Heraldry as art: An account of its development and practice, chiefly in England

by G. W. Eve

The earliest decoration of symbolic though still merely general significance on the helms of the Middle Ages was the reinforcing piece surrounding the two sight openings, that was made in one of the many forms of cross; and the coronets and decorative fillets which denote high rank. These latter were succeeded about the beginning of the fourteenth century by the actual crests, which were sometimes repetitions, modified or not, of the device on the shield, sometimes of a different nature altogether.

Fig. 148.—Panache Crest. French. Fourteenth Century.

The first attempt to decorate the top of the helm appears to have been by panaches of feathers, perhaps also of horsehair, for which representations in gilded leather or other more permanent material were afterwards substituted. As early as the ninth century movable crests of coloured leather had decorated the head armour, being fastened back and front to the bronze or iron cap. These were purely ornamental, except so far as difference of colour may have made them personal to some extent. An example of the middle of the fourteenth century appears as Fig. 148. Some of the panache crests retained their feathery character and ultimately became crests that were in every way heraldic, while others were developed into a fan-like form which itself served as a field for the display of a device or even of the whole arms as in the case of Sir Geoffrey Louterelle’s crest that is quoted by Boutell. These ornaments appear to have been purely decorative additions to the helmet, and could have had no defensive value; on the contrary, the angle formed by the base with the crown of the helmet would, if rigid, have provided lodgment and purchase for a blow which might otherwise have slid off.

Heraldic crests came into definite use about the beginning of the fourteenth century and soon became of very general application on seals and in other armorial ways.

The Tournament crests were large and boldly designed and were constructed of various light materials such as leather, paper and canvas, worked over a wicker frame; the surface details were modelled in fine plaster, and the whole was painted and gilt. Few ancient examples exist in this country, the most notable being that of Edward the Black Prince which accompanies his shield at Canterbury. Abroad they are more numerous and Fig. 149 is an excellent example of them.

This spirited dragon’s head, of Florentine work of the fifteenth century, is modelled in gesso over a wood core, and was painted and gilt. It is noteworthy that in this instance the torse is modelled with the crest.

When a device became a crest it was generally modified to some extent in order to fit it practically for its position. Hence the frequency of the demi-animals, which, while admitting of more secure adjustment to the helm, retained all the vigorous and symbolic qualities of the whole figure. Animals’ heads were also largely used and are equally satisfactory from the point of view of design, because of the ease with which their lines may be made to harmonize with those of the supporting helmet.

When a lion or other animal was used whole it was generally in a statant position, as it is in the Royal Crest of England, Percy and others, for that was the most stable posture in which such a modelled object could be fixed to a helm. In such cases the animal looked directly in front of it and faced as the helm did.