Category Archives: Work of Other Artists

Bishop of Harrisburg, PA

On March 19, the Solemnity of St. Joseph, the Most Rev. Ronald W. Gainer, until now bishop of Lexington, Kentucky, will be installed as the 11th Bishop of Harrisburg, Pennsylvania the city which also serves as the capital of the Commonwealth of Pennsylvania. His coat of arms (below) is composed of the arms of the See of Harrisburg depicting a red cross on a silver field charged with a shamrock in honor of the titular of the cathedral, St. Patrick, below a black chief that is an allusion to the black fess charged with three plates from the arms of William Penn. The center plate is changed to a crescent from the arms of the Harris family from which Harrisburg gets its name.

The bishops personal arms are impaled with the arms of the See. The red field with the silver bar encircled by a gold ring are all taken from the arms of his native diocese of Allentown, PA. The tree above and the mountain with the double-barred cross below honor his parental heritage from Baden and Slovakia, respectively.

The motto is from John 1:16 and means “from His fullness, grace upon grace”. The artwork is by Paul Sullivan.

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Parish of St. Catherine Labouré in Harrisburg, PA

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The arms naturally incorporate images found on the Miraculous Medal, which had been first entrusted to Catherine Labouré by the Blessed Virgin Mary.  The shield incorporates four images found on the Medal, the Marian monogram, the stars from Sacred Scripture (as ascribed to Mary in the Apocalypse: 12-13), and the Sacred Heart of Jesus and the Immaculate Heart of Mary side by side.  The shield is worked in blue and in gold.  On this gold field is found the Marian cipher, a letter “M” surmounted by a Christian Cross, an image presented to Saint Catherine by the Virgin Mary herself.  It is blue, as it represents the Blessed Mother specifically.

The blue field above represents the Blessed Virgin, of course, but more so in Her title of Our Lady of Grace.  Upon this field appear the Sacred Heart of Jesus and the Immaculate Heart of Mary, linked theologically as Mary always stood beside her Son.  These two images associated with the Miraculous Medal are surrounded by the twelve stars that surround Mary’s head as a halo in many Marian images, most definitely those associated with Her as Our Lady of the Miraculous Medal as seen on the reverse side of the medal itself.  Both hearts suffer and bleed for the world.

Saint Catherine supports the shield in her historic and colorful habit of a Daughter of Charity of Saint Vincent de Paul as it was worn at the time of her life on earth.  Saint Catherine stands on a compartment upon a green river bank above the blue waters of the Susquehanna River that runs through the state capital city to which the parish is near.  The shield rests upon a stone, specifically a keystone, the emblem of the Commonwealth of Pennsylvania.  Next to the keystone is found a floral spray composed of shamrocks honoring the patron saint of the Diocese of Harrisburg, Saint Patrick of Ireland; and mountain laurel, the official flower of the Commonwealth of Pennsylvania.

Design: J. Noonan  Art: L. Nicholson

Bishop Deeley of Portland, ME

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The coat of arms of Most Rev. Robert Deeley installed on February 14 as the 12th Bishop of Portland, Maine.

The right side of the shield is divided by a wavy line to suggest water. This theme continues in the lower portion with alternating silver and blue waves, suggesting deep waters and his home see of Boston. Resting on the waters is a scallop or pilgrim’s shell, which, for Bishop Deeley, represents both baptism and a special homage to Pope Benedict XVI, who chose Bishop Deeley for the episcopacy and whose own shield also includes a shell. The silver color of the shell represents the purity of God. Above this is a lion, which Bishop Deeley considers to be emblematic of his family. The front half of the lion is rendered in black and the hindquarters are in red, with the claws and tongue taking the opposite colors.

The left side of the shield, representing the Diocese of Portland, features the diocesan coat of arms, which includes a field of blue with a scattering of gold pine cones. It is based on an ancient French royal family coat of arms and reflects the French roots of the diocese, which date back to 1604.

At the time of his episcopal ordination last year, Bishop Deeley chose as his motto “Veritatem Facere in Caritate,” which he translates as “living the truth in love” (Ephesians 4:15).

Design: J. Noonan
Artwork: L. Nicholson

Bishop Olson of Fort Worth

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On January 29 the Most Rev. Michael Fors Olson will be ordained and installed as the fourth bishop of Fort Worth, Texas. His personal arms depict a symbol for the Holy Trinity as an allusion to Holy Trinity Seminary in Irving, Texas where the bishop served as Rector. Below the sword and pan balance is symbolic of his baptismal patron, St. Michael. The blue fess in the center bears the spikenard flower taken from the arms of Pope Francis as well as two yellow roses (a allusion to Texas) representing Our Lady of Guadalupe and St. Thérèse the “Little Flower”. The motto means “The Splendor of the Truth”. The coat of arms of Bishop Olson were designed and marshaled to those of the diocese by Deacon Paul Sullivan.

Constantinian Order Reconciliation

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It was announced yesterday that the Duke of Noto (Spanish branch) and the Duke of Castro (Neapolitan branch) of the royal house of the Two Sicilies signed an accord which, while it does not completely solve the issue of the headship of the royal house more closely ties the two heads of the royal orders together in closer cooperation as co-grand masters with equal footing of the Sacred Military and Constantinian Order of St. George. This is a positive step toward healing a very long-standing rift.

(artwork by Carlos Navarro)

Auxiliary Bishop of Lausanne, Genève & Fribourg

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The coat of arms of the newly ordained auxiliary bishop of Lausanne, Genève & Fribourg in Switzerland, the Most Rev. Alain de Raemy. His arms are colorful and interesting and, in continental fashion, employ lots of elements repeated in four quarters. This method seems odd to those who are used to arms that are marshaled only to indicate jurisdiction over a territory like a diocese or abbey. But, it is not uncommon in Switzerland, Germany and Austria.

The artwork is by Laurent Granier.

Bishop Matano of Rochester, NY

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Salvatore Matano will be installed today as the ninth bishop of Rochester, New York succeeding Bishop matthew Clark who has served there for the last thirty four years. Rochester is also the diocese where the late Archbishop Fulton Sheen served as diocesan bishop briefly before being promoted to titular archbishop of Newport.

The description of the bishop’s coat of arms (taken from material provided by the diocese) is as follows:

“On a blue field is a silver moline cross taken from the heraldry of the bishop’s native diocese of Providence, Rhode Island; a golden star with seven points simultaneously recalls the Divine institution of the Seven Sacraments and the Seven Sorrows of Our Lady.  The liturgical memorial of Our Lady of Sorrows is observed on the 15th day of September, the day of Bishop Matano’s birth. In base are seven silver hills on which the Eternal City of Rome – the city of the Bishop’s priestly formation and graduate education – and the City of Providence – the city of the Bishop’s birth and preliminary education – are said to be built. The blue background symbolizes the ascent of the human soul towards God, with whom each of us was created to dwell in unapproachable light.”

The personal arms are those he assumed when he became a bishop in 2005.

Bishop Caggiano UPDATE

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The diocese of Bridgeport, CT has finally released the coat of arms of Bishop Frank Caggiano which were posted here earlier. As has become increasingly frequent these days the bishop has chosen to completely redesign his personal arms in having them impaled (that is, marshaled together side-by-side on the same shield) with the arms of the See of Bridgeport. This is an ill-advised course of action. Nevertheless, many heraldic designers and artists who may be consulted to prepare the coat of arms of a bishop but who did not originally design the bishop’s personal arms encourage them to redesign their arms. One wonders if this is primarily because they wish to “have a crack at it” and improve on what they see to be an inferior design?

More often than not a competent artist can improve a poor design simply by the manner in which it is depicted artistically. This saves the unfortunate consequence of changing the personal arms of the bearer long after they have already become associated with him as his personal emblem. It can be seen as a repudiation of everything that came before. For a bishop this is, perhaps, not the best signal to send as it looks rather like he is negating all the ministry he did previous to the present moment and starting fresh rather than continuing in ministry. In fact, it was for this very reason that soon-to-be Saint John Paul II insisted on leaving the letter “M” in his coat of arms despite the protestations of the late great Bruno Heim that letters were inappropriate heraldic charges. John Paul II argued that even though it was heraldically a poor design he had already borne those arms for years and under Communist rule where the Church in Poland was seen as a haven for those who loved freedom. To change the arms upon election as pope might inadvertently send the signal that his stance against Communism would somehow modify or soften with his new position. This was something John Paul II wasn’t willing to risk even the appearance of. So, while he acquiesced to Heim’s suggestion of changing the colors from black on blue to gold on blue the “M” stayed.

So here we see that Bishop Caggiano, upon assuming the office of Diocesan Bishop of Bridgeport has chosen to mark the occasion not only by marshaling his personal arms with those of the diocese as is the usual custom in North America but also by abandoning the coat of arms he assumed upon becoming a bishop in favor of a redesigned coat of arms that retains the same basic elements rearranged in a new way…for reasons passing understanding.

If a redesign somehow greatly improves a coat of arms then it could be argued that it is justified. However, in this case any improvement is difficult to see.

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The arms of the newly installed (Dec. 16th) Archbishop Leonard Blair of Hartford, Connecticut. He is the former bishop of Toledo, Ohio and also formerly the auxiliary bishop of Detroit, Michigan. Below his arms are those of his two immediate predecessors, Abp. Henry Mansell and Abp. Daniel Cronin both of whom are still living. The arms of the archdiocese employ nice canting arms for “hart” and “ford”.

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Most Rev. James Daly, RIP

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I learned only today of the October 14th death the the Most Rev. James J. Daly, DD Auxiliary Bishop of Rockville Centre, NY. He was 92. I grew up in that diocese and Bishop Daly (whose gentle demeanor and soft-spokeness earned him the ironic nickname “tiger”) was the bishop who confirmed me in 1977. In fact, he had only just become a bishop the same month. His first confirmation was, fittingly, for the parish where he had served as pastor up until becoming a bishop but ours was only the second time he had administered the sacrament of Confirmation.

The right-hand man to Bishop John McGann for years, Daly also served as dean of the Seminary of the Immaculate Conception in Huntington and was in charge of helping decide which parishes priests would serve in. Yet colleagues said he was unassuming and humble, and was happiest being a parish priest.

Daly was born in the Bronx, grew up in Jamaica, Queens attended a Catholic high school, and studied for the priesthood at the seminary in Huntington. His experience as a priest on Long Island started before the local diocese existed. When he was ordained in 1948, Nassau, Suffolk, Queens and Brooklyn made up the Diocese of Brooklyn. Nine years later, Nassau and Suffolk were carved out to create the Diocese of Rockville Centre. In 1958, Daly was assigned to the seminary, where he rose to the post of dean. By 1972, he was named pastor of St. Boniface parish in Elmont. By many accounts, it was one of the happiest times of his life. But the church hierarchy also needed him, and in 1977 Bishop John McGann requested that he be named auxiliary bishop. He eventually rose to vicar general, the No. 2 post in the diocese.

Daly retired in 1996, but remained active, visiting patients in hospitals and nursing homes. He also cared for a disabled brother in the house his family had bought decades ago in Blue Point, where Daly had his first assignment as a priest, from 1948 to 1951, at Our Lady of the Snow.

His coat of arms is based on the Irish arms associated with the name Daly. It has the addition of a scallop shell, a symbol of his baptismal patron, St. James, as well as the Sacred heart, a lily and a griffin’s head. These charges represent family allusions as well as his personal devotions. Unfortunately, I do not have a full color rendering.

He was a kind, gentle and very capable pastor, priest and bishop. Requiescat in pace.

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An “Oldie” But a “Goodie” (amended)

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The coat of arms of the Most Reverend Hugh Charles Boyle, DD who served as the Sixth bishop of Pittsburgh, Pennsylvania from 1921-1950. His arms are in the older style popular at that time and include the mitre and crozier as well as the episcopal cross (not to be confused with a processional cross) and galero. In 1969 Pope Paul VI’s instructions discontinued the use of the mitre and crozier in the coats of arms of people even though they are frequently used as external ornaments in the coats of arms of corporate bodies such as dioceses and abbeys.

The arms of the See of Pittsburgh were based on those of the city of Pittsburgh which, in turn were based on those of William Pitt. In the diocesan arms the bezants (gold roundels) have been changed to crosses and the inclusion of the sword alludes to the titular patron of the cathedral: St. Paul.

Very nice! Unfortunately, I cannot find a color image.

UPDATE: An intrepid reader informs me this is actually the arms of Bishop Regis Canevin, also of Pittsburgh.

Most Rev. Anthony G. Bosco RIP

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The Most Rev. Anthony G. Bosco (August 1, 1927-July 2, 2013) who served as Third Bishop of Greensburg, Pennsylvania from 1987-2004 has passed away. He was the bishop who installed me in the Ministry of Acolyte on my way to the priesthood. His coat of arms with the distinctive single charge of an oak tree as an allusion to the name “Bosco” was designed by the late Prof. Géza Grosschmid, who was my mentor in heraldry, and emblazoned by none other than the late (great) Abp. Bruno B. Heim. In fact, the bishop’s personal arms were used by Heim as part of the cover art for his seminal work, “Heraldry In The Catholic Church” (1978). Bishop Bosco purposely didn’t use a galero in his coat of arms and preferred to use the one external ornament that is exclusive to and truly indicates the coat of arms of a bishop. Namely, the episcopal cross. May he rest in peace.

Bishop Barber of Oakland

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The coat of arms of newly ordained and installed Bishop Michael Barber, SJ of Oakland who was ordained a bishop and installed at the Cathedral of Christ the Light in Oakland today. The charge in chief of the personal arms is the insignia of the Society of Jesus to which the bishop belongs and which also features prominently in the arms of the pope who appointed him. The bishop also served as a US Navy chaplain. Hence, the anchor.

An Heraldic “CV”

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Above you see what I like to call my “heraldic curriculum vitae”. (click on the image for a larger view) Essentially, it is a record of the various things I have done in my life illustrated by using heraldry. I commissioned the very talented architect, designer and graphic artist, Matthew Alderman to create this artwork. I conceived of the idea for this a few years ago when I received a friend’s bookplate that had not only his own coat of arms on it but the coats of arms of the various universities he attended and the dioceses in which he had served. A few months back Matt asked me to help him with some heraldic research for another commission on which he was working and when he showed me the sketches for it I knew he was the man to produce this heraldic CV.

My own coat of arms is at the center flanked by the coats of arms of the diocese in which I serve and the diocese in which I was born and grew up. Below that we see two other versions of my arms reflecting other capacities in which I serve with the coat of arms of the Roman Catholic Church between them. The bottom consists of the coats of arms of various schools I’ve attended and the sides are comprised of the coats of arms or other insignia for a variety of organizations to which I belong and/or serve as an officer or chaplain.

The image doesn’t really do it justice. In person it is stunning!

Prior’s Staff

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One of the lesser known and, indeed, lesser used external ornaments in ecclesiastical heraldry is the Prior’s Staff, sometimes called the Cantor’s Staff. Like the crozier of bishops and abbots it has its origin in the staff used by pilgrims as a walking stick. As it evolved it came to be depicted as a simple staff usually of metal which terminated at the top in a small ball, or an apple, a fleur-de-lis or even the small representation of a house or chapel.

It is most often used in ecclesiastical heraldry for monastics but can also be seen in those places that still have cathedral chapters. Those officials of the chapter who do not enjoy the right to pontifical insignia, such as Priors, Provosts, Precentors or Cantors make use of it as a sign of their office. At one time Precentors or First Cantors were in charge of music for the chapter and cathedral and actually used this long staff to conduct the choir. It’s easy to see how from there it became a symbol of their office. This type of staff was also used to direct ceremonies.

Using the Prior’s Staff as a heraldic emblem was for those officials who actually used one in real life. As its use became less frequent it then evolved into an emblem for those who held the office that used to employ such staves. It is seen very little in heraldry these days.

(The example above is the coat of arms of the Collegiate Chapter of Canons of St. Vittore of Arcisate rendered beautifully by Marco Foppoli)