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Crosses in heraldry
Crosses in heraldry
from Wikipedia
Collection of heraldic cross variants from Hugo Gerard Ströhl's Heraldischer Atlas

A number of cross symbols were developed for the purpose of the emerging system of heraldry, which appeared in Western Europe in about 1200. This tradition is partly in the use of the Christian cross an emblem from the 11th century, and increasingly during the age of the Crusades. Many cross variants were developed in the classical tradition of heraldry during the late medieval and early modern periods. Heraldic crosses are inherited in modern iconographic traditions and are used in numerous national flags.

History

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The Christian cross emblem (Latin cross or Greek cross) was used from the 5th century, deriving from a T-shape representing the gibbet (stauros, crux) of the crucifixion of Jesus in use from at least the 2nd century. The globus cruciger and the staurogram is used in Byzantine coins and seals during the Heraclian period (6th century). Under the Heraclian dynasty (7th century), coins also depict simply crosses potent, patty, or pommy.

The cross was used as a field sign by the Christian troops during the Crusades. In 1188, Kings Henry II of England and Philip II of France agreed to launch the Third Crusade together, and that Henry would use a white cross and Philip a red cross. The red-on-white cross came to be used by the Knights Templar, and the white-on-red one by the Knights Hospitaller (also white-on-black); the Teutonic Order used a black-on white version. Early cross or spiral-like shield decorations, not necessarily with Christian symbolism, are already found on depictions of shields of the 11th century.[1]

9th-century Byzantine seal showing a patriarchal cross (seal of Niketas, commander of the Byzantine imperial fleet)
Seal of Bouchard de Marly (attested 1225), a cross, quarterly four alerions
Seal of Amadeus V, Count of Savoy (1249–1323), showing a knight on horseback displaying the Savoy cross on his shield, ailets (shoulder-pads) and caparison (horse covering)
A section of Segar's Roll, a 17th-century copy of a late 13th-century English roll of arms. Crosses are shown on the arms of:[2] the legendary Prester John (attributed arms showing a full crucifix including the figure of Christ), the King of Jerusalem (the Jerusalem cross), the Emperor of Constantinople (the Palaiologos dynasty emblem with the Betas interpreted as crescents), the "King of Greece", and King Edward the Confessor of England (attributed arms showing a cross and five martlets).

Heraldry emerged in western Europe at the start of the 13th century out of earlier traditions. The basic variants of the red-on-white (termed the Cross of Saint George) and the white-on-red crusaders' cross were continued independently in the flags of various states in the 13th and 14th century, including the Duchy of Genoa, the Electorate of Trier, the Bishopric of Constance and the Kingdoms of England and Georgia, which last two had special devotions to St George on one hand;[3] and Savoy, the war flag of the Holy Roman Empire and (possibly from the latter) Switzerland and Denmark on the other.

The cross appears as heraldic charge in the oldest rolls of arms, from about 1250. A roll of arms of the 13th century (the reign of Henry III of England) lists the coats of arms of various noblemen distinguished by crosses of different tinctures:

Glover's Roll (British Library Add MS 29796), a 16th-century copy of a roll of arms of the 1250s has depictions of various heraldic crosses, including the or a cross gules of the earl of Norfolk, gules, a cross argent of Peter of Savoy, argent a cross gules of Robert de Veer, gules a cross flory vair of Guillaume de Forz, Comte d'Aumale, gules a cross fleury argent of Guillaume Vescy, gules a cross saltire engrele of Fulke de Escherdestone, argent a cross fleury azure of John Lexington, azure three crosses or of William de Sarren, or a cross gules, five scallops argent of Ralph Bigod, gules a cross fourchy argent of Gilbert de Vale, argent a cross fleury sable of John Lamplowe, or a cross saltire gules, a chief gules of Robert de Brus, gules a cross saltire argent of Robert de Neville, or a cross voided gules of Hamond (Robert) de Crevecoeur, and azure a cross or, four lions rampant or of Baudouin Dakeney. In addition, the Glover Roll has semy of crosses crosslet as a tincture in several coats of arms.[citation needed]

The desire to distinguish one's coat of arms from others led to a period of substantial innovation in producing variants of the basic Christian cross by the early 14th century (in England, the reign of Edward II).

The great number of variants of crosses, and the deep history of such variants (going back to the 14th century or earlier) results in confusing and often contradictory terminology.[4]

In the heraldry of the Holy Roman Empire, the cross is comparatively rare in the coats of arms of noble families, presumably because the plain heraldic cross was seen as an imperial symbol (for the same reason, the eagle was rarely used as a charge because it represented the empire), but in the 14th century the plain cross is used in the seals and flags of several prince-bishoprics, including Trier, Constance and Cologne.[5]

Looking back on the Crusades as the foundational period of knighthood, the badge of the cross became strongly associated with the idealized Christian knight of romance, as expressed by Spenser (Faerie Queene book 1, canto 1):[6]

And on his brest a bloodie crosse he bore,
The deare remembrance of his dying Lord,
For whose sweete sake that glorious badge he wore,
And dead, as living ever, his ador'd:
Upon his shield the like was also scor'd.

The black-on-white cross worn by the Teutonic Knights was granted by Innocent III in 1205. The coat of arms representing the grand master (Deutschmeisterwappen)[7] is shown with a golden cross fleury or cross potent superimposed on the black cross, with the imperial eagle as a central inescutcheon. The golden cross fleury overlaid on the black cross becomes widely used in the 15th century. A legendary account attributes its introduction to Louis IX of France, who on 20 August 1250 granted the master of the order this cross as a variation of the Jerusalem cross, with the fleur-de-lis symbol attached to each arm. While this legendary account cannot be traced back further than the early modern period (Christoph Hartknoch, 1684) there is some evidence that the design does indeed date to the mid 13th century.[8] The black cross patty was later used for military decoration and insignia by the Kingdom of Prussia and gave rise to the cross patty in the German Reichskriegsflagge and the Iron Cross and Pour le Mérite orders.

The Nordic cross is an 18th-century innovation derived from cross flags adapted as swallow-tailed (or triple-tailed) pennons used as civil ensigns; the first official introduction of such a flag was in a regulation of 11 June 1748 describing the Danish civil ensign (Koffardiflaget) for merchant ships. The Danish design was adopted for the flags of Norway (civil ensign 1821) and Sweden (1906), both derived from a common ensign used during the Union between Sweden and Norway 1818–1844, Iceland (1915) and Finland (1917).

Ordinary cross

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The blazon Cross without any addition signifies a heraldic ordinary, a pale and a fess of equal widths conjoined, the width being typically one-fifth of the shield (or one third of the shield when charges are placed on the cross).[9] The four arms should be of equal length (forming a Greek cross), as far as possible within the shape of the shield, and they meet in the center (fesse-point) of the shield, except when it is abased (lowered) in the presence of a chief. The plain cross of gules in a field argent is termed Saint George's Cross.[9]

The ordinary formed when the cross' arms are oblique, passing through the top corners of the shield, is referred to as a saltire.

The ordinary cross may further be modify in its flection (i.e. modification of its edges as engrailed (engreslée), embattled (bretessée), indented (denchée), invected (cannelée), wavy, (ondée), raguly (écotée), dancetty or dantelly (denché, émanchée), and so on. French heraldic terminology is even more diverse, with many synonyms leading to some confusion.[10]

The ordinary cross may also be varied in its tincture, it may be party, or chequy, compony, counter-compony, fretty, trellised, vair maçonnée and so on. It may also be of two tinctures, e.g. party per fesse, per pale, or per cross (equivalent to quarterly), mostly in connection with the partition of the field (i.e. counter-charged).

The term quarter-pierced (quarterly pierced) is used when the center of the cross has a separate tincture. Some heraldists have used quarter-voided or square-pierced for cases where the center of the cross is given the tincture of the field, or alternatively chequy of nine panes (French équipollée). A cross quadrate has a square at the intersection point.

The cross voided (also une fausse croix) has the same tincture of the field with only a narrow border outlining the limbs. This is equivalent to superimposing one cross upon another (croix chargée, or remplie) when the second cross is of the tincture of the field.[9]

A voided cross might also be blazoned as fimbriated. Fimbriated crosses are more common in vexillology, e.g. the fimbriated crosses in the national flags of the United Kingdom, of Norway and of Iceland. The German Balkenkreuz, introduced originally as identification for German Luftstreitkräfte in 1918 and later used as a vehicle emblem by the Wehrmacht, if used heraldically might be blazoned as a cross double fimbriated, or as a voided cross superimposed by a second cross. The "Bundeswehr cross" is a variant of the Balkenkreuz using a cross patty.

Named variants

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Equal limbs

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Picture Name Description
Cross hummetty (couped, alaisée, alésée) When the ordinary cross is couped it acquires aspects of a charge (rather than an ordinary), i.e. a Greek cross with equal limbs.
Cross pattée (patty, formée, formy)

A cross pattée (or formée/formy) has arms narrowing towards the centre, but with flat ends. It is usually found with curved inside edges as in the 13th c. arms of Baron Berkeley (see also Iron Cross); but sometimes encountered with straight edges (triangular arms). A cross pattée must be blazoned as throughout or fixed (passant), if it is intended that the four arms of the cross should reach to the edges of the shield.

Cross potent

This cross has a crossbar at the end of each of its arms. "Potent" is an old word for a crutch, and is used in heraldic terminology to describe a T shape.

Cross cercelée (recercely)

A cross recercely seems to be a cross moline parted or voided throughout—though it may be a cross moline very curly.[11]

Cross moline (anchory)

In a cross moline, the ends of the arms are bifurcated, split and curved back, also called a cross ancré or anchory. As a mark of cadency in English and Canadian heraldry, it marks an eighth son.[citation needed] Found in the coats of arms of Molyneux and of the House of Broglie.

Cross fourchy (fourchée)

One form of the heraldic cross fourchy or cross fourche (croix fourchée meaning "forked"). An example is the South African Postal Association[12]

Maltese cross

With arms which narrow towards the center, and are indented at the ends, also known as the eight-pointed cross (with no curved lines). This is a gradual evolution of the eight-pointed cross moline. The sharp vertex of the modern "four-arrowhead" design is gradual, and takes place during the 15th to 16th century. The "Rhodian cross" of the early 16th century had almost, but not quite, achieved the "sharp arrowhead appearance". The modern form is known as the Maltese cross for its use by the Sovereign Military Order of Malta.

Cross crosslet

A cross with the ends of each arm crossed. A prominent early example is in the arms of the Beauchamp earls of Warwick. In early armory it is not always distinguished from a cross bottony. A variant is the cross crosslet double crossed,[13] with two bars crossing each arm, as in the arms of Robert Willoughby, 1st Baron Willoughby de Broke (d.1502) sculpted on his tomb at Callington Church, Cornwall. The religious symbol of Latvian religion Dievturība called a krustu krusts in Latvian.

Cross bottony (trefly)

A cross with the ends of the arms bottony (or botonny, i.e. "furnished with knobs or buttons"), i.e. shaped like a trefoil—and so it is sometimes called a cross trefly. In early armory it is not always distinguished from a cross crosslet.

It occurs counterchanged on the flag of Maryland; a saltire botonny can be seen in the coat and flag of the Village of New Maryland, New Brunswick;[14] and a Latin cross trefly can be seen in the coat of Isidore Popowych, it also appears in the canton of the arms and flag of the Episcopal Church, where it is blazoned as "cross crosslet".[15]

Cross fleury (flory)

A cross whose arms end in fleurs-de-lys – as in the coats of arms of the Municipalité de la Paroisse de Saint-Philémon in Canada and the Borough of Woking in England. In early armory it was not consistently distinguished from the cross patoncé. A version of the cross flory is used by the Romanian Order of Michael the Brave. Another version, the "Cross of Saint Julian" (Cruz de San Julián) is a special form of the cross fleury used by the Spanish Order of Alcántara, Order of Calatrava and Order of Montesa.

Cross patoncé

A cross patoncé (or patonce) is more or less intermediate between a cross pattée and a cross flory (or fleury). The ends of its limbs are trifurcated into leaf shapes, and seems to come in two sorts: one where the limbs are the same width all along as in the coat of Godfrey McCance Gransden;[14] and the other where the limbs gently widen from the centre (but do not curve) as in the coat of John Chiu] (both of Canada).[14] A medieval example is shown on the seal of William de Fortibus (d.1260). The name is derived from French patte d'once (“ounce's paw”).[16]

Cross pommy

A cross pommy (croix pommée) has a round knob at the end of each arm, as in the coat of Penwith District Council,[17] England. The name is derived from French pommé, "grown round like an apple."[18]

Cross gamma (gammate, cramponny)

Upright cross with truncated angled arms; essentially a variant of the swastika; uncommon, but can be found in the arms of Gordon of Hallhead.[19] Also known as a cross cramponny or cramponée, a fylfot, a gammate or gammadion cross, or tetragammadion, as it were combining four capital Greek letters Γ (gamma).

Cross barby

In the coat of Tillie in Cornwall.[20] The symbol is also called a "barbed cross" or an "arrow cross". An arrow cross in green was also the symbol of the Arrow Cross Party of Hungary.

Cross erminée

A cross erminée is a cross of four ermine-spots, with the heads meeting, sharing their spots. Historically borne by Hurston (Cheshire, England) c. 1490 and others[21]

Avellane cross

A form of cross which resembles four hazel filberts in their husks or cases, joined together at the great end. The term comes from the Latin name for the hazel, originally Nux avellana. It was fairly rare in English heraldry.

Order of Christ Cross

A form of cross which resembling a mix between a cross pattée or the cross potent. Also known as a "Portuguese Cross", it is associated with the Portuguese discoveries. It is fairly common in Portuguese heraldry and Brazilian heraldry.

Unequal limbs

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Picture Name Description
Latin cross The Latin cross has an elongated lower limb.
Media related to Latin crosses in heraldry at Wikimedia Commons
Cross of Saint Peter The inverted Latin cross is known as the Cross of Saint Peter.
Media related to Cross of Saint Peter in heraldry at Wikimedia Commons
Cross of Saint Philip The sideways Latin cross is associated with Philip the Apostle.[citation needed]
Cross portate The oblique Latin cross, known as cross portate ("carried"),[22] is associated with Saint Gilbert of Sempringham.
Calvary cross A Latin cross standing on steps (mostly three in number) is known as Calvary cross.
Media related to Calvary cross in heraldry at Wikimedia Commons
Cross fitchy A cross fitchy has the lower limb pointed, as if to be driven into the ground.[23][24] From French fiché, "fixed."[25]

Cross pattée fitchée

A cross pattée fitchée is a cross pattée with a sharp point added to the lower limb, as if for use in staking into the ground

Cross fleury fitchy (Cross of Saint James) A special form of the cross flory fitchy is used by the order of Santiago. Also found in the Scottish arms of Mulino from Venezuela[26] and in the coats of Santa Cruz de Tenerife, Spain;[27] and Caracas, Venezuela;[27] Santiago de Tete, Mozambique.[27]
Cross crosslet fitchy

Shown here is a cross crosslet fitchy, a very frequent charge in British and French armory, appearing in the arms of the House of Howard, the Marquess of Ailsa, the Earl Cathcart, Macpherson of Cluny, Rattray of that Ilk, among many others. This is probably the most common form of the cross fitchy but others do exist, such as the crosses formy fitchy found between the antlers of the stag supporters of South Buckinghamshire District Council, England.[28]

Patriarchal cross The patriarchal cross or double cross was used in Byzantine seals since the early medieval period. It was adopted in the coat of arms of Hungary in the late 12th century, and also appears on the more recent coat of arms of Slovakia.
Two-barred cross

A Latin cross with an extra bar added. The lengths and placement of the bars (or "arms") vary, and most of the variations are interchangeably called either of the cross of Lorraine, the patriarchal cross, the Orthodox cross or the archiepiscopal cross. It appears in the arms of the Jagiellonian dynasty, which itself appears in the modern arms of Lithuania.

Additional charges

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In some cases, a separate name is given to the ensemble of a heraldic cross with four additional charges in the angles.

Picture Name Description
Cross-and-crosslets (a cross potent between four plain crosslets); Jerusalem cross)

The symbol of the Crusader Kingdom of Jerusalem, which existed for almost two hundred years after the First Crusade; in the rendering at left, the large cross is shown slightly "potent" (i.e., with T-shaped ends), but that is not always the case. The four smaller crosses are said to symbolize either the four books of the Gospel or the four directions in which the Word of Christ spread from Jerusalem. Alternatively, all five crosses can symbolize the five wounds of Christ during the Passion. This symbol is used in the flag of Georgia. Also found in the coat of arms of the Papal Equestrian Order of the Holy Sepulchre of Jerusalem, Vatican City (matriculated in Scotland as "Argent; a Jerusalem cross cantoned between four crosses couped, gules"—Scots Public Register, volume 75, page 112)—to be seen at various EOHSJ websites; also in the Canadian coat of Robert Gerald Guest (Canadian Public Register Volume III, page 85).

Tetragrammatic cross

A Greek cross with the letter beta (Β) in each of its angles, which represent the imperial motto of the Palaiologos dynasty (mid-13th century, βασιλεὺς βασιλέων, βασιλεύων βασιλευόντων - Basileus Basileōn, Basileuōn Basileuontōn "King of Kings, Ruling Over Kings"). The Serbian cross variant (Само Слога Србина Спашава - Only Unity Saves The Serbs) with four "firesteel" shapes develops in the early modern Illyrian Armorials.

Flags

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Depiction of St George's Flag used alongside the Royal Standard by Wat Tyler's rebels in Froissart's Chronicles (c. 1470)
The Tudor navy carrack Henry Grace à Dieu (launched 1514) as depicted in the 1546 Anthony Roll, with streamers showing St George's Cross

Flags with crosses are recorded from the later Middle Ages, e.g. in the early 14th century the insignia cruxata comunis of the city of Genoa, the red-on-white cross that would later become known as St George's Cross, and the white-on-red cross of the Reichssturmfahne used as the war flag of the Holy Roman Emperor possibly from the early 13th century.[citation needed]

Crosses on flags become more widespread in the Age of Sail, as maritime flags, and from this tradition develop into national flags in the 18th to 19th century, the British Union flag (as naval flag) was introduced in 1606, after the Union of the Crowns. The Nordic cross is a modern cross variant used on rectangular flags only, introduced for rectangular civil ensigns for Denmark in 1748. This is to be distinguished from the (rare) heraldic charge of a horizontal Latin cross, known as the "Cross of Saint Philip".

Several national flags are based on late medieval war flags, including the white-on-red crosses of the flag of Denmark and the flag of Switzerland. The elongated Nordic cross originates in the 18th century due to the rectangular shape of maritime flags.

The Red Cross flag originates in 1906 as a colour-switched version of the flag of Switzerland.

Further reading

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See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Crosses in heraldry are geometric ordinaries consisting of two perpendicular intersecting bars extending throughout the shield unless otherwise specified, forming a fundamental charge in European coats of arms since the emergence of systematic armory in the . Nearly four hundred varieties have been documented, though approximately twenty forms occur with regularity, differentiated primarily by the shape and termination of the arms, such as the splayed ends of the cross patée, the T-shaped projections of the cross potent, or the bifurcated limbs of the cross moline. Their adoption predates organized , appearing decoratively on shields in depictions like the circa 1077, and gained prominence during the , where they symbolized Christian military endeavors while serving practical roles in distinguishing combatants amid the chaos of battle. Though frequently associated with religious significance—evoking the of —their heraldic function emphasized identification and differencing of arms over inherent symbolism, as medieval blazons rarely assigned fixed meanings to charges, prioritizing visibility and uniqueness for recognition in tournament and warfare contexts. Variants like the cross pattée and patriarchal cross became emblems of knightly orders such as the Templars, underscoring their role in denoting allegiance and authority, yet their proliferation in secular nobility attests to broader utility unbound by ecclesiastical intent. As shield designs evolved from elongated to more equilateral forms, cross proportions adapted accordingly, ensuring equitable display across the field and perpetuating their status as one of 's most versatile and enduring elements.

Origins and Historical Development

Emergence in Medieval Heraldry

Heraldry as a system of identifiable shield bearings developed in by the mid-12th century, with the earliest evidence appearing on seals between 1140 and 1159 across eight countries, initially featuring simple ordinaries and charges like lions and eagles rather than crosses. Crosses emerged as charges around , coinciding with the intensification of tournaments where knights required bold, distant-recognizable symbols amid obscured visors and massed ; their geometric simplicity prioritized visibility and manufacturability over ornate detail, enabling quick fabrication on shields and surcoats. The accelerated cross adoption, as forces distinguished nationalities via colored crosses during the Third Crusade (1189–1192)—white for English, red for French, green for Flemish—building on earlier practices and familiarizing elites with the motif for martial signaling. Christian military orders reinforced this: the Knights Templar, founded 1119, displayed a red cross on white mantles by 1147, evident in their seals; the Teutonic Knights, established 1190 amid the same crusade, used a black cross on white, linking the symbol to vows of faith and warfare. Returning crusaders integrated these into familial arms, transitioning collective order insignia toward personal . Early 13th-century armorial rolls, such as those documenting English nobles under Henry III (r. 1216–1272), record crosses as primary charges, often couped and denoting piety or expeditionary service; seals and effigies from this era, including those of crusading lineages, confirm their role in noble self-assertion. While debates persist on whether directly birthed —lacking pre-1147 Eastern evidence—their promotion of cross-bearing knights undeniably shaped its symbolic vocabulary, favoring stark forms suited to leather, metal, and fabric media.

Evolution and Standardization in Europe

During the , heraldic diversified from predominantly simple forms to include specialized variants like the and , as documented in period armorials such as the Wernher von Tegernsee Armorial (c. 1360s), which illustrate these shapes for noble bearings. This evolution addressed the practical imperative of distinguishing arms among proliferating feudal lineages, where identical charges risked confusion in combat identification and inheritance claims, prioritizing clarity over symbolic abstraction. By the , early treatises like Bartolomeo Sicco's Tractatus de armis (c. 1362) described such variants, providing terminological foundations amid growing noble hierarchies. The introduction of printing around 1450 accelerated this codification, enabling widespread reproduction of illustrated manuals and rolls that standardized depictions and nomenclature across Europe, as seen in the dissemination of blazonry post-Gutenberg. Royal establishments, such as France's 1407 heraldic oversight and England's College of Arms in 1484, further enforced consistency to resolve disputes over armorial rights. Regional differences persisted, with English practice emphasizing uncomplicated ordinaries for battlefield visibility—evident in rolls like Segar's (late 13th to early 14th century, but influential)—contrasting continental tendencies toward ornate embellishments reflective of denser feudal and ecclesiastical integrations. These developments ensured heraldic crosses remained functionally distinct, adapting to Europe's expanding aristocratic structures without reliance on pre-heraldic symbolism.

Fundamental Forms of Crosses

The Ordinary Cross and Its Proportions

The ordinary cross serves as the baseline form of the cross charge in heraldry, constructed geometrically as a vertical pale conjoined to a horizontal fess of equal widths, extending throughout the shield to divide it into four quarters. This configuration ensures the cross occupies the central position, symmetrically partitioning the field in a manner distinct from asymmetrical ordinaries like the diagonal bend or the inverted V-shaped chevron, which do not achieve equivalent bilateral and vertical balance. The arms of the ordinary cross maintain uniform thickness, typically spanning one-fourth to one-third of the shield's width to avoid overwhelming the field while asserting dominance as a primary charge. In standard blazonry, such as "argent, a sable," the vertical arm aligns with the escutcheon's greater height, rendering it longer than the horizontal arm and evoking the proportions of the ; by contrast, the equal-limbed variant requires explicit designation as a Greek cross to denote arms of equivalent length from the intersection point. This blazon exemplifies the ordinary cross's simplicity, as employed in arms like those of the Archbishopric of , where the plain form underscores centrality without embellishment. Such proportions derive from practical heraldic rendering on varied shield shapes, prioritizing visibility and structural integrity over strict geometric equality unless specified, thereby facilitating recognition in tournament rolls and seals from the medieval period onward.

Variant Forms of Crosses

Symmetrical-Armed Crosses

Symmetrical-armed crosses in heraldry feature four arms of equal length extending from a central intersection, distinguishing them from forms like the Latin cross with its elongated vertical arm. This design emphasizes balance and uniformity, facilitating identification in visual media such as banners and shields during the medieval period. The Greek cross, characterized by straight arms of uniform width and equal length, represents the foundational symmetrical form. In heraldic blazons, it is often rendered as a couped cross to denote clean terminations at the edges. Historical precedents include its use in early armorial bearings, with registrations noting equal-armed crosses couped in argent fields charged with gules examples from period sources. The cross pattée modifies the Greek form by having arms that broaden towards their ends, enhancing visibility and ease of embroidery on fabric surcoats. The adopted a black cross pattée on a white field following papal authorization in 1205, shortly after its founding in 1190, for use in the campaigns. This variant's splayed terminals proved practical for textile application, aiding rapid production for military garb. The cross potent features arms terminating in T-shaped or crutch-like extensions, maintaining overall symmetry while adding structural emphasis at the peripheries. Known also as a crutch cross, its potent argents appear in blazons like those with chevrons and knots, as documented in heraldic references. Examples of such potent forms are attested in 13th-century rolls, including the Armorial Wijnbergen, which catalogs arms under French monarchs Louis IX and Philip III around 1280. Symmetry in these crosses supports heraldic differencing for , enabling clear modifications—such as added labels or crescents—to denote family branches without disrupting proportional integrity. This logical uniformity allows precise distinctions among heirs, as practiced in English and continental systems from the 12th century onward.

Asymmetrical-Armed Crosses

The , distinguished by its elongated vertical arm typically twice the length of the horizontal, serves as a heraldic charge evoking the form of Christ's instrument and appears in period armory, such as variants like the Cross of Cleves documented in medieval precedents. This asymmetry aligns with pre-heraldic while adhering to the need for bold, distinguishable ordinaries on shields. Its attestation in 14th-century contexts includes ecclesiastical seals, where the extended lower arm underscores sacrificial themes without complicating blazonry. The patriarchal cross, with a primary horizontal bar near the top and a shorter secondary one above it on an extended vertical shaft, denotes archiepiscopal or royal authority and is evidenced in the arms of the Kings of Hungary by circa 1370, as depicted in the Gelre Armorial. Seals of 14th-century bishops similarly feature this form, with the dual bars representing hierarchical precedence or dual realms, such as in Hungarian usage linking apostolic kingship to Byzantine Orthodox traditions. A notable example is the , initially termed the Cross of Anjou, adopted by the Angevin rulers in from the early under Charles I (r. 1308–1342), whose lineage connected Sicilian and Hungarian crowns. This double-barred variant, with unequal horizontals, empirically drew from Byzantine double-cross motifs via diplomatic and crusader exchanges along and Mediterranean routes, symbolizing compounded sovereignty as in the dual-bar representation of temporal and spiritual power. The design's asymmetry preserved heraldic efficacy, enabling clear differentiation in battle standards and seals while accommodating iconographic depth, thus avoiding the visual clutter of more ornate charges.

Composite and Embellished Crosses

Composite crosses in heraldry combine the basic cross form with additional charges or symmetrical elements, while embellished crosses modify the terminals or edges with ornamental features such as forks, florets, or knobs to achieve differentiation among bearers. These variants emerged primarily in the 13th and 14th centuries, as documented in early rolls of arms from and , where heraldic distinctiveness was paramount to avoid confusion in battle or tournaments. The cross moline, characterized by forked ends resembling the iron support of a millstone (millrind), appears in English armorials from the late , such as the arms of de Bek of Eresby: Gules, a argent. This form likely derived from practical ironwork motifs, providing visual clarity on shields at distance. Similarly, the cross fleury (or flory) terminates each arm in a , first distinctly recorded around 1300 in the arms of Lamplow, evolving from artistic renderings of the cross patonce to symbolize refined ecclesiastical or noble patronage. The cross bottony (or botonny) features arms ending in trefoil knobs, evoking botanical or architectural s, and is noted in heraldic treatises as a regular variant for or differencing, with examples traceable to medieval English and continental usage. Embellishments like these, as codified in John Guillim's A Display of Heraldry (1610), preserved the cross's core geometry while permitting personalization, ensuring charges remained recognizable under the era's blazoning conventions without violating tincture rules or obscuring primary ordinaries. A prominent composite example is the Cross of Jerusalem, adopted as the arms of the Crusader following its establishment in : Argent, a between four crosslets potent, all gules. Comprising a central surrounded by four smaller ones in the quarters, this design facilitated multi-charge arrangement on seals and banners, symbolizing the five wounds of Christ while maintaining heraldic simplicity for field identification.

Symbolism and Heraldic Conventions

Primary Christian Symbolism

In heraldry, the cross serves as the preeminent emblem of , directly evoking the as described in the Gospels, wherein Christ was nailed to a wooden as an instrument of execution, symbolizing divine sacrifice, for , and the promise of . This core doctrinal significance, rooted in early , informed the adoption of crosses in armorial designs from the onward, particularly among crusading orders and nobility professing faith-driven martial endeavors. The , distinguished by its two horizontal bars—the upper shorter one representing the inscribed —denotes elevated ecclesiastical authority, such as that of patriarchs or archbishops, and emerged in heraldic use during the as a marker of spiritual hierarchy amid military campaigns. Papal heraldry, codified from the , incorporated similar double- or triple-barred variants to signify the pontiff's roles as successor to St. Peter, , and universal head of the Church, underscoring the cross's adaptation to convey institutional Christian governance. Empirical instances include the equal-armed Greek cross, as in the red Cross of St. George, which invokes the saint's legendary martyrdom—speared by Roman executioners yet enduring as a —and was formally integrated into English royal bearings after King Edward III's 1348 establishment of the under St. George's patronage, linking heraldic display to invocations of Christian perseverance in battle. Such usages remained tethered to orthodox Christian interpretation, eschewing pre-heraldic pagan connotations unless explicitly recontextualized through medieval ecclesiastical lenses.

Secular and Regional Symbolism

In , crosses frequently conveyed dynastic legacies and political alliances beyond their religious connotations, serving as emblems of inherited . The , a jagged derived from the arms of the Dukes of , was incorporated into Habsburg heraldry after the 1477 marriage of Maximilian I to , symbolizing the fusion of Burgundian territories with imperial claims and facilitating administrative unity across disparate realms. This form persisted as a standard for Spanish Habsburg forces from the late until 1843, primarily denoting military obedience to and territorial defense rather than authority. Regional variations further illustrate crosses as markers of local autonomy and feudal ties. In , the —a voided, pomelly form with flared arms—appeared in the 12th-century arms of the Counts of and , embodying Languedoc's distinct cultural and administrative identity amid feudal rivalries. Following the (1209–1229), it evolved into a secular of regional resilience against central French integration, adopted by post-crusade to assert provincial heritage independent of Parisian oversight. Such usages underscore how heraldic crosses enabled pragmatic signaling of loyalty and lineage, prioritizing alliance networks over uniform theological interpretation. These secular applications arose from heraldry's core function as a for rapid visual distinction in warfare and , where crosses' geometric simplicity allowed adaptation to non-doctrinal needs like succession or territorial demarcation across . In practice, this decoupled form from content, permitting crosses to represent to secular rulers—such as in the saltire variants of Scottish or English marcher lords—without implying shared religious orthodoxy.

Practical Applications

Use in Coats of Arms and Shields

In , crosses function primarily as ordinaries, positioned centrally on to occupy a dominant space, typically with arms extending to about one-third 's width for visual balance and identifiability from a distance. This central placement ensures the cross serves as a principal charge, often conjoined from a pale and fess of equal width, though rendered slightly narrower in practice to avoid overwhelming the field. Early 13th-century depictions in Matthew Paris's Historia Anglorum illustrate this convention, with approximately 100 marginal coats of arms featuring crosses centered on shields amid other charges, demonstrating their integration as core elements without peripheral shifts. Blazonry for crosses follows a structured , beginning with the field followed by the descriptor, such as "gules, a argent" for the House of Savoy's arms, where the spans the entire . Variant forms, like the patonce or potent, are specified after "" to denote shapes, maintaining compositional clarity while adhering to the shield's geometric logic. For differencing among kin or branches, techniques include voiding the to reveal the underlying field or with supplementary charges in the quarters, allowing distinction without altering the primary ordinary's form. The governs cross placement rigorously, prohibiting metal on metal or color on color to ensure contrast, as in "or, a " where field pairs with black cross for visibility. Violations occur rarely in ancient arms but are avoided in standard to uphold legibility, with furs permissible on any ; for instance, a ermine on vert field complies as contrasts with color. These conventions integrate cross variants into shields by prioritizing the ordinary's centrality while subordinating additional embellishments to secondary positions, preserving heraldic simplicity and readability.

Incorporation in Flags and Vexillology

The , or Cross of St. Andrew, appeared in Scottish banners as early as the , with records from 1165 referencing its use in a 9th-century battle for identification purposes, particularly in naval contexts where distinct symbols aided recognition amid fleets. This diagonal cross design facilitated quick visual differentiation on moving vessels, extending to the flag's edges to maintain clarity under sail. In , crosses incorporated into flags emphasize bold, scalable forms suited to distance viewing and wind dynamics, often diverging from the symmetrical centering typical of static heraldic shields. Nordic cross variants, featuring a vertical arm offset toward the hoist side, emerged in Scandinavian designs starting with Sweden's adoption around the mid-16th century, inspired by Denmark's earlier banner but adapted for national use. formalized a similar red-white-blue Nordic cross in 1821, prioritizing hoist-side prominence to ensure visibility when flags hang limp or partially extended, unlike the balanced proportions of armorial charges. This exploits the flag's rectangular format and typical display orientation, enhancing from the staff side without requiring full extension. Such adaptations reflect flags' functional demands for motion and scale, where crosses must remain discernible in varying conditions, contrasting with coats of arms' focus on intricate, close-range detailing on immobile surfaces. Vexillological guidelines underscore and distinctiveness in these elements, limiting complexity to ensure reproducibility across sizes from ensigns to standards.

Modern Usage and Interpretations

Contemporary Heraldic Revivals

The (SCA), established in 1966, has spearheaded a revival of through its , which registers armory for members engaging in pre-17th-century reenactment. This includes numerous devices featuring symmetrical and asymmetrical crosses drawn from period sources, such as the cross potent and cross patty, alongside variants deemed stylistically compatible with medieval precedents despite lacking exact historical attestation, like certain Celtic crosses documented in submissions from the 1970s onward. By 2022, the SCA had processed thousands of registrations, prioritizing empirical adherence to blazonary rules derived from armorial rolls and treatises, with innovations limited to fantasy-compatible elements that avoid anachronistic complexity. These efforts stem from a commitment to historical simulation rather than invention, fostering education in tinctures, ordinaries, and charges through kingdom-level heraldic offices. Fraternal organizations, including some modern knightly orders modeled on medieval structures, have incorporated heraldic crosses in badges and insignia since the late 19th century, though registrations remain sporadic and often reference traditional forms like the cross crosslet for symbolic continuity. Unlike institutional heraldry, these revivals emphasize personal or group identity tied to reenactment communities, with over 30,000 SCA members actively using registered arms by the 2010s, many featuring crosses as central charges. Digital tools have facilitated this resurgence by enabling accurate blazon-to-image rendering, adhering to traditional conventions while allowing . Platforms like DrawShield, operational since at least 2015 with ongoing updates, convert textual blazons—such as "Argent, a "—into vector shields, supporting over 150 charge variants including period crosses and aiding submissions with conflict checks against historical databases. Similarly, Heraldicon, developed from 2018, provides graphical interfaces for constructing arms with precise line styles and tinctures, used by enthusiasts to replicate medieval examples without . A 2021 survey of such tools highlighted their role in democratizing , with vector-based renderers like extensions ensuring fidelity to originals by quantifying proportions from sources like 16th-century rolls, thus bridging reenactment practice with computational verification. These advancements, driven by open-source contributions, have registered thousands of user-generated designs annually while maintaining causal links to empirical precedents through standardized ontologies.

Controversies and Misappropriations

The ringed , variably termed the in modern contexts, has been appropriated by white supremacist organizations in the United States and Europe since at least the , with groups such as the and neo-Nazi factions incorporating it into logos and tattoos to evoke purported pre-Christian "" solar symbolism, diverging sharply from its medieval Christian heraldic role in Irish and British artifacts. This misuse, tracked by organizations monitoring extremist iconography, stems from ideological reinterpretations rather than historical continuity, as evidenced by its adoption in publications like those of the National Alliance in the 1970s, yet such groups represent a fringe detachment from the symbol's neutral period applications in armory. In contrast, heraldic bodies like the permit registrations of ringed crosses, citing their attestation in pre-17th-century British and Irish sources, while advising submitters to consider modern associations without prohibiting use based on them. Nordic cross designs in national flags, characterized by an asymmetric vertical cross extending to the edges, have prompted sporadic debates over perceived Christian endorsement amid , particularly in where the state church disestablished in 2000 yet retained the 1906-officialized flag deriving from 16th-century precedents. Critics, often in multicultural or atheist advocacy circles, argue the cross imposes historical religious imagery on irreligious populations—Sweden's unaffiliated rate exceeding 50% by 2020 surveys—advocating redesigns to reflect pluralism, though such proposals lack empirical support in flag reforms and overlook the design's from 13th-century Danish battle standards into a secular marker of regional unity by the Scandinavianism movement. Proponents counter that the cross causally signifies shared non-religious heritage, as affirmed in public discourse where redesign sentiments poll below 10% in , preserving vexillological continuity without evidence of coercive intent. These disputes underscore modern projections onto entrenched symbols, not flaws in their heraldic origins, with no documented policy shifts resulting from the criticisms.

References

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