Tag Archives: coat of arms

Medieval Angels

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Ripon Cathedral Angels

I’m starting to gather my resources for a 2027 Zoom class about angels – lets face it if you go into a church or cathedral there they are – in stone, glass or metal – from medieval to modern. Inevitably I shall be exploring both the theologies and the philosophies attached to angels from the early Middle Ages onwards (actually I may well be going back even earlier – the Romans had their own version of angels.

So I’ve gone back to my photos – still can’t access that external hard drive- and right at the start of the photo library was Ripon Cathedral (St Peter and St Winifred). I seem to remember that the quire contains angels wherever you look, they appear on the walls, tops of columns and the misericords. Then there are the carvings on the fifteenth century quire screen depicting angels playing musical instruments. I think the examples at the start of this post are from the north wall but since I don’t have a notebook identifying the location of each photo I take, I am relying on memory.

Medieval masons – and these particular examples have been restored by the Victorians- sought to carve angels in quires as it was a way of merging the earthly choir with the heavenly host and it was also a reminder of God’s presence. I suppose you might also argue that angels were guardians of the space and if you think about the structure of a church a step closer to the most holy of spaces inside the cathedral – there’s the nave for ordinary people, the choir and then the high altar. The quire or chancel is an area that transitions from the everyday world to the most holy location in a church or cathedral. The screen and the angels are a reminder of the hierarchy.

The coat of arms with the gules (red) field with crossed keys and pascal lamb are the historic arms of the Diocese of Ripon.

The arms with the or (gold) field and the gules knot or fret is more problematic and I’ll admit to being stumped. It’s not a Harrington knot so I don’t think it’s a Markenfield device not least because their main heraldic arms are (argent) silver with a diagonal black (sable) band known as a ‘bend’ containing three bezants (gold coins). The Markenfields were an influential family in the area and several generations of them are buried in the cathedral.

The gules coat of arms with the crossed keys and crown belongs to the Diocese of York reflecting the close relationship of the two, although I think now Ripon is part of the Diocese of Leeds.

And finally there’s the coat of arms with the azure field and three mullets (stars) or which belongs to St Wilfred. The saint founded the cathedral in AD672. The crypt at Ripon is, of course, the oldest surviving in any English cathedral.

Before I forget – Ripon’s association with angels includes the ten thousand origami angels created during Covid and installed in the cathedral entitled ‘A Wing and a Prayer’. Money raised went to the restoration of the cathedral and the Yorkshire Air Ambulence service. Unfortunately I don’t have any images as unsurprisingly we didn’t do much in the way of travelling in 2020.

Friar, Stephen (ed). A new Dictionary of Heraldry (London: A & C Black, 1987)

Crows….in heraldry and their symbolism

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Medieval bestiaries included birds and there are some examples that remain well known. Pelicans were thought to draw blood from their own breasts to feed their chicks – this translated as Christ’s sacrifice for the redemption of mankind. It’s a popular carving in churches. Doves haven’t changed very much and eagles were a symbol of resurrection because of its high flying.

Crows were devoted family birds and on occasion were described as an example of good parenting practise although they were also associated with death and war – something of a mixed message. The Twa Corbies was a popular medieval ballad and Shakespeare got in on the act as well -with crows and ravens as harbingers not only of death but also of defeat and planned murder. So I don’t think that the crow like bird on the unstitched coif is linked to any of those particular images – apart from the good parenting – I can’t imagine many women would want to associate themselves with war or defeat.

Ravens are, of course, rather important in the Tower of London as it is said that if they depart that England will fall. It derives from the idea of ravens keeping guard – making them much more benevolent than the ones that turn up in dreams and on battlefields.

There is a possibility my bird might be a heraldic image – corbie rampant regardant (standing upright looking back over its shoulder). A Complete Guide to Heraldry by Fox Davies identifies the raven as a significant bird. The Corbet family of the Welsh Marches have a raven on their coat of arms from the French Le Corbeau – it’s a canting allusion i.e. a pun. And the arms of the Yorkshire Creyke family is also a raven or crow as is the Korwin arms (think you can see the theme here). Unfortunately the Corbet ‘corbeau’ isn’t looking over its shoulder and the Creyke crest looks like an angry eagle with a hint of swan (probably a bad image I’m studying). The Isle of Anglesey has some very fine crows on its coat of arms and I love the raven on the arms of the episcopal see of Manchester (see below) but I don’t think that the bird on the unstitched coif is a heraldic bird although I did when I first saw it.

The next option is that it comes from an existing book of the period in much the same way that many of Mary Queen of Scots designs come from Gessner’s Icones Animalium, published in Zurich, 1560. The problem is that the coif dates to the seventeenth century by which time there was a wider range of printed material available for someone to use as inspiration for their own embroidery.

Of course, it might not be a corvid – it could be something else entirely?

Miller, Dean, Animals and Animal Symbols in World Culture

The coat of arms for Bristol

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Coat of arms for Bristol

Having managed to completely take leave of my senses I gave Bristol Derbyshire’s axe wielding dragon crest in error yesterday – it was swiftly remedied but I decided to have a closer look at the city’s coat of arms.

Sinister – is left, dexter is right.

So starting at the bottom we have the motto: Virtue et Industria – so virtue and industry.

The lovely green clumps of grass above the motto form the compartment.

The two unicorns (or with sable manes) are supporters holding the shield, then there’s a helm, a torse which is still not a horse despite the spell check’s best efforts anchoring the mantling into place and then the crest.

In heraldic terms the crest is ‘issuant from clouds two arms embowed and interlaced in saltire proper the dexter hand holding a serpent vert and the sinister holding a pair of scales or.’ The symbolism behind the serpent is wisdom and the scales are justice – so good governance comes from wisdom and justice.

And that leaves us with the arms which were licensed in 1569. There’s a fortified harbour and a ship – which more or less sums up what Bristol was famous for at the time given the wool trade and the commerce between England and Ireland. It also traded with Iceland and with Gascony. In 1497 John Cabot set off to North America and Bristol’s port became a focus for trade with the Americas. It was one of the ports associated with the slave trade. George III signed the act banning the slave trade on 25 March 1807 but it was only in 1833 that slavery was abolished within the British Empire and even then it was a gradual process.

heraldic summer quiz 2

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First of all there is no reward for spotting that I labelled the crest for Derbyshire as the crest for Bristol – I have no idea what came over me! Many apologies. Have now amended it online.

So – to the shield – the background of the shield is called the field and it is usually made of a colour (a tincture) or a metal or a design representing a fur.

  • metal – gold (or) and silver (argent)
  • colour – red (gules), blue (azure), green (vert), black (sable), purple (purpure)
  • fur – ermine, ermines, peon and vair – (I’ll come back to them)

Keeping things straight forward for the time being -we’ll come back to the way the shield is divided up- a charge is then added to the field. This is the shape, object, bird or animal that identifies the shield’s owner. A colour is never put on a metal!

There may be one large charge or several smaller repeated ones.

Popular charges include; crosses, stars, rings, balls, crescents and diamonds. – except of course nothing is as straight forward as that – why call a star a star when you can call it something different!

  1. Can you identify the following: bezant, mullet, lozenge and annulet

A certain well known online encyclopaedia provides a list of heraldic charges.

Canterbury’s coat of arms includes a lion passant and three Cornish choughs which are associated with Thomas Becket.

Lions are a popular charge!

https://commons.wikimedia.org/wiki/Category:Lions_in_heraldry_by_attitude

2) Which countries do these lions belong to?

And finally can you identify these English or Welsh county coats of arms – I’ve selected ones with repeating charges. The Derbyshire coat of arms should be no problem as he represents the fact that Derbyshire was initially founded by the Danes who came on their dragon boats (presumably not all the way to land locked Derbyshire) and there’s also a nod to the county’s mining. And of course its an opportunity to spot lozenges, lions rampant and martlets. How I managed to miss the crests for Lincolnshire and Suffolk I do not know!

The Lion and the Unicorn

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stcuthbert'scoatofarmsThe lion and the unicorn are the heraldic supporters of the royal coat of arms.  The lion represents England, while the unicorn stands for Scotland.  This current combination of supporters dates back to 1603 and the accession of James I of England or James VI of Scotland depending upon your viewpoint.  There is a fine example of James’ coat of arms in the church of St John the Evangelist, Leeds.

Earlier kings used different supporters.  Tudor kings used a Welsh dragon and sometimes a greyhound.  Richard II used a white hart.  In addition, the arms  have changed over the centuries as Ireland, Scotland and Wales were added.

The royal coat of arms in its various guises, usually supported by a lion and a unicorn, began to appear in English churches and cathedrals in the aftermath of the English Reformation – a reminder to congregations that the monarchy was in charge of matters spiritual as well as temporal. There was never a law, although the “great council” issued an “injunction” in 1660 (Records of Buckinghamshire, p386) to say that churches required coats of arms, they tended to be put on display during times when it was sensible to demonstrate loyalty to the crown– after the restoration of Charles II; in the aftermath of the Jacobite uprisings and upon the accession of a new monarch for example.

This means that the coats of arms on display are not always the same. The arms on display in Halifax date from the reign of Queen Ann, while in Woodkirk near Morley the arms are those of King George I.

Not every church and cathedral has a royal coat of arms. The Victorians got rid of many of them or consigned them to less prominent positions. Apparently there are even one or two arms where thrifty churchwardens turned the board around and painted ones on the back.

The Churches Conservation Trust provides an interesting summary of the way in which the royal arms changed over the centuries with examples. Double click on the image of the fairly rare King Charles I coat of arms that was added to St Cuthbert’s in Wells in 1631 to open the page.