alone considered. So that in the case of a grant to a bishop the crest is granted for his descendants in a separate clause, being depicted by itself in the body of the patent apart from the emblazonment "in the margin hereof," which in an ordinary patent is an emblazonment of the whole achievement.
Fig. 28.—Taken from the tomb of Geoffrey Plantagenet, Count of Anjou.
A similar method is usually adopted in cases in which the actual patentee is a woman, and where, by the limitations attached to the patent being extended beyond herself, males are brought in who will bear the arms granted to the patentee as their pronominal arms. In these cases the arms of the patentee are depicted upon a lozenge at the head of the patent, the crest being depicted separately elsewhere.
Whilst shields were actually used in warfare the utilitarian article largely governed the shape of the artistic representation, but after the fifteenth century the latter gradually left the beaten track of utility and passed wholly into the cognisance of art and design. The earliest shape of all is the long, narrow shape, which is now but seldom seen. This was curved to protect the body, which it nearly covered, and an interesting example of this is to be found in the monumental slab of champlevé enamel, part of the tomb of Geoffrey Plantagenet, Count of Anjou (Fig. 28), the ancestor of our own Royal dynasty of Plantagenet, who died in the year 1150. This tomb was formerly in the cathedral of Le Mans, and is now in the museum there. I shall have occasion again to refer to it. The shield is blue; the lions are gold.
Other forms of the same period are found with curved tops, in the shape of an inverted pear, but the form known as the heater-shaped shield is to all intents and purposes the earliest shape which was used for armorial purposes.
The church of St. Elizabeth at Marburg, in Hesse, affords examples of shields which are exceedingly interesting, inasmuch as they are
