LITMIR.BIZ

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56). A field composed of an equal number of horizontally shaped pieces, when these exceed ten in number, is termed "barruly" of such and such a number. The term barruly is also sometimes used for ten pieces. If the number is omitted "barry" will usually be of six pieces, though sometimes of eight. On the other hand a field composed of five, seven, or nine pieces is not barry, but (e.g.) two bars, three bars, and four bars respectively. This distinction in modern coats needs to be carefully noted, but in ancient coats it is not of equal importance. Anciently also a shield "barry" was drawn of a greater number of pieces (see Figs. 120, 121 and 122) than would nowadays be employed. In modern armory a field so depicted would more correctly be termed "barruly."

      Whilst a field can be and often is barry of two colours or two metals, an uneven number of pieces must of necessity be of metal and colour or fur. Consequently in a shield e.g. divided into seven equal horizontal divisions, alternately gules and sable, there must be a mistake somewhere.

      Although these distinctions require to be carefully noted as regards modern arms, it should be remembered that they are distinctions evolved by the intricacies and requirements of modern armory, and ancient arms were not so trammelled.

      A field divided horizontally into three equal divisions of e.g. gules, sable, and argent is theoretically blazoned by British rules "party per fess gules and argent, a fess sable." This, however, gives an exaggerated width to the fess which it does not really possess with us, and the German rules, which would blazon it "tierced per fess gules, sable, and argent," would seem preferable.

Fig. 120.—Arms of William de Valence, Earl of Pembroke (d. 1296); Barruly azure and argent, a label of five points gules, the files depending from the chief line of the shield, and each file charged with three lions passant guardant or. (From MS. Reg. 14, C. vii.)	Fig. 121.—Arms of Laurence de Hastings, Earl of Pembroke (d. 1348); Quarterly, 1 and 4, or, a maunch gules (for Hastings); 2 and 3, barruly argent and azure, an orle of martlets (for Valence). (From his seal.)	Fig. 122.—Arms of Edmund Grey, Earl of Kent (d. 1489): Quarterly, 1 and 4, barry of six, argent and azure, in chief three torteaux (for Grey); 2 and 3, Hastings and Valence sub-quarterly. (From his seal, 1442.)
Fig. 123.—Barry, per chevron counter-changed.	Fig. 124.—Barry-bendy.	Fig. 125.—Paly-bendy.

      A field which is barry may also be counterchanged, as in the arms of Ballingall, where it is counterchanged per pale; but it can also be counterchanged per chevron (Fig. 123), or per bend dexter or sinister. Such counterchanging should be carefully distinguished from fields which are "barry-bendy" (Fig. 124), or "paly-bendy" (Fig. 125). In these latter cases the field is divided first by lines horizontal (for barry) or perpendicular (for paly), and subsequently by lines bendy (dexter or sinister).

      The result produced is very similar to "lozengy" (Fig. 126), and care should be taken to distinguish the two.

      Barry-bendy is sometimes blazoned "fusilly in bend," whilst paly-bendy is sometimes blazoned "fusilly in bend sinister," but the other terms are the more accurate and acceptable.

Fig. 126.—Lozengy.	Fig. 127.—Chevron.	Fig. 128.—Chevron engrailed.
Fig. 129.—Chevron invecked.	Fig. 130.—Chevron embattled.	Fig. 131.—Chevron embattled and counter-embattled.

      "Lozengy" is made by use of lines in bend crossed by lines in bend sinister (Fig. 126), and "fusilly" the same, only drawn at a more acute angle.

      THE CHEVRON

      Probably the ordinary of most frequent occurrence in British, as also in French armory, is the chevron (Fig. 127). It is comparatively rare in German heraldry. The term is derived from the French word chevron, meaning a rafter, and the heraldic chevron is the same shape as a gable rafter. In early examples of heraldic art the chevron will be found depicted reaching very nearly to the top of the shield, the angle contained within the chevron being necessarily more acute. The chevron then attained very much more nearly to its full area of one-third of the field than is now given to it. As the chevron became accompanied by charges, it was naturally drawn so that it would allow of these charges being more easily represented, and its height became less whilst the angle it enclosed was increased. But now, as then, it is perfectly at the pleasure of the artist to design his chevron at the height and angle which will best allow the proper representation of the charges which accompany it.

Fig. 132.—Chevron indented.	Fig. 133.—Chevron wavy.	Fig. 134.—Chevron nebuly.
Fig. 135.—Chevron raguly.	Fig. 136.—Chevron dovetailed.	Fig. 137.—Chevron doubly cottised.

      The chevron, of course, is subject to the usual lines of partition (Figs. 128–136), and can be cottised and doubly cottised (Fig. 137).

      It is usually found between three charges, but the necessity of modern differentiation has recently introduced the disposition of four charges, three in chief and one in base, which is by no means a happy invention. An even worse disposition occurs in the arms of a certain family of Mitchell, where the four escallops which are the principal charges are arranged two in chief and two in base.

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