Oswald Barron

Summary

Oswald Barron 1911 Encyclopædia Britannica (1911)

Deep mystery wrapped the shape of him, which was never during the middle ages standardized by artists. A crest upon a 15th-century brass shows him as a lean wolf-like figure, with a dash of the boar, gazing after his vain wont into a looking-glass; and the 16th-century heralds gave him the body of a lion with the head of a wolf, head and body being tufted here and there with thick tufts of hair. But it is noteworthy that the arms of Sir John Norwich, a well-known knight of the 14th century, are blazoned in a roll of that age as “party azure and gules with a tiger rampant ermine.”
Source: Wikisource

Oswald Barron 1911 Encyclopædia Britannica (1911)

When the fashion for slittering the edges of clothing came in, the edges of the mantle were slittered like the edge of the sleeve or skirt, and, flourished out on either side of the helm, it became the delight of the painter of armories and the seal engraver. A worthless tale, repeated by popular manuals, makes the slittered edge represent the shearing work of the enemy’s sword, a fancy which takes no account of the like developments in civil dress. Modern heraldry in England paints the mantle with the principal colour of the shield, lining it with the principal metal.
Source: Wikisource

Oswald Barron 1911 Encyclopædia Britannica (1911)

The art of armory had no better fate. An absurd rule current for some three hundred years has ordered that the helms of princes and knights should be painted full-faced and those of peers and gentlemen sidelong. Obeying this, the herald painters have displayed the crests of knights and princes as sideways upon a full-faced helm; the torse or wreath, instead of being twisted about the brow of the helm, has become a sausage-shaped bar see-sawing above the helm; and upon this will be balanced a crest which might puzzle the ancient craftsman to mould in his leather or parchment.
Source: Wikisource

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