Editing Richard I of England (section)

==Legacy==

===Heraldry===
{{Further|Royal Arms of England}}
[[File:Royal Arms of England (1198-1340).svg|thumb|upright|The "three lions" of the [[Royal Arms of England]]]]
The second [[Great Seal of the Realm|Great Seal]] of Richard I (1198) shows him bearing a shield depicting ''three lions passant-guardant''. This is the first instance of the appearance of this [[blazon]], which later became established as the [[Royal Arms of England]]. It is likely, therefore, that Richard introduced this heraldic design.<ref name=lewis>{{Cite book|first1=Suzanne|last1=Lewis|title=The Art of Matthew Paris in the Chronica Majora|series=California studies in the history of art|volume=21|publisher=University of California Press|year=1987|pages=[https://books.google.com/books?id=sXBdNsDxJ_cC&pg=PA180 180–181]|isbn=978-0-5200-4981-9}}</ref> In his earlier Great Seal of 1189, he had used either one ''[[lion rampant]]'' or two ''lions rampants [[Attitude (heraldry)#Combatant or respectant|combatants]]'', arms which he may have adopted from his father.<ref>{{Cite book |url=https://books.google.com/books?id=hmZ5QgAACAAJ&pg=PA59 |title=Heraldry: An Introduction to a Noble Tradition |series="[[Abrams Discoveries]]" series |publisher=Harry N. Abrams, Inc. |page=59|isbn = 978-0810928305|year= 1997}}
</ref>

Richard is also credited with having originated the English [[Crest (heraldry)|crest]] of a ''lion statant'' (now ''statant-guardant'').<ref>Woodward and Burnett, ''Woodward's: A Treatise on Heraldry, British and foreign, With English and French Glossaries'', p. 37.
Ailes, Adrian (1982). The Origins of The Royal Arms of England. Reading: Graduate Center for Medieval Studies, University of Reading. pp. 52–63.
Charles Boutell, A. C. Fox-Davies, ed., ''The Handbook to English Heraldry'', 11th ed. (1914).</ref> The coat of three lions continues to represent England on several [[coins of the pound sterling]], forms the basis of several emblems of English national sports teams (such as the [[England national football team]], and the team's "[[Three Lions (song)|Three Lions]]" anthem),<ref>{{Cite news |url = https://www.theguardian.com/football/2002/jul/18/theknowledge.sport|work=The Guardian|title=Why do England have three lions on their shirts? |date=18 July 2002 |access-date=29 April 2016 |first=Sean |last=Ingle}}</ref> and endures as one of the most recognisable [[national symbols of England]].<ref>Boutell, Charles, 1859. ''The Art Journal London''. p. 353.</ref>

===Medieval folklore===
{{Main|Matter of England}}
[[File:Richard The Lionheart - Robinhood.jpg|thumb|left|upright=0.85|Richard affiancing [[Robin Hood]] and [[Maid Marian]] on a plaque outside [[Nottingham Castle]]]]
Around the middle of the 13th century, various legends developed that, after Richard's capture, his minstrel [[Blondel de Nesle|Blondel]] travelled Europe from castle to castle, loudly singing a song known only to the two of them (they had composed it together).{{Sfn|Flori|1999f|pp=191–192}} Eventually, he came to the place where Richard was being held, and Richard heard the song and answered with the appropriate refrain, thus revealing where the King was incarcerated. The story was the basis of [[André Ernest Modeste Grétry]]'s opera [[Richard Coeur-de-lion (opera)|''Richard Cœur-de-Lion'']] and seems to be the inspiration for the opening to [[Richard Thorpe]]'s film version of ''[[Ivanhoe (1952 film)|Ivanhoe]]''. It seems unconnected to the real Jean 'Blondel' de Nesle, an aristocratic {{Lang|fr|trouvère}}. It also does not correspond to the historical reality, since the King's jailers did not hide the fact; on the contrary, they publicised it.{{Sfn|Flori|1999f|p=192}} An early account of this legend is to be found in [[Claude Fauchet (historian)|Claude Fauchet's]] ''Recueil de l'origine de la langue et poesie françoise'' (1581).<ref>{{Cite book|last=Fauchet|first=Claude|title=Recueil de l'origine de la langue et poesie françoise|publisher=Mamert Patisson|year=1581|location=Paris|pages=130–131}}</ref>

At some time around the 16th century, tales of [[Robin Hood]] started to mention him as a contemporary and supporter of King Richard the Lionheart, Robin being driven to outlawry, during the misrule of Richard's evil brother John, while Richard was away at the Third Crusade.<ref>{{Cite book|last1=Holt|first1=J. C.|year=1982|title=Robin Hood|page=70|publisher=Thames & Hudson|isbn=978-0-5002-5081-5}}</ref>

===Historical reputation and modern reception===
[[File:Richard the first.jpg|upright|thumb|''[[Richard Coeur de Lion (statue)|Richard Cœur de Lion]]'', [[Carlo Marochetti]]'s 1856 statue of Richard I outside the [[Palace of Westminster]], London]]
Richard's reputation over the years has "fluctuated wildly", according to historian John Gillingham.<ref name=Gillingham1>John Gillingham, ''Kings and Queens of Britain: Richard I''; {{Harvnb|Cannon|Hargreaves|2004}}, {{Page needed|date=September 2010}}</ref> 
According to Gillingham, "Richard's reputation, above all as a crusader, meant that the tone of contemporaries and near contemporaries, whether writing in the West or the Middle East, was overwhelmingly favourable."<ref name="Gillingham 2004"/> Even historians attached to the court of his enemy Philip Augustus believed that if Richard had not fought against Philip then England would never have had a better king. A German contemporary, Walther von der Vogelweide, believed that Richard's generosity was what made his subjects willing to raise a king's ransom on his behalf. Richard's character was also praised by figures in Saladin's court such as Baha ad-Din and Ibn al-Athir, who judged him the most remarkable ruler of his time. Even in Scotland he won a high place in historical tradition.<ref name="Gillingham 2004"/>

After Richard's death his image was further romanticized<ref>"Matthew's small sketch of a crossbow above Richard's inverted shield was probably intended to draw attention to the king's magnanimous forgiveness of the man who had caused his death, a true story first told by Roger of Howden, but with a different thrust. It was originally meant to illustrate Richard's stern, unforgiving character, since he only pardoned Peter Basil when he was sure he was going to die; but the ''{{Lang|la|Chronica Majora}}'' adopted a later popular conception of the generous hearted ''{{Lang|fr|preux chevalier}}'', transforming history into romance".
Suzanne Lewis, ''The Art of Matthew Paris in the {{Lang|la|Chronica Majora}}'', California studies in the history of art, vol. 21, University of California Press, 1987, [https://books.google.com/books?id=sXBdNsDxJ_cC&pg=PA180 p. 180].</ref> and for at least four centuries Richard was considered a model king by historians such as Holinshed and John Speed.<ref name="Gillingham 2004"/> However, in 1621 the Stuart courtier and poet and historian Samuel Daniel criticized Richard for wasting English resources on the crusade and wars in France. This "remarkably original and consciously anachronistic interpretation" eventually became the common opinion of scholars.<ref name="Gillingham 2004"/> Though Richard's popular image tended to be dominated by the positive qualities of [[chivalry]] and military competence,<ref name=FloriF_4845/> his reputation among historians was typified by [[Steven Runciman]]'s verdict: "he was a bad son, a bad husband, and a bad king, but a gallant and splendid soldier" ("History of the Crusades" Vol. III).

Victorian England was divided on Richard: many admired him as a crusader and man of God, erecting an [[Richard Coeur de Lion (statue)|heroic statue]] to him outside the [[Houses of Parliament]]. The late-Victorian scholar [[William Stubbs]], however, thought him "a bad son, a bad husband, a selfish ruler, and a vicious man". During his ten years' reign, Richard was in England for no more than six months, and totally absent for the last five years.,<ref name=Gillingham1/> which led to Stubbs argue that Richard had no sympathy, "or even consideration, for his people. He was no Englishman," and "his ambition was that of a mere warrior."<ref>{{Cite book|first=William|last=Stubbs|title=The Constitutional History of England|publisher=HardPress|location=Miami, Florida|volume=1|date=2017|isbn=978-1-5847-7148-7|pages=550–551}}</ref>

However, since 1978 this approach has been increasingly questioned for its insularity. According to Gillingham, "it is now more widely acknowledged that Richard was head of a dynasty with far wider responsibilities than merely English ones, and that in judging a ruler's political acumen more weight might be attached to contemporary opinion than to views which occurred to no one until many centuries after his death."<ref name="Gillingham 2004"/>

In [[World War I]], when British troops commanded by General [[Edmund Allenby]] captured Jerusalem, the British press printed cartoons of Richard looking down from the heavens with the caption reading, "At last my dream has come true".<ref>{{Cite magazine|first=Andrew|last=Curry|title=The First Holy War|magazine=[[U.S. News & World Report]]|publisher=U.S. News & World Report, L.P. |location=Washington, D.C.|date=8 April 2002}}</ref> General Allenby protested against his campaign being presented as a latter-day Crusade, stating "The importance of Jerusalem lay in its strategic importance, there was no religious impulse in this campaign".<ref>{{Cite book|first=Jonathan|last=Phillips|title=Holy Warriors: a Modern History of the Crusades|publisher=[[Random House]]|location=London, England|date=2009|isbn=978-1-4000-6580-6|pages=327–331}}</ref>