Note F.—–Heraldry
The author has been here upbraided with false heraldry,
as having charged metal upon metal. It should
be remembered, however, that heraldry had only its
first rude origin during the crusades, and that all
the minutiae of its fantastic science were the work
of time, and introduced at a much later period.
Those who think otherwise must suppose that the Goddess
of “Armoirers”, like the Goddess of Arms,
sprung into the world completely equipped in all the
gaudy trappings of the department she presides over.
Additional Note
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 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.
Note H.—–Richard Coeur-de-Lion.
