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
Flat objects, the sun in splendour for example, were placed edgeways
to the front, so that they were best seen from the sides, but in some
crests, the device, especially when a fleur-de-lis, was formed of
two planes which intersected each other at right angles, so that the
complete form was visible from every point of view.
The mantling, or lambrequins, hung from the top of the helmet, being
fastened to it by laces, and over it the torse, formed of twisted silk
of two or sometimes more tinctures, encircled the crown of the helm
below the crest.
The artistic treatment of the crested and mantled helm was nearly
always satisfactory during the whole period of the tournaments until
they ceased in the sixteenth century, but about the middle of that
century began the unfortunate increase of restrictive rules that were
devised with so little regard to their practical artistic application.
In place of the great helm which had previously been used in the way
that was best suited to the display of the crest, that is to say in
profile or nearly so, the lighter helmet was substituted, and it was
also decreed that it should be varied in shape, twisted about and
opened and shut, according to the rank of its owner, but with total
disregard to the crest. So that we have a lion standing sideways on its
helmet and even looking down the back of it. For in the worst cases a
helmet may be seen turned completely round, while its crest remains
in the original direction. This arose from the stupid application of
the excellent rule that helms when more than one are employed should
be posed with regard to some common centre of interest; an obviously
proper and artistic method, but it should be equally obvious that when
the helm turns the crest must turn too.
Although it will in most instances be possible to ignore these rules,
for the bearer’s rank will usually be sufficiently indicated in some
other way, it is, of course, necessary to know them, and the present
rules for helmets of rank are as follows:--An Esquire or gentleman
has a helmet of steel with gold ornaments and it is posed in profile
with the vizor closed. The position is not interpreted very strictly,
however, and the helmet may be three-quarter face or may make an
even nearer approach, in reason, to the full affrontée position. This
fortunate latitude affords a way by which, when the use of the small
helm is insisted upon, the crest and its support may be brought into
intelligible relationship.
A Knight’s or Baronet’s helmet is similar to that of an Esquire, but is
borne full faced with the vizor open.
It is difficult so see any reason for multiplying indications of rank
which is already marked in other ways, though the difficulty certainly
exists in the case of a Knight (with a Baronet there is of course
none), but it would be easy to devise some distinguishing mark on or
about the shield or on the helmet itself if the authorities would give
a ruling in this sense.
Public-domain text, read in full here on John Shaqi.
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