Search Results for: crow

Crown; Coronet

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)

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

In period heraldic art, starting in the late 15^th 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 16^th 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)

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 16^th 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.

Crow

Crow (Period)

The crow is a bird with a harsh voice and a reputation for avarice. It is close by default; period emblazons, in fact, overwhelmingly depict it close and sable. A few heraldic depictions, particularly on the Continent, show it with hairy feathers; most others draw it sleekly feathered; but all show the crow with a long, pointed bill. A “crow speaking” or “croaking” has its mouth open as if in speech.

Similar to the crow are the “raven”, the “rook”, and the “(jack)daw”. Indeed, for emblazonry purposes, all these corvids are indistinguishable; the exact term was frequently chosen purely for the sake of a cant. Likewise, any of these might be blazoned a “corbie”, as in the canting arms of Corbet, c.1255 [ANA2 200].

There is also the “Cornish chough” (pronounced “chuff”), in form identical to the crow, and only distinguishable when “proper”: it is then black with red beak and feet. Its most famous use is in the arms of Cardinal Wolsey, c.1520 [Wagner 66]. The chough may sometimes be blazoned a “beckit” for canting purposes [Parker 136].

Ogan O Crowly bears: Argent, five crows in saltire and a chief sable.

Cigfran o Gaer Walch bears: Or, six ravens close sable.

John of Ravenwolf bears: Sable, a raven speaking Or, beaked and membered argent.

Cynthia of the Loch bears: Per bend sinister Or and gules, a bend sinister counter-ermine between a rook contourny sable and three towers Or.

Pippin de Corbie bears: Ermine, a corbie sable holding in its mouth a ring Or and in chief three apples gules.

Cadan of Mons Tonitrus bears: Quarterly argent and azure, in bend two Cornish choughs proper.

Wreath

Torse in annulo (Period)

Laurel wreath (Period/Reserved)

A wreath is a circlet worn on the head. In mundane heraldry, the term refers to the twisted band of cloth holding a fighter’s mantling onto his helmet. Such a charge is called a “torse” in Society heraldry, and is normally shown as a full circle (i.e., in annulo), as found in the arms of de Torquato, c.1550 [BSB Cod.Icon 270:823].

The term “wreath” in Society heraldry refers to a circlet of foliage, usually with leaves alone, but sometimes with flowers. (This would be termed a “chaplet” in mundane blazonry, more on which below.) Laurel wreaths are the most common form in Society heraldry, being required in (and reserved to) the arms of each territorial branch. They are also a period charge, found in the arms of von Lenberg, 1605 [Siebmacher 90]. In mundane armory, laurel wreaths were almost always drawn in an annular form (full circle), but we also find examples drawn in a penannular form (with a small opening to chief); Society armory typically uses the penannular form.

Other foliage may likewise be used to make wreaths, so long as they can be distinguished from the reserved laurel wreath. The oak wreath is found in the canting arms of Schöneiche, 1605 [Siebmacher 50]; Society armory also has examples of holly wreaths and rosemary wreaths.

Chaplets of roses (German and English) (Period/Reserved)

Mundane blazon uses the term “chaplet” to denote a circle of foliage; when the unmodified term “chaplet” is used, it refers to a closed annular wreath of flowers (typically roses). The classic heraldic chaplet dates from 1298, in the arms of FitzWilliam [ANA2 230]; it has four flowers in cross. Four is the usual number of flowers for the heraldic chaplet in England; chaplets with six flowers are found in German heraldry, such as in the canting arms of Rossenhart, c.1450 [Ingeram 24; also the arms of Thastner, mid-16th C., NW 45]. These chaplets were drawn with no foliage, being essentially annulets overlain with roses, but there are period examples of chaplets with both roses and leaves, as in the arms of von Houwald, early 16th C. [BSB Cod.Icon 392d:624]. The illustrations show a chaplet of roses in the German style and in the English style.

The chaplet may also be called a “garland” for canting purposes, as in the arms of Garlond, 1347 [DBA4 459]. In the early days of the Society, a “garland” would have many flowers conjoined in annulo with little or no foliage; a “rose chaplet” would have four roses in cross; a “rose wreath” would have multiple roses, separated by rose leaves. This distinction (such as it was) between chaplets, garlands, and flowered wreaths is granted no heraldic difference, and indeed is often ignored by artists.

Chaplet of thorn (Period)

Joscelyn (Period)

There are special terms for some types of wreaths and chaplets. A “chaplet graminy” is made of grass, with no flowers; it’s found in the arms of Goodall, 1612 [Parker 102]. A “chaplet of thorn” is woven of thorny branches, as shown on the head of Christ crucified; it’s found in the canting arms of Thornton, c.1525 [DBA2 486]. A “joscelyn” is a torse with four hawk’s bells, radiating from the outer edge; some sources [e.g., Franklyn 188] say the bells are in cross by default, but period examples of its use show the bells in saltire, as in the canting arms of Thomas Joselyn, mid-16th C. [BSB Cod.Icon 291:102. Cf. also Josellyn, of Essex, c.1520; DBA4 458].

In Society armory, rose wreaths (chaplets, garlands, &c) are reserved to the arms of Queens, Princesses, and Royal Peers. Tradition grants rose wreaths (many flowers) to Queens, and rose chaplets (four flowers) to Princesses; but this is not mandatory, has never been strictly adhered to, and is left to the bearer’s discretion.

For related charges, see crown, slip.

The Society for Creative Anachronism bears: Or, a laurel wreath vert.

The Order of the Rose bears: A wreath of roses.

The Order of the Laurel bears: A laurel wreath.

The Baron of South Downs bears: Per pale sable and azure, a laurel wreath argent.

Noe College bears: Sable, three laurel wreaths Or.

The Order of the Coill’s Bells, of the Barony of Nottinghill Coill, bears: A joscelyn wreathed Or and vert with six bells Or.

Rosemary of Talmont bears: Azure, a rosemary wreath proper between three mullets of six points argent.

Corwin Blackthorn bears: Or, a chaplet of thorns sable.

Diana Wynn bears: Vert, an oak wreath fructed argent.

Ismenia Joslyn Wyndameer bears: Azure, on a pile bendwise inverted throughout argent a torse in annulo azure and Or.

Triskelion; Triskele

Triskelion of armored legs (Period)

Triskelion arrondi, or triskele (SFPP)

A triskelion is a design first used in classical Greek art, with three embowed limbs conjoined in pall. The name derives from the Greek tri, skelos, “three legs”; the classical form does indeed use three bent legs, conjoined at the thighs. However, mundane armory doesn’t tend to use this term in blazon; most instances of triskelions are blazoned as “three arms” or “three legs” conjoined, and listed as such in mundane ordinaries. (The illustration shows the legs in armor, as in the arms of the Kings of the Isle of Man, c.1275 [ANA2 478].)

In Society heraldry, the most common form of triskelion is the “triskelion arrondi” or “triskele”: three pointed limbs, smoothly curved, and embowed. (The embowment is part of the definition of a triskelion; without it, the design would simply be three charges conjoined in pall.). With no examples from period armory, the triskelion arrondi is deemed a step from period practice.

Triskelion pommetty (Accepted); triskelion gammadion in annulo (Disallowed)

Some of the Society’s triskelions are based on certain crosses. Thus we have the “triskelion pommetty” and the “triskelion gammadion in annulo”. (The latter form, having been adopted by certain white supremacist groups, is no longer registerable.) Presumably, one could have a “triskelion fleury” as well, or some other triskelion based on a variant of cross.

Triskelions may also be made up of other charges, so long as they are bent or embowed. Thus there might be a “triskelion of dragon’s heads”, a “triskelion of three scarves”, or a “triskelion of chevrons”. One example of this type, the “triskelion of spirals”, has been deemed a step from period practice, but still permitted.

Similar to the triskelion is the “pentaskelion” which, as its name implies, has five limbs instead of three.

Triskelions may turn either clockwise or counter-clockwise; the fact is not blazoned. The most famous mundane triskelion, in the arms of the Isle of Man, has been depicted in period art going either direction; and the same is true of triskeles in Society heraldry. It is left to the artist’s license, and no difference is counted for it. For related charges, see arm, cross, leg, pall.

The King of Trimaris bears: Argent, on a fess wavy between two triskeles azure a crown of five points, each point tipped with a mullet argent, between overall a laurel wreath counterchanged.

Finngall McKetterick bears: Or, a triskelion of armored human legs vert.

Douglas Longshanks bears: Sable, a pentaskelion of armored legs argent.

Terryl of Talavera bears: Argent, a triskelion arrondi azure, between in pale two torteaux.

Sorcha ar Menez bears: Vert, a triskelion of spirals argent between in cross four mullets pierced Or.

Colm the Defrocked bears: Vert, a triskelion of demi-birds argent.

Goraidh Ailean na Gordanaich bears: Purpure, a triskelion pommetty pallwise Or.

Tree

A tree is a large plant, with a main wooden trunk branching into foliage at the top. Its “proper” coloration is with green leaves and brown trunk. A tree “fructed” is bearing fruit, whose color may be specified; the fructing may also be considered artistic license, and added to a tree whether blazoned so or not.

Oak tree (Period)

Pine tree couped (Period)

In heraldic art, the tree’s leaves and fruit may be drawn much larger than in naturalistic art. Early examples, such as the canting arms (German Eich, “oak”) of von Eyck, c.1360 [Gelre 32v] show a very simplified and stylized form of tree. Later depictions, such as the oak tree in the allusive arms (Italian bosco, “wood”) of dal Bosco, mid-15^th C. [Triv 78], are closer to natural art but still exaggerate the size of the leaves and fruit [see also de Bara 75-77]. (Swedish heraldic art in particular is noted for this.) Finally, by the end of period, trees were drawn very naturalistically, as with the oak tree in the arms of Eychhauser, 1605 [Siebmacher 63], to the point that the type of tree becomes difficult to tell. The exaggerated style is therefore encouraged in the Society; a tree whose type cannot be determined is likely to be blazoned simply as a “tree”.

Orange tree fructed and eradicated (Period)

Palm tree couped (Period)

Many types of tree are found in heraldry. The oldest and most common type is the oak tree, found in the canting arms of Okestead, 1275 [ANA2 551]. (Indeed, if no specific type of tree is blazoned, the oak may always be used.) Many other types of tree are also found in period: the pear tree in the canting arms of Piriton, c.1285 [ANA2 551], the walnut tree in the canting arms (Latin nux) of de Noxigiis, mid-15^th C. [Triv 247], the olive tree in the canting arms of Oliveira, c.1540 [Nobreza xxxv], the beech tree in the canting arms (German Buche) of Bucher, 1605 [Siebmacher 64], the rowan tree in the canting arms (Italian sorbo) of Sorballi, c.1550 [BSB Cod.Icon 273:239]. (It should be obvious by now that cant was the primary reason in period for choosing a type of tree.) Society armory has instances of the pine, the linden, the ash, the yew, and the palm, among many others.

Willow tree (Period)

Poplar tree (Period)

For conflict purposes, the Society defines two broad categories for trees: coniferous trees, which are typically drawn with triangular foliage, and so-called “generic” trees, which are typically drawn with rounded or shapeless foliage. Pine trees and fir trees are examples of coniferous trees; oak trees and orange trees are examples of generic trees. Difference is granted between categories of tree; no difference is granted for type of tree within the same category.

Of special note are the willow and poplar trees. The willow tree is found in period armory in the canting arms (Latin salix) of von Salis, 1605 [Siebmacher 204]. The form used in period armory is the white willow; if the “weeping willow tree” is intended, it must be specified in blazon. No difference is granted between these variants.

The poplar tree had been ruled a step from period practice, based on the lack of period examples – particularly as it’s usually depicted, as the elongated “Lombardy poplar” [Fox-Davies, The Art of Heraldry, p.65]. However, the poplar tree in this form has since been documented, in the arms of Cardinal Dominic de Capranica, c.1550 [BSB Cod.Icon 267:179]. The Lombardy poplar, as it’s modernly known, is the default heraldic poplar tree for Society use.

Tree blasted and eradicated (Period)

Tree stump eradicated (Period)

Both the top and the base of a tree are subject to variation. At the base, the Society default is with a small upper portion of the roots showing, as might be seen in nature. The roots may also be “eradicated”, with the entire root system showing, as if forcibly uprooted from the ground; or “couped”, with the trunk cut cleanly, and no roots shown at all. The illustrations show an oak tree (with default roots), a pine tree couped, and an orange tree eradicated (and fructed as well).

At the top, the default is with leaves or foliage; but it also may be “blasted” or leafless, showing only the bare branches. This variant is found in de Bara, 1581 [77], who terms it un arbre sec (“a dry tree”). The illustration shows a tree blasted and eradicated.

A “stump” or “stock” is the bottom part of the tree, left after the tree has been felled; it was the canting badge of Zouche, c.1510 [HB 162]. The stump’s top edge is usually couped, but is sometimes found “snagged”, with the rough top surface tilted to the viewer. In Society blazonry, a “trunk” is a somewhat longer form of stump, while a “log” is simply a cleanly lopped form of a ragged staff. The illustration shows a stump eradicated.

Hurst of trees couped (Period)

A group of trees with their foliage conjoined may be called a “hurst”. When thus conjoined, the number of trees, even when blazoned, counts for no difference. Hursts are often issuant from a mount in mundane heraldry, but this fact is always specifically blazoned in Society heraldry. The illustration shows a hurst of trees couped.

For related charges, see: bush, créquier, slip, staff (ragged). See also fruit, leaf.

The King of Drachenwald bears: Or, in fess three pine trees eradicated gules, overall a dragon passant coward, all within a laurel wreath, in chief an ancient crown sable.

The Baron of Gyldenholt bears: Azure, on a hurst Or a laurel wreath vert, a bordure Or.

The Order of the Willow, of the Middle, bears: Purpure, a weeping willow tree eradicated Or.

Ioseph of Locksley, the Rhymer, bears: Vert, a tree eradicated argent.

Melodia of Okhurste bears: Per bend Or and argent, a tree blasted and eradicated azure.

Christian of Orange bears: Argent, an orange tree fructed proper issuant from a mount vert.

Catalina Estevez de Teixeira bears: Quarterly Or and gules, a yew tree eradicated proper.

Mustafa al-Jabal Tariqi bears: Argent, a palm tree couped gules within a bordure sable.

Allendale of the Evergreens bears: Argent, a pine tree proper.

Tala al-Zahra bears: Argent, an olive tree fructed and eradicated and a bordure gules.

Toly Woodsman bears: Per chevron argent and azure, three tree stumps counterchanged.

Thistle

Thistle (Period)

The thistle is a prickly flower with a poofy blossom; it is most strongly associated with Scotland. Unlike most flowers, the thistle is shown in profile by default. In Scots armory, the thistle’s “proper” coloration is with green ball, stem and leaves, and a red bloom; Society armory more frequently makes the bloom purple. A crowned thistle, as the Royal badge of Scotland [HB 141], is not registerable in the Society.

The thistle is slipped and leaved by default, although this is frequently blazoned. A “thistle head” is the ball and bloom alone, without the stem and leaves; we find an example of the charge in the Recueil d’armoiries peintes, a 15th Century roll of arms, in the attributed arms of Sir Griflet, Knight of the Round Table.

For related charges, see teazel.

Lorimar MacAltin of Garioch bears: Azure, three thistles slipped and leaved argent.

Theresa de Foxton bears: Per bend embattled sable and gules, a thistle slipped and leaved argent.

Malcolm of Strathavon bears: Argent, five thistles, three and two, slipped and leaved vert.

Willoc mac Muiredaig bears: Per pale vert and purpure all semy of thistle heads Or.

Swan

Swan (Period)

The swan is a water bird, both graceful and fierce, famed for its death song; it was said to bring good luck. It’s found in the arms of Dale as early as 1387 [DBA2 153]. The young swan was also called a “cygnet”, especially for canting, as in the arms of Synnot, c.1470 [DBA2 178].

The swan is rousant or rising by default, as in the famous badge of Bohun, later of Henry IV [HB 109]. However, it’s very frequently found naiant in Society heraldry; this too is a period posture, as in the Belgian arms of Lanchals, c.1488 [von Volborth, The Art of Heraldry, 1987, p.90].

For related charges, see goose.

The Prince of Cynagua bears: Quarterly argent and Or, a swan rousant, wings elevated and addorsed sable, maintaining in its sinister foot a laurel wreath vert.

Amina de Talavera bears: Azure, a swan naiant argent crowned Or.

Nikolai Mikhailovitch bears: Or, three swans rousant gules.

Thomas Blackswann the Lefthand bears: Argent, three swans rousant contourny sable.

Sun

Sun in his splendor (Period)

The sun is a heavenly body, the day star around which the planets revolve. It began to be used as an heraldic charge early, in the arms of de la Hay, c.1255 [ANA2 550]. The sun is most commonly drawn as a disk with multiple rays emanating from the edge; these rays are normally drawn as alternating straight and wavy rays. However, many period depictions (especially in early period) made all the rays straight, and showed no disk; other depictions (especially on the Continent) showed only wavy rays. A sun is thus negligibly different from a mullet or estoile of many points.

A sun “in his splendor” or “in his glory” is depicted with a human face; this artistic nuance seems to have begun in the early 15^th Century and had come into common use by Tudor times. A “sun eclipsed” in mundane blazonry is simply a sun sable; in Society blazonry, a “sun eclipsed” is one whose center disk is another tincture than the rays, or whose center disk is obscured by a roundel. In early Society usage, the eclipsed disk was sable by definition; current practice is to explicitly blazon the tincture of the eclipsing. The eclipsing may be of any tincture, but eclipsing of a divided tincture is deemed a step from period practice.

Ray of the sun issuant from dexter chief (Period)

A “ray of the sun” is a demi-sun issuant from the edge of the shield, with one ray elongated to cross the field. The arms of Aldam, 1632 [Guillim2 120] explicitly state the ray’s direction, and this must be done in Society armory as well; the illustration shows a ray of the sun issuant from dexter chief (and therefore bendwise).

The King of Atenveldt bears: Azure, a sun in his splendour Or within a laurel wreath argent, in chief a crown of three greater and two lesser points Or.

The Prince of Insula Draconis bears: Per fess sable and azure, a demi-sun in splendour issuant from the line of division within a laurel wreath, in chief a crescent Or.

Wendryn Townsend bears: Azure, a sun in glory Or.

Esteban San Buenaventura bears: Or, three suns in splendor sable.

Kourost Bernard of the East Woods bears: Sable, a sun eclipsed Or [i.e., a sun Or eclipsed sable].

Gairovald Eburhard bears: Sable, issuant from dexter chief a demi-sun argent.

Pascal Brendan Merredy bears: Vert, a ray of the sun bendwise Or, in sinister chief a chalice argent.

Spinning wheel

Spinning wheel (Accepted)

A spinning wheel is a tool for making thread; it is sometimes termed a “wool wheel”. It has a large wheel turning a single spindle, on which the thread is spun; period wheels were turned by hand, not by a foot treadle. Though a period artifact, the spinning wheel has not been found in period armory. The illustration is taken from the Luttrell Psalter, c.1340; it is the earliest known depiction of the artifact.

The spinning wheel has its spindle to sinister by Society default. See also distaff, drop-spindle.

Eloise of Roed bears: Argent, a wool wheel, alighting on the head a crow proper.

Edwinna of Hawk’s Bluff bears: Azure, three spinning wheels with spindles to dexter argent.

Effym Cowie Murray bears: Argent, a spinning wheel reversed sable.

Skeleton

Skeleton (Period)

Fish skeleton bendwise (Period)

A skeleton is the framework of bone supporting the body’s tissues. The default skeleton is that of a full human figure; as with all other human figures, it is statant affronty by default. The human skeleton is found in the civic arms of Londonderry, 1613 [records of Chief Herald of Ireland]. Lesser portions of the human body (e.g., arms) may also be skeletonized in Society armory.

There are also period examples of “fish skeletons”, in the canting arms (German Gräten) of Gradener or Gradner, c.1460 [GATD 19]. The illustration shows a fish’s skeleton bendwise. More exotic skeletons, such as a bird’s skeleton, are deemed a step from period practice; in some cases (e.g. “dragon’s skeletons”), they have been ruled unidentifiable and thus unacceptable.

For related charges, see skull.

The Shire of Loch Báis bears: Per fess azure and sable, a laurel wreath Or sustained by a skeletal cubit arm palewise argent.

Soshka Gregor’evich Vilanov bears as a badge: A human skeleton argent crowned with a pearled coronet Or.

David Fisch bears: Sable, a fish skeleton bendwise sinister embowed argent.

Mistholme

heraldry, illumination, and random jottings