In corroboration of said note, it may be observed, that the arms, which were assumed by Godfrey of Boulogne himself, after the conquest of Jerusalem, was a cross counter patent cantoned with four little crosses or, upon a field azure, displaying thus metal upon metal. The heralds have tried to explain this undeniable fact in different modes—but Ferne gallantly contends, that a prince of Godfrey’s qualities should not be bound by the ordinary rules. The Scottish Nisbet, and the same Ferne, insist that the chiefs of the Crusade must have assigned to Godfrey this extraordinary and unwonted coat-of-arms, in order to induce those who should behold them to make enquiries; and hence give them the name of “arma inquirenda”. But with reverence to these grave authorities, it seems unlikely that the assembled princes of Europe should have adjudged to Godfrey a coat armorial so much contrary to the general rule, if such rule had then existed; at any rate, it proves that metal upon metal, now accounted a solecism in heraldry, was admitted in other cases similar to that in the text. See Ferne’s “Blazon of Gentrie” p. 238. Edition 1586. Nisbet’s “Heraldry”, vol. i. p. 113. Second Edition.
NOTE TO CHAPTER XXXI
Note G.—Ulrica’s Death song.
It will readily occur to the antiquary, that these verses are intended to imitate the antique poetry of the Scalds—the minstrels of the old Scandinavians—the race, as the Laureate so happily terms them,
“Stern to inflict, and stubborn to endure,
Who smiled in death.”
The poetry of the Anglo-Saxons, after their civilisation and conversion, was of a different and softer character; but in the circumstances of Ulrica, she may be not unnaturally supposed to return to the wild strains which animated her forefathers during the time of Paganism and untamed ferocity.