John Blount's translation of Nicholas Upton's De Studio Militari, dating from c. 1500, is one of an abundance of references to the livery collar from the fifteenth and sixteenth centuries, albeit in this case not an entirely accurate interpretation of to whom the collar was given. The collar found its way into literary sources, correspondence and royal ordinances, was the object of legislation, was referred to in petitions to the king, and was depicted in manuscript illustrations and on church monuments, sculpture and stained glass. Quite simply, it had a pervasive presence. If one considers the three hundred and more depictions of livery collars on extant church monuments and in stained glass from the fourteenth and fifteenth centuries, it is clear that the number of recipients of the item reached well into the hundreds, and probably the thousands. Despite this, the collar's very ubiquity has led to its being somewhat overlooked when it appears in the sources; it is forever present, but seemingly only on the periphery. The present study investigates the cultural and political meaning and utility of the livery collar during the fifteenth century, with a particular emphasis on the second half of the century, the period associated with the Wars of the Roses in England.

The livery collar was a band of leather or velvet decorated with devices usually composed of silver, silver-gilt or gold, and was worn about the neck. The more prestigious examples were produced entirely of precious metal and resembled a necklace. Many collars terminated in pendants which depicted an armorial device or, less commonly, an annulet, trefoil or cross, again usually made of metal. Part of the late medieval system of livery, the collar was the most prestigious item, being awarded to those of the rank of esquire or wealthy merchant and above. The more common badges, robes and caps were given to those further down the social spectrum.