I hear that it was announced at last night’s banquet at the XXXII International Congress of Genealogical and Heraldic Sciences that the next bi-ennial congress location has been determined. The XXXIII International Congress of Genealogical and Heraldic Sciences will take place in the French town of Arras, in the north of France. Magnifique!
On August 24 two new auxiliary bishops to the archbishop of Sydney will be ordained. I had a hand in designing both of their coats of arms along with Mr. Richard d’Apice and they were rendered by Mr. Sandy Turnbull. Both of these men are members of the Australian Heraldry Society. The two bishop are The Most Rev. Anthony Randazzo (49) a Sydneysider who is a priest of the Archdiocese of Brisbane. He will be Titular Bishop of Quiza. (arms below)
And the Most Rev. Richard Umbers (45) born in New Zealand, a priest of the Personal Prelature Opus Dei who will be Titular Bishop of Thala. (arms below)
We turn, this time, to the Church in Wales and the Church of England to see examples of a single armiger who employs more than one version of his coat of arms depending on the place, occasion, function or group.
The first image (above) is the personal coat of arms of the Rt. Rev. Gregory Cameron, Bishop of St. Asaph in Wales. It is a an armorial achievement which is depicted in the traditional manner with shield, helm, mantle and crest. In addition, the bishop employs a version of his arms ensigned with the bishop’s mitre (below) as is the usual custom in the constituent churches of the Anglican Communion.
Finally, there is also a version, as diocesan bishop, of his personal arms impaling those of his See.(below)
The other example is the Rev. Canon Robin Ward, SSC, Principal at St. Stephen’s House, Oxford. The first example shows his personal arms as granted with helm mantling and crest. (below)
The next image depicts an “ecclesiastical version” of the same arms ensigned with the ecclesiastical hat of a Canon according to the Earl Marshal’s Warrant of 1976.
Finally, there is an example, though not used by him, of his arms “as Principal” impaling the arms of St. Stephen’s House.
In both cases it’s just one armiger but his coat of arms can be depicted in different exemplifications.
Again, a continuation of this examination of different versions, as opposed to merely different renderings of the exact same version, of the coat of arms of one armiger used at various times, for certain occasions, for a specific place or group or to either add to or subtract from the elaboration of the display. We turn once again to the glorious Imperial arms of the Emperor of Austria and King of Hungary, later to be the Austro-Hungarian Emperor.
First we have the “small” arms of the House of Habsburg-Lorraine (displaying the arms of Habsburg, Babenberg and Lorraine impaled together on the shield.
The second image shows the “medium” common coat of arms of Austria Hungary with the shields of (counterclockwise): Hungary, Galicia, Lower Austria, Salzburg, Styria, Tyrol, Carinthia & Carniola, Silesia & Moravia, Transylvania, Illyria and Bohemia. This was used from 1867-1915.
Third, we see the “small” arms of Hungary.
Fourth is the “medium” coat of arms of Hungary also displaying: Croatia, Slavonia, Dalmatia, Bosnia & Herzegovina, Transylvania, the city of Rijeka and the Kingdom of Hungary on the inescutcheon.
Next, the fifth example is the “medium” coat of arms of Austria.
The sixth is the small common coat of arms of the dual monarchy from 1915-1918.
Finally, the seventh is the “medium” common arms used 1915-1918.
One Emperor: lots of versions of his coat of arms all of which are his.
Another in this kind of series I’m doing on single armigers with various versions of their coats of arms. This time it is Elizabeth II, well, really the British Sovereign regardless of who it is. The first is a “small” version. You can see this one carved in stone on the facade of Buckingham Palace but it shows up most frequently on Letters Patent for a grant of arms.
The second is a kind of “middle version” and it is versions like this frequently used by the government on documents and signage.
The third is, of course, the “large” or full armorial achievement.
Next is the Royal arms as used in Scotland (same sovereign but a different version of the arms).
Fifth is the Royal arms OF Scotland as opposed to the Royal arms of the U.K. as used IN Scotland.
Finally, one used by the sovereign for the Duchy of Lancaster. (By the way even though the Queen is a woman she is still the “Duke” of Lancaster).
A recent Facebook post of mine on the arms of three English Kings of Arms on a College of Arms devisal for the Cathedral Church of the Advent in Birmingham, Alabama piqued my interest about how some armigers employ different versions, not just renderings by different artists but actual different versions, of their armorial achievements. Sometimes this reflects added honors; sometimes the exercise of a new or different office (appointed or elected); sometimes it’s a version to be used specifically on certain occasions or under specific circumstances or only for use within a particular group, etc.
One of the Kings of Arms whose coat of arms appeared in that post was the late, great John Brooke-Little. Here we see his full achievement as Norroy & Ulster King of Arms:
Brook-Little’s own personal coat of arms were used by him without any extras. Here the arms are rendered by Anthony Wood:
In addition, we see that sometime he added quite a bit to the achievement to indicate offices held such as a bookplate depicting his coat of arms and banner as Richmond Herald (1967-1980) including both the Richmond Herald badge and the badge from when he had been Bluemantle Pursuivant (1956-1967):
Finally I include one probably not seen by many: a version of his arms impaled with those of The Heraldry Society which he founded and served for many years as chairman and later as president. This last one was simply for use within that Society:
All his life his own coat of arms remained as it is depicted in the second image. In other words he did not “change” his coat of arms. However, throughout his life and career he did employ various versions of his achievement some of which included personal honors, some ornaments of office and others additions for private use. This is a good thing to know about and an idea that many interested in heraldry, especially the various uses for a coat of arms, too often overlook. A coat of arms as a personal mark of identification may be employed in various ways to suit the various things one does in life. The armorial achievement does not have to be singular and include everything from every aspect of the life of the armiger. To be sure there are those who prefer this “maximum display” theory. However, an equally meritorious theory is one that makes use of varying versions or varying achievements suited to the time, place, group or activity in which the armiger is engaged.
Here is another example, again from the English College of arms, using the coat of arms of Sir Henry Paston-Bedingfeld, Bt. which are:
Sir Henry, when he was still just plain old “Mister” served the College as Rouge Croix Pursuivant from 1983-1993 and the as York Herald from 1993-2010. In that latter capacity and prior to the death of his father and his inheriting the title “Baronet” he used the following achievement:
Sir Henry was appointed Norroy & Ulster King of Arms in 2010 and served in that capacity until his retirement in 2014. Here is a version of the shield of his arms from that time:
Finally, another example of a different version for private use and also only for a set period of time. From 2012-2013, for just a year Sir Henry served as Master of the Worshipful Company of Scriveners and impaled his arms with the arms of the Company for use in that capacity while at the same time also using the version above and the version in the first photo:
Again we see that he maintained the personal arms he had inherited from his father and did not “change” his coat of arms. Rather, he chose to display it in varying versions to suit the role of the moment or group.
The world at large already, for the most part, sees heraldry as effete but there are many within the (for lack of a better term) heraldic community, that is to say, the rather small group of people in the world who account themselves heraldic enthusiasts, who, through their own ignorance, misunderstand the concept I’m illustrating here. The advent of the internet has increased the possibility for communication between such enthusiasts throughout the world but has also made for a rash of self-appointed heraldic “experts” who don’t wish to engage in any scholarly pursuit of the heraldic arts and sciences and, either accidentally or purposefully, seek to limit the possibilities for heraldic display accusing anyone who deviates from their own preconceived notions as guilty of self aggrandizement.
It strikes me as slightly ironic that in a modern world that eschews heraldry as an anachronistic pretense anyone possessing a coat of arms themselves could accuse others of self aggrandizement. Then again, ignorance and irony can, at times, be seen to be cousins.
The monastic community of St. Benedict in Still River, Massachusetts decided recently to modify their existing coat of arms which was originally designed by the late, great, Dom Wilfrid Bayne, OSB of St. Anselm’s Abbey in Rhode Island. The coat of arms was designed some sixty plus years ago for the St. Benedict Center on Bow and Arrow streets in Cambridge, MA which was the origin of the community that eventually grew into St. Benedict’s Abbey today. There was originally no external ornament in the achievement. The community simply bore a shield with the coat of arms.
The decision was undertaken recently to add an abbatial crozier as an external ornament to bring the achievement into conformity with what is usual for a monastery with the rank of Abbey. While it is the usual custom to depict a sudarium, or veil, pendant from the crozier in the coat of arms of an abbot usually when depicting the arms of an abbey, a corporate body, the sudarium is omitted.
On June 16, 2016 the Most Rev. Vincent Long Van Nguyen, OFM Conv, formerly Auxiliary of Melbourne, was installed as Bishop of Parramatta, Australia succeeding Archbishop Anthony Fisher, OP of Sydney.
His coat of arms (below) was assumed in 2011 when he became a bishop and is now impaled with the arms of his See. The design of his personal arms was undertaken by me with Mr. Richard d’Apice, AM, KCHS and rendered then as now by Mr. Sandy Turnbull both of the Australian Heraldry Society.
Today, June 10, 2016, is International Heraldry Day which was started a few years ago by heraldry enthusiasts to raise awareness of heraldry and the heraldic arts and sciences. So, happy International Heraldry Day everyone!
This arrived in the post today: Heraldisches Handbuch der Katholischen Kirche by Fr. Simon Petrus, O.Praem. It was published this year. A very handsome volume unfortunately not published in English but only in German. It is available from Battenberg publishers. (ISBN: 978-3-86646-128-4) It is also available through Amazon.
On May 14, Bernard Hebda, former bishop of Gaylord, Michigan and, most recently Coadjutor Archbishop of Newark (due to succeed in two more months on the resignation of Abp. Myers) was instead installed as the Archbishop of St. Paul-Minneapolis, Minnesota. His arms are:
The blue, seven-pointed star at the top right of the shield signifies Mary and Archbishop Hebda’s placement of his pastoral ministry under her protection. The elderberry tree symbolizes Archbishop Hebda’s Polish ancestry. The tree is widely found in southeastern Poland, from where Archbishop Hebda’s paternal grandparents emigrated. The tree’s Polish name, “bez heb,” also serves as a visual pun of “Hebda.”
The tree also has a theological meaning; as one of the first plants to show signs of life after winter, it is also used to symbolize hope for a season of fertility and graces. According to an official document explaining the blazonry of Archbishop Hebda’s coat of arms, “Being strong and fruitful, the elderberry has also been identified with constancy and pastoral zeal, fundamental traits expected of any bishop.”
The seven green berries — reminiscent of rosary beads — at the top of the tree are a sign that he was named a bishop on Oct. 7, the feast of Our Lady of the Rosary. With the additional eight berries at the bottom of the tree, the total 15 berries symbolize Mary’s assumption, celebrated Aug. 15. The Norbertine monastery in Hebdów, Poland, was dedicated to the Assumption in the 12th century, and “Hebda” was a common name among those who lived and worked on the monastery’s lands. The four clusters of fruit on the elderberry tree are a sign of the cardinal virtues — prudence, justice, fortitude and temperance — which “sustain the pastoral activity of the bishop.” [NOTE: all of the previous paragraph and the symbolism it describes is really a bit of a stretch, heraldically.]
The checked pattern on the fess is adopted from the coat of arms of the Diocese of Pittsburgh, where Archbishop Hebda grew up and was ordained a priest July 1, 1989. According to the blazonry explanation, the placement of the tree on the chequy fess “recalls that Bishop Hebda has roots in the Diocese of Pittsburgh and has drawn his strength from that local Church.”
Below is a coat of arms for a woman that I was recently commissioned to do. The ribbon surrounding the woman’s oval shield has personal meaning to her and is decorative. The common practice in heraldry is that women don’t use helm and mantling in their achievements which leaves them looking rather empty artistically. Decorative knots, ribbons and wreaths are often employed to surround the shield. If you are wondering if you’re seeing things, yes, that is a whisk in the horse’s mouth. It alludes to the armiger’s love of cooking.
On Tuesday, May 3, 2016 the Most Reverend James F. Checchio, a priest of the diocese of Camden, NJ and most recently until February of this year the Rector of the Pontifical North American College in Rome, will be ordained a bishop in the Church and installed as the fifth bishop of the diocese of Metuchen, NJ, the diocese in which I serve.
His newly adopted coat of arms is depicted, as is the usual custom in the United States for diocesan bishops, impaled with the arms of the diocese. The diocesan arms were designed in 1981 when the diocese was established and modified in 1998. The four quadrants, depicted in silver and gold, the colors of the flag of the Vatican City-State, represent the four counties of the diocese: Middlesex, Somerset, Hunterdon and Warren. The moline cross overall is taken from the arms of Trenton from which the diocese was separated in 1981. In the Trenton arms the cross is gold on a blue field. Originally, it was depicted in the Metuchen arms as black but that was changed in 1998. The red tongue of fire in the upper left alludes to both the Holy Spirit and to the name “Metuchen” which is a Lenne Lanape word meaning “land of firewood”. The crowned letter “M” in the lower right is a reference to St. John Paul II who, as pope, founded the diocese and whose arms depicted a letter “M” in the lower right corner. With the crown it is also a symbol of the Queenship of Mary, the patroness of the diocese. Originally the “M” was also black but when the late Bishop Vincent Breen asked me to undertake a redesign of the diocesan arms in 1998 the “M” was changed to blue along with the cross.
Bishop Checchio commissioned the Italian artist Renato Poletti to work with him on his personal arms and emblazon them marshaled to those of the diocese. The gold escallop shell is a reference to his baptismal patron, St. James the Greater and the silver crescent represents Our Lady under the titles of the Immaculate Conception the patroness of the cathedral of his native diocese of Camden, as well as of the Pontifical North American College and the United States of America. The chevron represents a roof beam and, as such, symbolizes protecting the flock which is the task of a bishop. The sheep and crook are an allusion to his work as rector of a seminary preparing men to be shepherds in priestly ministry.
The motto reads, “Let Us Be Reconciled to God” a fitting message for a bishop appointed during the Jubilee Year of Mercy.
Ad Multos Annos, Bishop Checchio!
There were three popes in the 20th C. who had served as Patriarch of Venice prior to their election to the papacy. (and two were also later canonized!) They each decided to retain a chief “of Venice” (with the winged lion of St. Mark, a symbol of Venice) in their papal coats of arms. The three were St. Pius X, St. John XXIII and Pope John Paul I.
As he ends his tenure as Apostolic Nuncio to the United States of America we say farewell and THANK YOU to the Most Reverend Carlo Maria Viganó as he begins his well-earned retirement. By his manner and quiet diplomacy he has shone that, indeed, he does know Him in whom he has believed.
On Easter Sunday, March 27, 2016, Mother M. Angelica Rizzo, PCPA passed away. She was the Abbess of the Poor Clares of Perpetual Adoration in Alabama and the Foundress and first CEO of EWTN, the global Catholic television and radio network.
Several years ago she adopted a coat of arms. (below in black and white and in color) It is significant in that despite Poor Clare abbesses not making use of a crozier they are, nevertheless, entitled to use one as a heraldic emblem with the veil attached correctly. In addition, the chaplet surrounding the shield indicates the arms of a Professed Religious and the crown of thorns surrounding the shield is also common in the heraldic achievements of female religious.
May she rest in peace.
Above is the coat of arms for an American Benedictine monk and priest. Disappointed that there was not any external ornament in Catholic heraldry that would specifically and immediately identify a coat of arms as belonging to a Benedictine as, for example, the cross fleury behind the shield used by Dominicans, and cognizant that it was inappropriate simply to marshal his own arms to those of his Order (as far too many Religious mistakenly do) I was asked by him to come up with a design that reflected his membership in the Order of St. Benedict.
The principal charge, a raven, is a symbol of St. Benedict and the heart it holds in its beak is a reflection of both a personal devotion to the Sacred Heart of Jesus on the part of the armiger as well as an allusion to the motto which means “Bend my Heart” or “Incline my Heart” which is also inspired by a line in the Holy Rule of St. Benedict.
The background is a variation of the blue and silver fusils in bend that can be found in the arms of Bavaria. The monastery to which he belongs is one of several in the U.S. founded by Bavarian monks who came to the U.S. as missionaries in the mid 19th C. and it also forms part of the monastery’s own coat of arms. Here the fusils are placed in a straight vertical position rather than in bend and the field draws in close to create a single fusil in the center as the background for the raven.
This coat of arms was designed by me in 2014 and most recently and very beautifully rendered by the Italian heraldic artist, Marco Foppoli.
The coat of arms used by the Third Abbess of the Abbey of Regina Laudis in Connecticut, Rev. Mother Lucia Kuppens, OSB. She was elected February 1 of 2015 and received the abbatial blessing on the following May 10th from the Archbishop of Hartford.
The Abbess describes the design (executed by Mother Alma Egger, OSB) as follows:
“The book symbolizes my maternal ancestry, one hundred percent Irish, from Galway in the west of Ireland. A strong Celtic influence permeated my home. From these roots I received my love of the word, of poetry, of learning, education, culture, and music. The book could be interpreted to represent Scripture, or The Rule, literature itself or the works of Shakespeare, the particular focus of my doctoral dissertation. On a practical level, the book refers to much of my work in the Abbey, which includes supporting others in their studies, hosting student groups, directing the Monastic Internship Program, and when called for, writing about the Abbey. My Clothing and Profession ceremonies were both on the Advent feast of “O Sapientia” in celebration of Wisdom. The book is open, conveying the imagination and intellect open to the Wisdom of the Holy Spirit.
The roof truss at the top of the shield symbolizes my paternal ancestry. The dominant national identity in my father’s family was Alsatian, from northeastern France, just a stone’s throw from the German border. They were a people who suffered and survived much in war, as their borders continually changed. From my father’s family comes a rootedness in the earth, an appreciation of manual work, a respect for practical solutions and love for what is essential in life. From him comes my attraction to the other main area of my monastic service, the Cellarer’s Office. Until fairly recently my father worked all over the Abbey helping repair and build things. Through my involvement with a Lay Oblate Community (The Closed Community) prior to entering the Abbey, I had many experiences of participating in building on the Abbey land, notably the Chapter House on the Hill. Since 2009 I have been working with others to renovate the original monastic buildings and envision this being a major work for the whole community for the next ten years.
Continuity with Lady Abbess and Abbess David is represented by the wavy line in the center that marks the pine hill, which was on both of their shields as well. The hill is the central feature of our land. It is where our church was built and it represents the spiritual center and heart of the monastery. The three stars, which also appeared on Abbess David’s shield represent the continued commitment to build the triadic nature of our authority structure composed of Abbess, Prioress, and Subprioress.
The consecration lamp is an ancient and rich symbol of consecrated virginity and therefore seemed an apt symbol for representing the light of St. Lucy, Virgin and Martyr. Each nun receives such a lamp, made by our potter, at the time of her Consecration, when the church bestows its blessing and affirmation on the fruitfulness of her vows. The burning oil lamp symbolizes the gift of self, consumed in the fire of love. Two flames rise from this lamp symbolizing for me that the gift of one’s love to Christ is never solitary, but is given in relationship to others. The consecration lamp unifies the whole shield, mediating between the speculative and practical polarities of my genealogy and bringing our attention to the meaning of the motto, which is taken from the Office of St. Scholastica, sister of St. Benedict and a consecrated virgin. As told in the Dialogues of St. Gregory the Great, one night she prevailed on her brother to disobey his Rule and instead of returning to his monastery, stay with her talking and praying. Though she did not tell him why, she knew her death was near. He refused her, but her tears of supplication to God caused a sudden storm that prevented St. Benedict from leaving. Thus in that moment, she prevailed over him and St. Gregory says of her, ‘Plus potuit quia plus amavit,’ which is translated: ‘She was able to do more because she loved more.’ The banner of the motto embraces the whole shield and all the symbols on it, signifying that all we do is possible only through love and the grace of God.”
Why the decision to use a simple oval shield alone without the external ornament of the veiled crozier pale wise behind the shield is a mystery. It is the only heraldic ornament that would mark this as the coat of arms of an abbess. Without it, these are simply the arms of a woman and a motto. Similarly, the previous abbess’ coat of arms used no crozier but employed supporters! It causes one to wonder if there is a lack of proper heraldic knowledge amongst the nuns. It is a shame they have not been advised better.
The abbey itself has a fine coat of arms designed and emblazoned by the late great practitioner of the science and art of heraldry, Dom Wilfrid Bayne, OSB, a monk of Portsmouth Abbey in R.I.
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
Fr. Guy Selvester's blog of Ecclesiastical Heraldry
EXARANDORUM 