In dealing with heraldry from the artist’s point of view, as a decorative subject which offers interesting scope for technical effort, it will not be necessary to go overmuch into the question of its origin, nor to elaborate its history beyond what is needed to give such knowledge of its methods as may help the doing of present work or the intelligent appreciation of the old. Nevertheless, the archaeological aspect of the subject, the conditions and rules of its existence, must also be carefully studied in order to ensure the correctness of the statement that heraldry makes and of which heraldic art is the expression.
As for its origin, we may safely say that heraldry, in its essence, began when man first used natural forms to symbolize, and ascribe to himself, those qualities—strength, courage, cunning—which he had full cause to recognize in the beasts with whom he struggled for existence; when he reproduced, as well as he could, their ferocious aspect, to strike terror into his human enemies while satisfying his own warlike vanity, and so adopted them as badges or even as totems.
