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Journal articles on the topic 'Heraldic'
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1
Jonovski, Jovan. "Heraldry in the Republic of Macedonia (1991–2019)." Genealogy 5, no. 4 (2021): 94. http://dx.doi.org/10.3390/genealogy5040094.
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Every European country now has some distinctive heraldic conventions and traditions embodied in the designs and artistic representations of the emblems forming part of its national corpus. This paper deals with these matters in the period from independence in 1991 to the recent change of name in 2019. It deals with the successive designs proposed for the emblem of the state itself, some of which conformed to international heraldic conventions closely enough to be called “arms” or “coats of arms”, not including the emblem adopted in 2009. Special attention is given to the distinctive conventions created for municipal heraldry, including its novel legal framework, as well as those governing personal heraldry developed in the twenty-first century. The paper examines the evolution of heraldic thought and practice in Macedonia in the three decades in question, especially in the context of the Macedonian Heraldic Society and its journal, The Macedonian Herald, and its Register of Arms and the Civic Heraldic System it created.
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PASS, FORREST D. "Strange Whims of Crest Fiends: Marketing Heraldry in the United States, 1880–1980." Journal of American Studies 50, no. 3 (2015): 587–611. http://dx.doi.org/10.1017/s0021875815000675.
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The display of a “family crest” to signal family identity is prevalent in the contemporary United States. However, during the Gilded Age of the late nineteenth century, many American commentators perceived the widespread use of heraldry by the high bourgeoisie as at best a mark of social pretension and at worst a symptom of an un-American predilection for aristocracy. Over the course of a century, heraldic entrepreneurs sought to broaden the market for family crests, and in doing so Americanized heraldic practice. The early projects of Albert Welles, Frank Allaben and Frances M. Smith linked heraldry with new approaches to genealogical research and encouraged its use by a broad cross section of American society. In the late twentieth century, entrepreneur Gary Halbert sold millions of heraldic mementos that epitomized the modern commodification of history and identity. The result of a century of marketing is an American heraldry that is both more accessible than its European antecedents and less closely tied to verifiable genealogical relationships.
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Pchelov, Evgeniy V. "Sources on the Title Heraldry of Muscovy of the Second Half of the 17th century." Herald of an archivist, no. 2 (2019): 344–56. http://dx.doi.org/10.28995/2073-0101-2019-2-344-356.
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An important stage in creation and unification of title emblems of Muscovy is connected with the war between Russia and the Polish–Lithuanian Commonwealth and further changes of the title during the reign of Tsar Alexei Mikhailovich. At the turn of 1660s-1670s, a number of new title emblems appeared, while the old ones underwent yet another transformation. When creating new emblems, the Western European models were considered and in some ways the title emblems acquired a more pronounced heraldic character. Thus, some new emblems could have originated in the heraldry of the Scandinavian countries and the Holy Roman Empire, other, such as the Siberian coat of arms, combined heraldic symbols of the regions in the aggregate. In a number of earlier emblems Christian semantics were reinforced. Such Christian symbols as hand emerging from clouds, cross, gospel, banner with cross, etc. were added. Christian semantics of the titular heraldry are evident in the heraldic virsi (verses) written at the end of the reign of Alexei Mikhailovich. Despite the fact that the finished complex of title emblems was presented in the “Titulyarnik” of 1672, the old or different versions persisted, which proves the variable nature of title heraldry in the second half of the 17th century. Images of the title coats of arms in three illustrated copies of the “Titulyarnik” display unity, but some differences in detail allow to work out ownership of each copy. “Titulyarnik” was probably the first Russian land coat of arms, even if images of title coats of arms on some regals (saadaks, plates) still retained features of the old visual tradition. The existing complex of the title coats of arms was recorded in the late 17th century in several written sources with heraldic images. The complex of preserved heraldic sources allows to reconstruct the history of the title heraldry in Muscovy in its entirety and to identify main stages in its evolution.
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Heimer, Željko. "Milan Sunko." Review of Croatian history 18, no. 1 (2022): 175–209. http://dx.doi.org/10.22586/review.v18i1.24286.
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Milan Sunko (Zidani Most, 5 December 1860 – Zagreb, 9 March 1891) was a heraldic artist, numismatist, and collector, who studied and started his carrer in Vienna working with the most renowned heraldists of the “classical” Austrian heraldic period. He moved to Zagreb where he made number of well received paintings and graphics and was supported by the intelectual elite of the fastly developing city. His brief spectacular carrier was abruptly ended by laryngeal tuberculosis, and he died in his 31st year. His works are preserved in several museums and galleries in Zagreb, and his heraldic lithographs and ex libris bookplates are remembered in specialized bibliography. However, the Croatian heraldic historiography has forgotten all about him and this paper attempts to remedy this. After the establishment of the Brotherhood of Croatian Dragon Society – one of its founders being Emilij Laszowski, notable Croatian heraldist; it took upon a project to preserve Sunko’s grave, exhuming his remains and providing a modest but dignified grave for him at the Zagreb cemetary in 1910. To achieve that, the Draconian Society raised funds in an international action, activating his foreign friends and fans, documenting the project in respectable heraldic periodicals.
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Jonovski, Jovan. "Heraldry in Macedonia with Special Regard to the People’s/Socialist Republic of Macedonia until 1991." Genealogy 5, no. 2 (2021): 43. http://dx.doi.org/10.3390/genealogy5020043.
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Every European region and country has some specific heraldry. In this paper, we will consider heraldry in the People’s/Socialist Republic of Macedonia, understood by the multitude of coats of arms, and armorial knowledge and art. Due to historical, as well as geographical factors, there is only a small number of coats of arms and a developing knowledge of art, which make this paper’s aim feasible. This paper covers the earliest preserved heraldic motifs and coats of arms found in Macedonia, as well as the attributed arms in European culture and armorials of Macedonia, the кing of Macedonia, and Alexander the Great of Macedonia. It also covers the land arms of Macedonia from the so-called Illyrian Heraldry, as well as the state and municipal heraldry of P/SR Macedonia. The paper covers the development of heraldry as both a discipline and science, and the development of heraldic thought in SR Macedonia until its independence in 1991.
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Platonov, Dmitriy D. "HERALDIC MOTIFS IN FAMILY STAINED GLASSES OF THE 16TH CENTURY OF THE VON DIESBACH FAMILY." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (2022): 48–62. http://dx.doi.org/10.36340/2071-6818-2022-18-2-48-62.
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This article deals with the problem of research and attribution of heraldic stained-glass windows of the Swiss Union in the 16th century, when the art of stained glass was in its heyday. By this time, the formation of a new social class, the burghers, was being completed, whose wealthy families, thanks to the special historical conditions for the development of the Old Confederation, were able to have their own family coat of arms. In order to demonstrate their social status and services to society, coats of arms were placed in stained-glass windows, which were donated to churches. The purpose of the article: using the example of the heraldic stained-glass windows of the von Diesbach family, preserved in the church of the city of Worb, canton of Bern, is to show how the established rules of heraldry were transformed in the heraldic stained-glass windows of the Swiss Union. The study relies on sources in the form of surviving armorials, as well as official documents of the time, which depict the coat of arms of the von Diesbach family, which made it possible to conduct a comparative analysis of coats of arms in manuscripts and stained-glass windows. In the process of research, a technical and technological method was used to identify the possibilities of including heraldic symbols in stained glass compositions. As a result of the analysis of the heraldic stained-glass windows of the von Diesbach family in the church of the city of Worb, canton of Bern, it was concluded that they are a vivid example of the use of stable heraldic symbols, however, in the stained-glass windows of the Old Confederation (Swiss Union). the rules of heraldry were not applied too rigidly and consistently, they were interpreted in stained-glass windows taking into account the social structure of society, the location of stained-glass windows in architecture, as well as the technological possibilities of stained-glass art.
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Ramsay, Nigel. "Heraldry and the early modern state." Virtus | Journal of Nobility Studies 28 (January 31, 2022): 148–51. http://dx.doi.org/10.21827/virtus.28.148-151.
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Kravchenko, Nadiia. "Hunting heraldry of the Volyn and Kyiv regions in the 16th – early 17th centuries." Text and Image: Essential Problems in Art History, no. 1 (2021): 45–63. http://dx.doi.org/10.17721/2519-4801.2021.1.03.
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The article is devoted to the subjects and symbolism in the hunting heraldry of the Volyn and Kyiv regions in the 16th – early 17th centuries. Among the innovations of this time period is the appearance of atypical imagery in Ukrainian heraldry, namely that of wild animals and hunting horns. The author analyzes the well-known coats of arms associated with hunting, their prevalence and probable reasons for their obscurity in these areas compared to the Kingdom of Poland. In the early modern period, nobility used heraldic signs and legends to emphasize their ancient origins, land tenureship and political influence. The appearance of wild animals on Ruthenian coats of arms was symptomatic of the spread of Western heraldic tradition and hunting culture as such. There were multiple instances of symbiosis between the Ruthenian heraldic tradition and Western templates, the most striking of which is the “Korczak” coat of arms. It is believed that the mantling in the form of a dog of the Hungarian Vizsla breed, depicted sitting in a bowl is of Hungarian origin, but the image of the shield (an "escutcheon") of this coat of arms is actually Ruthenian, interpreted as three belts, logs or rivers. Less prolific than the “Korczak” coat of arms and its variations were the addendum of Western heraldic attributes to the old coats of arms, such as that of hunting horns. Most of the Western-style coats of arms known or relatively known in these areas belonged to those granted to the Grand Duchy of Lithuania nobility in 1413. Many of them were distributed mainly among the small gentry of Polish origin or Galician immigrants. Instead, in the Volyn and Kyiv regions, the gentry preferred their own historical coats of arms, created on the basis of ancient territorial symbolism. Conceivably, their commitment to ancient heraldic tradition was intended to accentuate their Ruthenian identity.
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Iulian, Mitran Ilie. "Indigenous Heraldry: Transferring ethnic imagery from the mundane to the canonical." Journal of Ethnic and Cultural Studies 4, no. 1 (2017): 26. http://dx.doi.org/10.29333/ejecs/59.
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European heraldry presents itself as an intriguing collection of symbols that trace their roots to a number of sources, some of which are obvious to spot, while otters still lay in obscurity. When talking about heraldry, it is safe bet to assume that, for instance, the symbols that are collected from the animal kingdom underwent a process which transferred them a series of anthropomorphic qualities. The situation was no different for elements that were inspired by vegetation and celestial entities. Heraldry, as it is presented in academic environments, primarily traces its roots to the Old World – as a result, most heraldic symbols are directly linked to key-features, both cultural and environmental, that are native to the land. This turned into a major obstacle in the dawn of the early days of post-colonialism, marked by strong movement that aimed at restoring indigenous symbolism on coat of arms and flags of territories that earned their right to self-governance, or independence. This paper is focusing on giving an interpretation regarding the selection of heraldic symbols and vexillological chromatic schemes that were adopted by Russia’s federal subjects with a significant indigenous population. This will include an autonomous okrug, and autonomous republic, and a district from within a kray. We aim at determining if the used symbols reflect, or not, local indigenous identities, if the symbols that are used are entirely of European extraction, or if specific indigenous symbols made their way into the coat of arms of the featured territories. The research that was made concluded that the territories that are situated east of the Urals managed to customize their heraldic design through inserting element extracted from vernacular folklore, while the European territories have a more orthodox approach, using traditional heraldic motifs.
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SULTANOV, O. S., and K. M. OMAROVA. "SYMBOLS OF SHEEP AND GOATS IN HERALDRY." Sheep, goats, woolen business, no. 2 (2021): 48–51. http://dx.doi.org/10.26897/2074-0840-2021-2-48-51.
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The article discusses the symbolic meanings of sheep and goats in heraldry and how heraldic material with symbols of sheep and goats convey various philosophical concepts and the meaning of human values.
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Agafonov, Anatoly I. "ARMORIAL IMAGES ON PORTRAITS OF THE MILITARY ATAMAN OF THE DON ARMY D. E. EFREMOV AND FEATURES OF THE FORMATION OF THE SOUTHERN RUSSIAN NOBILITY IN THE 18th CENTURY. PART 2." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 3 (211) (September 30, 2021): 22–31. http://dx.doi.org/10.18522/2687-0770-2021-3-22-31.
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The article examines the main heraldic concepts and categories that affect the controversial issues of the topic. Considerable attention is paid to the reasons and conditions for the origin and placement of heraldic and non-heraldic figures on the coat of arms of D.E. Efremov, the nature and content of the heraldic images and their symbolism are considered. The author traces the ideological and heraldic continuity between the family coats of arms of different generations of the Efremovs family, their influence on the formation of region-al noble heraldry. The article analyzes the process of formation of the Don nobility from the first highest awards to individuals to the formation of the ranks and awards of the social corporation of officials through seniority, and its transformation as a result of the policy of Emperor Paul I into the highest estate of the Russian Empire. The article examines the legal framework for the acquisition of the rights and privileges of the hereditary nobility by the Don elders, identifies common and emphasizes different processes from those in the Malorussian and Russian provinces. The article describes new phenomena in the military, political and social life of the Don army in connection with the awards of the ranks of the Russian regular army to the senior officers - this is the restriction of military (ordinary) law and the formation of subordination on the basis of imperial legislation, as well as the creation of a new social hierarchy and military management.
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Garcı́a-Garcı́a, J., S. Calleja, V. De la Vega, J. Salas-Puig, and C. H. Lahoz. "Heraldic seizure." Seizure 13, no. 5 (2004): 328–30. http://dx.doi.org/10.1016/j.seizure.2003.08.008.
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Shishka, E. A. "MONGOLS "IMAGINARY HERALDIC" IN FRENCH MEDIEVAL MINIATURES." History: facts and symbols, no. 3 (September 14, 2021): 119–29. http://dx.doi.org/10.24888/2410-4205-2021-28-3-119-129.
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The study of images is the path leading to an understanding of the value system of medieval man. If in the study of Christian ideas about the Mongols, historical and literary works were given some attention, then iconographic documents were often used only as illustrations to the text and were considered as something secondary. One of the poorly studied topics is the study of «imaginary heraldry», which was given to the Mongols by French miniaturists of the XIV-XV centuries. The research is based on the approach of the American art critic, M. A. Camillus, which involves the study not of what was «really», but of what was brought into the situation described by medieval scribes. The model of our analysis of the content of miniatures is based on the methodology of the German researcher Erwin Panofsky, according to which the analysis of miniatures takes place in three stages: 1) pre-iconographic description; 2) iconographic analysis; 3) iconological interpretation. Our research is based on French manuscripts containing images of the Mongols with various heraldic symbols, written evidence, numismatic and cartographic sources. During the work, it was noted that the Mongolian heraldry is presented in the format of shields and banners. Each element has its own color – red, orange, blue, yellow. The following heraldic signs were identified: a dragon, a six-pointed star, a crescent, a two-pronged tamga, a «king's head», lilies, a «star of David», various geometric shapes of figures, etc. It was also determined that the image of heraldic symbols on the miniatures carries a certain symbolism – social and ethnic. With the help of «imaginary heraldry», Christian miniaturists defined the place of the Mongols in the social stratigraphy or emphasized ethnicity.
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Diaz Pascual, Lucia. "THE HERALDRY OF THE DE BOHUN EARLS." Antiquaries Journal 100 (June 25, 2020): 141–64. http://dx.doi.org/10.1017/s0003581520000049.
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This paper analyses the evidence relating to the heraldry used by the patriarchs of the de Bohun family (1066–1373) as preserved in seal impressions, rolls of arms, manuscripts, wills, inventories and personal objects held in private collections. It traces the development of the family’s coat of arms, as well as the adoption and use by the de Bohun earls of various heraldic symbols (such as the swan, the trefoil, the leopard and the wyvern) to serve as a reminder of the family’s glorious ancestry and its many royal and noble marital alliances. By analysing the unique heraldry adopted by each de Bohun earl, this paper concludes that the family’s noble identity evolved over several generations and that the choice of heraldic symbols by each earl was highly individual, providing a unique insight into their sense of identity and personal values, as well as their desire to ensure family memory.
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Palavestra, Aleksandar. "The Invention of Tradition: Illyrian Heraldry." Issues in Ethnology and Anthropology 5, no. 3 (2010): 183–99. http://dx.doi.org/10.21301/eap.v5i3.9.
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The "Illyrian heraldry", as a phenomenon of the invented tradition, encompasses the rolls of arms - armorials, which appear in Dalmatia, Italy, Spain and Austria at the end of the XVI and beginning of the XVII century. These armorials contained Serbian and other southern Slav monarchic, territorial and family coats of arms. The authenticity, heraldic sources and origins of these armorials are extremely complex problems that can be traced back to the medieval heraldic heritage of the Serbs, on the one hand, and reveal the intricate web of political circumstances in the XVI and XVII centuries. Illyrian heraldry is also closely linked to the personal and political ambitions of the Spanish admiral, Don Pedro Ohmučević Grgurić, from Slano near Dubrovnik. One cannot, however, link the entire Illyrian heraldry movement only to the daring ambitions of Petar Ohmučević Grgurić In in the XVI and XVII centuries historical constructions, inspired for the most part by sincere Slav patriotism, emerged that proved the unity of the Illyrians and the Slavs, revealed the alleged Slav origins of famous figures (Alexander the Great, Justinian), or simply extolled the splendor and magnitude of a lost Slav kingdom, that could be restored again. Much as it was developing within the spiritual scope of the Catholic church, this "Slovine" movement found its historical basis in the medieval statehood of Serbia and Bosnia, particularly in the powerful empire of Stephan Dushan (1331-55), in the Serbian potentates, heroes, their glitter and opulence, which used to glorify the Slav world. Since the XVII century till today, despite their doubtful authenticity, the Illyrian armorials have been considered important genealogical and heraldic documents. Many families relied on the information in Illyrian heraldic collections when claiming their true, or, more often purported, ancient hereditary rights, titles and lands. The Illyrian armorials were transcribed and reprinted in books that were important for the national identity of the southern Slav peoples, such as Orbini's Kingdom of the Slavs (1601), Stemmatographia or the Drawing, Description and Renewal of Illyrian Coats of Arms by Pavao Riter Vitezović, published in Vienna in 1701, and Stemmatographia by Hristifor Žefarović, published in 1741. After the liberation of Serbia and Montenegro from the Turks, heraldry was granted official sanction, and the coats of arms are based on the tradition preserved in Illyrian heraldry.
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Alexander, Tchernikh. "Spanish heraldic historiography in the 20th century." Latin-american Historical Almanac 28, no. 1 (2020): 24–53. http://dx.doi.org/10.32608/2305-8773-2020-28-1-24-53.
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In the 20th century a historical approach to the problem of heraldry first appeared in the Spanish heraldic historiography. The books of Martín de Riquer, a prominent Spanish scientist, serve as a model for the study of this phenomenon. Another patriarch of Spanish heraldry F. Menendez Pidal de Navascué is of the opinion that «the timeless and extra-regional heraldry of numerous old textbooks is pure utopia, re-mote from reality». The next generation of living researchers represent-ed by E. Pardo de Guevara y Valdés, A. de Ceballos-Escalera y Gila, and L. Valero de Bernabé y M. de Eugenio also follows a historical ap-proach to the problem. Most of those who determine the level and quality of coat of arms contemporary research in Spain represent the Humanities. The positive attitude of society towards the heraldry – is a logical outcome of successful development of Spanish study of coat of arms in the 20th century.
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Williams, David. "Heroic heraldic symbols." Early Years Educator 17, no. 11 (2016): xii—xiii. http://dx.doi.org/10.12968/eyed.2016.17.11.xii.
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Yashchuk, A. "OFFICIAL WEBSITES OF CITIES COUNCILS AS A SOURCE FOR THE STUDY OF MODERN URBAN HERALDRY OF THE SOUTHERN UKRAINE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 138 (2018): 71–75. http://dx.doi.org/10.17721/1728-2640.2018.138.16.
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The information content of the 50 official web-sites of the city councils of Zaporizhzhia, Mykolaiv, Odesa and Kherson regions as a specific source for the study of modern Ukrainian heraldry is analized in the article. On the basis of this analysis, the types and the kinds of information on the creation and use of a city emblem placed on such resources and its usefulness for heraldic research were determined. A description of the legislative framework and regulatory acts regulating the filling of the websites of city councils has been carried out. An overall assessment of the content of this group of sites was given and it has been found that web sites of this type, despite considerable potential, at present, can only serve as an auxiliary source for heraldic research.
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Tchernikh, Alexandr. "Diego de Valera and his Treatise on Coats of Arms (15th century)." Latin-American Historical Almanac 30, no. 1 (2021): 21–55. http://dx.doi.org/10.32608/2305-8773-2021-30-1-21-55.
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Monuments of heraldic reflection – heraldic treatises – are of particular value. Diego de Valera grew up among the Castilian nobility at the be-ginning of the 15th century, began a knightly «caree»" at the age of 15, and was elevated to the dignity of knighthood. He visited many Euro-pean countries, took part in tournaments. He is one of the most famous writers of the late Middle Ages, the author of a number of works on topics related to chivalry. «Treatise on Coats of Arms» (Tratado de las armas) (1458–1467) Valera follows the European traditions of heraldic treatises. Along with other theoretical texts on chivalry, it contains chapters on the origin of coats of arms, coat of arms cotta and banners. The presence of the heraldic part in the treatise is due to the participa-tion of the heraldic officials in the procedure of the duel. Valera's trea-tise makes up for the lack of heraldic material of the sources, which is available in relation to Castile of the 15th century. «Treatise on Coats of Arms» had a huge impact on all subsequent heraldic treatises on the Iberian Peninsula. Diego de Valera's treatise can be considered the founder of the era of the Castilian heraldic treatises, which determined their theme.
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Sklizkova, Ekaterina V. "Vexilloids in the socio-cultural sphere of Russia and Britain." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 64 (2022): 87–96. http://dx.doi.org/10.37816/2073-9567-2022-64-87-96.
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State symbols are under the jurisdiction of heraldry and vexillology, applied historical disciplines. Being self-contained, vexillology has much in common with heraldry. Banner and coat of arms coincide in functions, being used as means of identification and manifestation of self. Flags are a very specific sign system and one of the most dynamic. They reflect changes in socio-cultural life of the nation and temporal characteristics, assist in attribution and investigation of cultural phenomena. As far as function is concerned the banner unites people according to some criterion and assimilates them into some social institution. Flags and coat of arms are inherently interconnected, though not all the banners are heraldic. Heraldic flags are divided into several types, different in form and size. Neither Russian nor European standards have strict rules of composition; both were very varied. As for Russia the flag has always been a very fluid issue. On the one hand that aspect of symbols has been disregarded and never followed a strict order, on the other, if and when banner is beheld, it becomes the object of worship and heated argument.
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Kudła, Marcin. "A Multimodal View of Late Medieval Rhetoric: The Case of the White Rose of York." Studies in Logic, Grammar and Rhetoric 61, no. 1 (2020): 127–45. http://dx.doi.org/10.2478/slgr-2020-0007.
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AbstractThe aim of the present paper is to contribute to a better understanding of the role of heraldry, in particular of para-heraldic devices known as “badges”, in 15th-century England. The case chosen for examination is that of the white rose, one of the major badges of Edward IV.The data consists of four contemporary texts in which Edward is referred to as the “rose”, analysed against the background of the use of the white rose of York as a heraldic device. This includes surviving artefacts ranging from effigies to stained glass to seals and manuscript illuminations, as well as contemporary descriptions and depictions of those artefacts.Using the methodological apparatus of cognitive linguistics, specifically the multimodal metaphor and metonymy analysis, the author examines the interplay between language and heraldry. The results show that while the primary function of the white rose and of other badges employed by Edward IV was to emphasize his heritage and thus invite a metonymic reading, the badge inspired other, metaphorical readings, which were employed rhetorically by his supporters. In this context, the concept of the badge may be reinterpreted as a metaphtonymy.The analysis supports the view of heraldry as an integral element of medieval society. From a semiotic perspective, heraldry should be seen as a dynamic system that could be exploited creatively to suit the needs of its users, which in turn corresponds to the dynamic theory of metaphor.
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Moiseiuk, Iuliia. "The functions of heraldic symbols in the English fiction." 22, no. 22 (August 2, 2021): 42–58. http://dx.doi.org/10.26565/2218-2926-2021-22-03.
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The article considers the main functions performed by heraldic symbols due to their verbalization in blazons as descriptions of coats of arms by a specific set of language constructs. Heraldic symbols as the quintessence of culture are analyzed in the communicative-functional aspect. There are some special characteristics of heraldic symbolic units, namely, their multifunctional orientation, the possibility of multiple interpretations, the presence of a nomination mechanism, and others. The mediative and mnemonic functions of symbols, taken from the works of Lotman, are manifested in the heraldic symbols of fiction as one of the mechanisms of cultural memory, therefore, the symbol is a mediator of the semiosis spheres. The list of functions is supplemented by the consideration of the social dimension, because heraldic symbols are potentiated in the society, therefore, the essence of the identification-integrative and adaptive-regulatory functions of heraldic symbolism is revealed. The concepts of multimodal imagery and synesthesia effect, which are embodied in the interaction of verbal and nonverbal symbols, are involved in the analysis of the blazons on the material of English fiction. The theme of symbols functioning is supplemented by the classification of the main functions and subfunctions proposed by the author. The focus of the study is also the identification function, resulting in an emphasis on the role of a special heraldic language in the expression of the personality. Taking into account the types of coats of arms, the article considers the coding function in the punning and allusive coats of arms, as well as in the heraldic lexemes borrowed from other languages. The cross-cutting idea of the article is revealed through the interpretation of heraldic symbols in their functioning in the works of English fiction and poetry and summarized in the definition of the symbol not only as a linguistic unit, but also as a semiotic phenomenon of culture.
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HAMMOND, NORMAN. "HERALDIC SOLECISM IN MACBETH." Notes and Queries 44, no. 4 (1997): 507—a—507. http://dx.doi.org/10.1093/nq/44.4.507-a.
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Hammond, N. "Heraldic Solecism in Macbeth." Notes and Queries 44, no. 4 (1997): 507. http://dx.doi.org/10.1093/notesj/44.4.507.
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Zavadovskyy, T. "Heraldic compositions in the architecture of Lviv as a component of cultural tourism." Visnyk of the Lviv University. Series Geography 1, no. 43 (2013): 198–206. http://dx.doi.org/10.30970/vgg.2013.43.1598.
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Cultural tourism in context of architectural heritage and patterns of the heraldic compositions in L’viv is analyzed. The Coats of arms and famous families who lived in L’viv are described. The thematic rout – Heraldic Traditions of the gentry of Ukrainian origin is offered. Key words: cultural tourism in L’viv, heraldic compositions, noble families in L’viv – Sheptytski, Senyavski, Didushytski.
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Fox, Paul A. "A MEDIEVAL ENAMEL BELT OR STRAP FITTING AND ITS POSSIBLE CONNECTION WITH THE ARMS OF KING HENRY II." Antiquaries Journal 99 (September 2019): 95–103. http://dx.doi.org/10.1017/s0003581519000088.
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Here is described a most intriguing metal object in the possession of the author, with heraldic features that date stylistically to the twelfth century, and likely from the first half century of heraldry in England, when the possession of arms was largely restricted to the baronial class. It is argued that the piece links to the court of Henry ii of England (r. 1154–89) and might preserve the lost arms of that monarch.
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Lester, G. A. "Fifteenth-Century English Heraldic Narrative." Yearbook of English Studies 22 (1992): 201. http://dx.doi.org/10.2307/3508386.
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Lofft, Jonathan S. "“Some Heraldic Propriety of Composition”." Ontario History 111, no. 2 (2019): 181. http://dx.doi.org/10.7202/1065082ar.
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Hammond, N. "Note. Heraldic solecism in Macbeth." Notes and Queries 44, no. 4 (1997): 507. http://dx.doi.org/10.1093/nq/44.4.507.
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Simev, Simjon. "Heraldic Lion on Post Stamps." Мaкедонски хералд - Macedonian Herald 12 (2019): 55–60. http://dx.doi.org/10.47763/mher19120055s.
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Tchernik, Alexander. "The Ordinance of 1760." Novaia i noveishaia istoriia, no. 4 (2022): 182. http://dx.doi.org/10.31857/s013038640021038-9.
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Louis XV’s Ordinance of 1760 is an example of unsuccessful heraldic regulation, which marked the general decline of Western European historical heraldry in the eighteenth century. The document required that the nobles would be divided into categories and the right to hold a coat of arms was to be paid for. The Ordinance laid down potential prices, different for individuals and corporations, and even imposed certain restrictions on coats of arms for non-nobles. The latter were essentially barred from having coats of arms, with the exception of those who held military, fiscal, judicial and municipal offices. The Parliament of Paris banned the execution of the Royal Ordinance and subjected it to harsh criticism. It was interpreted as a lawless act and an attempt to impose a new tax. The reservation of the coat of arms to the nobility alone was too radical a change in heraldic legislation. On the whole, this attempt at royal legislation is a clear indication of how coats of arms were treated in the modern era, and its fate is an additional feature of the nature of the French absolutist state. The reader is offered a full translation of the document.
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Tung, Mason. "From heraldry to emblem: a study of Peacham's Use of Heraldic Arms inMinerva Britanna." Word & Image 3, no. 1 (1987): 86–93. http://dx.doi.org/10.1080/02666286.1987.10435368.
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Railaitė-Bardė, Agnė. "The Appearance of the Hippocentaur in the Heraldry of the Nobility of the Grand Duchy of Lithuania." Lithuanian Historical Studies 17, no. 1 (2012): 71–90. http://dx.doi.org/10.30965/25386565-01701003.
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The Centaur or Hippocentaur in the heraldry of the nobility of the Grand Duchy of Lithuania has been little investigated. This theme is a not yet fully exhausted granary of heraldic studies, which, due to the lack of primary sources, raises more questions than it has answers for scholars. The question of where and in what way the Centaur, which later turned into a Hippocentaur, appeared in the heraldry of the nobility of the GDL remains a blank spot in historiography. This article discusses the history and symbolism of centaurs, analyses the Centaur family described in Lithuania’s chronicles, investigates the assumptions for the selection of the Alšėniškis coat of arms, the transformation of the Centaur to the Hippocentaur, and the appearance of the Hippocentaur coat of arms in the heraldry of the Giedraitis in the 16th century. The concepts of the Centaur, Hippocentaur, Kitauras and archer (Sagittarius) are revised.
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Bratanov, Christo, Loïc Legris, and Guillaume Martin. "Pearls & Oy-sters: De Novo Seizure and Stroke in the Elderly." Neurology 98, no. 15 (2022): 638–41. http://dx.doi.org/10.1212/wnl.0000000000200119.
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Seizures immediately preceding the occurrence of an ischemic or hemorrhagic stroke are a rare but well-documented phenomenon, for which the term “heraldic seizure” has been proposed. Cerebrovascular disease is the most common cause of epileptic seizures in elderly patients; thus, screening and management of vascular risk factors should be performed systematically in cases of late-onset epilepsy. MRI may help to distinguish heraldic seizure from stroke-elicited seizure by showing abnormalities confined to the cortex that spare vascular territories, increased magnetic resonance angiography flow in the ipsilateral cerebral arteries, and enhancement of the leptomeninges on postcontrast MRI. We present a case report that illustrates the difficulty of making the diagnosis of a heraldic seizure at onset.
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Gnatiuk, Oleksiy, and Anatoliy Melnychuk. "Historical heraldic symbols as a marker of reproducing and transforming regional identity: The case of Ukraine." Geographia Polonica 94, no. 4 (2021): 589–607. http://dx.doi.org/10.7163/gpol.0222.
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This paper demonstrates a way to examine the transformation of the territorial shape of the region. The official symbols (flags and emblems) of modern administrative units of Ukraine were analyzed for the usage of heraldic symbols of historical regions that lost their administrative status a century before. The results confirm more or less constant symbolic reproduction of historical regions, but their spatial shapes has changed under the influence of new administrative boundaries. Simultaneously, in certain cases historical heraldry loses its former meaning and is involved into the development and strengthening of identities with new administrative regions rather than historical ones.
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Sukhodolov, Alexander, Andrei Atanov, and Alina Kolesnikova. "Sociocultural Aspects of Citys Heraldry: History of the Symbols of the City of Irkutsk." Bulletin of Baikal State University 30, no. 2 (2020): 174–84. http://dx.doi.org/10.17150/2500-2759.2020.30(2).174-184.
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A versatile art of heraldry includes historical, geographical, legal, and certainly, cultural components. Heraldic symbols reflect notions of basic, fundamental values of society, groups and separate individuals, preserve traditional values and, due to respective symbols, contribute to the formation of notional values. It is impossible to imagine modern society without coats of arms, flags, official signs or emblems. In the article, the authors consider regional and municipal aspects of heraldry which provide a symbolic basis for the development of the area as a part of the whole, integral state. All the above mentioned aspects define a responsible approach to such an essential process as art of heraldry. The article highlights a largely unknown for a broad public and confusing story of the coat of arms of Irkutsk, several versions explaining this peculiar case are taken into account. The authors offer a journey into the history of the city and investigate different representations of the symbol of Irkutsk.
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Staroskolskaia (Ryzhova), Daria. "Modern Criticism of Earlier Heraldic Sources." ISTORIYA 11, no. 9 (95) (2020): 0. http://dx.doi.org/10.18254/s207987840012420-1.
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Рогачев, Сергей Вячеславович. "The Heraldic “Theater” of Russian Cities." Городские исследования и практики 1, no. 4 (2017): 47–57. http://dx.doi.org/10.17323/usp14201647-57.
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The usurpation of the right to unite the surrounding territories bestowed some exclusive rights upon Moscow. Which other coat of arms apart from that of Moscow could surround itself with such a suite, such an entourage, of serving shields of arms on its heraldic map? An almost ideal social and geographical model is drawn up around the capital by the coats of arms of Moscow’s retinue: all three principal forces of society are gathered in this national nucleus — those being craftsmen, parishioners and warriors — forming the trade, monastic and defense appendages to St. George’s robe.
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Edwards, A. S. G. "Notes on Middle English Heraldic Manuscripts." Notes and Queries 62, no. 2 (2015): 217–18. http://dx.doi.org/10.1093/notesj/gjv040.
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Baker, Steve. "FIVE HERALDIC ANIMALS (FOR EDUARDO KAC)." Angelaki 18, no. 1 (2013): 175–80. http://dx.doi.org/10.1080/0969725x.2013.783437.
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Gutiérrez, Gerardo. "INDIGENOUS COATS OF ARMS IN TÍTULOS PRIMORDIALES AND TECHIALOYAN CÓDICES: NAHUA CORPORATE HERALDRY IN THE LIENZOS DE CHIEPETLAN, GUERRERO, MEXICO." Ancient Mesoamerica 26, no. 1 (2015): 51–68. http://dx.doi.org/10.1017/s0956536115000127.
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AbstractThe introduction of European heraldry in the Americas created a special class of material culture and iconography that circulated widely on coins, paper, architecture, and textiles. More interestingly, its appropriation and use by indigenous communities has not received proper archaeological attention. In this paper I analyze the adoption of royal Spanish heraldry by Nahua political systems (altepetl) during the Colonial period, from the sixteenth to the eighteenth centuries. My primary goal is to understand the context, meaning, and social practices for three late colonial banners from eastern Guerrero—the Lienzos de Chiepetlan IV, V, and VI. I argue that these three banners can be treated as moveable pieces of a complex heraldic ensemble to form the full ornamented coat of arms of the Spanish king. These three banners permit us to compare and contrast indigenous narratives of allegiance and resistance to Spanish imperialism.
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Piskała, Magdalena. "Astrology—Emblematics—Heraldry: On Comets, Moons and Stars in the Book of Arms by Szymon Okolski." Terminus 21, Special Issue 1 (2019): 31–51. http://dx.doi.org/10.4467/20843844te.19.025.11286.
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The paper examines the presence of astrology in the heraldic work Orbis Polonus by Szymon Okolski dating from the mid-1600s. While due to a growing fascination with Neoplatonism and hermetic writings, astrology had enjoyed popularity since the Renaissance, in Okolski’s case its influence came mostly through early-modern books of emblems and compendia of symbols. It is, therefore, important not only to track down astrological motifs in the works of Alciatus, Cesare Ripa, Giulio Cesare Capaccio, Julius Wilhelm Zincgref, and Diego de Saavedra to compare them with those found in Orbis Polonus, but also to recognise the fact that emblematics had a great impact on how Okolski perceived the import of his heraldic work as such. The novelty of Okolski’s project consisted in treating armorial bearings as universal symbols and interpreting them not only in accordance with the rules of heraldry, but also through a wide range of cultural sources, trends, and traditions. In order to make the symbolic significance hidden in coats of arms more apparent, the author tried to organise the heraldic entries in a new way. Apart from the usual parts describing the coat of arms (delineatio), its origins (origo) and the family that used it (linea familiae), he introduced subchapters dealing with its symbolic meaning. He called them “considerations”, “precautions”, or “omens” depending on which aspect of the symbolic explanation he wanted to emphasise. Especially the third of these dovetails with astrology because the symbolism of the coat of arms, including motifs derived from, or related to, astrology, is presented as the best path that should be taken by a family bearing a particular coat of arms. All the while, however, these auguries are made based on symbols as such and not on careful observation of stars, planets or comets, and Okolski was not concerned with the destiny of individual people but with more general tendencies that affected the virtue of noble families, and virtue is for Okolski the foundation of nobility.
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Pope, Ben. "The Empress, the Elector and the Painter." Bulletin of the John Rylands Library 94, no. 2 (2018): 1–49. http://dx.doi.org/10.7227/bjrl.94.2.1.
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German MS. 2 is a previously unstudied armorial dating from the mid-sixteenth century. This article shows that it was produced in the workshop of Lucas Cranach the Younger for Elector August of Saxony, and that it was copied from an earlier armorial of c.1500 which was kept in Cranach’s workshop, probably as reference material. Much of the original content and structure of this ‘old armorial’ has been preserved in Rylands German 2. On this basis, the original armorial can be located in a late fifteenth-century Upper German tradition of armorial manuscripts known as the ‘Bodensee’ group. It was also closely linked to the Habsburg dynasty, and appears to have been dedicated to Empress Bianca Maria Sforza. The armorial therefore opens significant new perspectives on the relationships between artists and heraldry and between women and heraldic knowledge, and on ways of visualising the Holy Roman Empire through heraldry.
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Adamczewski, Marek. "W sprawie nowego herbu gminy i miasta Szadek." Biuletyn Szadkowski 12 (December 30, 2012): 5–21. http://dx.doi.org/10.18778/1643-0700.12.01.
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The coat of arms for the town and commune of Szadek was designed and approved in 1990, in accordance with law in force at that time. It was, however, done without consulting heraldists and historians specializing in municipal coats of arms from the period of I Republic of Poland, or persons professionally designing emblems for contemporary municipalities. Consequently, a number of mistakes were made, the most important being that it only partly resembles the town’s heraldic arms from the mid-16th century or the coat of arms from the 17th century, which was incorporated in the altar of Szadek’s parish church to commemorate the citizens who donated funds for its equipment and decoration. According to current quidelines for re-creating coats of arms of urban communes, a municipality should have as its heraldic symbol the historic coat of arms of its capital town or city. Relevant sources indicate that the new emblem of the town and commune of Szadek should contain a city wall with an open gate and three battlemented towers, the exact shape depending on which tradition – 16th or 17th century – is recalled. As regards the heraldic colours, the new coat of arms should have red walls on a golden shield (like that from the 17th century), although a white background is also found for Szadek in publications on heraldic arms of Polish towns and cities.
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Vince, Alan G., and Tony Wilmott. "A Lost Tile Pavement at Tewkesbury Abbey and an Early Fourteenth-Century Tile Factory." Antiquaries Journal 71 (September 1991): 138–73. http://dx.doi.org/10.1017/s0003581500086856.
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The products of a tilery working in the Welsh marches in the thirteenth and fourteenth centuries with a probable production centre at Hereford, can be identified at a number of sites through petrological analysis. The accuracy of the heraldic tiles allows careful analysis from which dates, and possible commissions may be identified.The tilery began the production of accurate heraldic designs c. 1260. These were augmented by Chertsey-Halesown copies around the turn of the thirteenth-fourteenth centuries. The production of heraldic tiles was stepped up in the 1320s, as a result of the filling of at least one large order, for the chapel of St Peter at Ludlow Castle, in 1328. A further commission was made between 1328 and 1339, for the church at Bredon. Probably as early as the 1330s the Malvern Chase industry was beginning, and this industry had acquired stamps from the Hereford tilers by the middle of the century.
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Giordano, Michael. "The Heraldic Shield and the Woman’s Body in the Blasons Anatomiques du corps féminin (1543)." Paragone Past and Present 2, no. 1 (2021): 71–95. http://dx.doi.org/10.1163/24761168-00201003.
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Abstract In the French Renaissance, the term ‘anatomical blason’ (blason anatomique) designated a highly descriptive love poem praising a single part of a woman’s body, while in heraldry, the noun ‘blason’ defined the ensemble of ornamental components constituting the shield. Just as the French verb blasonner meant to describe and to interpret the shield’s material and symbolic parts, so could this verb be used in amatory poetry to signify the act of lauding the details of the beloved’s anatomical parts. This study examines the structural analogies between heraldic shield and the anatomical blason, addressing how the technical terms defining the shield’s components such as partitions, points, charges, tinctures, and the achievement could be given analogous expressions in the anatomical love poetry.
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Pchelov, Evgeniy V. "The Color Scheme of the Russian Titular Coats of Arms of the 17th – Early 18th Century." Herald of an archivist, no. 3 (2022): 651–61. http://dx.doi.org/10.28995/2073-0101-2022-3-651-661.
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The article is devoted to the analysis of the color scheme of the Russian titular coats of arms of the 17th – early 18th century. Until late 17th century, the color scheme of coats of arms did not matter, since the emblems of the titular objects themselves were depicted on seals, for which they were created. However, by the end of the 17th century, these emblems began to acquire increasingly heraldic appearance. An important stage on this path was creation of the “Titulyarnik” in 1672. In this book, the titular coats of arms were presented in color, but this colorization was not of heraldic nature. Only two coats of arms borrowed from Western European heraldry had a coat of arms coloring. Otherwise, the coats of arms of the “Titulyarnik” looked more like color illustrations than coats of arms in the truest sense of the word. The color of the coats of arms on the golden plate of Alexei Mikhailovich made by master Y. Frobos in 1675 was equally conditional. Here the color scheme of the coats of arms performed functions of symmetry in the overall pictorial composition. On the charters of the turn of the 18th century, titular coats of arms were drawn following the model of the “Titulyarnik.” However, at the turn 1710s, the colorization of the titular coats of arms appeared on the charters (although the previous tradition also persisted for some time). The description of coats of arms in color was first presented in Russian in “The Core of Russian History” written in mid-1710s in Sweden. The authorship of this book remains debatable. The description of the coats of arms from “The Core of Russian History” finds almost exact analogies in the images of coats of arms on charters starting from 1710, and also repeats the coloring from the corrected drawings of I.-G. Korb, published together with descriptions of the titular coats of arms in the German publications in 1708 and 1710. Apparently, the colorization of the titular coats of arms was associated with the provincial and military reforms of Peter the Great. It is significant that azur became the main heraldic color for the shields of the titular coats of arms. Gueles did not occupy a dominant position. In general, the color scheme of the coats of arms of the Peter the Great era may have been influenced by the creation of the color scheme of Russian flags. Later, the color scheme of a number of titular coats of arms changed significantly. Such changes, in particular, were recorded in the “Armorial of banners” (Znamyonnyi Gerbovnik) of 1729. They were associated with closer compliance with the formal rules of Western European heraldry. Thus, the colorization of Russian titular heraldry fell in the context of its gradual transformation from seals and emblems to coats of arms and largely determined this process.
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Rockett, William. "Britannia, Ralph Brooke, and the Representation of Privilege in Elizabethan England*." Renaissance Quarterly 53, no. 2 (2000): 474–99. http://dx.doi.org/10.2307/2901876.
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The fourth edition of Britannia (1594) contained a marked increase in the representation of the propertied classes. The names of landowners, new families as well as old, were increased by approximately three hundred over the third edition of 1590. The fourth edition also contained a new index — “Barones et lllustriores Familiae” — which, together with the new names, registered first Camden's awareness of the changing character of Elizabethan society and second his qualifications as heraldic historian. The significance of this is not entirely clear until it is seen that the changes in Britannia came at a time of controversy and declining esteem in the College of Arms. Camden's authority in heraldry, of which the 1594 Britannia provided convincing evidence, together with his association with the advocates of armorial reform (Fulke Greville, Sir Edward Hoby, and Baron Burghley as well as the queen) made him a logical choice, over Ralph Brooke, for elevation to Clarenceux King of Arms in October 1597. Brooke's quarrel with Camden was part and parcel of the College's troubles and was seen at the time as an instance of the jealous animosity for which Brooke was notorious. One of the ironies of Brooke's attack is that it was symptomatic of the conditions — rivalries and jurisdictional disputes among the heralds, for instance — that advocates of reform were attempting to remedy.
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Staroskoljskaya (Ryzhova), Darya. "Heraldic Blazon in Tournoi de Chauvency, 1285." ISTORIYA 10, no. 4 (78) (2019): 0. http://dx.doi.org/10.18254/s207987840005014-4.
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WILLIAMS, N. J. A. "Dermot O’Connor’s Blazons and Irish Heraldic Terminology." Eighteenth-Century Ireland 5, no. 1 (1990): 61–88. http://dx.doi.org/10.3828/eci.1990.7.
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