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Heraldry

Posted by Jeff Ezzell on

 

Heraldry is the profession, study, or art of creating, granting, and blazoning arms and ruling on questions of rank or protocol, as exercised by an officer of arms. Heraldry, the word, in its most general sense, encompasses all matters relating to the duties and responsibilities of officers of arms. To most, though, heraldry is the practice of designing, displaying, describing, and recording coats of arms and heraldic badges.

 Heraldry was born in the middle of the twelfth century in an area roughly limited by the Rhine to the North and the Loire to the South. It came to life in the midst of a medieval arms race which saw the fighters disappear under protective equipment more and more sophisticated. Becoming unrecognizable to both friends and foes, a solution had to be found by the warriors to provide an easy mean of identification. Coats of arms are the response to that vital need. They started to cover shields, banners and helmets. The most important rule of heraldry has been a direct consequence of the need to easily identify people encased in armor, at a distance.

 Tournaments, with their high risks and even higher reward, worked as a replacement to war and were in fact the single most important factor for the spreading of heraldry.

Heraldry Coat of arms family crests

 The death of King Harold, from the Bayeux Tapestry.

As coats of arms were being displayed on battlefields they also started to be engraved on seals in the first half of the 12th century. Until the middle of the 13th century, coats of arms are used exclusively by the warrior class. They slowly spread to the rest of the medieval society with an ever increasing use of heraldic seals by the elites. Seals have a tremendous impact on the diffusion on heraldry. In the middle ages no document can be considered valid unless it has been marked by the seal of the parties in presence. Bearing both names and arms it replaced personal signatures in a time where most were illiterate and could not sign. Today a document is still not considered legal until it has received the seal of the authority producing it.

 Coats of arms are not awarded to a family or a name, but to an individual. There is often more than one coat of arms associated with a given surname.  In England, direct descent is required for any heir to have the legal right to bear his ancestor's coat of arms. Further complicating the issue is that the authoritative source information for most coats of arms only lists a city and/or county or origin, and sometimes only a country. That is why, unless you can trace your family history to one individual, and unless the sources list that individual, then the best that you can hope for is to find a coat of arms that is the oldest for a given name from a given region or the one most frequently used.

Origins of modern heraldry

Enamel from the tomb of Geoffrey Plantagenet, Count of Anjou, one of the earliest depictions of modern heraldry.

The development of the modern heraldic language cannot be attributed to a single individual, time, or place. Although certain designs that are now considered heraldic were evidently in use during the eleventh century, most accounts and depictions of shields up to the beginning of the twelfth century contain little or no evidence of their heraldic character. For example, the Bayeux Tapestry, illustrating the Norman invasion of England in 1066, and probably commissioned about 1077, when the cathedral of Bayeux was rebuilt, depicts a number of shields of various shapes and designs, many of which are plain, while others are decorated with dragons, crosses, or other typically heraldic figures. Yet no individual is depicted twice bearing the same arms, nor are any of the descendants of the various persons depicted known to have borne devices resembling those in the tapestry.

 Similarly, an account of the French knights at the court of the Byzantine emperor Alexius I at the beginning of the twelfth century describes their shields of polished metal, utterly devoid of heraldic design. A Spanish manuscript from 1109 describes both plain and decorated shields, none of which appears to have been heraldic. The Abbey of St. Denis contained a window commemorating the knights who embarked on the Second Crusade in 1147, and was probably made soon after the event; but Montfaucon's illustration of the window before it was destroyed shows no heraldic design on any of the shields.

 In England, from the time of the Norman conquest, official documents had to be sealed. Beginning in the twelfth century, seals assumed a distinctly heraldic character; a number of seals dating from between 1135 and 1155 appear to show the adoption of heraldic devices in England, France, Germany, Spain, and Italy. A notable example of an early armorial seal is attached to a charter granted by Philip I, Count of Flanders, in 1164. Seals from the latter part of the eleventh and early twelfth centuries show no evidence of heraldic symbolism, but by the end of the twelfth century, seals are uniformly heraldic in nature.

 One of the earliest known examples of armory as it subsequently came to be practiced can be seen on the tomb of Geoffrey Plantagenet, Count of Anjou, who died in 1151. An enamel, probably commissioned by Geoffrey's widow between 1155 and 1160, depicts him carrying a blue shield decorated with six golden lions rampant.[ii] He wears a blue helmet adorned with another lion, and his cloak is lined in vair. A medieval chronicle states that Geoffrey was given a shield of this description when he was knighted by his father-in-law, Henry I, in 1128; but this account probably dates to about 1175.

 The earlier heraldic writers attributed the lions of England to William the Conqueror, but the earliest evidence of the association of lions with the English crown is a seal bearing two lions passant, used by the future King John during the lifetime of his father, Henry II, who died in 1189. Since Henry was the son of Geoffrey Plantagenet, it seems reasonable to suppose that the adoption of lions as an heraldic emblem by Henry or his sons might have been inspired by Geoffrey's shield. John's elder brother, Richard the Lionheart, who succeeded his father on the throne, is believed to have been the first to have borne the arms of three lions passant-guardant, still the arms of England, having earlier used two lions rampant combatant, which arms may also have belonged to his father. Richard is also credited with having originated the English crest of a lion statant (now statant-guardant).

 The origins of heraldry are sometimes associated with the Crusades, a series of military campaigns undertaken by Christian armies from 1096 to 1487, with the goal of reconquering Jerusalem and other former Byzantine territories captured by Muslim forces during the seventh century. While there is no evidence that heraldic art originated in the course of the Crusades, there is no reason to doubt that the gathering of large armies, drawn from across Europe for a united cause, would have encouraged the adoption of armorial bearings as a means of identifying one's commanders in the field, or that it helped disseminate the principles of armory across Europe. At least two distinctive features of heraldry are generally accepted as products of the crusaders: the surcoat, an outer garment worn over the armor to protect the wearer from the heat of the sun, was often decorated with the same devices that appeared on a knight's shield. It is from this garment that the phrase "coat of arms" is derived. Also the lambrequin, or mantling, that depends from the helmet and frames the shield in modern heraldry, began as a practical covering for the helmet and the back of the neck during the Crusades, serving much the same function as the surcoat. It’s slashed or scalloped edge, today rendered as billowing flourishes, is thought to have originated from hard wearing in the field, or as a means of deadening a sword blow and perhaps entangling the attacker's weapon.

 


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