PLATE 33.
(Fig. 1): Brass of Sir Roger de Trumpington, in Trumpington Church, Cambridge, 1289. The head rests on the Heaume, which is of large size. The latter is fastened to a rope around the waist, by means of a chain. The knight is represented with his legs crossed. It was thought at one time that this showed that the knight had taken part in the Crusades, but it is now considered by some that he was probably a benefactor to the church. Others think that it was merely a device of the engraver to lessen the stiff appearance of the figure. All the features of mail armour to which attention has already been directed, may easily be seen in this figure, and the knees are covered by genouillières (probably of cuir bouilli), which are the first pieces of additional armour worn over the mail. It will be noticed in this plate that there are four ways in which mail armour is represented, viz., in Figs. 1, 2, and 3, 5, and 9. (Fig. 2): Head of the effigy of William Earl of Pembroke, which shows very clearly the way in which the coif de mailles was secured to the head, and lapped round the face, being fastened to the left side, near the temple, by a strap and buckle. (Fig. 3): Head of an effigy in Pershore Church, Worcestershire, in which the lappet of the coif is represented as unloosed. (Fig. 4): A great heaume of the 13th century, found at Eynesford Castle, Kent. The ring at the bottom is for the attachment of the heaume to the body armour. (Fig. 5): The heads of a group of soldiers, from the Painted Chamber at Westminster. In this will be seen the great diversity of equipment found among knights. In the rear are shown two banners and a pennon. (Fig. 6): Heaume at Staunton, Notts., 1312. On the top is seen the staple for affixing the crest to the heaume. (Fig. 7): The heaume of Richard I., taken from his Great Seal, showing a fan-shaped ornament at the top, with a lion painted upon the crown. (Fig. 8): Soldiers in a boat, engaged in siege operations. One has a staff sling, which is apparently charged with some combustibles. The archer is also discharging either a bag of quick-lime or some combustible. The slingers were generally bare-headed, and wore no body armour. The archer wears a coif of mail or leather on his head, and a sleeveless hauberk on his body. The third soldier carries a pole-axe, a sword, and a spear. (Fig. 9): Head from the brass of Sir John D’Abernoun, in Stoke D’Abernoun Church, Surrey, 1277. This is the earliest known example of brass. The chain mail is represented in great detail, every link being shown. Fig. A is a portion of the mail enlarged. (Fig. 10): A spear with pennon, from the same brass. (Fig. 11): A martel-de-fer, which was used for breaking or dragging off the rings of the hauberk, and opening a passage for other deadly weapons. (Fig. 12): A guisarme, a powerful, scythe-shaped, shafted weapon, used by foot soldiers. (Fig. 13): A banner, such as was carried by Knights Bannerets, who must have a following of at least fifty men-at-arms before they were qualified to carry this.
EARLY ENGLISH ARCHITECTURE.
The Transition.—At the close of the Norman period, the quality of the masonry was very good, and the workmen had learnt how to economise their materials. The improvement continued until the work reached a high degree of perfection. The mouldings, the ornament, the sculpture, and all other details are of a lighter style, and more highly finished. The architecture that remains of this period is aptly termed “Transitional.” The transition, from the round-arched Norman style, with its heavy and massive appearance, and its strongly-marked horizontal lines, to the graceful Early English style, with its prominent vertical lines, is very gradual, and the first step in this direction was the introduction to general use of the pointed arch. This is considered the most characteristic element of Gothic architecture—its ever-increasing use permitting the slenderness of proportion, lightness, and loftiness of effect to be carried out to a marvellous extent.
Professor Freeman has traced the adoption of the pointed arch in Western Europe to influence of Saracenic architecture, which was extended in the West through the Crusades.
In the early examples, the features and general characteristics of the buildings are, in the main, the same as in the Norman style, but with the pointed arch employed in place of the round-headed one.
Gothic Architecture.—This term was originally applied to the mediæval styles at the time of the Renaissance. It was given as a term of contempt when it was the fashion to write Latin and to expect it to become the universal language.