Hubbry Logo
Attributed armsAttributed armsMain
Open search
Attributed arms
Community hub
Attributed arms
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Attributed arms
Attributed arms
Attributed arms
View on Wikipedia
from Wikipedia

Example of arms attributed to Jesus from the 15th-century Hyghalmen Roll, based on the instruments of the Passion

Attributed arms are Western European coats of arms given retrospectively to persons real or fictitious who died before the start of the age of heraldry in the latter half of the 12th century. Once coats of arms were the established fashion of the ruling class, society expected a king to be armigerous.[1] Arms were assigned to the knights of the Round Table, and then to biblical figures, to Roman and Greek heroes, and to kings and popes who had not historically borne arms.[2] Individual authors often attributed different arms for the same person, although the arms for major figures eventually became fixed.

Notable arms attributed to biblical figures include the arms of Jesus based on the instruments of the Passion, and the shield of the Trinity. Medieval literature attributed coats of arms to the Nine Worthies, including Alexander the Great, Julius Caesar, and King Arthur. Arms were given to many kings predating heraldry, including Edward the Confessor and William I of England. These attributed arms were sometimes used in practice as quarterings in the arms of their descendants.

History

[edit]

Attributed or imaginary arms appeared in literature in the middle of the 12th century, particularly in Arthurian legends. During the generation following Chrétien de Troyes, about 40 of Arthur's knights had attributed coats of arms.[3] A second stage of development occurred during the 14th and 15th centuries when Arthurian arms expanded to include as many as 200 attributed coats of arms.

Arthur as one of the Nine Worthies, tapestry, c. 1385

During the same centuries, rolls of arms included invented arms for kings of foreign lands.[4] Around 1310, Jacques de Longuyon wrote the Voeux du Paon ("Vows of the Peacock"), which included a list of nine famous leaders. This list, divided into three groups of three, became known in art and literature as the Nine Worthies.[5] Each of the Nine Worthies were given a coat of arms. King David, for instance, was assigned a gold harp as a device.[6]

Once coats of arms were the established fashion of the ruling class, society expected a king to be armigerous.[1] In such an era, it was "natural enough to consider that suitable armorial devices and compositions should be assigned to men of mark in earlier ages".[7] Each author could attribute different arms for the same person, although regional styles developed, and the arms for major figures soon became fixed.[8]

Some attributed arms were incorporated into the quarterings of their descendants' arms. The quarterings for the family of Lloyd of Stockton, for instance, include numerous arms originally attributed to Welsh chieftains from the 9th century or earlier.[9] In a similar vein, arms were attributed to Pope Leo IX based on the later arms of his family's descendants.[8]

In the 16th and 17th centuries, additional arms were attributed to a large number of saints, kings and popes, especially those from the 11th and 12th centuries. Pope Innocent IV (1243–1254) is the first pope whose personal coat of arms is known with certainty.[10] By the end of the 17th century, the use of attributed arms became more restrained[11]

The tinctures and charges attributed to an individual in the past provide insight into the history of symbolism.[12]

Arthurian heraldry

[edit]
Lancelot (arms with three red bends) and Tristan from a 15th-century manuscript

In the Arthurian legends, each knight of the Round Table is often accompanied by a heraldic description of a coat of arms. Although these arms could be arbitrary, some characters were traditionally associated with one coat or a few different coats. Early British sources such as the Historia Brittonum assign the Pendragon a white banner with a gold dragon which later becomes the Red Dragon of Wales.

King Arthur was assigned many different arms, but from the 13th century, he was most commonly given three gold crowns on an azure field (Loomis 1938, 38). In a 1394 manuscript depicting the Nine Worthies, Arthur is shown holding a flag with three gold crowns.[6] The reason for the triple-crown symbol is unknown, but it was associated with other pre-Norman kings, with the seal of King Magnus Eriksson, with the relics of the Three Wise Men in Cologne (which led to the three crowns in the seal of the University of Cologne), and with the grants of Edward I of England to towns which were symbolized by three crowns in the towns' arms. The number of crowns increased to eleven, thirteen and even thirty at times.[13]

Other arms were associated with Arthur. In a manuscript from the later 13th century, Arthur's shield has three gold leopards, a likely heraldic flattery of Edward I of England. Geoffrey of Monmouth assigned Arthur a dragon on his helmet and standard, which is possibly canting arms on Arthur's father's name, Uther Pendragon. Geoffrey also assigned Arthur a shield with an image of the Virgin Mary.[14] An illustration of the latter by D. Endean Ivall, based on the battle flag described by Nennius (a cross and the Virgin Mary) and including the motto "King Arthur is not dead" in Cornish, can be found on the cover of W. H. Pascoe's 1979 A Cornish Armory.

Tristan and Iseult kissing, with attributed arms on a field of green in center

Other characters in the Arthurian legends are described with coats of arms. Lancelot starts with plain white arms but later receives a shield with three bends gules signifying the strength of three men.[15] Tristan was attributed a variety of arms. His earliest arms, a gold lion rampant on red field, are shown in a set of 13th-century tiles found in Chertsey Abbey.[16] Thomas of Britain in the 12th century attributed these arms in what is believed to be heraldic flattery of his patron, either Richard I or Henry II, whose coats of arms contained some form of lion.[17] In other versions the field is not red, but green. Gottfried von Strassburg attributed to Tristan a silver shield with a black boar rampant[18] In Italy, however, he was attributed geometric patterns (argent a bend gules).[19]

Plain arms

[edit]

The Arthurian legends contain numerous instances of red knights, black knights or green knights challenging the knights of the Round Table. In most cases, the color was chosen at random and has no symbolic significance.[20] Such arms of one tincture create an atmosphere.[clarification needed] Plain arms were rare in the 12th century, and were used in literature to suggest a primitive heraldry of a time long past. Geoffrey of Monmouth noted with favor that in the Arthurian age, worthy knights used arms of one color, suggesting 12th century heraldic ornamentation was partly pretence.[20]

Plain arms may also function as a disguise for major characters. In the Chrétien de Troyes' Lancelot, the Knight of the Cart, Lancelot bears plain red arms as a disguise. The hero of Cligès competes in a jousting tournament with plain black, green, and red arms on three successive days.[21]

Kings

[edit]
The attributed arms of Edward the Confessor
Arms of Middlesex County Council
Arms attributed to Stephen of England
King Attila of the Huns with a shield charged with the Turul

Arms were attributed to important pre-heraldic kings. Among the best known are those assigned to the King of the Franks, who was given three toads. The three fleurs-de-lis of France supposedly derive from these.[22]

William the Conqueror, the first Norman king of England, had a coat of arms with two lions. Richard the Lionheart used such a coat of arms with two lions on a red field,[23] from which the three lions of the coat of arms of England derive. However, there is no proof that William's arms were not attributed to William after his death.[7]

King Stephen of England is sometimes given arms featuring a sagittary, either because he succeeded to the throne under Sagittarius, or because he gained an important battle using archers, or because his hometown of Blois used it as a symbol; some sources say he wore a seven-pointed badge with golden sagittary on a red field. However, there is no evidence that he ever used a sagittary as a symbol; it does not appear on any of his seals or other documents, or in contemporary records; it is first recorded by Nicholas Upton, writing three centuries later.[24][25]

The earlier Saxon Kings were assigned a gold cross on a blue shield, but this did not exist until the 13th century. The arms of Saint Edward the Confessor, a blue shield charged with a gold cross and five gold birds, appears to have been suggested by heralds in the time of Henry III of England[7] based on a coin minted in Edward's reign.[4] These arms were later used by Richard II of England out of devotion to the saint.[26]

Arms were attributed to the kingdoms of the Anglo-Saxon heptarchy. The Kingdom of Essex, for instance, was assigned a red shield with three notched swords (or "seaxes"). This coat was used by the counties of Essex and Middlesex until 1910, when the Middlesex County Council applied for a formal grant from the College of Arms (The Times, 1910). Middlesex was granted a red shield with three notched swords and a "Saxon Crown". The Essex County Council was granted the arms without the crown in 1932.

Even the kings of Rome were assigned arms, with Romulus, the first King of Rome, signified by the she-wolf.[27]

Flags were also attributed. While the King of Morocco was attributed three rooks as arms, which are therefore canting arms,[11] the whole chessboard was shown in some sources, resulting in the 14th-century checkered version of the flag of Morocco.[28]

Religious figures

[edit]

Jesus and Mary

[edit]
Example of arms attributed to Jesus from the 15th-century Hyghalmen Roll

Heralds could have attributed to Jesus the harp for arms inherited as a descendant of David. Nevertheless, the cross was regarded as Christ's emblem, and it was so used by the Crusaders. Sometimes the arms of Christ feature a Paschal lamb as the principal charge. By the 13th century, however, numerous indulgences had brought increased veneration for the instruments of the Passion. These instruments were described in heraldic terms and treated as personal to Christ much as a coat of arms.[29] An early example in a seal from c. 1240 includes the Cross, nails, lance, crown of thorns, sponge and whips.

The instruments of the Passion were sometimes split between a shield and crest in the form of an achievement of arms.[30] The Hyghalmen Roll (c. 1447–1455) shows Christ holding an azure shield charged with Veronica's Veil proper. The heraldry continues with the 15th century jousting helmet, which is covered by the seamless robe as a form of mantling, and the Cross, scepter (of mockery) and flagellum (whip) as crest. The banner's long red schwenkel is a mark of eminence in German heraldry, but it was omitted when this image was copied into Randle Holme's Book (c. 1464–1480). The image on the opposing page (shown above) includes a shield quartered with the five Wounds of Christ, three jars of ointment, two rods, and the head of Judas Iscariot with a bag of money.[31]

While Christ was associated with the images of the Passion, Mary was associated with images from the prophecy of Simeon the Righteous (Luke 2:34–35); the resulting attributed arms include a winged heart pierced with a sword and placed on a blue field.[32] Mary is also attributed a group of white lily flowers. An example can be found on the lower part of the coat of arms of the College of Our Lady of Eton beside Windsor.[33]

Trinity and angels

[edit]
Device from the Shield of the Trinity on a blue field, labeled 'Sent Myhell armys' (Saint Michael the Archangel) in Randle Holme's Book (c. 1460)
Traditional arms of Satan, based on the "three unclean spirits like frogs" of Book of Revelation 16:13
Main article: Shield of the Trinity

Out of a desire to make the abstract visible, arms were also attributed to the unseen spirits.[34] Because anthropomorphic representations of the Trinity were discouraged by the Church during the Middle Ages,[35] the Shield of the Trinity quickly became popular. It was often used in decorating not only churches, but theological manuscripts and rolls of arms. An early example from William Peraldus' Summa Vitiorum (c. 1260) shows a knight battling the seven deadly sins with this shield. A variation included with the shields of arms in Matthew Paris' Chronica Majora (c. 1250–1259) adds a cross between the center and bottom circles, accompanied by the words "v'bu caro f'm est" (verbum caro factum est, "the word was made flesh"; John 1:14).[36]

Saint Michael the Archangel appears often in heraldic settings. In one case, the device from the shield of the Trinity is placed on a blue field and attributed to St. Michael.[35] More usually, he is shown in armour with a red cross on a white shield, slaying the devil depicted as a dragon. These attributed arms were later transferred to Saint George.[37]

Heraldry is also attributed to Satan, as the commanding general of the fallen angels, to identify him in the heat of battle. The Douce Apocalypse portrays him carrying a red shield with a gold fess, and three frogs (based on Revelation 16:13).[38]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Attributed arms

View on Grokipedia
from Grokipedia
Attributed arms are coats of arms retrospectively devised and assigned to historical, legendary, or mythical figures who lived before the emergence of in during the , serving symbolic, genealogical, or illustrative purposes without basis in contemporary evidence. These designs were invented in the heraldic era, beginning around 1200–1215, and attributed to pre-heraldic persons such as biblical figures, ancient rulers, or fictional heroes to evoke prestige, continuity of lineage, or cultural identity. The practice became common in the , reflecting growing antiquarian interest in connecting contemporary nobility to illustrious ancestors, and experienced a revival in the amid renewed fascination with origins like Anglo-Saxon heritage. Attributed arms often combine heraldic elements associated with later regions, dynasties, or symbols relevant to the figure, such as the quartered design for featuring the fleurs-de-lis of and the double-headed eagle of the . Examples include arms for and his knights, , or even divine figures like Jesus Christ, though the latter lack a standardized design. In English contexts, 16th-century manuscripts assigned arms to pagan deities like Woden (azure, a patonce or) or the seven Anglo-Saxon kingdoms of the , such as (gules, three falchions palewise argent). These fictitious achievements differ from authentic by their anachronistic nature but played a key role in medieval and manuscripts, rolls of arms, and genealogical works, aiding in the visualization of historical narratives and claims of descent. Regional variations occasionally appear, as in a 1480s Bavarian adding lozenges to Charlemagne's arms to link him with the Wittelsbach dynasty. While not legally recognized for modern use, attributed arms remain studied for insights into heraldic creativity and the evolution of in European culture.

Overview

Definition and Characteristics

Attributed arms are coats of arms retrospectively devised and assigned to real or fictional individuals who predated the heraldic era in , which is generally considered to have begun in the early to mid-12th century. These designs emerged as later generations sought to extend the practice of backward in time, applying it to figures from antiquity, mythology, or early medieval history who could not have borne such symbols during their lifetimes. Key characteristics of attributed arms include their invented nature, where blazons are crafted to evoke symbolic connections to the figure's identity, exploits, or attributes, rather than reflecting any original usage. For example, charges such as lions may represent in warrior attributions, while colors or other elements allude to legendary traits or names. These arms often appear in medieval rolls, manuscripts, or genealogical works, serving to integrate pre-heraldic personages into the heraldic tradition. In distinction from authentic heraldry, attributed arms lack any contemporary evidence of adoption or display by the named individual, unlike the arms developed for living nobles in the 12th and 13th centuries, which were documented through seals and records as personal identifiers. Authentic arms evolved organically with rules of and inheritance, whereas attributed ones were created post hoc without such historical validation. Structurally, attributed arms often feature , with a plain field and one or few charges—such as crosses for religious or saintly figures or beasts for heroes—though some incorporate more complex elements like quarterings to link the figure with later dynasties or regions, differing from the elaborate impalements or differencing that characterize later heraldic compositions for allied families or .

Purpose and Cultural Significance

Attributed arms served primarily to address the absence of heraldic devices for figures who predated the emergence of in the late , allowing medieval chroniclers and genealogists to visually represent pre-heraldic ancestors in family trees, rolls, and illuminated manuscripts. By assigning symbolic coats of arms to these individuals, creators filled perceived gaps in noble lineages, ensuring a continuous visual of and prestige that aligned with the era's emphasis on heraldic identification. This practice was essential in contexts like genealogical compilations, where the lack of authentic arms for early rulers could undermine claims of antiquity and legitimacy. In terms of cultural significance, attributed arms functioned as a bridge between and , appearing in armorials, windows, and chivalric literature to vividly depict legendary and historical narratives for audiences in medieval courts and churches. They reinforced ideals of by associating ancient heroes with symbolic charges that evoked virtues like or , thereby inspiring contemporary knights and nobles to emulate these forebears in tournaments and quests. Additionally, such arms promoted religious devotion by endowing biblical or saintly figures with heraldic imagery, integrating sacred history into the visual culture of devotion and reinforcing communal identity through shared symbolic heritage. The tradition exerted lasting influence on later heraldry, particularly in 15th- and 16th-century works like the Armorial de Gelre, where pseudo-historical arms were invented to extend genealogical continuity and commemorate dynastic alliances across . Socially, these attributions often mirrored the priorities of their creators' time, prioritizing themes of piety, national pride, or feudal loyalty over historical fidelity, thus serving as a tool for and cultural cohesion in an age of evolving monarchies and identities.

Historical Development

Origins in the 12th Century

The emergence of attributed arms in the late coincided with the rise of itself, as Western European nobles began assigning heraldic devices retrospectively to historical, legendary, and biblical figures who predated the practice. This development occurred roughly between 1170 and 1200 CE, aligning with the proliferation of tournaments and the Second Crusade (1147–1149), which accelerated the need for visual identification among armored knights. The earliest tangible evidence of heraldry dates to around 1151, as seen in an enamel plaque from , , depicting heraldic shields. By the second quarter of the century, proto-heraldic symbols on shields and surcoats—adopted from influences during the (1096–1099)—evolved into standardized emblems to distinguish participants in chaotic mêlées and jousts. Key drivers for these initial attributions included practical identification in combat and the chivalric desire to link contemporary to ancient lineages, extending heraldic symbolism beyond the living to enhance prestige in chronicles, romances, and church art. Early tournaments, such as those participated in by Geoffrey of Anjou following his 1128 marriage near , featured knights like Geoffrey displaying a on his , inspiring emulation among peers such as with his chequy arms by 1146. This practical utility soon inspired retrospective assignments, as seen in literary works where authors described devices for pre-heraldic heroes to evoke continuity with the past. For instance, (c. 1136) described King Arthur's bearing an image of the Virgin Mary, blending biblical iconography with early shield decoration. Similarly, Benoît de Sainte-Maure's Roman de Troie (c. 1160) associated arms with Trojan warriors like , marking one of the earliest literary links between characters and heraldic symbolism. Primarily originating in France and England, attributed arms spread through Norman channels following the 1066 Conquest, which fused continental and insular traditions. In France, Angevin and Capetian courts near and Anjou fostered early adoption, with devices like the fleurs-de-lis linked to Vermandois lineages by mid-century. English developments followed via Norman nobility, as Henry II (r. 1154–1189), son of Geoffrey of Anjou, integrated such symbols into royal iconography. Early manuscripts, though more abundant in the , reflect these 12th-century roots; for example, the (compiled from the late ) drew on romantic traditions to legitimize Capetian descent from antiquity, with later illustrations incorporating attributed arms for Trojan heroes and Carolingian rulers. This Norman-mediated diffusion facilitated the extension of attributions to biblical personages in ecclesiastical art, such as lions symbolizing Jerusalem's gates applied to figures in Crusader-influenced chronicles.

Evolution in Medieval and Renaissance Heraldry

During the 13th and 14th centuries, attributed arms evolved from simple retrospective assignments to more integrated elements within formal heraldic records, reflecting a growing interest in linking contemporary nobility to ancient or legendary lineages. Rolls of arms, such as the Gelre Armorial compiled around 1370–1414, began incorporating these attributed designs alongside verified contemporary coats, often placing them at the outset to evoke mythical or biblical precedents like the Three Kings (Magi), whose invented arms symbolized Christian universality and influenced later European heraldry. This integration served to authenticate noble pedigrees in an era when heraldry was formalizing as a tool for identification in tournaments and warfare. Simultaneously, genealogical treatises expanded the practice, fabricating complex quarterings to represent fictional alliances or descents, thereby enhancing the perceived antiquity and prestige of families like the Clares, whose evolving seals from the 12th century onward demonstrated early patterns of such elaboration. These developments were driven by noble patronage, as aristocrats commissioned heralds to trace their origins to pre-heraldic eras, justifying land claims and social hierarchies. In the 15th and 16th centuries, the Renaissance sparked a revival of attributed arms through humanistic scholarship, which sought to bridge medieval chivalry with classical antiquity by assigning coats to figures like Julius Caesar as part of the "Nine Worthies" tradition. Humanists, drawing on Roman texts, portrayed Caesar with arms such as Gules, a double-headed eagle displayed Or, evoking imperial authority and inspiring noble houses to adopt similar motifs for their own ancient pretensions. The invention of printing accelerated this dissemination, with illustrated armorials and treatises like those by Italian scholars circulating widely across Europe, making attributed designs accessible for decorative and propagandistic use in manuscripts, tapestries, and civic emblems. Church patronage further propelled this trend, as ecclesiastical patrons incorporated attributed arms into altarpieces and seals to assert institutional continuity from early Christian or saintly figures, reinforcing spiritual and temporal authority. By the , attributed arms began to wane amid rising scrutiny, as scholars applied more rigorous historical methods to , questioning the authenticity of pre-12th-century assignments and viewing many as fanciful inventions. This decline paralleled a broader diminishment in 's prestige, supplanted by emerging disciplines like based on charters rather than symbolic claims. Nonetheless, their legacy endured in , such as embroidered panels and architectural motifs, and in national myths that perpetuated noble antiquity, sustaining the practice in non-historical contexts like festivals and literature.

Attributions to Legendary Figures

Arthurian Heraldry

Attributed arms for characters in Arthurian legend began to emerge in the late 12th and early 13th centuries, following the foundational romances of Chrétien de Troyes, where shields and devices served as early identifiers in chivalric narratives, though full heraldic blazons developed later in prose cycles like the Lancelot en prose and Tristan en prose. These attributions were visualized in 14th- and 15th-century illuminated manuscripts, often depicting knights in tournaments and quests, with arms reflecting narrative roles and symbolic virtues. By the 15th century, armorials such as those compiled by Jacques d’Armagnac listed up to 150 knights with detailed coats, incorporating contemporary heraldic practices to retroactively equip legendary figures. Key examples include King Arthur's arms, commonly blazoned as azure with three crowns or, symbolizing his sovereignty over multiple realms like , , and , an attribution likely devised in the 13th century under Edward I's influence and first recorded in a herald's roll from 1270–1280. Variants expanded this to thirteen crowns or in 15th-century sources, or included a golden dragon crest drawn from Geoffrey of Monmouth's History of the Kings of Britain (c. 1135), tying to Arthur's emblem and quests for unity. Sir Lancelot's arms were typically argent with three bendlets gules, evoking loyalty and the blood of chivalric sacrifice, often differenced for his kin—such as ermine with bendlets gules for his cousin Bors—to denote familial ties in narratives. Other knights featured charges like lions or dragons, as in Sir Tristan's vert with a lion or armed and langued gules, representing bravery in his Cornish exploits. Symbolism in these arms emphasized virtues central to Arthurian themes: crowns and lions denoted royal authority and courage, while ermine spots on some shields, such as those attributed to pure-hearted figures like Sir Galahad (argent a gules), signified moral purity and divine favor in the pursuit. Charges could also hint at betrayal or conflict, with gules elements underscoring passion or strife, as seen in Lancelot's bends amid his illicit love affair. These designs appeared in illuminated texts to illustrate scenes, enhancing the visual drama of and in manuscripts like those from the early 1300s. Variations across sources highlight the evolving nature of these attributions; for instance, Arthur's arms shift from three crowns on azure in 13th-century rolls to gules with three crowns or in later French armorials, while Lancelot's remain consistent but with added in 15th-century copies like the Vincent Collection at the . The Winchester Round Table (c. 1275, repainted c. 1520), bearing names and attributed arms for 24 knights around its edge, exemplifies such diversity, blending medieval designs with Tudor-era updates to portray Arthurian fellowship.

Plain Arms and Early Attributions

In the context of Arthurian attributed , plain arms refer to shields featuring a single —such as or, argent, gules, or vert—without any charges or embellishments, typically assigned to minor, anonymous, or pre-Arthurian knights to evoke the simplicity of early legendary narratives. These untinctured or mono- designs emerged in 13th-century romances and armorial compilations, predating the widespread adoption of complex charges and serving as foundational elements in the evolving heraldic tradition. Representative examples include the plain gules shield attributed to Perceval (also known as in Welsh traditions), a figure rooted in early Celtic heroism, as depicted in 13th-century works like those of and subsequent continuations. Similarly, Brunor le Chevalier sans Peur, a lesser-known knight and father of , bears argent plain, while Méliadus de Léonois, king of and father of , is given vert plain; these assignments appear in armorial lists derived from medieval romances. An implied argent plain is also deduced for Marc, a minor Cornish king in the Tristan cycle, highlighting the use of unadorned fields for peripheral characters. For Merlin-like enigmatic figures, such as prophetic advisors or anonymous sages, attributions are rare, but simple argent fields occasionally symbolize their otherworldly humility in transitional depictions. The purpose of these plain arms was to represent antiquity, , and the unadorned valor of foundational heroes, appearing during 's transitional phase before the strict laws—prohibiting color on color or —were codified around 1200. Early armorials, such as those in 13th-century French manuscripts (e.g., the Armorial de la Toison d'Or precursors) and English rolls like the 1298 Falkirk Roll, illustrate this evolution from plain fields to charged designs, bridging pre-heraldic symbolism with formalized blazonry in Arthurian contexts. Within broader Arthurian heraldry, these basic attributions provided a stark contrast to the ornate arms of central knights, underscoring narrative hierarchies.

Attributions to Historical Rulers

Pre-Heraldic Kings and Emperors

Attributed arms for pre-heraldic kings and emperors, dating from before the emergence of systematic in the , served to retroactively endow ancient rulers with symbolic devices that reinforced imperial authority and dynastic legitimacy. These inventions, appearing in medieval armorials and manuscripts from the 14th and 15th centuries, often drew on later heraldic conventions to project continuity between ancient empires and contemporary monarchies. For Roman emperors, such as (r. 306–337), such symbolism often evoked the emperor's reported vision of the Chi-Rho symbol before the in 312, representing Christian sovereignty and the fusion of imperial power with emerging religious iconography. This aligned with Byzantine traditions, where crosslets patée on red fields represented the enduring Roman legacy in Eastern . Charlemagne (r. 768–814), the Frankish king crowned in 800, received attributed arms in several late medieval sources featuring a quartered design with azure and fleurs-de-lis or combined with a sable on gold, linking his realm to the lilies of and emphasizing Carolingian claims to universal empire. These arms appeared in 14th-century imperial genealogies, such as those compiled to legitimize Habsburg succession, where the fleurs-de-lis underscored Charlemagne's role as a unifier of Christian . Among Anglo-Saxon rulers, (r. 871–899) was assigned azure, a cross flory between five martlets or, a design shared with later West Saxon kings like and evoking the martial and scholarly virtues of Alfred's reign against Viking incursions. This attribution, found in medieval rolls, connected pre-Norman English monarchy to the three lions of later royal arms, using the cross for Christian defense and martlets for swift sovereignty. Such symbols as eagles for imperial dominion and lions for regal strength permeated these inventions, often mirroring national emblems like the Roman eagle or English lions to affirm historical precedence in European dynastic narratives. The 15th-century Wernigerode Armorial exemplifies this practice, compiling attributed devices for early emperors alongside contemporary shields to illustrate hierarchical continuity.

Examples from European Dynasties

The of received early attributed arms of azure semé-de-lys or, a blue field scattered with golden fleurs-de-lis, which became emblematic of the French monarchy in the . This design is linked to Louis VII (r. 1137–1180), whose seals and contemporary depictions first document its use, though it was retrospectively assigned to earlier rulers like (r. 987–996) in later medieval armorials. The semé pattern symbolized purity and , influencing cadet branches such as the counts of Clermont, who added labels for differencing. In England, the Plantagenet dynasty under Henry II (r. 1154–1189) is thought to have used arms of gules, two lions passant guardant or, evolving from his father Geoffrey of Anjou's enamelled shield with lions, as chronicled in 12th-century sources, and serving as a precursor to the three-lion royal arms adopted by Richard I around 1198. These arms underscored Plantagenet claims across Angevin territories, appearing in coronation rolls and peerage disputes recorded by the English College of Arms in the 16th century. William the Conqueror (r. 1066–1087), though predating formalized , was depicted in 13th-century chronicles by with arms reflecting later Norman ducal symbolism post-Conquest, such as , though these are anachronistic inventions. Similarly, Scottish kings like (r. 1165–1214) received attributed arms of or, a rampant gules within a double tressure flory-counterflory, first associated with the royal house in the late despite lacking direct seal evidence; variations included simpler lion forms for earlier rulers in armorials. These were invoked in succession claims, such as those by the Balliol and families, documented in Scottish seals from the early . Regional variations highlight distinct traditions: in , Capetian attributions favored floral motifs like the semé-de-lys on azure for royal continuity, as seen in the Lyncenich Armorial (c. 1460), while the assigned imperial eagles to medieval emperors like Otto IV in 13th-century sources, emphasizing territorial breadth over personal symbols. Such differences influenced cross-Channel , with English and Scottish arms adapting charges from Norman precedents, often recorded in the ' visitation books for validating dynastic peerages.

Attributions to Religious Figures

Christ, the Virgin Mary, and Saints

In medieval , attributed arms for Christ frequently incorporated the , or instruments of the Passion, symbolizing his suffering and triumph. A prominent example appears in the late 15th-century Armorial, where Christ's shield features key Passion symbols such as the crown of thorns, , , and , arranged heraldically to evoke devotional imagery from liturgical texts and church art. These arms, featuring Passion symbols on a red field to underscore Christ's redemptive role, were depicted in German manuscripts to parallel secular coats of arms. The Virgin Mary's attributed arms drew from Marian , emphasizing purity and her role as . These designs often featured fleurs-de-lis on an azure field—reflecting the lilies symbolizing her —or a crescent moon and , appearing in 15th-century armorials and windows, linking her to biblical references like the woman clothed with the sun in Revelation 12. The blue field evoked her traditional mantle, while lilies or twelve symbolized her virtues and celestial patronage, as seen in hagiographic illustrations from liturgical books. Attributed arms for saints integrated their legendary attributes, often originating in 14th-century hagiographies like Jacobus de Voragine's and evolving in church windows and armorials from the . For St. George, the patron of and soldiers, the arms are blazoned gules, a argent, representing his martyrdom and crusade associations, with early depictions in 12th-century maps and later in German armorials like the . St. Peter, the apostle of the keys, bore arms featuring two crossed keys, one or and one gules, symbolizing the keys to heaven granted in :19; these appeared in 15th-century Italian and German liturgical manuscripts, emphasizing his foundational role in the Church. Such attributions, concentrated in devotional art from the 13th to 15th centuries, reinforced saints' intercessory powers without historical basis in their lifetimes.

The Holy Trinity and Angels

The attributed arms of the Holy Trinity in heraldry typically feature the Scutum Fidei, a medieval diagram known as the Shield of Faith, which visually articulates the orthodox doctrine of the three persons in one God through interlocking statements of relationship. This symbol is often blazoned as gules, the Scutum Fidei argent lettered sable, placed on a red field to evoke the Passion, with the silver diagram and black lettering emphasizing purity and clarity. The design emerged in the High Middle Ages and gained prominence in the 13th century, as evidenced by its inclusion in Matthew Paris's Chronica Majora (c. 1250–1259), where it served as a theological emblem in monastic chronicles. More abstract representations avoid , employing complex charges such as an escutcheon displaying three faces—one for each person of the —or a dove (symbolizing the ) superimposed over a , reflecting the triune nature without direct human form. A variant includes a , where the shape embodies the eternal unity of Father, Son, and . These designs underscore the theological abstraction central to Trinitarian , distinguishing it from personalized arms of individual divine figures like Christ. Symbolism in these arms draws heavily from Christian iconography, with equilateral triangles representing the indivisible unity of the and emanating rays denoting and eternity. Such motifs appeared in ecclesiastical from the 13th century onward, integrated into seals, vestments, and architectural elements to convey doctrinal truths visually. In missals and arms from the late medieval and periods, these symbols reinforced liturgical themes. Attributed arms for angelic beings extend this celestial abstraction, focusing on archangels and the collective angelic hosts as non-corporeal intermediaries. For the Archangel Michael, protector against evil, the arms are commonly blazoned gules, a sword in pale proper between scales in fesse or, symbolizing his role in weighing souls and battling Satan, as depicted in 15th-century English manuscripts like British Library Harleian MS 2169. An alternative renders it azure, a flaming sword erect proper, evoking the fiery weapon of divine judgment in apocalyptic imagery. For the Archangel Gabriel, messenger of the Annunciation, the arms feature a lily, the white emblem denoting purity and the flower as the symbol of Mary's virginal conception, rooted in 13th-century artistic traditions. Collective representations of the angelic hosts emphasize multiplicity and vigilance, often incorporating wings for swift obedience or eyes for all-seeing , drawn from biblical descriptions of seraphim (fiery six-winged beings) and cherubim (multi-eyed guardians). These charges, such as conjoined wings or an eye within a wing, appear in ecclesiastical to symbolize the heavenly supporting the divine throne, integrated into arms and liturgical books from the late medieval period. Overall, these attributed arms for the and angels prioritize theological symbolism over personal identity, influencing church through the .

References

  1. https://heraldica.hypotheses.org/4920
  2. https://habitant.org/presentations/The%20Use%20of%20Heraldry%20in%20Genealogical%20Research.pdf
  3. https://www.theheraldrysociety.com/wp-content/uploads/2024/09/Ashley-Woden_optimized.pdf
  4. https://www.gutenberg.org/files/23186/23186-h/23186-h.htm
  5. https://www.gutenberg.org/files/41617/41617-h/41617-h.htm
  6. https://www.theheraldrysociety.com/articles/some-arthurian-coats-of-arms/
  7. https://www.drpaulfoxfsa.com/king-arthur-and-his-knights
  8. https://wappenwiki.org/index.php/Gelre_Armorial
  9. https://www.britannica.com/topic/heraldry/The-historical-development-of-heraldry
  10. https://www.drpaulfoxfsa.com/crusades-and-heraldry
  11. https://www.theheraldrysociety.com/wp-content/uploads/2019/10/CoA-227-Brazil-paper.pdf
  12. https://publishing.cdlib.org/ucpressebooks/view?docId=ft8k4008jd&chunk.id=d0e966&toc.depth=1&toc.id=d0e966&brand=ucpress
  13. https://blackcentraleurope.com/sources/1000-1500/imagining-a-crest-for-the-black-magus-ca-1370-1395/
  14. https://www.academia.edu/31020241/EARLY_ARMS_AS_ATTRIBUTED_ADOPTED_OR_DOCUMENTED
  15. https://www.theheraldrysociety.com/wp-content/uploads/2019/10/CoA-232-Hilton-paper-2.pdf
  16. https://www.theheraldrysociety.com/shop/images/julius-caesar/
  17. https://www.heraldica.org/topics/arthur.htm
  18. https://wappenwiki.org/index.php/Falkirk_Roll
  19. http://www.hubert-herald.nl/ByzantiumArms.htm
  20. https://drawshield.net/gallery/redirect.php?prev=001450
  21. https://drawshield.net/gallery/0014/gallery-001451.html
  22. https://commons.wikimedia.org/wiki/File:Wernigeroder_Wappenbuch_010.jpg
  23. http://www.mendola.com/LionFleurSicily.pdf
  24. http://www.armorial.dk/coats-of-arms/Clemmensen-AA.pdf
  25. https://www.theheraldrysociety.com/articles/the-origin-of-the-royal-arms-of-england-a-european-connection/
  26. https://www.theheraldrysociety.com/articles/the-royal-arms-of-scotland/
  27. https://www.college-of-arms.gov.uk/about-us/records-and-collections
  28. https://www.valpo.edu/devotionals/the-art-of-holy-week/
  29. https://www.heraldica.org/topics/imagine.htm
  30. https://www.academia.edu/48987247/THE_FLEUR_DE_LIS_A_BASIC_SYMBOL_IN_ROMAN_CATHOLIC_ECCLESIASTICAL_HERALDRY
  31. http://www.colin-baxter.org/articles/arthur-vm.pdf
  32. https://www.theheraldrysociety.com/wp-content/uploads/2019/10/CoA-213-Good-paper.pdf
  33. https://www.vatican.va/roman_curia/institutions_connected/latinsymbols/documents/rc_con_latinsymb_doc_20010304_simboli-s_pietro_en.html
  34. https://www.scotarmigers.net/ssagallery/displayimage.php?album=18&pos=55
  35. https://www.digitalcollections.manchester.ac.uk/view/MS-LATIN-00035
  36. https://www.christianiconography.info/gabriel.html
  37. https://sacred-texts.com/lcr/fsca/fsca11.htm
Add your contribution
Related Hubs
User Avatar
No comments yet.