Understanding Njs Great Seal.Qxd

Total Page:16

File Type:pdf, Size:1020Kb

Understanding Njs Great Seal.Qxd The horse head stands for speed and strength, and is the state animal. The forward facing knight’s helmet represents sovereignty and self-government. The female allegorical figure of “Liberty,” with the “Liberty Cap” on her staff (see below). The three plows on the shield reflect the importance of agriculture to the state’s economy. Ceres, the Roman goddess of grain holding a cornucopia filled with harvested produce, symbolizing abundance. WHAT’S SO GREAT ABOUT NEW JERSEY’S GREAT SEAL b y G O R D O N B O N D What’s so “great” about New Wax seals were also used by France in 1688, he threw his Jersey’s “Great Seal”? ordinary people on folded Great Seal into the Thames The concept of a state seal letters as security against prying River so it could not be dates as far back as ancient eyes. A letter could not be captured and used by his Mesopotamia, when officials opened without breaking the enemies. would roll engraved cylinders seal. Seals are found in many on wet clay to mark documents. cultures around the world. NEW JERSEY AND THE From ancient Egyptian pharohs Americans inherited the GREAT SEAL OF THE UNITED to the 18th century’s European practice from Europe, STATES OF AMERICA monarchs and ecclesiastical specifically from England where With the idea of a seal of state officials, metal stamps and the Great Seal of the Realm was already part of the culture, it signet rings were used to used to symbolize the isn’t surprising that the practice imprint their emblems into wax monarch’s authority. Forgery was adopted by the United as proof that a document was was a capital offense. During States. Indeed, it was considered authentic and carried their the English Civil War, when so important that when the authority. James II attempted to flee to Continental Congress declared What’s So Great About New Jersey’s Great Seal O Gordon Bond O GardenStateLegacy.com Issue 6 O December 2009 independence from Great die. He succumbed to turned over to the Secretary of Britain on July 4, 1776, they also tuberculosis in 1788 while in the Congress, Charles Thomson, named the first committee to Frankford, Pennsylvania. an Irish-born patriot from design a seal the same day. It They brought in Francis Philadelphia. What he came up was comprised of Benjamin Hopkinson (1737-1791), a with was a conglomeration of Franklin, Thomas Jefferson Jersian with expertise in ideas from all the committees and John Adams. As heraldry. In fact, he that would become the basis for brilliant as the three would do much of the the final deasign. It was first men might have actual work. It was used by Thomson on September been, they were Hopkinson who had 16, 1782, to verify signatures on somewhat clueless put his signature on a document which authorized when it came to the Declaration of George Washington to negotiate matters of heraldry. an exchange of prisoners with Top: Thomson’s Since the seal was original sketch. England. essentially the coat of Left: The first die The design would be refined arms for the new nation, based on his and revised in 1825, 1841, 1877, they sought the advice of sketch. 1885 and finally arrived at a Pierre Eugene du Simitiere. form familiar to us today in But more about him later! Independence 1904. It took, however, six on behalf of years, three committees, and New Jersey, THE GREAT SEAL OF THE the contributions of fourteen along with Richard STATE OF NEW JERSEY men before the Congress finally Stockton, John Hart, A sense of how important the accepted a design in 1782. The John Witherspoon and Abraham concept of a seal was to the final product was actually a Clark. Hopkinson had a conducting of official state combination of elements from penchant for design and created business can be sensed by how the various designs submitted the layout of the $50 continental rapidly it was adopted by the over the period—and New paper money note as well as— newly minted governments— Jersey men played a role in that and not without some and often under less than idea creative evolution. controversy—claiming credit for conditions. On March 25, 1780 a second the American flag. When the New Jersey design committee was formed, On May 4, 1782, the third legislature met in the summer of which consisted of James Lovell committee was formed, this time 1776, as far as the British were of Boston, John Morin Scott of consisting of John Rutledge and concerned, they were an illegal New York and William Churchill Arthur Middleton, both of South body of traitors on the run. Yet Houston of South Carolina. Carolina and Elias Boudinot of they found a place to meet in Houston, however, became a New Jersey. Boudinot hailed the library of the College of Jersian when he attended the from Elizabethtown and served New Jersey at Princeton (later College of New Jersey (later as New Jersey’s representative Princeton University). There, on Princeton University) and fought to at the Continental Congress July 2, 1776, they ratified the with the American militia in as well as the body’s President first state constitution. In doing Somerset County. He went on to from 1782 to 1783. Arthur Lee of this, they officially created a real represent the county at New Virginia had replaced Rutledge, government for a real state— Jersey’s convention to ratify the although he was not officially and real governments needed a Constitution and was twice New appointed. They too sought the seal. So, the same day, they Jersey’s delegate to the assistance of someone with appointed a joint committee to Continental Congress—betwen heraldic experience, this time it take care of it. 1779 and 1781 and again in was William Barton from John Fell of Bergen, NJ 1784 to 1785. He also has the Pennsylvania. suggested for the moment they dubious distinction of being the On June 13, 1782, the designs use the coat of arms of “his first of the founding fathers to of the three committees were Excellency William Livingston, What’s So Great About New Jersey’s Great Seal O Gordon Bond O GardenStateLegacy.com Issue 6 O December 2009 Esquire.” A native of Albany, design. It was to be, “a Silver often depicted as holding might New York and a Yale-educated Seal, which is to be round, of seem odd to modern eyes. lawyer, Livingston had been two and a half Inches in The influence of Roman and behind a rabble rousing Diameter, and three-eighths of Greek mythology in Western publication in New York, The an Inch thick; and that the Arms culture was an extension of the Independent Reflector, that took shall be three Ploughs in an neoclassical movement that had on the city’s Anglican elite. Escutcheon, the Supporters emerged in the mid-18th He became a Jersian in Liberty and Ceres, and the century. The cap is a reference 1772, when he moved Crest a Horse’s Head.” to the “Phrygian cap,” a soft, red to an estate in The form was conical hat worn by priests in Elizabethtown, New dictated largely by ancient Anatolia. Its association Jersey (Liberty Hall classical rules of with liberty was likely a still stands and is a heraldry, but the confusion with a similar hat William museum) and then Livingston specific symbols found in ancient Greece called a became delegate to were chosen to “pileus.” Freed slaves were often the Continental reflect the self given one, thus making it Congress from 1774 identity of the place. emblematic of manumission. It to 1776. The three plows are would appear frequently in When the war with perhaps the most allegorical images in Europe England came in April of obvious. The vast majority of and America. 1775, he was commissioned that North America was rural in the The staff on which the Liberty October as a brigadier general 18th century. But New Jersey’s Cap is slung also has a symbolic in the militia. The agrarianism had been all history. In an age when following year, however, the more accentuated buildings rarely reached more he was elected as New thanks to it being three or four stories and church Jersey’s first non- bookended by the steeples dominated the skyline Royal Governor. He urban centers of even of cities, a simple tall replaced the Loyalist, New York and wooden pole would stand out. William Franklin, who Philadelphia. The They would be used a flagpoles had been arrested at English Army and or even to hoist a Liberty Cap as Perth Amboy and took American forces alike a defiant symbol. Patriots would the provincial seals tended to with him. Francis view the Hopkinson So with Livingston as fertile Raritan A Liberty Pole the head of the new state, there Valley as both a erected in New was a logic to Fell’s suggestion highway between York in 1770, that his coat of arms be used to them and as a drawn by Pierre Eugene du represent it, albeit temporarily. larder. During the Simitiere. In the words of the resolution, it war, both sides was just to be used “till another raided farms for shall be made.” supplies. Francis Hopkinson was also But more than that, the plows put them up and Loyalists tapped to help with the design. represent the ideal of the free would try to tear them down. As seen, he would go on to yeoman farmer standing as the Liberty’s holding of a staff, work with the designers of the foundation of republican power topped by the cap, was a scaled United States’ Great Seal.
Recommended publications
  • MEDIEVAL ARMOR Over Time
    The development of MEDIEVAL ARMOR over time WORCESTER ART MUSEUM ARMS & ARMOR PRESENTATION SLIDE 2 The Arms & Armor Collection Mr. Higgins, 1914.146 In 2014, the Worcester Art Museum acquired the John Woodman Higgins Collection of Arms and Armor, the second largest collection of its kind in the United States. John Woodman Higgins was a Worcester-born industrialist who owned Worcester Pressed Steel. He purchased objects for the collection between the 1920s and 1950s. WORCESTER ART MUSEUM / 55 SALISBURY STREET / WORCESTER, MA 01609 / 508.799.4406 / worcesterart.org SLIDE 3 Introduction to Armor 1994.300 This German engraving on paper from the 1500s shows the classic image of a knight fully dressed in a suit of armor. Literature from the Middle Ages (or “Medieval,” i.e., the 5th through 15th centuries) was full of stories featuring knights—like those of King Arthur and his Knights of the Round Table, or the popular tale of Saint George who slayed a dragon to rescue a princess. WORCESTER ART MUSEUM / 55 SALISBURY STREET / WORCESTER, MA 01609 / 508.799.4406 / worcesterart.org SLIDE 4 Introduction to Armor However, knights of the early Middle Ages did not wear full suits of armor. Those suits, along with romantic ideas and images of knights, developed over time. The image on the left, painted in the mid 1300s, shows Saint George the dragon slayer wearing only some pieces of armor. The carving on the right, created around 1485, shows Saint George wearing a full suit of armor. 1927.19.4 2014.1 WORCESTER ART MUSEUM / 55 SALISBURY STREET / WORCESTER, MA 01609 / 508.799.4406 / worcesterart.org SLIDE 5 Mail Armor 2014.842.2 The first type of armor worn to protect soldiers was mail armor, commonly known as chainmail.
    [Show full text]
  • Banners in Heraldic Art
    Banners in heraldic art Magnus Backrnark Abstract The banner is very useful to heraldic art. It is a carrier of charges and colours, just like its coun­ terpart the shield. But where the shield can be seen as crude, heavy, flat and robust - its purpose being taking hits- the banner is brilliant, swift, full of I ife and motion. Its purpose is spiritual. It is lifted above anyone's head, above dust and confusion, for inspiration and guiding. Something of this character, I will with this article try to show by examples that the heraldic artist, if lucky, can translate in his or her work. First, we could though take a quick glance at the historical development of banners. The term banner approves, as we shall see, to a specific kind of flag, but in a wide sense of the word a banner is any ensign made of a peace of cloth, carried on a staff and with symbolic value to its owner(s). The profound nature of this innovation, which seem to be of oriental origin, makes it the mother of all kinds of flags. The etymologi­ cal root of the word banner is the French word banniere, derived from latin bandaria, bandum, which has German extraction, related to gothic bandwa, bandw6, 'sign'. 1 The birth of heraldry in the l2 h century Western world was preceded by centuries of use of early forms of banners, called gonfanons. From Bysantium to Normandy, everywhere in the Christian world, these ensigns usually were small rectangular lance­ flags with tai Is (Fig.
    [Show full text]
  • Knllhtsj^ARMOR
    School Picture Sei Number 10 KNllHTSj^ARMOR THE METROPOLITAN MUSEUM OF ART KNIGHTS IN ARMOR The knight was a warrior on horseback. He and his men had to fight for their liege lord when­ ever their services were demanded. In return the knight received a grant of land or special privi­ leges to provide for the cost of his armor, the care of his horse, and the upkeep of his household and retinue. He was considered a member of the nobility and obeyed the code of ethics which we call chivalry. Thus a knight should be loyal, courageous, and courteous as well as skilled in all the arts of war. His obligations to his lord and his own sense of honor brought him into many conflicts. He fought in major wars and countless minor ones. As a Crusader he "took the cross" and journeyed to the Holy Land to fight the infidels. As a champion of the wronged or to settle a point of honor, he challenged another knight in single combat. In quest of adventure he wandered about strange lands as a knight errant. When times were peace­ ful, he kept in training by fighting in jousts and tournaments. In these enclosed pictures you will see the vari­ ous activities of the knight, as well as some of his weapons and the armor that provided the pro­ tection he needed. THE METROPOLITAN MUSEUM OF ART 1. NORMAN CONQUEST Detail, Bayeux embroidery French, Late 11th Century Bayeux THE METROPOLITAN MUSEUM OF ART In the time of William the Conqueror, knights seem to have worn armor of rings sewed on heavily padded garments, conical helmets, and carried javelins, swords, and kite-shaped shields.
    [Show full text]
  • Heraldry for Beginners
    The Heraldry Society Educational Charity No: 241456 HERALDRY Beasts, Banners & Badges FOR BEGINNERS Heraldry is a noble science and a fascinating hobby – but essentially it is FUN! J. P. Brooke-Little, Richmond Herald, 1970 www.theheraldrysociety.com The Chairman and Council of the Heraldry Society are indebted to all those who have made this publication possible October 2016 About Us he Heraldry Society was founded in 1947 by John P. Brooke-Little, CVO, KStJ, FSA, FSH, the Tthen Bluemantle Pursuivant of Arms and ultimately, in 1995, Clarenceux King of Arms. In 1956 the Society was incorporated under the Companies Act (1948). By Letters Patent dated 10th August 1957 the Society was granted Armorial Bearings. e Society is both a registered non-prot making company and an educational charity. Our aims The To promote and encourage the study and knowledge of, and to foster and extend interest in, the Heraldry Society science of heraldry, armory, chivalry, precedence, ceremonial, genealogy, family history and all kindred subjects and disciplines. Our activities include Seasonal monthly meetings and lectures Organising a bookstall at all our meetings Publishing a popular newsletter, The Heraldry Gazette, and a more scholarly journal, The Coat of Arms In alternate years, oering a residential Congress with speakers and conducted visits Building and maintaining a heraldry archive Hosting an informative website Supporting regional Societies’ initiatives Our Membership Is inclusive and open to all A prior knowledge of heraldry is not a prerequisite to membership, John Brooke-Little nor is it necessary for members to possess their own arms. e Chairman and Council of the Heraldry Society The Society gratefully acknowledges the owners and holders of copyright in the graphics and images included in this publication which may be reproduced solely for educational purposes.
    [Show full text]
  • Equestrian Helmet Information Approved Equestrian Helmets • ASTM/SEI Approved Helmets Will Have a Tag Or Sticker Inside the Helmet
    Equestrian Helmet Information Approved Equestrian Helmets • ASTM/SEI approved helmets will have a tag or sticker inside the helmet. • Equestrian helmets offer additional protection to the back of the head and also provide protection to specific areas of the head relating to falls from horses. How to check if a helmet is approved Inside an equestrian helmet you will find ASTM/SEI certification information Approved Helmets There are various types of approved equestrian helmets. English, Schooling, Western, and Derby Unapproved Helmets • Bicycle helmets, Skateboarding helmets, ATV helmets, and Motorcycle helmets are NOT approved for equestrian use. • Bicycle Helmets, Skateboarding Helmets and Equestrian Riding Helmets are not all the same. While similar in appearance, bicycle helmets are not subject to design specifications and standards that a riding helmet must pass in order to provide adequate protection. • Hunt caps are NOT ASTM/SEI certified. These caps do not offer protection in the event of a fall. Bike Helmet Bike Helmet Skateboarding Helmet ATV Helmet Hunt Cap Properly Fitted Helmets • A correctly sized helmet sits down snugly on your head and covers your entire skull with equal pressure all around. • No gap exists between your helmet and your head; even pressure with the lining allows the helmet to absorb force in an accident. How to Measure Your Head • Before you begin, you'll need a soft fabric measuring tape with centimeter increments. • Place the tape measure snugly around your head at the widest point about one inch above your eyebrows. Make sure the tape goes over the bump at the back of your head and that it is just above the top of your ears.
    [Show full text]
  • The Ecclesiastical Coat of Arms Of
    The Ecclesiastical Coat of Arms of Roderick O. Ford, D.Div, D.Litt., J.D. © The Ecclesiastical Coat of Arms of Roderick O. Ford, Esq. , adopted in 2013, is a symbol of his Christian philosophy of law, theology, and government, as well as his conception of the role of Christian lawyers within the Anglo-American common-law tradition. This Coat of Arms was jointly designed in 2013 by graphic artists Patricia Stephens (Tampa, Florida), Gerald Ivey (Atlanta, Georgia), and a heraldry design company in the United Kingdom. It was extracted from Medieval Church tradition, particularly the Roman, English, and Orthodox Church traditions. It thus reflects the traditional orthodox viewpoint that the Truth of Christ (i.e., the “Law of Reason,”1 “Law of Faith,” “Law of Love,” and “Equity”) is the foundation of Secular Jurisprudence. The Top of the Coat of Arms represents the Profession of Law and the Sovereignty of Justice as the Foundation for the Secular Government and Jurisprudence. It is placed on Top, because its Foundations are deeply rooted in the Church and the Sacred Scriptures, which are reflected in the Middle and Bottom portions of the Coat of Arms. The Middle of the Coat of Arms represents the Office of the Ordained Clergy in general. The Ecclesiastical Hat is the Traditional Reflection of the Roman or Latin galero, which was originally the Pilgrim’s hat, like a sombrero. The Book, that is beneath the Ecclesiastical Hat, reflects the Sacred Scriptures; this Book is also a symbol for Christian Theology as the Queen of all the Sciences, the Christian University, and Christian Scholarship, Wisdom, and Virtue.
    [Show full text]
  • Blazon and Explanation of the Coat of Arms of the Most Reverend
    Blazon and Explanation of the Coat of Arms of the Most Reverend Luis Miguel Romero Fernández, M.Id., DD Titular Bishop of Egara and Auxiliary Bishop of Rockville Centre BLAZON: Per fess Gules and Argent; a bar wavy composed of two troughs and one wave per fess Argent & Azure, with the upper edge invected of one point and the middle division line engrailed of one point with the lower edge of the bar dovetailed of a single point at the center; in chief, flanked by two escallop shells Argent, the insignia of the Idente Missionaries Proper (a plate fimbriated Or on which is depicted the lower case letters “i” surmounted by a flame Gules and “d’, both Or with a Latin cross Gules between them); in base three roses on the stem issuant in base Gules, barbed and stemmed Vert, seeded Or. Shield ensigned with an episcopal cross Or behind the shield and a bishop’s galero Vert cords and twelve tassels disposed in three rows of one, two and three all Vert. On a scroll below the shield the motto, “Meek And Humble of Heart”. EXPLANATION: The coat of arms assumed by Bishop Romero reflects his Religious Community, the diocese in which he serves, his previous ministry and his heritage. The colors used in this coat of arms are primarily red, white and blue, the national colors of the United States because the bishop wishes to honor the country in which he now lives and serves as both a priest and bishop. The main charge, or feature, across the middle of the shield is a bar specifically shaped to suggest an open book with the blue lower portion representing the binding and spine of the book and the white upper portion suggesting the pages.
    [Show full text]
  • The Society of Heraldic Arts
    THE SOCIETY OF HERALDIC ARTS Table of Contents The sea stag and lion of Crosby Hall cover Contents, membership and editorial inside cover Offi cers of the Society and Chairman’s message 1 Lifting the curtain, the heraldry of Crosby Hall 2-4 Heraldry’s Master Carver, Dr Richard Reid 5-7 Society Ma ers 8-9 Restoration of Heraldry in Stone, Veronika Vlková 10-13 Finnish Heraldic Bookplates, Dr An i Matikkala 14-17 The Moran star in brass and marble back cover Membership of the Society Associate Membership is open to individuals and organisations interested in heraldic art. Craftsmen new to heraldry or whose work is not preponderantly heraldic should initially join as Associates. The annual fee is £17.50 or equivalent in other currencies. Craft Membership is open to those whose work comprises a substantial element of heraldry and is of suffi ciently high standard to pass examination by the Society’s Appointments Board. Successful applicants may use the post-nominal SHA. Fellowship of the Society is in recognition of outstanding work. Annual craft fee is £35 with access to and recognition on the Society’s website. Please join us! Look on www.heraldic-arts.com or contact Gwyn Ellis-Hughes, the Hon Membership Secretary, whose details are on the next page. The Heraldic Craftsman Although every era begins earlier than you think, I suppose we would agree that the immediate post-Napoleonic era ushered in the greatest interest in restoration and conservation western Europe has ever seen. Bu erfi eld, Mérimée, Pugin, Morris, Street and their craftsmen, and legions more.
    [Show full text]
  • Components of the Coat of Arms
    Mabee-Gerrer Museum of Art SSttaarrtt with AArrtt Medieval Europe HERALDRY 101: Components of the Coat of Arms: The field is the primary component of a coat of arms. A variety of shield shapes were used for the field. Generally, only men and married women employed a shield for their arms field. Unmarried women (and often male members of the clergy) would use a lozenge (diamond shape) or oval. Many fields used for modern coats of arms are circles. The tinctures for coats of arms fell into three categories: metals, colors, and furs. The metals were gold (yellow) and silver (white). The traditional colors are: red, blue, green, purple, and black. The colors were limited by the natural pigments available in Medieval Europe. The shield can also be decorated with patterns representing vair (squirrel) and ermine. One of the rules governing tinctures is that metal cannot be placed against another metal; metal should be placed against a color so that they create a visual contrast that can easily be seen from a distance. The charges or devices (symbols) on coats of arms are quite varied and can include: ordinaries and sub-ordinaries (stripes and other means of partition), flora and fauna (plants and animals both real and imagined), man-made objects (castles, keys, weapons, etc.), celestial objects, and human forms (in whole or in part). In the coats of arms of nobles and lords, the traditional charges often had symbolic meanings (dogs for example were symbols for loyalty). In canting arms (punning arms) used by tradesmen and families, the charges often referenced the name (a hammer for Smith, a boar for Bacon).
    [Show full text]
  • The Glidden Family Heraldry by Jeanette Volintine the Glidden
    The Glidden Family Heraldry by Jeanette Volintine The Glidden Surname The Glidden surname was adopted after the Norman Conquest of 1060/66 in 1300 AD. The name “Glidden” comes from three sources, they are: fish, birds, and quadrapeds. The Glidden Clan was known for their swift moving hunting ability.1 In England, the name Gliddon has twenty-one different spellings, they are: Glydan, Glydden, Glyddon, Glydon, Giddon, Gldon, Gladdon, Gleadden, Gledden, Gleddon, Gledin, Gledon, Glidden, Gliden, Gliddo, Glidon, Glidoon, Glidten, Gludden, Gluden, and Gludon.2 Glidden is a very rare English name, which means “descendant of Gladwin.”3 Through the use of the Glidden coat of arms, the Glidden family had the satisfaction in connecting the present with their honored past. The Glidden family did not erase their families’ past, rather they linked their families honored past by firm ties to the future. Heraldry and coat of arms are very important to understanding family history, because they are used for remembering the past, which can bring a new awareness to the present, and they are a standard of noble and/or knightly behavior. Heraldry in America In America, most ancestors had the pioneer spirit, because they left their homes in other countries and came to live in America. This is the same for the Glidden family. In America, heraldry was first established by European settlers who brought with them the heraldic customs of their countries. The use of coat of arms was seen as a custom of nobility and royalty, but according to George Washington, “heraldry is not incompatible with the purest ideals of 1 Doris Bobzin Glidden and Charles Edward Glidden, Glidden Genealogy: The Fit of the Glidden Genes (Plainfield: Glidden Genealogical Publishing Inc., 2005), 10.
    [Show full text]
  • The Virtual Armory Interactive Qualifying Project Proposal Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in Pa
    48-JLS-0069 The Virtual Armory Interactive Qualifying Project Proposal Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for graduation by _____________________________ Jeffrey Bardon June 25th 2013 Professor Jeffrey L. Forgeng. Major Advisor Keywords: Higgins Armory, Arms and Armor, QR Code 1 Abstract This project developed a QR system to provide an interactive experience at the Higgins Armory Museum. I developed a web page that gives interesting facts on a medieval European helmet. When scanned, a QR Code next to the helmet brings up a mobile- friendly web page with information on the object, randomly selected from a pool of information, and an HTML-based game involving matching Greek, Islamic, Japanese and European helmets to their regions. 2 Contents Introduction___________________________________________________________4 Helmets of the Ancient World_____________________________________________7 Helmet from Ancient Greece________________________________________7 Helmet from Feudal Japan_________________________________________11 Helmet from Medieval Islamic Territories______________________________15 Helmet from Medieval Europe______________________________________19 Conclusion__________________________________________________________23 Appendix A (game documentation)_______________________________________25 Appendix B (fun fact documentation)______________________________________29 Appendix C (QR label)_________________________________________________32 Appendix D (Biography)________________________________________________33
    [Show full text]
  • A GLOSSARY of MILITARY DRESS Ailettes: Rectangular Plates Usually Projected up on Either Side of the Head and Laced to the Shoul
    A GLOSSARY OF MILITARY DRESS Ailettes: rectangular plates usually projected up on either side of the head and laced to the shoulders. Scholars disagree about their purpose, some believing them to be heraldic and ornamental, others holding that they protected the collar bone from downward blows. Found on fourteenth century brasses. Aketon (also haketon and gambeson): a plain, quilted coat usually worn under armor. Arming cap: a small, quilted, close-fitting skull cap with ear lappets and with laces that could be tied under the chin. It was worn either under or over the mail coif. Arming doublet: garment worn under armor during the fifteenth and sixteenth centuries. Arming points: straps, buckles, hinges, lynch pins, etc. that hold sections of armor in position. Aventail: mail covering the neck and shoulders and attached to the bascinets; replaced c.1420 by a steel gorget. Baldric (bawdric): metal studded belt, worn horizontally across the hips; mainly fourteenth century. Bascinet: the characteristic conical helmet of the fourteenth and fifteenth centuries. Besagews (palettes): plates, usually circular or oblong, protecting the armpits. Usually fourteenth and fifteenth centuries. Bevor (also gorget): a piece of plate armor covering the lower part of the face and throat. Breastplate (cuirass): metal plate covering the front part of the body from neck to waist. There was also a backplate. From fifteenth century onward. Brigandine (also cuirie, coat of plates): small steel plates riveted to cloth or leather and worn under a surcoat or jupon, and occasionally over the thighs. Mainly fourteenth century. Byrnie: (see hauberk) Camail: (see aventail) Chausses: mail leggings or stocking.
    [Show full text]