CHAPTER XI

Fig.203.—Breastplate, Camail and Jupon Period. (Roy. MS. 15, D. 3.)Fig.204.—Sir Ralph de Knevynton, 1370. Aveley, Essex.To the student of armour and arms, this period is of exceptional interest by reason of the unwonted facility with which it may be studied, inasmuch as there is hardly a cathedral, or church of any importance in the kingdom, which does not possess, in some manner, details of military equipment relating to it. Brasses and monumental effigies simply abound, stained glass is by no means uncommon, while carvings in wood and stone exhibit details which are at times of great importance. The wealth of technical matter thus preserved enables the student to reconstruct the period with a fidelity which is wanting in those earlier. It must not be supposed that the great and salient features of the style were at once adopted; there was a transition period of nearly twenty years, during which the old defences were in part retained, and only discarded by degrees. Before pointing out these exceptions, however, it may be as well to take the several features of the equipment in order, as has been done in preceding styles.Fig.205.—Sir Robert Swynborne, 1391. Little Horkesley Church, Essex.The Jupon.—The jupon was a sleeveless outer garment reaching from the neck to midway between the hips and the knees. It was tight-fitting, as may readily be gleaned by inspection of brasses and effigies, and no folds or creases can be observed in it. In construction it consisted of several thicknesses of material sewn through, thus becoming almost homogeneous, and upon this firm sub-structure a layer of silk, velvet, or other rich material was firmly fastened down, and bore in the great majority of cases the armorial insignia of the wearer. There are exceptionalcases in which the jupon was stuffed and quilted. The arm-holes became decorated in the later years of this style, but owing to the covering camail we have no knowledge of any decorations upon the neck. The skirt was finished with an enriched border of either escallops, or acanthus leaves, or dags—dagging being a mode of ornamenting the hems of civilian garments prevailing in the reigns of Edward III., Richard II., and the fourth and fifth Henrys; it consisted in cutting out borders of sleeves, skirts, &c., into open work of various devices. This rich and splendid covering to the real body defences was always laced up at the sides, occasionally only on one side, under the left arm.Fig.206.—Bascinet. St. Peter’s Church, St. Albans.Fig.207.—Bascinet. St. Peter’s Church, St. Albans.Fig.208.—Snout-faced bascinet.Fig.209.—Bascinet. (Tower of London.)The Breastplate.—This was worn underneath the jupon and over the hauberk to which it was affixed, and gave the swelling, globular appearance to the knights so characteristic of the period; its termination at the waist imparted a contour of body almost wasp-like at times. We are unaware of the form of this defence, and also as to whether or not it possessed a companion backplate, so as to form a complete cuirass; however, the appearance of the back of many effigies of this period leads to the supposition that a similar plate was used to protect that part of the body. In the MS. Roy. 15, D. 3, a foreign knight is shown wearing his breastplate upon his jupon, and it is of the form depicted inFig. 203; it may perhaps be taken as the general shape of this defence. Upon a sculptured effigy of the year 1370 in Bamberg Cathedral, a copy of which is reproduced in Boutell’s “Monumental Brasses,” a heart-shaped breastplate is shown, but there are no British examples of the exposed defence.In the Bamberg effigy chains are shown depending from staples in the breastplate for attachment to the sword-hilt and misericorde, and the brass of Sir Ralph de Knevynton at Aveley, Essex, 1370, also has this feature (Fig. 204.)The Hauberk.—During the earlier portion of the Camail and Jupon Period the hauberk was invariably constructed of banded mail, but towards the end of the century it was superseded by linked chain mail, although late examples of the banded may be found, such as that of Lord Berkeley, 1392, at Wotton-under-Edge, Gloucestershire, and Sir Nicholas Hawberk, 1407, Cobham Church, Kent. The defence reached to about the middle of the thigh, and subsequently to 1380 became sleeveless. The lower edge appears as a rule about two inches below that of the jupon, and is, in some cases, made ornamental by pendent rings, as in the case of Sir Robert Swynborne. Under the hauberk the quilted gambeson, or haqueton, was worn as usual, but no portion of it appears in brasses or effigies.Fig.210.—Snout-faced bascinet,c.1400. (Wallace Collection.)Fig.211.—Visored bascinet from Roy. MS. 20, C. 7.Fig.212.—Knight. (Richard II. MS., in Bibliothèque du Roi.)The Bascinet.—The bascinet was very tall at the commencement of the period and acutely pointed at the apex; it gradually lessened in height as time advanced. It descended on both sides wellover the ears, and was carried round to the back of the neck, as a rule, in a straight line. The apex was not over the centre of the head, but more towards the rear; when the knight couched his lance and bent forward in the saddle the point was thus brought forward to a perpendicular position. This detail cannot be perceived in brasses, but is very apparent in monumental effigies, and is shown on the opposite page (Fig. 206), taken from a stained-glass window in St. Peter’s Church, St. Albans, and approximately of the date 1380. The visor is represented in gold-coloured glass, and this feature of gold gilding is by no means uncommon in MSS. of the early part of this period, from which it is possible to infer that the visors were either of cuir-bouilli, latten, or were enriched by gilding. At first the visors were removable at will, being merely hung on projecting knobs at the sides; but afterwards, when the snout-faced variety came into vogue, they were invariably fixed, and could only be raised or lowered. An earlier form of bascinet is shown in the windows of the same church which has a close-fitting visor, very similar to those which marked the advent of the pot-helm in the thirteenth century (Fig. 207). Towards the close of the fourteenth century the adoption of the “snout-faced,” or “pig-faced” visor (Fig. 208) became universal, eliciting much uncomplimentary criticisms from contemporary writers and being the subject of many caricatures in carvings of the period. In the Tower of London a bascinet weighing 5¼ lbs. is preserved (Fig. 209); the visor or ventaille, which weighs 1 lb., originally hinged up to a pivot in the centre of the skull. In the Wallace Collection,Fig. 210shows a beautiful example which was formerly in the Meyrick Collection; it is French, and dates fromc.1400. An early example of this form of visor bascinet is preserved in the collection at Parham dating from 1365, which shows the ventaille partlycovering the neck, and this form is common in the Roy. MS. 20, C. 7, in the British Museum, dating from 1400 to 1415 (Fig. 211). Here, however, the feature is made of such huge dimensions, reaching doubtless as far as the collar-bones, that a feeling is engendered of disproportion, or of caricature; but as the examples are very numerous, and all appear the same, the thought is perforce dispelled. Huge visors are also depicted in a History of Richard II. of England preserved in the Bibliothèque du Roi (a figure from which is here shown,Fig. 212), which must have provided a large amount of breathing space and also acted to some extent as a gorget. The bascinet termed the Barbute is essentially Italian, and does not occur upon any English brass or effigy; it appears to have been prevalent on the Continent, and some of the head-pieces shown upon the common soldiery in English MSS. partake of the characterof this defence. It was worn without any visor, but a portion of the camail, adapted for the purpose, was lifted in order to cover almost entirely the small opening left in front, being fastened to the staples with which these helmets are almost always provided. The Barbute in the Wallace Collection (Fig. 214) shows this feature very distinctly, as it is provided with two staples for the purpose, while the nasal thus formed by the camail is well shown in the effigy of Ulrich Landschaden, 1369, in Neckarsteinach (Fig. 215), which, however, is defended by the ordinary bascinet, though strange to note, the figure is entirely without any visible plate armour for the limbs. A bascinet with an iron nasal of rigid form is shown in the MS. Roy. 14, E. 4, and depicted inFig. 216. It will be seen by the various figures illustrating the Camail and Jupon Period that the height of the bascinet became less towards the end of thetime when it prevailed, and showed a distinct tendency to merge into the globular form of the succeeding period. The bascinet of Sir William Burgate, 1409, in Burgate Church, Suffolk (Fig. 217), is remarkable for its high comb or apex, and is probably of foreign origin.Fig.213.—Snout-faced helmet,c.1400.Fig.214.—Barbute,c.1400. (Wallace Collection.)Fig.215.—Effigy at Neckarsteinach, 1369, showing nasal.Fig.216.—Nasal from Roy. MS. 14, E. 4Fig.217.—Bascinet. Sir William Burgate, 1409.The Camail.—The term camail is said to be a derivative of “cap-mail,” though one authority deduces it from “curtain-mail.” As we have seen in the preceding chapters, this protection for the neck had been used for centuries, but at no time did it attain the dimensions and efficiency which distinguished it during the period under discussion. It is probable that a gorget of plate of some description was worn underneath it, to which we shall refer when speaking of the epaulières. The well-known representation from Nero, D. 7, in the British Museum, representing the Black Prince receiving a grant of Aquitaine from his father, shows the prince with his helmet and its depending camail doffed, but no gorget, however, is disclosed. At first the lower portion of the camail fell almost perpendicularly to the shoulders, and covered but a small portion of them, as may be seen in the brasses of Sir John de Argentine, 1360, Horsheath Church, Cambridge (Fig. 218); Sir John de Paletoot, 1361, Watton Church, Herts (Fig. 224); and Sir John de Cobham, 1375, Cobham, Kent; but as the period progressed, the mail expanded so as to cover not only the shoulders, but the upper part of the arm. At first banded mail was universally employed, and examples may be found of its use even as late as 1405, on the brass of Sir Thomas Massyngberde, but by the year 1380, chain mail of varying patterns had become popular. The links were arranged either in horizontal lines or vertically, and examples may be found where they vary in size from that of a coarse dog chain down to extremely fine links. For examples, see brasses of Sir John Wingfield, 1400, Letheringham Church, Suffolk (Fig. 219); Sir John Hanley; Sir John Bettesthorne, Mere Church, Wiltshire; Sir George Felbrigge (Fig. 220); the painting of the Black Prince in St. Stephen’s Chapel, Westminster, &c.Fig.218.—Sir John de Argentine, 1360. Horsheath Church, Cambridge.Fig.219.—Sir John Wingfield,c.1400. Letheringham Church, Suffolk.Fig.220.—Sir George Felbrigge, 1400. Playford Church, Suffolk.The method of attaching the camail to the bascinet was by a lace running through staples termed vervelles, which were visible until about the year 1387, when the fashion was introduced of covering them with a more or less enriched border. To the student this forms a valuable clue to the date when inspecting a brass or monument, but must of course be used in conjunction with other characteristics. The brass of Sir William de Echingham, 1387, is one of the latest showingthis feature (seeFig. 221). Towards the latter part of the period mixed mail and plate made their appearance (seeFig. 222, knight of the d’Eresby family).Fig.221.—Sir William de Echingham, 1387. Etchingham Church, Sussex.Fig.222.—Knight of the d’Eresby family, 1410. Spilsby Church, Lincs.Fig.223.—Gauntlet, late fourteenth century. (Wallace Collection.)Plate Defences.—One of the features of this period was the enclosure of the limbs in plate defences which conformed generally to the natural curves, and present a striking contrast to the distortions which appeared during the greater part of the fifteenth century. Upon the shoulders laminated epaulières occur, the upper plates of which are habitually hidden by the camail and jupon, but were probably affixed to or depended from the gorget of plate before mentioned. Brassarts of plate enclosed the upper arms, while coudières of a close-fitting pattern protected the bend of the arm. There was no distinct fashion during this period for the outer projecting plate of the coudière; at first a roundel appeared as in the case of Sir John de Argentine (Fig. 218), and Sir John de Paletoot (Fig. 224), but the general form was that exhibited in the brasses of Sir John Wingfield (Fig. 219) and Sir George Felbrigge (Fig. 220). Cylindrical vambraces of one plate guarded the forearms to the wrist, where they were covered partly by the cuffs of the gauntlets. The latter during this period attained to a higher degree of perfection than had previously been the case, and great attention was paid to detail and careful fitting. The fingers and thumbs were distinct and articulated; a plate covered the back of the hand and another was formed into a cuff. Theintroduction of gadlings, or spikes of steel upon the knuckles and joints, occurred at this time, not solely for ornament but for actual weapons of offence when other means had failed. In a trial by combat fought before Edward III., one of the combatants gained the advantage by striking the gadlings of his gauntlet into the face of his adversary. At times they are shown of great size, projecting a considerable distance from the knuckles. Towards the close of the fourteenth century the terminal parts of the finger-guards are shown with imitation finger-nails, and many of the gauntlets seen upon the effigies are richly decorated. A most interesting specimen, unique in England and of great rarity, isFig. 223, in the Wallace Collection, dating from the latter half of the fourteenth century and of French make. The plates for the fingers are missing; the covering for the back of the hand and the cuff is formed of one piece, with the exception of a small plate, which, however, is not movable. The decorations are bands of latten. The gauntlets of the Black Prince hanging over the tomb in Canterbury Cathedral are often referred to; they are of the same period as those in the Wallace Collection, but made of latten, gilded, and cannot vie with them in workmanship. The gadlings are well seen upon the various brasses of this period, those of Sir George Felbrigge being perhaps one of the most prominent (Fig. 220).Fig.223A.—Brass in St. Michael’s Church, St. Albans.Fig.224.—Sir John de Paletoot, 1361. Watton Church, Herts.The mail defences for the lower limbs have the same characteristic of following the outline closely, and of being what may be termed skin-tight. The thighs were enclosed in cuissarts of steel, back and front plates hinging upon the outside of the legs and buckled between the thighs, thus differing from the Splinted Armour Period, when front plates only were invariably used. The knees were guarded by genouillières of plate, which at first were of simple construction, and consisted of a single plate (videSir John de Argentine,Fig. 218), but eventually these were reinforced by lames of steel above and below. Steel grevières protected the shins and calves, and a small plate depending from the genouillière, or from one of its lower reinforcements, gave an additional protection to the front plate. The sollerets were invariably of plate jointed, like the epaulières, after the manner of a lobster’s tail; they were long and pointed, and gave rise to the fashion which prevailed until sabbatons were introduced, of pointing the toe downwards through the stirrup when riding. At the back of the knee-joints, and also at the joints of the shoulders, elbows, and ankles, small pieces of mail were introduced called goussets or gussets, being fixed generally upon the garment worn underneath the plate, but at times to the inside parts of the plate itself. They served as reinforcements to the hauberk.Fig.225.—Misericorde, John Cray, 1380.One of the peculiarities of the Camail and Jupon Period is the magnificent hip-belt, of far more elaborate workmanship and finish than in any preceding or following age. It generally consisted of raised square or oblong brooches, veritable triumphs of the goldsmith’s art, and occasionally studded with jewels, linked to each other to form a continuous band, and fastened in front by an enriched morse or clasp. At times roundels were used, and occasionally a running pattern in gold or embroidery. In the early figures it is shown with a buckle and a loop, a piece of pendent belt passing through and fastened like the Order of the Garter. A brass exemplifying very plainly the loop and buckle lies in St. Michael’s Church, St. Albans, and dates fromc.1370 (Fig. 223a). (It is remarkable for showing two tabs of leather or plate upon each shoulder, issuing from beneath the camail; we may have here a replica of the French fashion of epaulière at the period, which generally was encircled by tabs of cuir-bouilli.) See alsoFig. 218, Argentine, and Paletoot,Fig. 224. This seldom occurs upon late examples. The general method of wearing it was horizontally round the hips, but a few exceptions will be found upon searching the engraved figures. This fashion was copied by the ladies of the period, who wore hip-belts, showing beneath the super côte-hardi, of equal richness to their lords.Fig.226.—Shield, 1375.The Swordwas attached to the belt at the uppermost part of the scabbard, and hung perpendicularly at the left side. It generally had a wheel pommel and a swelling grip, with quillons either straight or drooping slightly towards the blade. The latter was about an inch and a half broadat the hilt, thirty inches in length, and tapered to the point, while the section was either of a flattened or a lozenge shape. It was double-edged, and had a grip of varying dimensions, ranging from four inches in length to an extent which, in some examples, almost suggest a two-handed weapon, or the hand-and-a-half or bastard sword of a later period (compare the d’Eresby and Felbrigge brasses). The pommel, grip, and scabbard were at times elaborately enriched with a profusion of ornament. A new weapon was introduced at this period, the misericorde or dagger of mercy, used for despatching a fallen foe whose wounds were beyond all surgical aid, in the combatà outrance, or in the field; or as a last resource for defence when other weapons had failed. It was a straight dagger with no guard as a rule, and having both the hilt and scabbard curiously ornamented; the blade had but one edge, the section being triangular. From its occurrence upon many monumental effigies, we gather that as a rule the misericorde was attached to the belt by a chain, but this feature is not as a rule shown upon brasses. The curious brass to Sir Ralph de Knevynton, however, exemplifies it, though the chains for attachment of both sword and misericorde are affixed to the breastplate (seeFig. 204). The misericorde of John Cray, 1380 (Fig. 225), shows it depending at an angle from the belt, while towards the close of the reign of King Richard II. the knights have the weapon slunghilt downwards to the front, though this curious fashion was soon discarded.Fig.227.—Shield, Hereford Cathedral, 1375.Fig.228.—Heaume of Thomas de Mowbray, Earl of Nottingham, and Earl Marshal. (From a drawing of his seal, 1389: MS. Cott., Julius, C. vii.)The Shieldin use at this period is but rarely shown, and never upon brasses. Upon the tomb of Robert Wyvill, Bishop of Salisbury, 1375 (Fig. 226), a shield occurs which has a central boss riveted on and is concave to the person; a projection is shown at the upper part, upon the back of which the guige is apparently fixed. In the “Pilgrimage of Human Life” in the French National Library we have represented the discarded habiliments of a knight who is departing upon a pilgrimage: the shield is small, notched in the right-hand corner for the lance rest, and presents a concave surface to the front. The snout-faced visor upon the bascinet shows it to be of the period now dealt with. A sculptured effigy in Bamberg Cathedral, dating from 1370, has a shield which is notched in the corner and also concave to the front; while another shield from Hereford Cathedral affords us an example of an English pattern dating from 1375, which also is concave to the front (Fig. 227). It occurs upon the tomb of Sir Richard Pembridge. For the emblazoning of arms the heater-shaped shield is invariably used.PLATE XVIIHeaume, Crest, and Shield of the Black Prince in Canterbury CathedralFig.229 and 230.—The Pembridge heaume, Hereford Cathedral.Fig.231.—Panache of Wm. de Latimer, 1372.Fig.232.—Panache, Edward Courtenay, 1400.The Heaume.—During the period under consideration the great heaume was in use for tilting purposes, the visored bascinet being reserved for warfare. The heaume retainedits conical crown in order to fit over the bascinet, but the lower rim was still too high above the shoulders for the latter to afford any support to it, and the curve as shown is not adapted (Fig. 228); we must therefore infer that the whole weight was borne by the bascinet, and that the inside of the heaume was padded in order to make it fit securely. In the lower part of the front a hole or staple is generally found, by which it could be fixed securely by a thong or chain to the cuirass. It is doubtful whether any great heaumes are in existence which date back to the thirteenth century, and there are only a few authentic examples of the fourteenth. One of them is the heaume of the Black Prince in Canterbury Cathedral (Plate XVII.), the upper part of which is covered by the chapeau or cap of dignity bearing the heraldic lion. No breathing-holes are shown, and the occularium is extremely narrow. As weight was apparently of no object at this period, a secondary defence was often introduced in the form of a large plate of iron covering the whole of the left part of the face, hinged at the termination of the occularium upon that side, and falling lower than the rim of the heaume, to which it was further affixed by bolts and nuts. Thispièce de renfortmay be viewed as the prototype of the “grande garde” of the succeeding century: an excellent example is preserved in the collection of Lord Zouche at Parham. It will be observed that the lower or cylindrical portion of the Black Prince heaume consists of two pieces riveted together, and this was the usual method at the time. In the heaume of Sir Richard Pembridge, Hereford Cathedral (Figs.229,230), however, the three pieces (cylinder, truncated cone, and crown) are welded together, and the rivets are more for ornament than for increased strength; the metal is thickened round the occularium, and the lower edge is roped so as not to present a cutting edge. There are a number of holes in the upper portions to permit the aglets of the laces to be passed through, by which the crest and lambrequins could be attached to the heaume. In the lower front portion are the two holes in cruciform shape to allow passage for a T-bolt appended to the chain for securing to the breastplate.Fig.233.—Pranker heaume.Fig.234.—Heaume, Sir Edward de Thorpe,c.1410.A very rare example of the great heaume, which may date from the early part of the fourteenth century, is one preserved in the Rotunda at Woolwich. The crown is conical; the visor hinges on the left side, and closes with a spring on the right, and numerous small holes are pierced in it for air. The occularium is a narrow slit above the visor and below the crown. It is much corroded, and probably when new weighed more than at the present time (9½ lbs.) (Plate XXXIX., p.364). During the studded and splinted style of English armour, heraldic crests had been introduced as we have seen, following upon the fan-shaped decorations of an earlier period: in the latter part of the fourteenth century all warriors of distinction adopted the fashion, and subsequently all men of knightly rank. These crests were invariably made of cuir-bouilli, which material allowed itself to be moulded into any desired shape, and had the advantage of being unaffected by the weather, besides affording some protection from a sword-cut. Crests of all shapes, sizes, and degrees of grotesqueness sprang into being, some tending to enormous proportions and thus forestalling the mantling of extravagant size so characteristic of the fifteenth century. The contoise or flowing scarf invariably accompanied the crest. A panache of feathers was a favourite form of crest, by reason presumably of its lightness and gracefulness; that of Sir Wm. de Latimer, 1372, and of Edward Courtenay,1400, are reproduced as examples (Figs.231,232). As a foreign specimen of the great heaume of the Camail Period we may refer to the example preserved in the Historical Court Museum at Vienna, dating from aboutc.1360, and known locally as the “Pranker heaume” (Fig. 233). It is made of four strong hammered-iron plates with smaller reinforcements, and weighs about twelve pounds, being probably used only for tournaments. The crest, two golden horns with silver combs, is of the usual cuir-bouilli, and weighs about three pounds. A late heaume of this period, dating fromc.1410, is that of Sir Edward de Thorpe, which is of sufficient height to rest upon the shoulders (Fig. 234). A panache surmounts the elaborate coronet; the occularium is very high, and could hardly allow of a bascinet being worn underneath. The usual ring for affixing it to the breastplate is shown at the base.Fig.235.—Sir Miles de Stapleton, 1364. Formerly in Ingham Church, Norfolk.Fig.236.—Genouillière, Sir Thomas Cheyne, 1368.The orle or wreath is of the greatest rarity upon monumental brasses of the Camail and Jupon Period; Sir Reginald de Cobham, 1403, has a small jewelled orle, however, and one of the same character is shown on the brass of a knight of the d’Eresby family, 1410 (seeFig. 222). This piece of ornament originated in the band of cloth, silk, or velvet placed round the bascinet to support, and act as pad to, the heaume, and subsequently, when thelatter was discarded, remained to be a foundation for the crest.Fig.237.—Sir Humphrey Littlebury, Holbeach, Lincs.The earlier effigies and brasses of this period are in many of their details exemplifications of the studded and splinted style of defence, and are in fact of greater use in that respect than the few contemporary brasses and effigies which remain and are generally used as examples. The lost brass of Sir Miles de Stapleton, 1364 (Fig. 235), once in Ingham Church, Norfolk, is, for instance, an excellent example, probably the best; he has a studded jupon fitting tightly to the figure and escalloped at the hem, with haut-de-chausses or cuissarts of the same material. His genouillières are of single plates with two rows of reinforcing cuir-bouilli tabs depending below, while the jambarts are of metal splints affixed by rivets to the cuir-bouilli beneath. The long pendent tab of the belt should be noticed. The remarkable brass of Sir Ralph de Knevynton, 1370 (seeFig. 204), at Aveley, Essex, may also be quoted as showing the same features respecting the jupon and cuissarts; but the shape and position of the belt, the great length of the misericorde, its quillons, the crude genouillières, the long hauberkpointed in front, the pose and shape of the figure, and the chains depending from the breastplate, make this brass, which is of Flemish workmanship, one of the most singular of its kind. Sir John de Argentine, 1360 (Fig. 218) and Sir John de Paletoot, 1361, have cuissarts of studded material and pendent belts; Sir Thomas Cheyne, 1368, also has studded cuissarts, and jambarts of studded splints similar to those of Sir Miles de Stapleton, but his genouillières are most remarkable and quite unique. They appear to be constructed entirely of cuir-bouilli with pendent tabs of singular form reinforcing the jambarts (Fig. 236). The Cheynes appear to have been a family addicted to peculiarities, as Sir William Cheyne, 1375, has laminated sollerets of remarkable construction and also quite unique (seeFig. 197). Sir Humphrey Littlebury, Holbeach Church, Lincolnshire (Fig. 237), has cuissarts of cuir-bouilli with studs of an ornamental form; his genouillières are crude and of single plates, but the hem of his jupon is remarkable for graceful beauty, being deeply dagged into acanthus-leaf form. A rich hip-belt has a pendent tab at the side, but, strange to note, the sword is not suspended by it, but has a separate belt passing diagonally round the waist. This second belt is notunfrequently found in sculptured effigies but seldom upon brasses. The brass of Robert Albyn,c.1400 (Fig. 238), Hemel Hempstead, Herts, where two belts are shown, has the sword suspended from both belts. Sir John de Cobham, 1375, the founder of Cobham College, has studded cuissarts and genouillières reminiscent of those of Sir Thomas Cheyne. The brass of Sir John de St. Quintin, 1397 (Fig. 239), in Brandsburton Church, Yorkshire, is remarkable for the very wide and elaborate hip-belt, which is fixed higher than is usual upon a shortened jupon, necessitating a small subsidiary belt from which to suspend the sword, and also an extra length of hauberk, which is curiously bent round the limbs. The coudières are larger than usual, and together with the genouillières are ornamented. After 1380, many jupons are shown with fur round the arm openings, as in the brass of Sir Nicholas Dagworth, 1401, where the great length of the sword-grip, ornamentation of the armour, great height of the bascinet, and elaborate hem to the jupon are special features.Fig.238.—Robert Albyn, 1400. Hemel Hempstead Church, Herts.The years between 1400 and 1410 must be looked upon as a transition period, inasmuch as features distinctive of the Camail and Jupon and of the Surcoatless overlap each other. For example, the brass of Sir Thomas Braunstone, Constable of Wisbeach Castle, in Wisbeach Church, Cambridgeshire, dating from 1401 (Fig. 240), has taces, apparently five in number, although his neck is camailed, the jupon being dispensed with; whilst Sir John Hanley, who, together with histwo wives, is shown upon a brass in Dartmouth Church, dated 1403, has five or six taces and a shortened jupon, edged with fur round the arm-holes, but with a camailed neck.Fig.239.—Sir John de St. Quintin, 1397. Brandsburton Church, Yorkshire.Fig.240.—Sir Thomas Braunstone, 1401, Constable of Wisbeach Castle. Wisbeach Church, Cambridgeshire.Fig.241.—A knight,c.1405. Laughton Church, Lincolnshire.Sir John Wylcotes in Great Tew Church, Oxfordshire, although wearing camail, has a reinforcing gorget of plate superposed upon it. The latter example is a strange mixture of old and new styles; high pointed bascinet and camail being blended with palettes and taces. Lady Wylcotes, who is shown upon the same brass, wears the nebule head-dress which went out of fashion thirty years previously. A knight of the d’Eresby family, 1410 (seeFig. 222), exemplifies a strange mixture of transition styles. The orle has been previously noted, but the bascinet is provided with a bavière which is placed upon the camail. The laminated epaulières are curiously brought forward in order to cover the goussets, over which they form protecting arches. Round the waist is seen the ornamental belt worn by all knights of that periodround the hips; it carries no sword or misericorde and is therefore purely ornamental, and, if we may say so, entirely superfluous. The sword-belt across the body from the right hip is the fashion of the Surcoatless Period. (A knight in Laughton Church,c.1405 (Fig. 241), also exhibits this feature of the sword-belt, though otherwise he conforms to the period.) A waved fringe of mail appears below the five taces; the genouillières have prominent projections over the knee-caps and are very ornamental, while the sollerets have a decorative gousset of chain mail. Altogether the armour is eccentric, and probably both the wearer and his wife were of the same character, inasmuch as the lady is shown in a reticulated head-dress without the veil and the high-waisted gown then only prevailing on the Continent. The knight’s suit is beautifully enriched with a design which imparts a very characteristic aspect to the entire figure.CHAPTER XITHE SURCOATLESS PERIOD, 1410-1430

Fig.203.—Breastplate, Camail and Jupon Period. (Roy. MS. 15, D. 3.)

Fig.204.—Sir Ralph de Knevynton, 1370. Aveley, Essex.

To the student of armour and arms, this period is of exceptional interest by reason of the unwonted facility with which it may be studied, inasmuch as there is hardly a cathedral, or church of any importance in the kingdom, which does not possess, in some manner, details of military equipment relating to it. Brasses and monumental effigies simply abound, stained glass is by no means uncommon, while carvings in wood and stone exhibit details which are at times of great importance. The wealth of technical matter thus preserved enables the student to reconstruct the period with a fidelity which is wanting in those earlier. It must not be supposed that the great and salient features of the style were at once adopted; there was a transition period of nearly twenty years, during which the old defences were in part retained, and only discarded by degrees. Before pointing out these exceptions, however, it may be as well to take the several features of the equipment in order, as has been done in preceding styles.

Fig.205.—Sir Robert Swynborne, 1391. Little Horkesley Church, Essex.

The Jupon.—The jupon was a sleeveless outer garment reaching from the neck to midway between the hips and the knees. It was tight-fitting, as may readily be gleaned by inspection of brasses and effigies, and no folds or creases can be observed in it. In construction it consisted of several thicknesses of material sewn through, thus becoming almost homogeneous, and upon this firm sub-structure a layer of silk, velvet, or other rich material was firmly fastened down, and bore in the great majority of cases the armorial insignia of the wearer. There are exceptionalcases in which the jupon was stuffed and quilted. The arm-holes became decorated in the later years of this style, but owing to the covering camail we have no knowledge of any decorations upon the neck. The skirt was finished with an enriched border of either escallops, or acanthus leaves, or dags—dagging being a mode of ornamenting the hems of civilian garments prevailing in the reigns of Edward III., Richard II., and the fourth and fifth Henrys; it consisted in cutting out borders of sleeves, skirts, &c., into open work of various devices. This rich and splendid covering to the real body defences was always laced up at the sides, occasionally only on one side, under the left arm.

Fig.206.—Bascinet. St. Peter’s Church, St. Albans.Fig.207.—Bascinet. St. Peter’s Church, St. Albans.

Fig.206.—Bascinet. St. Peter’s Church, St. Albans.

Fig.207.—Bascinet. St. Peter’s Church, St. Albans.

Fig.208.—Snout-faced bascinet.Fig.209.—Bascinet. (Tower of London.)

Fig.208.—Snout-faced bascinet.

Fig.209.—Bascinet. (Tower of London.)

The Breastplate.—This was worn underneath the jupon and over the hauberk to which it was affixed, and gave the swelling, globular appearance to the knights so characteristic of the period; its termination at the waist imparted a contour of body almost wasp-like at times. We are unaware of the form of this defence, and also as to whether or not it possessed a companion backplate, so as to form a complete cuirass; however, the appearance of the back of many effigies of this period leads to the supposition that a similar plate was used to protect that part of the body. In the MS. Roy. 15, D. 3, a foreign knight is shown wearing his breastplate upon his jupon, and it is of the form depicted inFig. 203; it may perhaps be taken as the general shape of this defence. Upon a sculptured effigy of the year 1370 in Bamberg Cathedral, a copy of which is reproduced in Boutell’s “Monumental Brasses,” a heart-shaped breastplate is shown, but there are no British examples of the exposed defence.In the Bamberg effigy chains are shown depending from staples in the breastplate for attachment to the sword-hilt and misericorde, and the brass of Sir Ralph de Knevynton at Aveley, Essex, 1370, also has this feature (Fig. 204.)

The Hauberk.—During the earlier portion of the Camail and Jupon Period the hauberk was invariably constructed of banded mail, but towards the end of the century it was superseded by linked chain mail, although late examples of the banded may be found, such as that of Lord Berkeley, 1392, at Wotton-under-Edge, Gloucestershire, and Sir Nicholas Hawberk, 1407, Cobham Church, Kent. The defence reached to about the middle of the thigh, and subsequently to 1380 became sleeveless. The lower edge appears as a rule about two inches below that of the jupon, and is, in some cases, made ornamental by pendent rings, as in the case of Sir Robert Swynborne. Under the hauberk the quilted gambeson, or haqueton, was worn as usual, but no portion of it appears in brasses or effigies.

Fig.210.—Snout-faced bascinet,c.1400. (Wallace Collection.)Fig.211.—Visored bascinet from Roy. MS. 20, C. 7.

Fig.210.—Snout-faced bascinet,c.1400. (Wallace Collection.)

Fig.211.—Visored bascinet from Roy. MS. 20, C. 7.

Fig.212.—Knight. (Richard II. MS., in Bibliothèque du Roi.)

The Bascinet.—The bascinet was very tall at the commencement of the period and acutely pointed at the apex; it gradually lessened in height as time advanced. It descended on both sides wellover the ears, and was carried round to the back of the neck, as a rule, in a straight line. The apex was not over the centre of the head, but more towards the rear; when the knight couched his lance and bent forward in the saddle the point was thus brought forward to a perpendicular position. This detail cannot be perceived in brasses, but is very apparent in monumental effigies, and is shown on the opposite page (Fig. 206), taken from a stained-glass window in St. Peter’s Church, St. Albans, and approximately of the date 1380. The visor is represented in gold-coloured glass, and this feature of gold gilding is by no means uncommon in MSS. of the early part of this period, from which it is possible to infer that the visors were either of cuir-bouilli, latten, or were enriched by gilding. At first the visors were removable at will, being merely hung on projecting knobs at the sides; but afterwards, when the snout-faced variety came into vogue, they were invariably fixed, and could only be raised or lowered. An earlier form of bascinet is shown in the windows of the same church which has a close-fitting visor, very similar to those which marked the advent of the pot-helm in the thirteenth century (Fig. 207). Towards the close of the fourteenth century the adoption of the “snout-faced,” or “pig-faced” visor (Fig. 208) became universal, eliciting much uncomplimentary criticisms from contemporary writers and being the subject of many caricatures in carvings of the period. In the Tower of London a bascinet weighing 5¼ lbs. is preserved (Fig. 209); the visor or ventaille, which weighs 1 lb., originally hinged up to a pivot in the centre of the skull. In the Wallace Collection,Fig. 210shows a beautiful example which was formerly in the Meyrick Collection; it is French, and dates fromc.1400. An early example of this form of visor bascinet is preserved in the collection at Parham dating from 1365, which shows the ventaille partlycovering the neck, and this form is common in the Roy. MS. 20, C. 7, in the British Museum, dating from 1400 to 1415 (Fig. 211). Here, however, the feature is made of such huge dimensions, reaching doubtless as far as the collar-bones, that a feeling is engendered of disproportion, or of caricature; but as the examples are very numerous, and all appear the same, the thought is perforce dispelled. Huge visors are also depicted in a History of Richard II. of England preserved in the Bibliothèque du Roi (a figure from which is here shown,Fig. 212), which must have provided a large amount of breathing space and also acted to some extent as a gorget. The bascinet termed the Barbute is essentially Italian, and does not occur upon any English brass or effigy; it appears to have been prevalent on the Continent, and some of the head-pieces shown upon the common soldiery in English MSS. partake of the characterof this defence. It was worn without any visor, but a portion of the camail, adapted for the purpose, was lifted in order to cover almost entirely the small opening left in front, being fastened to the staples with which these helmets are almost always provided. The Barbute in the Wallace Collection (Fig. 214) shows this feature very distinctly, as it is provided with two staples for the purpose, while the nasal thus formed by the camail is well shown in the effigy of Ulrich Landschaden, 1369, in Neckarsteinach (Fig. 215), which, however, is defended by the ordinary bascinet, though strange to note, the figure is entirely without any visible plate armour for the limbs. A bascinet with an iron nasal of rigid form is shown in the MS. Roy. 14, E. 4, and depicted inFig. 216. It will be seen by the various figures illustrating the Camail and Jupon Period that the height of the bascinet became less towards the end of thetime when it prevailed, and showed a distinct tendency to merge into the globular form of the succeeding period. The bascinet of Sir William Burgate, 1409, in Burgate Church, Suffolk (Fig. 217), is remarkable for its high comb or apex, and is probably of foreign origin.

Fig.213.—Snout-faced helmet,c.1400.Fig.214.—Barbute,c.1400. (Wallace Collection.)Fig.215.—Effigy at Neckarsteinach, 1369, showing nasal.

Fig.213.—Snout-faced helmet,c.1400.

Fig.214.—Barbute,c.1400. (Wallace Collection.)

Fig.215.—Effigy at Neckarsteinach, 1369, showing nasal.

Fig.216.—Nasal from Roy. MS. 14, E. 4

Fig.217.—Bascinet. Sir William Burgate, 1409.

The Camail.—The term camail is said to be a derivative of “cap-mail,” though one authority deduces it from “curtain-mail.” As we have seen in the preceding chapters, this protection for the neck had been used for centuries, but at no time did it attain the dimensions and efficiency which distinguished it during the period under discussion. It is probable that a gorget of plate of some description was worn underneath it, to which we shall refer when speaking of the epaulières. The well-known representation from Nero, D. 7, in the British Museum, representing the Black Prince receiving a grant of Aquitaine from his father, shows the prince with his helmet and its depending camail doffed, but no gorget, however, is disclosed. At first the lower portion of the camail fell almost perpendicularly to the shoulders, and covered but a small portion of them, as may be seen in the brasses of Sir John de Argentine, 1360, Horsheath Church, Cambridge (Fig. 218); Sir John de Paletoot, 1361, Watton Church, Herts (Fig. 224); and Sir John de Cobham, 1375, Cobham, Kent; but as the period progressed, the mail expanded so as to cover not only the shoulders, but the upper part of the arm. At first banded mail was universally employed, and examples may be found of its use even as late as 1405, on the brass of Sir Thomas Massyngberde, but by the year 1380, chain mail of varying patterns had become popular. The links were arranged either in horizontal lines or vertically, and examples may be found where they vary in size from that of a coarse dog chain down to extremely fine links. For examples, see brasses of Sir John Wingfield, 1400, Letheringham Church, Suffolk (Fig. 219); Sir John Hanley; Sir John Bettesthorne, Mere Church, Wiltshire; Sir George Felbrigge (Fig. 220); the painting of the Black Prince in St. Stephen’s Chapel, Westminster, &c.

Fig.218.—Sir John de Argentine, 1360. Horsheath Church, Cambridge.Fig.219.—Sir John Wingfield,c.1400. Letheringham Church, Suffolk.Fig.220.—Sir George Felbrigge, 1400. Playford Church, Suffolk.

Fig.218.—Sir John de Argentine, 1360. Horsheath Church, Cambridge.

Fig.219.—Sir John Wingfield,c.1400. Letheringham Church, Suffolk.

Fig.220.—Sir George Felbrigge, 1400. Playford Church, Suffolk.

The method of attaching the camail to the bascinet was by a lace running through staples termed vervelles, which were visible until about the year 1387, when the fashion was introduced of covering them with a more or less enriched border. To the student this forms a valuable clue to the date when inspecting a brass or monument, but must of course be used in conjunction with other characteristics. The brass of Sir William de Echingham, 1387, is one of the latest showingthis feature (seeFig. 221). Towards the latter part of the period mixed mail and plate made their appearance (seeFig. 222, knight of the d’Eresby family).

Fig.221.—Sir William de Echingham, 1387. Etchingham Church, Sussex.Fig.222.—Knight of the d’Eresby family, 1410. Spilsby Church, Lincs.

Fig.221.—Sir William de Echingham, 1387. Etchingham Church, Sussex.

Fig.222.—Knight of the d’Eresby family, 1410. Spilsby Church, Lincs.

Fig.223.—Gauntlet, late fourteenth century. (Wallace Collection.)

Plate Defences.—One of the features of this period was the enclosure of the limbs in plate defences which conformed generally to the natural curves, and present a striking contrast to the distortions which appeared during the greater part of the fifteenth century. Upon the shoulders laminated epaulières occur, the upper plates of which are habitually hidden by the camail and jupon, but were probably affixed to or depended from the gorget of plate before mentioned. Brassarts of plate enclosed the upper arms, while coudières of a close-fitting pattern protected the bend of the arm. There was no distinct fashion during this period for the outer projecting plate of the coudière; at first a roundel appeared as in the case of Sir John de Argentine (Fig. 218), and Sir John de Paletoot (Fig. 224), but the general form was that exhibited in the brasses of Sir John Wingfield (Fig. 219) and Sir George Felbrigge (Fig. 220). Cylindrical vambraces of one plate guarded the forearms to the wrist, where they were covered partly by the cuffs of the gauntlets. The latter during this period attained to a higher degree of perfection than had previously been the case, and great attention was paid to detail and careful fitting. The fingers and thumbs were distinct and articulated; a plate covered the back of the hand and another was formed into a cuff. Theintroduction of gadlings, or spikes of steel upon the knuckles and joints, occurred at this time, not solely for ornament but for actual weapons of offence when other means had failed. In a trial by combat fought before Edward III., one of the combatants gained the advantage by striking the gadlings of his gauntlet into the face of his adversary. At times they are shown of great size, projecting a considerable distance from the knuckles. Towards the close of the fourteenth century the terminal parts of the finger-guards are shown with imitation finger-nails, and many of the gauntlets seen upon the effigies are richly decorated. A most interesting specimen, unique in England and of great rarity, isFig. 223, in the Wallace Collection, dating from the latter half of the fourteenth century and of French make. The plates for the fingers are missing; the covering for the back of the hand and the cuff is formed of one piece, with the exception of a small plate, which, however, is not movable. The decorations are bands of latten. The gauntlets of the Black Prince hanging over the tomb in Canterbury Cathedral are often referred to; they are of the same period as those in the Wallace Collection, but made of latten, gilded, and cannot vie with them in workmanship. The gadlings are well seen upon the various brasses of this period, those of Sir George Felbrigge being perhaps one of the most prominent (Fig. 220).

Fig.223A.—Brass in St. Michael’s Church, St. Albans.

Fig.224.—Sir John de Paletoot, 1361. Watton Church, Herts.

The mail defences for the lower limbs have the same characteristic of following the outline closely, and of being what may be termed skin-tight. The thighs were enclosed in cuissarts of steel, back and front plates hinging upon the outside of the legs and buckled between the thighs, thus differing from the Splinted Armour Period, when front plates only were invariably used. The knees were guarded by genouillières of plate, which at first were of simple construction, and consisted of a single plate (videSir John de Argentine,Fig. 218), but eventually these were reinforced by lames of steel above and below. Steel grevières protected the shins and calves, and a small plate depending from the genouillière, or from one of its lower reinforcements, gave an additional protection to the front plate. The sollerets were invariably of plate jointed, like the epaulières, after the manner of a lobster’s tail; they were long and pointed, and gave rise to the fashion which prevailed until sabbatons were introduced, of pointing the toe downwards through the stirrup when riding. At the back of the knee-joints, and also at the joints of the shoulders, elbows, and ankles, small pieces of mail were introduced called goussets or gussets, being fixed generally upon the garment worn underneath the plate, but at times to the inside parts of the plate itself. They served as reinforcements to the hauberk.

Fig.225.—Misericorde, John Cray, 1380.

One of the peculiarities of the Camail and Jupon Period is the magnificent hip-belt, of far more elaborate workmanship and finish than in any preceding or following age. It generally consisted of raised square or oblong brooches, veritable triumphs of the goldsmith’s art, and occasionally studded with jewels, linked to each other to form a continuous band, and fastened in front by an enriched morse or clasp. At times roundels were used, and occasionally a running pattern in gold or embroidery. In the early figures it is shown with a buckle and a loop, a piece of pendent belt passing through and fastened like the Order of the Garter. A brass exemplifying very plainly the loop and buckle lies in St. Michael’s Church, St. Albans, and dates fromc.1370 (Fig. 223a). (It is remarkable for showing two tabs of leather or plate upon each shoulder, issuing from beneath the camail; we may have here a replica of the French fashion of epaulière at the period, which generally was encircled by tabs of cuir-bouilli.) See alsoFig. 218, Argentine, and Paletoot,Fig. 224. This seldom occurs upon late examples. The general method of wearing it was horizontally round the hips, but a few exceptions will be found upon searching the engraved figures. This fashion was copied by the ladies of the period, who wore hip-belts, showing beneath the super côte-hardi, of equal richness to their lords.

Fig.226.—Shield, 1375.

The Swordwas attached to the belt at the uppermost part of the scabbard, and hung perpendicularly at the left side. It generally had a wheel pommel and a swelling grip, with quillons either straight or drooping slightly towards the blade. The latter was about an inch and a half broadat the hilt, thirty inches in length, and tapered to the point, while the section was either of a flattened or a lozenge shape. It was double-edged, and had a grip of varying dimensions, ranging from four inches in length to an extent which, in some examples, almost suggest a two-handed weapon, or the hand-and-a-half or bastard sword of a later period (compare the d’Eresby and Felbrigge brasses). The pommel, grip, and scabbard were at times elaborately enriched with a profusion of ornament. A new weapon was introduced at this period, the misericorde or dagger of mercy, used for despatching a fallen foe whose wounds were beyond all surgical aid, in the combatà outrance, or in the field; or as a last resource for defence when other weapons had failed. It was a straight dagger with no guard as a rule, and having both the hilt and scabbard curiously ornamented; the blade had but one edge, the section being triangular. From its occurrence upon many monumental effigies, we gather that as a rule the misericorde was attached to the belt by a chain, but this feature is not as a rule shown upon brasses. The curious brass to Sir Ralph de Knevynton, however, exemplifies it, though the chains for attachment of both sword and misericorde are affixed to the breastplate (seeFig. 204). The misericorde of John Cray, 1380 (Fig. 225), shows it depending at an angle from the belt, while towards the close of the reign of King Richard II. the knights have the weapon slunghilt downwards to the front, though this curious fashion was soon discarded.

Fig.227.—Shield, Hereford Cathedral, 1375.

Fig.228.—Heaume of Thomas de Mowbray, Earl of Nottingham, and Earl Marshal. (From a drawing of his seal, 1389: MS. Cott., Julius, C. vii.)

The Shieldin use at this period is but rarely shown, and never upon brasses. Upon the tomb of Robert Wyvill, Bishop of Salisbury, 1375 (Fig. 226), a shield occurs which has a central boss riveted on and is concave to the person; a projection is shown at the upper part, upon the back of which the guige is apparently fixed. In the “Pilgrimage of Human Life” in the French National Library we have represented the discarded habiliments of a knight who is departing upon a pilgrimage: the shield is small, notched in the right-hand corner for the lance rest, and presents a concave surface to the front. The snout-faced visor upon the bascinet shows it to be of the period now dealt with. A sculptured effigy in Bamberg Cathedral, dating from 1370, has a shield which is notched in the corner and also concave to the front; while another shield from Hereford Cathedral affords us an example of an English pattern dating from 1375, which also is concave to the front (Fig. 227). It occurs upon the tomb of Sir Richard Pembridge. For the emblazoning of arms the heater-shaped shield is invariably used.

PLATE XVIIHeaume, Crest, and Shield of the Black Prince in Canterbury Cathedral

PLATE XVII

Heaume, Crest, and Shield of the Black Prince in Canterbury Cathedral

Fig.229 and 230.—The Pembridge heaume, Hereford Cathedral.

Fig.231.—Panache of Wm. de Latimer, 1372.Fig.232.—Panache, Edward Courtenay, 1400.

Fig.231.—Panache of Wm. de Latimer, 1372.

Fig.232.—Panache, Edward Courtenay, 1400.

The Heaume.—During the period under consideration the great heaume was in use for tilting purposes, the visored bascinet being reserved for warfare. The heaume retainedits conical crown in order to fit over the bascinet, but the lower rim was still too high above the shoulders for the latter to afford any support to it, and the curve as shown is not adapted (Fig. 228); we must therefore infer that the whole weight was borne by the bascinet, and that the inside of the heaume was padded in order to make it fit securely. In the lower part of the front a hole or staple is generally found, by which it could be fixed securely by a thong or chain to the cuirass. It is doubtful whether any great heaumes are in existence which date back to the thirteenth century, and there are only a few authentic examples of the fourteenth. One of them is the heaume of the Black Prince in Canterbury Cathedral (Plate XVII.), the upper part of which is covered by the chapeau or cap of dignity bearing the heraldic lion. No breathing-holes are shown, and the occularium is extremely narrow. As weight was apparently of no object at this period, a secondary defence was often introduced in the form of a large plate of iron covering the whole of the left part of the face, hinged at the termination of the occularium upon that side, and falling lower than the rim of the heaume, to which it was further affixed by bolts and nuts. Thispièce de renfortmay be viewed as the prototype of the “grande garde” of the succeeding century: an excellent example is preserved in the collection of Lord Zouche at Parham. It will be observed that the lower or cylindrical portion of the Black Prince heaume consists of two pieces riveted together, and this was the usual method at the time. In the heaume of Sir Richard Pembridge, Hereford Cathedral (Figs.229,230), however, the three pieces (cylinder, truncated cone, and crown) are welded together, and the rivets are more for ornament than for increased strength; the metal is thickened round the occularium, and the lower edge is roped so as not to present a cutting edge. There are a number of holes in the upper portions to permit the aglets of the laces to be passed through, by which the crest and lambrequins could be attached to the heaume. In the lower front portion are the two holes in cruciform shape to allow passage for a T-bolt appended to the chain for securing to the breastplate.

Fig.233.—Pranker heaume.

Fig.234.—Heaume, Sir Edward de Thorpe,c.1410.

A very rare example of the great heaume, which may date from the early part of the fourteenth century, is one preserved in the Rotunda at Woolwich. The crown is conical; the visor hinges on the left side, and closes with a spring on the right, and numerous small holes are pierced in it for air. The occularium is a narrow slit above the visor and below the crown. It is much corroded, and probably when new weighed more than at the present time (9½ lbs.) (Plate XXXIX., p.364). During the studded and splinted style of English armour, heraldic crests had been introduced as we have seen, following upon the fan-shaped decorations of an earlier period: in the latter part of the fourteenth century all warriors of distinction adopted the fashion, and subsequently all men of knightly rank. These crests were invariably made of cuir-bouilli, which material allowed itself to be moulded into any desired shape, and had the advantage of being unaffected by the weather, besides affording some protection from a sword-cut. Crests of all shapes, sizes, and degrees of grotesqueness sprang into being, some tending to enormous proportions and thus forestalling the mantling of extravagant size so characteristic of the fifteenth century. The contoise or flowing scarf invariably accompanied the crest. A panache of feathers was a favourite form of crest, by reason presumably of its lightness and gracefulness; that of Sir Wm. de Latimer, 1372, and of Edward Courtenay,1400, are reproduced as examples (Figs.231,232). As a foreign specimen of the great heaume of the Camail Period we may refer to the example preserved in the Historical Court Museum at Vienna, dating from aboutc.1360, and known locally as the “Pranker heaume” (Fig. 233). It is made of four strong hammered-iron plates with smaller reinforcements, and weighs about twelve pounds, being probably used only for tournaments. The crest, two golden horns with silver combs, is of the usual cuir-bouilli, and weighs about three pounds. A late heaume of this period, dating fromc.1410, is that of Sir Edward de Thorpe, which is of sufficient height to rest upon the shoulders (Fig. 234). A panache surmounts the elaborate coronet; the occularium is very high, and could hardly allow of a bascinet being worn underneath. The usual ring for affixing it to the breastplate is shown at the base.

Fig.235.—Sir Miles de Stapleton, 1364. Formerly in Ingham Church, Norfolk.Fig.236.—Genouillière, Sir Thomas Cheyne, 1368.

Fig.235.—Sir Miles de Stapleton, 1364. Formerly in Ingham Church, Norfolk.

Fig.236.—Genouillière, Sir Thomas Cheyne, 1368.

The orle or wreath is of the greatest rarity upon monumental brasses of the Camail and Jupon Period; Sir Reginald de Cobham, 1403, has a small jewelled orle, however, and one of the same character is shown on the brass of a knight of the d’Eresby family, 1410 (seeFig. 222). This piece of ornament originated in the band of cloth, silk, or velvet placed round the bascinet to support, and act as pad to, the heaume, and subsequently, when thelatter was discarded, remained to be a foundation for the crest.

Fig.237.—Sir Humphrey Littlebury, Holbeach, Lincs.

The earlier effigies and brasses of this period are in many of their details exemplifications of the studded and splinted style of defence, and are in fact of greater use in that respect than the few contemporary brasses and effigies which remain and are generally used as examples. The lost brass of Sir Miles de Stapleton, 1364 (Fig. 235), once in Ingham Church, Norfolk, is, for instance, an excellent example, probably the best; he has a studded jupon fitting tightly to the figure and escalloped at the hem, with haut-de-chausses or cuissarts of the same material. His genouillières are of single plates with two rows of reinforcing cuir-bouilli tabs depending below, while the jambarts are of metal splints affixed by rivets to the cuir-bouilli beneath. The long pendent tab of the belt should be noticed. The remarkable brass of Sir Ralph de Knevynton, 1370 (seeFig. 204), at Aveley, Essex, may also be quoted as showing the same features respecting the jupon and cuissarts; but the shape and position of the belt, the great length of the misericorde, its quillons, the crude genouillières, the long hauberkpointed in front, the pose and shape of the figure, and the chains depending from the breastplate, make this brass, which is of Flemish workmanship, one of the most singular of its kind. Sir John de Argentine, 1360 (Fig. 218) and Sir John de Paletoot, 1361, have cuissarts of studded material and pendent belts; Sir Thomas Cheyne, 1368, also has studded cuissarts, and jambarts of studded splints similar to those of Sir Miles de Stapleton, but his genouillières are most remarkable and quite unique. They appear to be constructed entirely of cuir-bouilli with pendent tabs of singular form reinforcing the jambarts (Fig. 236). The Cheynes appear to have been a family addicted to peculiarities, as Sir William Cheyne, 1375, has laminated sollerets of remarkable construction and also quite unique (seeFig. 197). Sir Humphrey Littlebury, Holbeach Church, Lincolnshire (Fig. 237), has cuissarts of cuir-bouilli with studs of an ornamental form; his genouillières are crude and of single plates, but the hem of his jupon is remarkable for graceful beauty, being deeply dagged into acanthus-leaf form. A rich hip-belt has a pendent tab at the side, but, strange to note, the sword is not suspended by it, but has a separate belt passing diagonally round the waist. This second belt is notunfrequently found in sculptured effigies but seldom upon brasses. The brass of Robert Albyn,c.1400 (Fig. 238), Hemel Hempstead, Herts, where two belts are shown, has the sword suspended from both belts. Sir John de Cobham, 1375, the founder of Cobham College, has studded cuissarts and genouillières reminiscent of those of Sir Thomas Cheyne. The brass of Sir John de St. Quintin, 1397 (Fig. 239), in Brandsburton Church, Yorkshire, is remarkable for the very wide and elaborate hip-belt, which is fixed higher than is usual upon a shortened jupon, necessitating a small subsidiary belt from which to suspend the sword, and also an extra length of hauberk, which is curiously bent round the limbs. The coudières are larger than usual, and together with the genouillières are ornamented. After 1380, many jupons are shown with fur round the arm openings, as in the brass of Sir Nicholas Dagworth, 1401, where the great length of the sword-grip, ornamentation of the armour, great height of the bascinet, and elaborate hem to the jupon are special features.

Fig.238.—Robert Albyn, 1400. Hemel Hempstead Church, Herts.

The years between 1400 and 1410 must be looked upon as a transition period, inasmuch as features distinctive of the Camail and Jupon and of the Surcoatless overlap each other. For example, the brass of Sir Thomas Braunstone, Constable of Wisbeach Castle, in Wisbeach Church, Cambridgeshire, dating from 1401 (Fig. 240), has taces, apparently five in number, although his neck is camailed, the jupon being dispensed with; whilst Sir John Hanley, who, together with histwo wives, is shown upon a brass in Dartmouth Church, dated 1403, has five or six taces and a shortened jupon, edged with fur round the arm-holes, but with a camailed neck.

Fig.239.—Sir John de St. Quintin, 1397. Brandsburton Church, Yorkshire.Fig.240.—Sir Thomas Braunstone, 1401, Constable of Wisbeach Castle. Wisbeach Church, Cambridgeshire.Fig.241.—A knight,c.1405. Laughton Church, Lincolnshire.

Fig.239.—Sir John de St. Quintin, 1397. Brandsburton Church, Yorkshire.

Fig.240.—Sir Thomas Braunstone, 1401, Constable of Wisbeach Castle. Wisbeach Church, Cambridgeshire.

Fig.241.—A knight,c.1405. Laughton Church, Lincolnshire.

Sir John Wylcotes in Great Tew Church, Oxfordshire, although wearing camail, has a reinforcing gorget of plate superposed upon it. The latter example is a strange mixture of old and new styles; high pointed bascinet and camail being blended with palettes and taces. Lady Wylcotes, who is shown upon the same brass, wears the nebule head-dress which went out of fashion thirty years previously. A knight of the d’Eresby family, 1410 (seeFig. 222), exemplifies a strange mixture of transition styles. The orle has been previously noted, but the bascinet is provided with a bavière which is placed upon the camail. The laminated epaulières are curiously brought forward in order to cover the goussets, over which they form protecting arches. Round the waist is seen the ornamental belt worn by all knights of that periodround the hips; it carries no sword or misericorde and is therefore purely ornamental, and, if we may say so, entirely superfluous. The sword-belt across the body from the right hip is the fashion of the Surcoatless Period. (A knight in Laughton Church,c.1405 (Fig. 241), also exhibits this feature of the sword-belt, though otherwise he conforms to the period.) A waved fringe of mail appears below the five taces; the genouillières have prominent projections over the knee-caps and are very ornamental, while the sollerets have a decorative gousset of chain mail. Altogether the armour is eccentric, and probably both the wearer and his wife were of the same character, inasmuch as the lady is shown in a reticulated head-dress without the veil and the high-waisted gown then only prevailing on the Continent. The knight’s suit is beautifully enriched with a design which imparts a very characteristic aspect to the entire figure.

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