem of Silius,¶ exhibits on his helmet a Crow. We may here observe more fully that the armorial bearings of the Ancients were occasionally here- Hered ditary. This Crow was ostentans ales proavitæ insignia bearing pugnæ; the Story of Io appeared on the shield of her descendant Turnus ;* ** the Swan's plume on the helmet of Cupavo indicated his descent from Cycnus:†† and the Hydra on the shield of Aventinus declared him the progeny of Hercules. The family device was frequently impressed on the hilt of the sword.§§ There is a much litigated passage of Suetonius which seems to have been very properly adduced by those who support the antiquity of Heraldry. Velera familiarum insignia, says the Historian, speaking of Caligula, nobilissimo cuique ademit; Torquato torquem; Cincinnato crinem: Cn. Pompeio, stirpis antiquæ, Magni cognomen. Nisbet strangely explains away this direct and positive language. "It imports no more," he observes, “than that Caligula, being displeased with the grandeur of these families, commanded to take from their Images or Statues, as from that of Torquatus, the collar or chain that he took from one of the Gauls, and from that of Cincinnatus the tuft of hair which that brave Roman