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Crown; Coronet

Crown (Accepted/Reserved)

Crown (Accepted/Reserved)

A crown is a circlet of metal, often bejewelled, worn on the head of a monarch as an emblem of sovereignty.  As an heraldic charge, it was first seen in the attributed arms of St. Edmund the Martyr, c.1282 [ANA2 349].

Similar to the crown is the “coronet”; indistinguishable in form, the alternative term is used in blazons to denote the bearer is less than sovereign.  There is neither artistic nor heraldic difference between a crown and a coronet.

There are a number of varieties of crown.  The standard Society form is indented, usually showing three points; it was sometimes misblazoned a “crown dancetty” in early Society blazons.  This type of crown may be used when the blazon doesn’t specify an exact form.

 

Ducal coronet (Period/Reserved), comital coronet (Accepted/Reserved)

Ducal coronet (Period/Reserved), comital coronet (Accepted/Reserved)

Pearled coronet (Period/Reserved), eastern (or antique) crown (Period/Reserved)

Pearled coronet (Period/Reserved), eastern (or antique) crown (Period/Reserved)

In period heraldic art, starting in the late 15th Century, exact forms of coronets began to be used to mark rank in a full armorial achievement; however, they did not do so when used as charges on the shield.  In the Society, three forms of coronets can mark rank on the shield, as well as in the achievement.  Specifically, the ducal coronet, with trilobed fleurons (usually called “strawberry leaves”) around its rim, and the Society-defined comital coronet (or county coronet), with an embattled rim, are reserved to Royal Peers of those ranks.  These forms of coronet are regulated not only as charges on the shield, but as regalia as well.

As viscomital and baronial coronets of rank date to no earlier than the Stuarts, they are not defined for Society armory per se; however, the pearled coronet is found in 16th Century Scots and French achievements [e.g., Lindsay, 1542], and may be used by Society Viscounties and Court Baronies.  (The exact number of pearls is left unblazoned, but Society artists generally use twelve for Viscounties and six for Court Baronies, following the Stuart definitions.)  As regalia, the exact forms of viscomital and baronial coronets are regulated by the individual Kingdoms.

Mural coronet (Period/Reserved), ancient crown (Accepted/Reserved)

Mural coronet (Period/Reserved), ancient crown (Accepted/Reserved)

Saxon crown (Accepted/Reserved), crown vallary (Period/Reserved)

Saxon crown (Accepted/Reserved), crown vallary (Period/Reserved)

Other forms of crown are the “eastern crown”, also called an “antique crown”, in the arms of Grant of that Ilk, late 16th C. [Lord Crawford’s Armorial, fo.114]; the “mural coronet” (from Latin mur, “wall”), drawn with masoning, and sometimes turrets, dating to at least 1572 [Bossewell II.77º]; and the “crown vallary” (from the Latin vallare, “to fortify”), the projections meant to resemble a defensive palisade, dating to at least 1581 [de Bara 189].

Society armory also has examples of coronets which, though found in modern heraldry texts, have not yet been dated to period.  These include the “ancient crown”, also called a “crown flory”; and the “Saxon crown”.

In Society armory, the use of a crown or coronet is reserved to Kingdoms, Principalities, Royal Peers, and Court Baronies; it is required in the arms of Kingdoms.

For related charges, see jewelry.  See also wreath.

The King of the West bears:  Or, a crown dancetty of three voided within a laurel wreath vert.

The King of the East bears:  Purpure, within a laurel wreath vert fimbriated Or, an eastern crown of three grand points tipped with pearls and two lesser points, all Or.

Arrowyn of Emerald Moor bears:  Sable, a mullet of eight points, each point terminating in a shamrock, in chief a crown fleury Or, all within a bordure potenty quarterly argent and vert.

Steffen Albert Rheinbauer bears:  Azure, a sinister gauntlet clenched aversant bendwise sustaining a rose slipped and leaved bendwise sinister argent, in chief a mural coronet, all within an orle of chain Or.

This entry was posted on January 10, 2014, in .

Cradle

Cradle (Accepted)

Cradle (Accepted)

A cradle is a small bed or cot on rockers, for lulling an infant to sleep.  Though a period artifact, it does not seem to have been used as an heraldic charge.  The cradle took many forms in period; the illustration is based on an illumination in the Hours of Catherine of Cleves, c.1440 [fo.52].  The cradle’s default orientation in Society armory is in profile (or slight trian aspect), with the “head-pillow” end to dexter.

Period armory gives us examples of the “bassinet”, a broad shallow wicker basket for bedding infants.  The bassinet is shown containing a swaddled infant, as in the crest of the Earls of Derby, mid-15th C. [HCE xxvii].  See also Roman dining couch.

Gloria Kirkhouse of Tain bears:  Gules, on a cradle Or two towers sable, all within a bordure Or.

Abigail of Lorraine bears:  Azure, a cradle within an orle of thimbles Or.

Eẃa of Coppertree bears:  Vert, a bassinet containing a baby swaddled Or, a ford proper.

This entry was posted on January 4, 2014, in .

Chess pieces

Of the six types of pieces used in the game of chess, five are found in Society heraldry:  the chess rook, the chess knight, the chess king, the chess bishop, and the chess pawn.  Of these, only the chess rook and chess knight have been found in period armory.  They are thus the only pieces which, having a standardized form, can be assured to have heraldic difference from the others.

Chess rook (Period)

Chess rook (Period)

Chess knight (Period)

Chess knight (Period)

The chess rook was common in medieval heraldry, found as early as c.1285 in the arms of FitzSimon [ANA2 234]; it was a frequent source of cants, as with Rockwood (Rokewode, Rookwood), 1371 [DBA2 260].  The chess knight was most frequent in German heraldry, as in the arms of zu Tratzperg, mid-16th C [NW 69], or of von Hertzheim, 1605 [Siebmacher 95].  The chess knight has two heads by default.

 

 

 

Chess king (Accepted)

Chess king (Accepted)

Chess bishop (Accepted); chess pawn (Accepted)

Chess bishop (Accepted); chess pawn (Accepted)

The other three pieces, the chess king, bishop and pawn, are Society innovations; their forms were taken from Publicius’ Ars oratoria, 1482.  In point of fact, any period depiction of a chess piece is acceptable, so long as the piece is identifiable; the most common modern stylization, the Staunton set, is post-period and may not be used.

There is no restriction on who may bear chess pieces:  one need not be a member of the Chivalry to bear a chess knight, for instance.

See also zule.

 

Alberic Reed bears:  Argent, a chess king within a bordure rayonny gules.

Margot Becker bears:  Azure, three chess rooks argent.

Eoin MacGriogair bears:  Argent, a chess knight sable crined gules.

Knut Gunnarson of Småland bears:  Per fess argent and sable, a pale counterchanged, three chess pawns sable.

Godefroy Lévêque bears:  Or, a chess bishop and a chief gules.

This entry was posted on December 18, 2013, in .

Calygreyhound

Calygreyhound rampant guardant (Period)

Calygreyhound rampant guardant (Period)

This monster has a cat’s face, a tufted body and tail, eagle’s forelegs, and frond-like horns.  It is period, dating from the mid-15th Century, as a badge of the de Veres, Earls of Oxford [Dennys 153].

The calygreyhound does not appear to have a default posture; the illustration shows a calygreyhound rampant guardant.

The Baron of Rivenoak bears:  Quarterly Or and argent, a calygreyhound rampant to sinister between three laurel wreaths sable.

Arin Sturrock of Appin bears:  Bendy of six argent and azure, a calygreyhound rampant guardant Or.

Eowyn Feemaister bears:  Or, two calygreyhounds combattant guardant sable.

This entry was posted on December 11, 2013, in .

Badger

Badger (Period)

Badger (Period)

The badger is a carnivorous burrowing beast with a reputation for tenacity.  It is also called a “brock”, “bauson”, or “grey”, especially for canting purposes:  e.g., the arms of Brokhole, temp. Henry IV [DBA2 293], or the badge of Lord Grey of Codnor, 1392 [Hope2 183].  The badger has no “proper” tincture, or rather, its proper tincture is too ill-defined to be registerable; but it’s most frequently drawn with distinctive facial markings, as in nature, to aid identification.  The badger is statant by default.

Nachum Avram ben Benjamin ben Meir bears:  Azure, a brock passant argent, incensed proper.

Roesia de Grey bears:  Vert, a badger rampant Or maintaining a rose argent, barbed, slipped and leaved sable.

Stiamna Gruamda bears:  Or, in pale two badgers sable.

This entry was posted on November 22, 2013, in .

Alphyn

Alphyn passant (Period)

Alphyn passant (Period)

The alphyn is a monster with a body similar to that of a tyger; its other characteristics vary, but it is most commonly shown with eagle’s forelegs and a knotted tail.  It was used as a badge by the Lords de la Warre, c.1476 [Dennys 146].  Etymological evidence suggests that the alphyn and the enfield are both variants of the same non-heraldic monster.

The alphyn does not seem to have a default posture; the illustration shows an alphyn passant.

Angelo di Antonio Machiavelli bears:  Quarterly sable and azure, an alphyn passant argent.

Alyson Throckmorton bears:  Lozengy vert and Or, an alphyn passant purpure.

Dunstan Godricson bears:  Per fess and per chevron throughout gules and argent, three alphyns passant argent.

This entry was posted on November 15, 2013, in .