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 considered heraldic with the exception of the few (for example the crosier, the mitre, and the pallium) which heraldry has appropriated ready made. Therefore, though heraldry appropriated ready made from other decorative art, and from nature and handicraft, the whole of its charges, and though it is evident heraldry also appropriated ready made a great deal of its symbolism, neither the earlier existence of the forms which it appropriated, nor the earlier existence of their symbolism, can be said to weigh at all as determining factors in the consideration of the age of heraldry. Sloane Evans in his "Grammar of Heraldry" (p. ix.) gives the following instances as evidence of the greater antiquity, and they are worthy at any rate of attention if the matter is to be impartially considered.


 * "The antiquity of ensigns and symbols may be proved by reference to Holy Writ.


 * "1. 'Take ye the sum of all the congregation of the children of Israel, after their families, by the house of their fathers, with the number of their names.... And they assembled all the congregation together on the first day of the second month; and they declared their pedigrees after their families, by the house of their fathers, according to the number of the names, from twenty years old and upward.... And the children of Israel shall pitch their tents, every man by his own camp, and every man by his own standard, throughout their hosts' (Numbers i. 2, 18, 52).


 * "2. 'Every man of the children of Israel shall pitch by his own standard, with the ensign of their father's house' (Numbers ii. 2).


 * "3. 'And the children of Israel did according to all that the Lord commanded Moses: so they pitched by their standards, and so they set forward, every one after their families, according to the house of their fathers' (Numbers ii. 34)."

The Latin and Greek poets and historians afford numerous instances of the use of symbolic ornaments and devices. It will be sufficient in this work to quote from Æschylus and Virgil, as poets; Herodotus and Tacitus, as historians.

The poet here introduces a dialogue between Eteocles, King of Thebes, the women who composed the chorus, and a herald, which latter is pointing out the seven captains or chiefs of the army of Adrastus against Thebes; distinguishing one from another by the emblematical devices upon their shields.


 * "... Frowning he speaks, and shakes
 * The dark crest streaming o'er his shaded helm
 * In triple wave; whilst dreadful ring around
 * The brazen bosses of his shield, impress'd