We may gather a few more details regarding the flags of the crusading period from some of the earlier chansons de geste. The gonfanon, the use of which was confined to the nobility, was fastened to the shaft of the spear before going into action by three or five nails[44], and it must have needed a strong fastening if it was to remain on the spear throughout the battle. Indeed, the poets give a realistic touch to their descriptions of the various combats by narrating how their heroes drove the cloth of the gonfanon into the body of the foe. As they sat upright upon their horses the tails of the gonfanon reached down to their hands or even to their feet.
Dunc met sa main en sa vermeille chalce
Si traist tut fors une enseigne de palie
A treis clous d'or en sa lance la lacet
Ot le braz destre brandist l'espié en haste
Des i qu'as poinz les lengues d'or li'n batent.
Then thrust his hand into his scarlet hose
And drew forth an ensign of rich silk
With three golden nails fastened it to his lance
In his right hand brandished the spear with vigor
Down to his fist the golden tongues beat down.
Guillaume d'Orange, v. 317.
The designs are simple in colour—red, white, yellow—and there is no mention of any charge upon them, though in one instance a red gonfanon is marked by a golden cross:
L'espié trait en sa main au vermel gonfanon Une Crois i ot d'or. Conquête de Jerusalem, v. 425.
The pennons were carried by knights; they appear to have been of similar colours to the gonfanons, but were much smaller.
Tos chevaliers, n'i a cel n'ait penon. (All knights, there was not one but had a pennon.)
Ogier l'Ardenois, v. 4440.