British and Foreign Arms & Armour

by Charles Henry Ashdown

Fig. 103.—Sir John de Bitton, Bitton Church, Somersetshire, 1227.

Whatever doubts may exist respecting the presence of true chain mail in the early Norman period in conjunction with mascled, scale, leather, horn, and jazeraint work generally, no misconception can arise with respect to the epoch under consideration, where, together with the heaume and the plastron-de-fer, it formed the sole defence of the knight. Chain mail has existed from very remote antiquity, but owing to its nature is of such a perishable quality, exposing the maximum of surface to atmospheric oxidation, that practically no examples have come down to us of all the vast quantity fabricated in remote ages. There are in the British Museum some aggregations of iron rust brought from the excavations at Nineveh, which experts assert have once been hauberks of chain mail of the true pattern (so far as interlocking is concerned), and hence are credited with being the earliest examples in existence. That the Romans used rings, together with discs and plates, as defensive covering, backed by a substratum of a tough textile fabric, is well known; but whether these rings were so interlinked as to form a true chain mail has been much questioned. Discoveries have, however, been made from time to time which tend to prove that they were not unacquainted with it, and taking into consideration the extent of territory they possessed, and the number of nations owning their sway, it would be a matter for wonder if they were ignorant of its existence. Sculptures may be referred to which appear to indicate true chain mail, but so many conventional styles and methods were used by artists to indicate defensive equipment, that it is difficult to arrive at a definite settlement of the question. That this means of protection originated in the East is undoubted, where its coolness would be a great advantage; that it spread in some mysterious way to the Teutonic nations of the West is also certain, and we must look for its introduction there to an age long prior to the time of the Crusades. It was imitated, however, by the unskilful western artificers in such a manner that immense weight occurred and became an inseparable condition, and in this manner during the early Crusades it came into contact with the light chain mail, characteristic of Oriental workmanship, covering the nomadic cavalry of the East. These horsemen were enabled in consequence to move with a swiftness and freedom quite impossible to the crusading knights, thus being forcibly reminiscent of the ponderous Spanish galleons of the Armada, and the small but handy English vessels. In the twelfth and thirteenth centuries the cost of true chain mail was prohibitory to all but the very wealthy, in spite of great quantities which fell to the lot of the victors in Palestine. The manufacture varies under the conditions of time, place, and requirements. Wire, or what answered for wire, was made in the earlier periods of a very rough character, in the manufacture of which the hammer evidently played an important part; but later on, when the art of wire-drawing became known, the cross section of a link exhibits as perfect a circle as it would if of modern construction. This wire was wound tightly round an iron core of convenient size, cut off in rings, and each ring separately treated by flattening the overlapping ends, piercing them with a steel punch, and inserting a small rivet. This rivet was either hammered to flatten it, or it was finished off in a vice. The general method in almost every coat of mail was for one ring to interlink with four others; a few variations occur, however, such as rows of rings occasionally interlinking with other rows above and below, the use of alternate double rings, &c. From the foregoing it will readily be seen that the cost of production of chain mail in labour alone must have been excessive. The strengthening of the mail by insertion of leather straps was occasionally done, the straps being carried through the links in horizontal rows, while vertical rows of strapping in addition to the foregoing are not unknown. In the metalwork, also, the resistance of mail could be considerably augmented by enlarging the rivet joinings. Considering the intricate nature of mail, it is no matter for wonderment that neither in the centuries under consideration nor in those immediately following do we find the common soldier clad in true chain mail, as every portion, large or small, would be carefully retained by the knightly wearer. The incised slab of Sir John de Bitton, in Bitton Church, Somersetshire, 1227 ([Fig. 103]), may be taken as an excellent example of this early period preserved in a monumental effigy: the large shield covering the greater part of the body has no guige, and is necessarily quite flat, though doubtless convex in reality. The coif-demailles is separate from the hauberk, and has a lappet overlying the upper part of the gorget to protect the junction there. The length of the hauberk can only be surmised, inasmuch as the lower border is not shown, but from other examples we glean that it reached nearly to the knees. The mail gloves are also distinct from the hauberk, and bands, laces, or straps are used to protect the junctions with the sleeves: separate fingers are not shown, but the gloves are precisely similar to the mitten gauntlets of the end of the century. The chausses are of chain mail, and continuous with the covering for the feet. The heaume is not shown; it is probable that the flattish configuration of the upper part of the head indicates that a pot-de-fer of some kind was worn under the coif, as in [Fig. 104]. The sword is long and broad, the hilt having short, straight quillons and a cylindrical grip, terminating in a circular pommel. The spurs are of the short pryck form. It should be noticed that the artist has drawn the figure too large for the slab, and has consequently been compelled to encroach upon the bevelled edges.

Fig. 104.—Rich. Wellesburn de Montfort, c. 1270. Hitchenden Church, Bucks.

The Surcoat is of the sleeveless variety, one of the distinguishing features of this period, and reaches nearly to the heels, being, as usual, split up in front and probably also behind, for convenience in riding. It was introduced in order to guard the mail from rain, and indirectly as some protection against the heat of the sun’s rays; but the chief reason for its adoption was that it afforded a means for recognising the wearer, whose features were now completely hidden by the heaume, thus rendering it impossible in the hurly-burly of battle to know friend from foe. Previous to this the nasal helmet, although covering but part of the features, had at times led to confusion, even as early as the battle of Hastings as previously stated. Thus heraldry, which up to this time had only been in an incipient condition, suddenly found itself of the highest importance, and developed in the course of succeeding centuries into a science, the study of which was deemed absolutely necessary for all pretending to the possession of gentle blood. The surcoat had its inception in the long, flowing tunic which during the last period dealt with had been worn underneath the hauberk, as shown upon the two great seals of King Richard I., and the suggestion would be natural to transfer the latter to the outermost position, leaving to the padded gambeson alone the duty of supporting the weight of the hauberk. The first English monarch to appear in this military attire as an outer garment was King John, and he is shown thus habited upon his great seal: while his rival, the Dauphin Louis, who proved such an unwelcome visitor in the latter part of his reign, is similarly represented upon the French seal, as may be seen in the Harl. MS. 43, B. VII., date 1216, to which it is appended. To the Cott. MS., XIX. 2, the seal of Alexander II. of Scotland, 1214-1249, is attached, and this also shows the surcoat. It was of white material or self-coloured, sometimes diapered, and generally bore heraldic charges. The length varied, and both long and short surcoats are seen of approximately the same date; the former reaching at times to the heels and the latter to the hem of the hauberk. The material varied with the means and taste of the wearer; the better descriptions were of silk, richly embroidered with gold and sometimes decorated with precious stones, cloth of gold of the richest quality being also used.

Fig. 105.—Taken from the tomb of Geoffrey Plantagenet, Count of Anjou.

The Crest.—Although much uncertainty exists among exponents of the art of heraldry upon the origin of the crest, yet a little investigation leads to the conclusion that it need not be a matter of speculation or conjecture. The first example of the nature of a crest appears upon the cap of Geoffrey, Count of Anjou, died 1150; his monumental slab in the museum at Le Mans, which stood formerly in the cathedral there, exhibits the figure of a lion ([Fig. 105]). The helmet of Philip d’Alsace, Count of Flanders (c. 1181), shows a lion painted upon the side of the same character as another appearing upon his shield; but what is generally acknowledged to be the earliest authenticated example of a crest fulfilling all the desired conditions is that of Richard the Lion Heart, who upon his great seal shows a fan-shaped ornament surmounting the heaume, and upon the base is painted a lion passant ([Fig. 106]). One of the earliest instances of the use of a crest on the Continent is that afforded by a MS. in the Royal Library at Berlin, and belonging to the end of the twelfth century ([Fig. 107]). In this case an actual figure, that of a red lion, appears, and not paintings, as in the two examples previously cited. It is possible that the adoption of a crest upon the helmet may have been partly of a defensive character, for the effect of a sword-cut would be very materially modified after passing through a stiff erection of steel plate or of tough cuir-bouilli, while against the mace and the pole-axe it would also afford some slight protection. In support of this conjecture it may be noticed that crests at first were ridged and serrated, somewhat after the style which distinguished the pike-guards of the fifteenth century in their embryonic stage, as if purposely designed to arrest the edge of a weapon. The many examples which occur in an undecorated form preclude the thought that they were invented in order to bear heraldic cognisances, although they were quickly seized upon to fulfil the duty hitherto borne by the shield and surcoat, namely, to afford means of identifying the wearer. Of course the fan-shaped ornament under consideration may have simply been the outcome of that instinct for personal adornment and decoration which appears to be inherent in the human race, and which manifested itself in the mediæval period much more than now; but when it is considered that many of these fans are carried forward well over the face and at the same time far backwards, the conclusion is almost compelled that they originated in an endeavour to secure more protection for the top of the head than the crown of the heaume afforded. The great crests of a subsequent period were never used in actual combat, but were reserved exclusively for tournament purposes.