Fig. 154.
As the torse was composed of pieces of silk of different colours twisted together, the colours appear alternately, six spaces being generally shown, their alternation beginning on the dexter side with the metal, as most heraldic alternations do, for the idea was that metal was more “worthy” than colour, but there is nothing essential in this. In some instances the torse resembles drapery cut into leaves, as in Fig. 154, a fifteenth century example from the Palazzo del Podesta, Florence. Its place is sometimes taken by a decorative circlet called a crest coronet, which, however, is no indication of rank, though it is probably derived from the practice at a time before coronets signified specific degrees of nobility, when it often appears encircling the helmets of personages of high rank. Later, when coronets were beginning to take the form that soon became regular, the crest of a Peer was made to issue from a coronet, as in that of Richard Earl of Warwick, on his tomb. An excellent practice, and one quite in harmony with heraldic feeling, that there has been some attempt to revive in modern times. Other coronets that occur in crests and are also used as charges are described at p. 271.
Fig. 155.
The Mantling or Lambrequin, that depends from the helmet, and is a most valuable asset to the designer, was derived from some such protection to the helmet as the surcoat was to the body armour, and like it was soon made to serve decorative purposes. The surcoats, mantles and other garments of the fourteenth century, being ornamented with dagged edges cut into various tongue-shaped patterns, the mantling naturally followed their example and thence proceeded to other ornamental development, very simply at first, but continuing with ever-increasing elaboration until it became, in many instances, similar to the contemporary architectural tracery. Its early form is shown in Fig. 155, and the beginning of its decorative development in Fig. 156. An even earlier instance of dagged edges to drapery occurs on Trajan’s column, in the decoration of a tent.
Fig. 156.
Though the mantling probably remained comparatively simple in actual use its treatment in the illuminated MSS. and on monuments shows a very ready acceptance of its ornamental possibilities, both as a decorative adjunct to the armorials and also as a link between them and other decoration. During the Middle Ages it followed the method of the Gothic tracery in dividing and sub-dividing in groups of three, which curved and interlaced in infinite variety.
In addition to being laced to the helm it was, in some cases, secured by two straps which were rivetted to the helm on either side and buckled at the back. It was also frequently decorated with badges, and in some cases the coat of arms was wholly repeated on it. It sometimes took the form of a cap which fitted over the helm, and was continued behind, and a curious example of a tourney helm with such an ornament is Fig. 157, after Viollet-le-duc, which is part of the equipment of a knight about to tourney, whose surcoat is charged with a double-headed eagle, and, he being about to encounter with swords and therefore having no shield, the charge is repeated on the helm in the bold and effective manner here shown. On the stall plate of Gaston de Foix as a Knight of the Garter, part of whose arms is Or three pallets Gules, the mantling has one side similarly striped with gold and red. Examples of mantling charged with badges are also to be found on the Garter stall-plates.
