PREFACE
There are few subjects of greater value, or of more
interest to the diligent inquirer into the early history of our
country, than that of Seals This, indeed, is readily admitted by all
who have paid the least attention to the subject; while the best
historical works afford evidence that Seals form no unimportant
element in archaeological research. The importance of the subject
being so generally acknowledged, renders it unnecessary to offer any
lengthened introductory remarks with a view to direct attention to
the following pages.
It is hoped, however, that the following brief
remarks illustrating the art may not he considered impertinent or
out of place, and though they may contain nothing worthy the
attention of such persons whose opportunities of acquiring knowledge
have been more favourable than those of the writer, they may yet be
read with interest by others who have not paid much attention to it,
and may also prove interesting as being the result of the writer’s
own observations on a subject, the proper treatment of which
requires far higher qualifications than he can pretend to claim.
The art of engraving Gems or Seals is one that claims
the highest antiquity; and there is abundant evidence that it was
known and practised by nations long previous to the period of which
we have now any written records. Not only do the numerous gems of
the most remote antiquity found in India and Egypt prove this, but
we have the unshaken authority of the Holy Scriptures, an authority
which it is delightful to see is being-strengthened daily, by the
discoveries made by the intelligent and persevering Layard, of races
and nations whose very existence and names had wellnigh been
forgotten.
It is unnecessary to dwell longer on the art as
practised in India and Egypt, than merely to observe that it was
evidently held in esteem and importance by the natives of those
countries, and arrived at the same degree of perfection with the
sister arts of sculpture, painting, and architecture, which, judged
by the standard of excellence of modern times, may perhaps be
thought defective, yet in their kind were certainly excellent.
It was in Greece, in common with all that was
beautiful in art, that Gem or Seal engraving attained its highest
perfection ; but as the Roman power extended its possessions and
influence, the practice of the art was transferred from Greece to
the West, and under the Empire we find many works produced equalling
in excellence those of the Greek artists. With the decline and fall
of the Empire the art suffered also, and though never lost, it
lingered on almost in barbarity, till in the general revival of
letters and art under the magnificent family of the De Medici, it
again rose to perfection, and many works were produced that will
bear an honourable comparison with the ancient Masters. These
remarks, though perhaps not bearing directly on the particular kind
of Seals described in this work, may yet not be unnecessary as
pointing out the source, and tracing the progress of the art to the
period embraced in it.
It is yet undecided at what period the engraving of
Metal Seals, to which we are now to confine our attention, was
invented, or rather when they became more generally adopted, since
it cannot be doubted that the ancients were acquainted with the art
of engraving on metals; the beautiful coins, both of Greece and
Rome, are sufficient evidences of the fact, but it does not appear
that they extended the practice of it beyond engraving the die for
striking the coin. It seems most probable that the application and
extension of the art to Metal Seals may date from a period
subsequent to the fall of the Roman Empire, and in the rising
kingdom of the Franks ; or it may, as some believe, have arisen at
Constantinople, and thence been early adopted by the Franks; but at
whatever period or place such Seals may have become generally
adopted, there can be no doubt that from the sixth, and during the
following centuries, their use became very extensively spread
through the continental kingdoms of the north, and, doubtless, the
adjacent islands adopted the art and use of Seals not very long
thereafter. Leaving untouched the question regarding the use of
Seals by the Saxons, we will now confine our remarks to the Seals
immediately connected with Scotland.
The earliest Seal of that country yet met with, is of
Duncan II., in the latter part of the eleventh century. The twelfth
furnishes us with many interesting specimens both of the
Ecclesiastical Seals and of those of the Nobility and Gentry; and
though those of the earlier period may seem rudely executed, yet we
feel assured, that could perfect impressions of them be obtained,
they would be found not deficient in a certain degree of merit and
proficiency, sufficient at least to prove that the Art must have
been practised a long time previous to that of which we have now any
examples. From the time of Duncan, a.d. 1094, we have an
uninterrupted succession of the Great Seals of the Kingdom, all
executed in a manner that shows the excellence to which the art had
arrived at the respective periods; and, perhaps, on these Seals may
be best observed the progressive changes in the armour of the
Knight. In the earlier ones are specimens of the Flat-Ring,
Trellised or Maseled, and Chain Mail, which are gradually superseded
by Plate till the fifteenth and sixteenth centuries, when the whole
defensive armour is of Plate, with its numerous additions fabricated
in the most elegant and costly style. (See Nos. 1, 3, 11, 13, 19,
27, 33, 39, 67, 72.)
The Seals of the Nobility and others of the twelfth
and thirteenth centuries, also afford interesting specimens of the
different kinds of armour; but it is not thought necessary to make
particular reference to the numbers where they occur.
During the thirteenth century, the Seals become more
numerous and of a greatly improved style. The Great Seal of
Alexander III., (Nos. 13, 14,) and those of the Ecclesiastics and
Nobles of the same period, are exceedingly beautiful, and executed
with a taste and truth of detail that would do no discredit to
modern art. This century also furnishes many and valuable
illustrations of the practice and definitive principles of heraldry.
The devices upon the Seals of the preceding century, though they
cannot he considered as heraldic, certainly contained the elements
of the science; thus the fleur-de-lis ou the Seal of John
Montgomerie, (No. 590,) afterwards became, with two additional ones,
the proper heraldic bearing of the family, and has so continued to
adorn their escutcheon unchanged for nearly eight centuries. Other
instances will he found in the following Catalogue that will readily
suggest themselves to the observant reader.
During the fourteenth and fifteenth centuries, the
art continued to maintain its excellence, which is particularly
apparent in the Seals of the Douglasses, the Lindsays, and other
magnates of the country; but towards the latter part of the
fifteenth century, the art began to decline, and during the
following one, few appear that can he compared as works of art with
those of an earlier time.
The Ecclesiastical Seals of the thirteenth and two
following centuries, afford most interesting specimens of the
costume of the different orders in the Church. The Bishops are
exhibited as vested in the chasuble, amice, alh, stole, maniple; and
the pall seems represented on one, (No. 856, and perhaps also on No.
939,) though not an Archbishop, yet perhaps as Primate of Scotland.
On the Monastic Seals also, or indeed wherever a figure of an Abbot
or Priest appears, may be observed the same propriety of costume.
(See Nos. 863, 903, 939, 942, 946, 94S, 969, 1005, 1006, 1067.)
About the latter end of the fourteenth century, the
design of the Episcopal Seals was changed by substituting for the
simple figure of the Bishop, which had hitherto been the usual
design, either a representation of the Trinity, the Virgin, or the
patron saint, within a niche or beneath a canopy.
The rich architectural design of these Seals cannot
fail to excite attention as valuable illustrations of the art.
Indeed from these Seals alone, might be almost distinctly traced the
rise, progress, and decline of that beautiful style of architecture
which prevailed during that period. Very instructive examples of
this may be seen in Nos. 870, S72, 877.
But the chief value of such a collection as the
following pages describe, will of course be found to consist in the
many important illustrations it affords of heraldry, of which, in
frequent instances, it may be said to be the earliest, if not the
only authentic record.
"When it is considered that very few and scanty
heraldic records of any kind are preserved in this country, and
those only of a very late period, Sir David Lindsay’s work in 1542,
being, it is believed, the earliest of the kind extant, it becomes
obvious that such a record of arms as the present work must be of
great value.
It. wouid far exceed the proper limits of these
remarks, to point out the numerous instances which might materially
assist in correcting many mis-statements and erroneous blazon, which
either through ignorance or inadvertency, have found a place in
several valuable works on Heraldry. One or two instances only will
be referred to as an evidence of the utility of the present work.
Sir James Balfour and other authors have stated, that the Merchiston
family of Napier assumed their arms upon the marriage of John Napier
with Elizabeth Menteith, the heiress of Rusky, and co-heiress of
Lennox, after the year 1455. The Seal, No. 621, a.d. 1453, is
sufficient proof that the Napier family carried those arms previous
to the marriage.
The same respectable authorities also state, that the
old Earls of Lennox bore a saltire engrailed cantoned with four
roses. In this collection are four (Nos. 489, 491, 492, 493) most
interesting and perfect Seals of this noble family, and in all of
them the saltire is carried without any engrailing. Neither is it
carried engrailed by the Stuarts, when they succeeded to the title
of Earl of Lennox, until about 1576. (See No. S04.)
The well known crest of the noble house of Hamilton,
which commemorates' a very doubtful tradition, will be found to be
very different from the crest on the Seal used by the chief of that
family in a.d. 1388, and who, moreover, was the first of the chief
line that assumed the name, (No. 400 ;) though it should be observed
the Earl of Arran in a.d. 1549, (No. 404,) carried the present
crest.
Mistakes have also been made by modern heralds in the
supporters.
Thus they have made the supporters of the arms of
Maxwell of Polloe, two monkeys, while upon the Seal No. 574, a.d. 1400,
they are undoubtedly lions ; and with great propriety the present
Baronet has dismissed the monkeys, and resumed the noble animals
adopted by his ancestors. These are only a few Instances of the use
of ancient Seals, many others will be found by the careful observer.
The custom of placing the crest above the shield,
seems to have been introduced about the middle of the fourteenth
century. The earliest instance in this Collection is No. 237, a.d. 135G,
a period rather earlier than that when it is supposed the same
custom was first introduced into England. Supporters seem also to
have been introduced about this period, and the same Seal, No. 237,
which gives the date of the one custom, supplies us also with the
date of the other. There are certainly earlier instances where the
shield is placed on the breast of an eagle, or where lizards and
other animals are placed at the sides and top of the shield, (See
Nos. 375, 7S5 ;) and there is the well known Seal of Muriel of
Stratherne, (No. 764,) cited by some writers as an example of an
early supporter; but none of them can properly be considered such,
being introduced merely to fill up the vacant spaces of the Seal,
from which practice, indeed, some have stated supporters to derive
their origin.
The Privy Seal of James I., a.d. 1429, (No. 43,) is
the earliest instance of the National Arms having supporters, and
these it will be seen are lions ; the unicorns do not make their
appearance before the reign of Mary, whose Great Seal, No. 59, first
brings us acquainted with them.
The examples of composed arms, (Nos. 768 and 1241,)
are interesting illustrations of the practice before the present
system of marshalling was adopted. Nos. 205 and 231 are the earliest
examples of impaling ; and No. 496 gives the first and finest
example of quartered arms, A.D. 1367.
Though well known to all acquainted with heraldry, it
may be necessary to mention that the useful system of indicating
colour by certain lines and marks was not adopted till a late period; any attempt, therefore, to give the proper tinctures of the arms
blazoned in this work could only have been made on conjectural or
doubtful authority ; it was therefore considered better not to give
any tincture, even in comparatively modern and well-known instances.
A few remarks may here be offered on the shape of the
shield, which has varied considerably at different periods. In the
earliest will be found the narrow kite-shaped shield of the Normans,
which prevailed with some modification, tending rather to the
pear-shape, till about the middle of the thirteenth century, when
the shield very generally became of that elegant form known by the
name heater-shape, a form well adapted for displaying with grace and
distinctness—a most essential matter in heraldry— the charges which
the science, then becoming practised on more definite principles,
rendered necessary. This shape continued to prevail during the two
following centuries, with some variations however having a tendency
to increase its breadth rather disproportionally. During the
sixteenth century, in common with all that was elegant in the arts,
the shield suffered many changes of form by no means adding to its
beauty or usefulness. The most fantastic and ill-conceived forms
were used, many such will be found in this Collection, though
special reference to them has not been made in the description.
The lozenge-shape, perhaps the worst that could be
conceived for the purpose of displaying armorial charges, has been
imperatively assigned as the only proper shape which ladies should
carry; but it seems remarkable that in the long period embraced in
this Collection, including the best periods of heraldry, in which
occur numerous instances of arms carried by females, but in no one
instance docs the shield take any other form than the prevailing one
of the period. In England, as early as the fourteenth century, the
lozenge-shape appears to have been used by ladies, (perhaps
exclusively in their widowhood,) but it certainly is singular that
no instance of that shape has been met with here until a very recent
period, and, considering how very unsuitable such a shape is for the
purpose, perhaps the sooner it is discontinued the better. Equally
unsuitable is the absurd fashion which has too extensively prevailed
in modern times, of having angular projecting points at the upper
part; it is, however, pleasing to observe at the present time a
return to the elegant form of earlier ages.
The subject of the mottoes and devices cannot be
passed unnoticed. Tt is of considerable interest, well deserving the
attention of the archaeologist, for as such Seals were probably
intended not for official or public purposes, but for private and
confidential intercourse, they become valuable and interesting
evidences of individual taste, or of the feelings or sentiments
prevalent at the time. Thus, the very early seal of Thor Longus,
(eleventh century, of which unfortunately there is no impression in
this Collection,) having the motto, “thor me mittit amico,” and the
Seals of the Dunbars, (Nos. 287-293,) are pretty examples of
individual friendly intercourse, and even the more tender sentiment
is observable on those of the latter. The very pretty Seal of
Alexander Til., (No. 15.) “ esto prudens ut serpens et simplex sicut
columba,” may well indicate the prudent policy of that able monarch.
The mottoes on the Ecclesiastical Seals (in which
class they are found more numerous) are, as might be expected, of a
devotional character ; and though, in some instances, they may
perhaps be adverse to the feeling of the present age, there are few
which, if considered rightly, would not afford instruction and
delight; certainly they are all expressive of a deep devotional
feeling that demands respect.
In some instances but little attention seems to have
been paid in adapting the motto to the device. It would seem as if
an antique gem were almost capriciously taken, and a motto engraved
around, not having the least apparent connexion or reference to the
device; hence some strange discrepancies arise. We have lately seen
one of this description from a collection in England, which has the
design of a young faun attending with the wine-cup upon Bacchus, and
the motto surrounding it is “jesps est amor h,” (Jesus is my love.)
In other instances the device and motto is most appropriate, and
produce a pleasing and striking effect. The Seal of Brian Fitzalan,
(No. 336,) is of this description. Also one from the collection of
Albert Wav, Esq., deserves particular mention :—a figure of a priest
consecrating the chalice, of course to be understood as emblematic
of that Divine work of love by which alone eternal peace can be
obtained, and the motto. “crede jiichi et est satis,” (Believe in
me, and it is sufficient.)
These examples are sufficient to show that mottoes
were generally in use from the earliest period ; but mottoes as
forming part of the accessories of arms are supposed not to have a
very early origin ; very few such occur in this collection, and
those not earlier than the sixteenth century. The Seal of Margaret,
Queen of James IV., a.d. 1526, (No. 55,) has the motto on a scroll
beneath the shield ; and the Great Seal of Queen Mary, No. 59, is
the first of that kind which has on it a motto instead of merely the
name and style. Yet it cannot be doubted that mottoes were used (as
part of accessories) at a much earlier period, and there is
certainly one, though it has not been read, on the Seal of Archibald
Douglas, Lord of Galloway, as early as a.d. 1373, (No. 23.9.)
It may well be feared that these remarks are
extending to an unreasonable length ; yet it is hoped the indulgence
of the reader will be granted while a few words on the material of
the Seal, the shape, and the method of cutting it, &c., will bring
this Address to a close.
The earliest mention of Seals in the Scriptures is
under the general term of signet or rings, which conveys no
information as to the material of which they were composed; but at a
later period where they are mentioned in connexion with the gems
adorning the breastplate of the High Priest, there appears pretty
certain evidence for believing that these signets or rings were
engraved gems set in gold or other metal.
There seems little doubt that the original matrices
of the Seals described in this work have been entirely formed of
metal. Of the few remaining specimens still preserved in the
cabinets of various collectors, they are for the most part formed of
brass, some are of silver, and one instance (No. 44) at least
supplies a fine specimen of a gold matrix. No matrices of a very
early date have been preserved, none indeed, it is believed,
previous to the fourteenth century, unless we except those
interesting gems in a metal setting which are met with about the
eleventh and twelfth centuries, of which it is believed there are
good specimens in Dublin. The occurrence of these gems on the Seals
of our early Barons is an interesting subject for inquiry. As they
are found pretty numerous on the Seals of the De Vescis and the
Avenels, we may suppose these warlike Knights to have been
collectors, and to have formed a cabinet during their crusading
expedition, of which perhaps it was the best fruits. They are
pleasing evidences of a desire for refinement which the possession
of such luxuries of art always inspire.
The Seals of the Nobility and Gentry present little
variation from the circular-shape; occasionally in the earlier
periods we find some of an oval, and more rarely the triangular or
same shape as the shield. On the other hand the Ecclesiastical class
presents little variation from that pointed oval-shape known as the Vesica
Piscis, and which seems to have been almost exclusively appropriated
to the Seals of Ecclesiastical persons and Institutions, at least
from the twelfth century.
This form is supposed to have some symbolical
signification, audit may not unnaturally be supposed to represent
the Church. For as the two circles, the intersection of which gives
this figure, may symbolically represent the circles of time and
eternity, so the figure given, may well represent the Church, where
in a peculiar manner are united the affairs of time with the more
important affairs of eternity; or in other words, the Church in the
faithful discharge of its duties, forms, as it were, a connecting
link or introductory passage,—a resting-place where, though within
the circle of time and still militant, may yet be met and enjoyed in
some slight degree the blessings of eternity.
The method of engraving or cutting these Seals was
entirely by the hand, with the aid of small chisels and suitable
punches of hardened steel, much in the same manner as the dies for
striking coins or medals are executed. The letters of the
inscription round the Seal, some of which are very beautiful, have
most probably been struck in from steel punches, but in the majority
of eases, they have evidently been cut with the hand.
The method of engraving gems or precious stones for
Seals is effected by quite a different mechanical process, being
accomplished by means of small tools of soft iron fixed in a lathe,
which is kept in motion by the foot of the engraver, in the same way
as the ordinary turning-lathe. The tool is kept moist with oil and
finely powdered diamond ; the stone to be engraved is then held and
guided by the hand against it, while the rapidly revolving motion of
the tool, aided by the diamond dust, cuts into the stone the desired
figure. By this simple process, and which has undergone no material
change from the earliest periods, have been executed the finest gems
of antiquity, which still command the admiration of the most refined
taste and judgment. Within the last few years, metal Seals have been
engraved by the same means as gems, only dispensing with the oil and
diamond dust, and using steel tools having serrated or file-like
edges. This method, however, is far from being generally practised,
though there is little doubt, when better known, it will be as
generally used for the engraving of Metals as of Stones. The greater
facility with which the rapidly revolving- tool is managed in the
hand of the artist, gives a decided advantage over the older and
ordinary method of cutting with chisels.
To complete these remarks, it seems necessary to
notice very briefly the wax of which these impressions were formed,
and the mode of appending them to the instrument. The wax has varied
much in colour during different ages, green, white, or the natural
colour of the wax, and red, have been used indiscriminately, without
being regulated by any particular rule, except, perhaps, the taste
of the owner or the fashion of the times. White, or the natural
colour of the wax, continued to be used for the Great Seals, and the
Burghs and Monasteries, at least for such as have a Counter Seal of
the same size ; but the green—in which colour they look exceedingly
beautiful— went out of use after the fourteenth century, and the red
predominated.
In the earliest periods the impressions have been
most carefully made, the wax being of one colour only, and without
leaving any border round the edge of the Seal; but at a later
period, it seems the impression was first taken in coloured, and
then imbedded in a mass of uncoloured wax, forming in some instances
a deep and broad border round the design. It is surprising how very
durable the wax has proved in many instances, preserving the
original sharpness and beauty of the impression almost perfect. In
the majority of cases, however, we have to lament not only the
ravages of time, but the still more fatal effects of carelessness.
The manner in which these Seals were appended to the
document, was by passing a narrow strip of parchment, or a silk cord
plaited or twisted, through a slit in the parchment document at the
lower edge, and the ends being held together, the wax was pressed or
moulded round them a short distance from the ends, and the Seal
impressed on it, thus securely appending it to the document. In some
cases the wax was spread on the document itself, and the Seal
impressed. This however very rarely occurs, and in almost all in
this Collection the Seals are pendent.
That this was the practice in early periods even
among the Romans, some evidence is afforded by a passage in the
writings of the apostle Paul, where a figurative allusion is made to
a Seal having two distinct sentences, which we may suppose to have
been inscribed on each side of the Seal ; and if this be a correct
view of the apostle’s illustration, it furnishes evidence both of
the Seal being pendent and having a Counter Seal.
All the Seals described in this Catalogue have been
taken from original documents preserved either in public archives or
private collections, (a list of these will be found at page xxv.)
excepting those referred to as being at Durham. To the rich
collection there preserved the opportunity of gaining access has not
been afforded, and the few Seals in this Catalogue from that
collection, and one from the Duchy of Lancaster, are from casts
communicated by the Rev. J. II. Hughes, M.A.
It is believed that no work similar to the present
has yet appeared ; and if—though the result of many years’ labour—it
be not so complete as could be wished, it is hoped it will be found
to supply in some degree a want that has long been felt by the
zealous archaeologist. The hope is also cherished, that from the
publicity now given to the subject, and its great importance as
illustrating early history, greater facilities will be afforded for
increasing the collection, so that, eventually, Scotland may possess
a complete armory based exclusively upon Seals of an early date.
Such a work would do much to preserve heraldry in its legitimate
purity. There can be little doubt but abundance of rich materials
for such a work are in existence, and if the subject be viewed in
its proper light by our landed proprietors and chiefs of ancient
families, it is hoped that in that spirit of liberality which is
characteristic of the age, every facility will be afforded to
explore the hidden treasures of their charter-rooms, and bring to
light much that may benefit the public, and materially aid the
labours of the historian.
In conclusion, the writer of these remarks begs to
state, that he has taken every care to make the following work
accurate and interesting, but quite sensible of his many
disqualifications for the proper treatment of such a subject, he is
far from supposing it perfect, or that it will escape perhaps
merited censure ; he trusts, however, that no very serious errors
will be found. In works of this kind, produced even under the most
favourable circumstances, it is almost impossible to avoid mistakes;
he therefore craves some consideration. His labours are now
concluded, and he sincerely hopes that his humble efforts hitherto
made amid many disadvantages, but in the spirit of love for the
work, will be found worthy the patronage which has been bestowed ;
and should it be the means of leading any one better qualified than
himself to treat the subject in that large and comprehensive manner
it deserves, he will be much gratified at having been instrumental
in so doing.
It is now the pleasing duty of the writer gratefully
to acknowledge the favour and encouragement he has received from
numerous gentlemen, and the willing and efficient aid rendered to
the present work. To the Members of the lfannatyne flub in
particular he is much indebted, as without the assistance of that
honourable body it would have been impossible for him to have
produced the volume in the style in which it is now presented to the
Subscribers. His thanks are due to the authorities of the Register
House, for access to the valuable collection of charters contained
therein; to the Earl of Morton, the Marquess of Tweeddale, and other
proprietors, for the like favour; and in an especial manner is he
indebted to the following gentlemen, who have ever shown a lively
interest in the work, and have willingly contributed much valuable
information and assistance in forming this Collection:—Lord Lindsay
; Sir Walter Calverly Trevelyan, Bart.; P. Chalmers, Esq., of
Auldbar; Thomas Thomson, Esq., P.C.S.; Cosmo Innes, Esq.; W. B. D.
D. Turnbull, Esq.; Alexander Macdonald, Esq.; David Laing, Esq.;
Albert Way, Esq.; George Seton, Esq.; William Fraser, Esq.; and the
Rev. James Henry Hughes, M.A., late fellow of Magdalen College,
Oxford, Chaplain 1I.E.I.C.S., whose extensive knowledge of heraldry
and genealogy has proved a source of great assistance during the
period which his more important duties in a distant country allowed
him to remain in Edinburgh.
The name of the late George Smythe, Esq., younger of
Methven, should be included among those to whom the author is much
indebted for many valuable additions at an early period of the
formation of this Collection, and whose premature removal from a
sphere of usefulness is justly lamented by all who had the happiness
of knowing him.
To the liberality of C. K. Sharpe, Esq.; W. W. Hay
Newton, Esq.; and James Gibson Craig, Esq.; he is indebted for three
plates which illustrate the volume, in addition to those contributed
by the Bannatyne Club.
He has to acknowledge the kindness of Henry Drummond,
Esq., M.P., in permitting the use of some woodcuts which had been
engraved for illustrating his work of the “History of Noble British
Families.”
To Mark Napier, Esq., he is also indebted for the
woodcuts of the Seals of the Napiers.
To those gentlemen, and to all who have encouraged
the writer In the present undertaking, he returns his sincere
thanks, in the hope that the manner in which he has performed his
task will give satisfaction to those whose approbation he will
esteem as his best reward.
H. LAING.
Edinburgh, July 1850.
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Additional Information
The following books provide
additional information on the Seals of Scotland
Supplemental
Descriptive Catalogue
History of Scottish Seals
from the eleventh to the seventeenth century, with upwards of two
hundred illustrations derived from the finest and most interesting
examples extant. By Walter de Gray Birch, LLD., F.S.A., Late of the
British Museum (1905) in 2 volumes.
Volume 1
| Volume 2
Scottish
Armorial Seals
By William Rae MacDonald, Carrick Pursuivant (1904)
Ancient Seals found at
Carrickfergus
Town Council
Seals of Scotland
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