belong the fashions of the armour and weapons. Very many of the armed representations of the Earl of Warwick, whether he be depicted in actual battle or in the tournament, show him in a tabard or surcoat emblazoned with his family arms. We here give three representations of him wearing this outer garment (Figs. 252, 253, and 254); while illustrations referring to other armaments taken from the same Pageant are shown in later chapters (see Figs. 364 and 421).
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Fig. 253. Richard Beauchamp, Earl of Warwick, at the siege of Caen
Cotton MSS., British Museum. The Warwick Pageant, drawn about 1485
Doubtless the most interesting is the first (Fig. 252), where twice in the same illustration the Earl is represented fully armed, his fine harness covered with the surcoat. The scene represented is the siege of Rouen. On the left King Henry V, also wearing the tabard surcoat, is giving to the Earl the charge of Port Martevyle, and on the right the Earl is seen standing, armed to all points, in front of his tent. It will be noted that the Earl's surcoat is encompassed around the waist by his sword belt, while that of the King hangs loose. The second representation (Fig. 253) shows the Earl again, this time at the siege of Caen, fully armed save his head, but still wearing the surcoat tabard. Two other representations of the Earl (Fig. 254) illustrate the same tabard worn in the jousts at Guines, where the Earl's opponent was Sir Colard Fynes. The reason for the Earl figuring twice in so small a space is that as he had three times in succession vanquished Sir Colard Fynes in the joust, it was thought by some that he was fastened to his saddle, to disprove which idea he dismounted. The draughtsman has therefore shown him first riding his course, and then immediately behind in the act of remounting after he had refuted so unfair a charge. We could quote and give illustrations of many brasses and a few effigies that show the loose short tabard worn over the full armour at this period. These, however, might lead the reader to believe that the tabard was only put on for purposes of ceremony; whereas, as our quotation of contemporary evidence abundantly proves, it was frequently used in actual fighting and in the joust. We give as a final illustration of the surcoat tabard a most faithful likeness of one painted in minute detail, appearing worn over a complete suit of plate armour in the portrait of Count Philip Hinckaert,
