Heraldry as art: An account of its development and practice, chiefly in EnglandEve, G. W. (George William)
History
Heraldry as art: An account of its development and practice, chiefly in England
Eve, G. W. (George William)
Heraldry -- Great Britain
On a day before that which was fixed for the combats the helms and
crests of the tourneyers were brought together with much ceremony and
were arranged in due order to the satisfaction of the Judges of the
Tournament. Each had its owner’s banner suspended over it and, all
being ready, the Ladies were conducted round the Hall, when if any one
of them, by touching a crest, accused its owner of any fault or crime
against chivalry he was seized, tried and punished, according to the
magnitude of his offence and the custom of the Tournament.
The helm and crest of the Chevalier d’honneur, the knight selected
to attend the Lady of the Tournament and at her bidding to extend
the “Merci des Dames” which forbade further attacks on a combatant
unfortunate in the mêlée, were the objects of especial ceremonial, and
(he being withdrawn by his office from active participation in the
combat) were taken from his head with much courtesy by the Judges and
the Herald and were solemnly given in charge of the Ladies until such
time as his duties should cease at the close of the Tournament. Until
that time an esquire or gentleman bore them aloft upon a lance staff
near to the Lady of the Tournament.
[Illustration: FIG. 144.--Thirteenth Century.]
With regard to the helm, it will not be desirable to discuss its
development as armour through the various forms which preceded those
which were employed to support heraldic crests; and it will suffice to
begin with the early form, which was more or less cylindrical, as in
Fig. 144, and afterwards developed into the more complex curves and
projections of the tournament helm.
Public-domain text, read in full here on John Shaqi.
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