Heraldry (Alive again) at Sewanee: The University of the South

Flying heraldry at Sewanee.  The banners of the University of the South on full display inside All Saints' Chapel during a lecture.  Source: The University of the South.

In the summer of 2007, I moved onto the "domain" of the University of the South to begin coursework as a seminarian towards a Master of Divinity degree.  More often referred to as simply, "Sewanee," it's a small iconic university high atop the Cumberland plateau in middle Tennessee.  The Domain encompasses nearly 13,000 acres of beauty.  Described once to me as an "Episcopal theme park," the domain is filled with academic buildings designed in gothic architecture, with several modeled on Magdalene College, Oxford.  The professors wear gowns to class, and the whole place is a haven of the best of the Episcopal Church.  Legally owned by 28 dioceses of The Episcopal Church (a peculiar only in America), Sewanee is wholly an Episcopal university comprised of the College of Arts & Sciences (the undergraduate college), the School of Theology (the seminary), and the newcomer on the block, the School of Letters.  My three years at Sewanee were among the best in my life so far.  I'm proud to have earned my M.Div. from this university.

So much has developed, heraldically speaking, in the past four years at my alma mater that I felt like a post was in order.

While I was a student, there was not much by way of celebrating the unique heraldry of the university.  This was always odd to me, as the place is the perfect setting for coat armour:  the academic and religious processions, the majesty of All Saints' Chapel, and so on.  Thankfully, so much has since changed in the intervening years.     

For a quick recap on the heraldry of Sewanee's heraldry, please click here to read about the heraldry of the University of the South.  

Several years ago when I began writing about heraldry and exploring the armorial bearings of Sewanee, I rendered the arms as banners because I had hopes that one day students and alumni would see the brilliance of Dr. James Waring McCrady's designs for theses arms flying during university rituals.  Click here to read about my designs for the banners of Sewanee.  

The heraldic banner of the University of the South, rendered by Dr. Krouse, Sept. 19, 2014.

Little did I know, then, that one reader would quickly take action!  The Rev. Rob Donahue T'16, was then a seminarian and contacted me through this blog.  He later penned an article, "Sewanee's Treasured Tressure." By March 22, 2016, Donahue had taken my design concept and managed to convince the leadership at the university to move forward with flying heraldry for the celebration of the Second Founding of the University.  Rob was kind enough to give me a shout-out in the the student newspaper, The Sewanee Purple.  Click here to read the article from The Sewanee Purple.

Faculty lining up for an academic procession at Sewanee with the heraldic banners in background.  Source: The University of the South.

Furthermore, Donahue was generous to send me a flag of the School of Theology's arms.  I want to again thank Fr. Rob for his generosity and tenacity for making heraldry come alive at Sewanee!  By the Spring of 2018, the seminary received as a gift from the senior class, a new heraldic banner of the arms of the School of Theology.   

Seminarians surrounding the newly commissioned banner of arms, a gift to the Seminary by the Class of 2018. Source: The University of the South. 

Another exciting development in flying heraldry occured on the Domain by the fall 2018.  Dr. McCrady, the original designer of the Sewanee coats in the early 1980s, re-emerged to design heraldic banners for all the residential houses on campus.  Click here to read the article on the new residence hall banners in The Sewanee Purple.

Inside McClurg Dining Hall: the new 19 banners of the residential halls of the university designed by Dr. J. Waring McCrady, Fall 2018.  Source: The Sewanee Purple.  

 

Click on this link to see photos and rationale of all 19 banners designed by Dr. McCrady.  Allow me to share three of my favorite banners.

The heraldic banner of St. Luke's Hall, the University of the South.  St. Luke's was the original residence of the School of Theology.  Source: The University of the South.

The heraldic banner of Hoffman Hall, The University of the South.  Source: The University of the South.

The heraldic banner of Phillips Hall, The University of the South.  Source: The University of the South.

I'm so thrilled to see my alma mater basking in the glory of heraldry, and even more honored to have played a small part.  Sewanee continues to occupy a special place in American higher education, and the university's armorial bearings further that unique role.  Perhaps it's now time to publish an attractive hardbound armorial detailing all of these arms!

The Arms of Pierre de Chaignon La Rose & International Heraldry Day 2020

The arms of Pierre de Chaignon la Rose, line drawing by Dr. Krouse.

June 10th is International Heraldry Day, a day to celebrate the art and science of coat armour throughout the world.  This day comes at a time in which we find ourselves going into battle on a number of fronts, bearing symbols and mottoes those ancient knights and kings of old would not likely recognize.  This day is a day, I hope, for those heraldry enthusiasts to ask themselves, "how is heraldry relevant in 2020?"  I fear that if all we do is worship the charges and lines of partition of old to spite the battles before us, we risk debasing heraldry's ability to invite us into a deeper and more meaningful conversation about identity, inheritance, and legacy.  I believe this treasured art and science can still be relevant in 2020.    

Case in point: my humble attempt in devising an attributed coat of arms for the Black Lives Matter movement.  Click here to read about my design for the attributed arms of the Black Lives Matter movement.  The idea came to me when I started to ask, how can I help and how can I affect change within my locus of control?  And then it clicked.  I believe heraldry can and does occupy a relevant place in the world, beyond its historical aspects.  Others are free to disagree.       

Originally conceived in 2013, the idea of International Heraldry Day commemorates the approximation of the first date of known coat armour.  The story continues from the registration of arms found over at the Armorial International:

The celebration was started in 2013 within the International Association of Amateur Heralds (IAAH). Tomasz Steifer (Poland), a Fellow of the IAAH described the effort: we propose that this international day of heraldry at 10 June. On that day, in the year 1128, in Rouen was knighted, by his future father in law, Henry I Beauclerc, Godfrey Plantagenet. Suspended during the ceremony on the neck of a young knight shield blue decorated six golden lions, is recognized by most of the heralds, for the first time in history, fully formed coat of arms.

Today, I want to commemorate America's best kept secret, Pierre de Chaignon la Rose (1872-1941).  A man who single handedly shaped American heraldry in the early Twentieth Century and whose work can still be seen today.  So many know the images, but few know the heraldic genius behind those arms.  From the Schools of Harvard, University of Chicago, Notre Dame, Catholic University, Boston College, Rice University, to lesser know schools such as College of the Holy Cross, St. Ambrose University, and Trinity Washington University, all these institutions still bear the arms expertly designed by la Rose.  Scholastic heraldry aside, he devised arms for 24 dioceses of the Episcopal Church (including the arms of the Episcopal Church itself), and countless arms for Roman Catholic sees, abbeys, and religious communities.  In a sense, la Rose was the brand creator for so many iconic American institutions long before this concept took hold in business literature.   

More recently, several of these institutions have had to address their racial past in connection with their arms and dug into their archives to understand the meaning behind the herald's work--the former Calhoun College at Yale and Harvard's Law School for example.  Click here to learn about the new arms of Grace Hopper College at Yale, and please click here if you would like to learn more about the new arms for Harvard Law. 

La Rose first captured my interest in 2014 when I began my process for assuming arms.  I'm interested in what I call "fringe figures," and la Rose fits that bill nicely.  What do I mean by "fringe figures?"  He lived alone (undoubtedly gay based on my research), positioned himself as the foremost expert in America on heraldry (an arcane subject), and otherwise marched to the beat of his own drum while living on the fringe of Harvard yard.       

La Rose's yearbook photograph from Harvard, Class of 1895.

I've posted before about la Rose's work at St. Edward's Seminary in Washington and Brookline Public Library in Massachusetts.  Click here to learn more about the arms la Rose designed for St. Edward's Seminary, and please click here to learn more about the arms of the Brookline Public Library.  These two represent a drop in the bucket in terms of the scope of la Rose's heraldic work.  Piecing together his life and work continues to be a fun challenge; I've worked with numerous archives and even found a treasure trove of some of his best work.  In sum, I've identified 192 coats of arms that he devised for institutions around the world.  Sadly, most of these institutions don't readily know who devised their arms, much less the rationale behind them.  Even worse, marketing departments have managed to obscure the regal emblazonment in favor of a more modern appearance.   

La Rose's bookplate from the Houghton Library, Harvard, 1895.

A late edition to the post, the second known bookplate of Pierre de Chaignon la Rose created by the famous bookplate engraver George W. Eve, dated 1914, courtesy of Joseph McMillan of the American Heraldry Society.  Note the absence of the rose charge and the addition of a crest, coronet, and supporters.

I wanted to render his own arms, as I've yet to encounter any digitized versions on the web.  I discovered an emblazonment of his arms on a bookplate at the Houghton Library, Harvard, dated 1895.  The 1895 bookplate rendering is simple and very much keeping in his style and ethos.  

Based on the hatching, I've worked out the following blazon.  The arms of Pierre de Chaignon la Rose are blazoned: Azure, a lion rampant Or langued Gules and charged on the shoulder with a rose of the third barbed and seeded proper, holding in dexter arm a sword proper.  Motto:  Fortiter et Suaviter (Firmly and gently).  The only other known image is chiseled onto his tombstone at Mount Auburn Cemetery in Cambridge.  Thus, I'm pleased to finally have La Rose's arms rendered on the web, albeit a line drawing!

Click here to view my post containing a new digital emblazonment of la Rose's arms based on his 1895 bookplate.  

Note the absence of the rose and the addition of the coronet.  Source: Findagrave.com

It took several tries to get the line drawing proportioned just right.  I played with numerous shield shapes, only to end up using one of his own found in the arms of St. Joseph's Academy (for girls).  The school operated from 1851-1971 in Saint Paul, Minnesota as a Roman Catholic school founded by the Sisters of Saint Joseph.  You won’t find these arms anywhere on the web until now!  La Rose devised these arms as: Azure, a semme of Madonna lilies Argent, in pale a sword Or with hilt in base thereupon an open book edged Or and inscribed Suboles Doctrinae Pietas (“Reverence, Scion of Scholarship”).

The arms of St. Joseph's Academy, devised by La Rose in 1926.

 

La Rose was a fan of placing charge upon a charge, especially with animals.  Below are two examples of his expert hand.  Remember, these are hand painted, no digital software for drawing was available in those days.  The first example is la Rose's proposed coat of arms for the new Episcopal Cathedral of St. John the Divine in New York City.  He rendered two designs, and the one below is the first.  The Cathedral, sadly, ended up adopting Ralph Adams Cram's design which you can see in use today.  La Rose's design pays tribute to St. John by way of the eagle with the halo and honors the "New Amsterdam" Dutch heritage of New York City by way of the windmill blades. 

The second example comes from the arms of Mundelein College which has since merged with Loyola University Chicago.  La Rose used the "phoenix rising from the ashes" charge in several designs.  The arms of the University of Chicago (adopted in 1909), the arms of the Episcopal Diocese of Atlanta (adopted in 1920), and the arms of the Archdiocese of Chicago (approx. 1939) all bear the phoenix as their central charge.  Incidentally, both cities survived disastrous fires, the phoenix becomes an appropriate symbol of resurrection.  And of course, la Rose employs the open book, one of his favorite charges for schools and universities.

The proposed arms of the Cathedral of St. John the Divine #1 by la Rose in 1927, courtesy of the Cathedral's archives.

The blazon for the proposed arms of the Cathedral of St. John the Divine #1 is: Argent, an eagle displayed azure, aureoled or, charged with a full sail of a windmill in saltire of the third.

The gonfanon of Mundelein College by la Rose, courtesy of the Women and Leadership Archives, Loyola University Chicago.

The armorial banner of Mundelein College by la Rose, courtesy of the Women and Leadership Archives, Loyola University Chicago.

The arms of Mundelein College by la Rose, courtesy of the Women and Leadership Archives, Loyola University Chicago.

The arms of Mundelein College are blazoned: Argent, a pheonix displayed rising from the flames gules charged with an open book edged or and inscribed VIA VERITAS VITA, on dexter wing a roundel azure edged of the field charged with a star of the first, on sinister wing a roundel of the fourth edged of the field charged with the monogram BVM of the first. 

Never one to shy away from critique, la Rose often lived his motto with his wicked sharp pen.  He frequently had words with the appalling state of heraldry in America at that time.  I'll close this appreciation with two of my favorite la Rose quotations--both relevant today--which bear our admonition: 

 “The heraldic traps for the unwary are far more numerous than the average amateur suspects.”  Ecclesiastical Review, Feb. 1922, Vol. LXVI, p. 179

“A Prelate would shrink from issuing over his own name an illiterate document, and yet he will tranquilly bear an illiterate coat-of-arms!  But we are gaining rapidly.”  Ecclesiastical Review, Feb. 1922, Vol. LXVI, p. 179-180

Update: The Attributed Arms of the Black Lives Matter Movement

A graffitied image of the attributed arms. Source: Reddit

I want to post an update to a previous one concerning my proposed arms of the Black Lives Matter movement.  Click here to read the original post on my design for the attributed arms of the Black Lives Matter movement.  I've been simply blown away by the several emblazonments of the attributed arms of the Black Lives Matter movement sent in by readers.  I honestly wondered if anyone actually read my blog, well I have an answer now!  I wanted to share some stylistic interpretations of my blazon.  

Attributed arms of the Black Lives Matter Movement emblazoned by Brian Jeffs.

Attributed arms of the Black Lives Matter Movement emblazoned by Mike Owens.

I like how each one took time to put their mark on the arms.  Brian's dove looks peaceful yet fierce.  Mike's shield composition is on point.  Again, thank you to both of these fine gentlemen for taking time to help this design come alive.

I especially love the graffiti work!  This proves that you can affect change within your locus of control, especially if you get creative with how you can help work towards social justice.  I'm truly humbled.

Earlier this morning I contacted a colleague through Facebook who lives in Canada with a commission to render these arms.  I'll share those as soon as they come in.     

The banner of Black Lives Matter arms, sent in by an anonymous reader.

The banner of Black Lives Matter arms, sent in by an anonymous reader.

I've doodled some more as I was never quite happy with the dove's face.  Here's my revision as of June 10th.  The revised blazon is: Argent a fist couped Sable flaunches Gules masoned of the field, on a chief Vert a demi dove displayed of the first with a halo Or.  I hope this helps the overall color scheme and helps depict the dove of peace more fittingly.  For the dove, I used La Rose's arrangement of heraldic birds.  I mean, he's the best!

The revised arms of the Black Lives Matter Movement by Chad M. Krouse, June 10, 2020.

The attributed arms of the Black Lives Matter Movement, designed by Chad M. Krouse and digitally emblazoned by Dimitri Prica of Canada, 2020.

Ich Mache Rechte: Notes on an Imperfect Motto

A recent emblazonment by the talented Sivane Saray of Brussels, Belgium.

Years ago when I was developing my coat of arms, I knew I wanted the motto to be rendered in German.  As a fifth generation German-American, I felt it was important to blend my German ancestry into the arms which otherwise are very English in nature.  The "crie de guerre" is the war cry carried into battle by soldiers under the knight's banner, at least that's the origin of the motto in association with coat armour.  I believe it to be the least important element of the armorial achievement.

Thanks to German speaking viewers on Facebook, most scratch their heads when they see my arms with the motto, "Ich Mache Rechte."  They rightfully ask, "I make rights?  What on earth?"  It's a fair question.  One that I'm getting used to answering more and more.  

It all started with Google translator in 2014.  Yes, all those years of taking French classes in high school and college was of no use to me on this particular project.  And I'm not ashamed to admit that I turned to Google for help.  In hindsight, I would have asked on Facebook for assistance with the translation and would have undoubtedly received it.  But, since I've invested a lot in registrations and emblazonments, the motto is now etched in stone.  

I make right, is my interpretation of Ich Mache Rechte.  The sentiment is deeply personal and meaningful to me.  As I look back on my young life to date, I strive to make right the things in my life that have gone wrong; poor decisions, damaged relationships, and all the normal human choices we face each and every day.  By nature, I'm a very reflective person.  I seek guidance for the future from my past.  Perhaps this is why biography is one of my favorite genres in books.   

I hope these brief notes help explain my imperfect motto, it's like me, imperfect.  I'm going to keep it.

And please check out the Facebook page of Sivane Saray who does exquisite heraldic work in a very unique style.  Support our heraldic artists!

The Attributed Arms of the Black Lives Matter Movement

The attributed arms of the Black Lives Matter Movement, designed by Dr. Krouse.

During the Selma marches in 1965, Dr. Marin Luther King, Jr. famously paraphrased a quotation attributed to Theodore Parker.  When King was asked how long will it take until social justice has been achieved, King responded, "Not long because the arc of the moral universe is long, but it bends toward justice."  NPR ran a story on this famous quotation back in 2010, click here to listen to it.  I've been reflecting a lot lately on what that arc looks like.

I've watched in horror the events unfolding over the past two weeks.  I've been processing the images from the news, the protests, and the thousands of Americans (and many across the globe) marching for justice.  As a white man living in America, I do not pretend for a second to know the pain and fear that Black men face everyday walking down streets, shopping in malls, or otherwise living their lives.  I'm angry.  I've been reminded recently that this phenomenon is not new in 2020, for it's been going on in this country since the days of settlement.  

I want to do something.  I wanted to create a noble coat of arms reflecting both Dr. King's arc as well as the barriers my Black sisters and brothers face everyday.  This led to the line drawing above and I wanted to share it.  Apologies for the photograph as I do not have access to a scanner at the moment.  I say "attributed" arms because I'm attributing them to the movement.  Throughout the history of heraldry, it's not uncommon to see attributed arms, think those of Jesus or the Blessed Virgin Mary.  They did not bear arms as we know it, so history has granted arms to them.

The blazon for the attributed arms of the Black Lives Matter movement is as follows:  Argent a fist couped Sable flaunches gules masoned of the field, on a chief of the second a demi dove displayed of the first.    

My design rationale for these arms follows.  I knew I had to use the fist as the main charge, so I chose to render it sable (black).  I wanted to incorporate the flaunch to show the arcs as a reference to Dr. King's famous quotation, but show these as "masoned" so that they appear as brick walls.  This image of brick walls clearly illustrates the barriers that Black women and men have fought (and continue to fight) to break down.  Moreover, rendering the masoned walls in gules (red) reflects the blood of the innocent.  Overall, I wanted the white dove of peace in the chief (the top of the shield) to show that the arc of justice will bring peace.  I really wish I knew digital heraldry, as these arms would be gorgeous rendered in full color.

I love this design and the symbolism it carries.  I wanted to design something within the accepted rules of heraldry that was befitting the noble cause of justice for all Black lives, because Black lives matter.  

The attributed banner of the Black Lives Matter movement, by Dr. Krouse.

 

Update:  I've doodled some more as I was never quite happy with the dove's face.  Here's my revision as of June 10th.  The revised blazon is: Argent a fist couped Sable flaunches Gules masoned of the field, on a chief Vert a demi dove displayed of the first with a halo Or.  I hope this helps the overall color scheme and helps depict the dove of peace more fittingly.  For the dove, I used La Rose's arrangement for heraldic birds.  I mean, he's the best!  Click here to read an updated post on the attributed arms of the Black Lives Matter movement.

The revised arms of the Black Lives Matter Movement by Dr. Krouse, June 10, 2010.

The Arms of the National Shrine and Basilica of Our Lady of Walsingham

Arms prepared by Dr. David Andrew Woolf and painted by Tom Meek (both of the UK) in honor of the National Shrine's elevation to a minor basilica by Pope Francis in 2015.

Walsingham is truly an ecumenical place.  You feel this as soon as you enter the village; Orthodox, Anglican, and Roman Catholics all venerate the Blessed Virgin Mary under the title of Our Lady of Walsingham.  I've long felt that Walsingham is the key to fruitful ecumenical relations for the Body of Christ.

I've posted previously on the arms of the Guardians of the Holy House of Walsingham, the Anglican Shine, and now it's time to examine our brothers over at the Roman Catholic National Shrine and Basilica.

Click here for a really good historical overview of the Roman Catholic presence in Walsingham.

Long known as the "Slipper Chapel," this structure dates to the mid-14th century and is dedicated to Catherine of Alexandria.  It was the last chapel where pilgrims would stop on their pilgrimage to Walsingham.  The chapel is located about one mile from Walsingham and thus many pilgrims would remove their shoes here and walk the last mile barefooted. 

When this chapel was built, Walsingham was second only to Canterbury in the ranks of English pilgrimage. The replica of the Holy House, where Mary had received news of her pregnancy from the Angel Gabriel, contained the precious statue of Our Lady of Walsingham. Thousands of people made their way here, down the muddy tracks and over the rolling Norfolk fields. At Houghton St Giles, they would enter the orbit of Walsingham, their goal now almost in sight. It may be that they took off their shoes here, and walked the last stretch barefoot. It might also be the case that this is why it is called the Slipper Chapel. And it may be that it is not true, or even likely, for many of the pilgrims here would probably have been barefoot long before they reached Houghton.  Simon Knott, September 2007 

    

The National Shrine and Basilica of Walsingham.
Source: ExploreWestNorfolk.co.uk

The chapel's history waxed and waned through the years and eventually fell into disrepair.  A wealthy lady, Miss Charlotte Pearson Boyd discovered the property and quickly purchased it on June 26, 1896. and gave it to the Roman Catholic Diocese of Northampton for use.  The Bishop charged the nearby Benedictines at Downside Abbey to care for the place.  In time, a statue of Our Lady of Walsingham was commissioned and stayed at the nearby Roman Catholic church in Kings Lynn.  Knott shares that from time to time pilgrimages with the statue would take place from Kings Lynn to Walsingham.

Knott continues his story of the chapel:

And so things might have remained, if it had not been for the emergence on to the Walsingham scene of one Alfred Hope Patten. In 1921, he became Anglican Vicar of Little Walsingham. A devout and energetic Anglo-catholic, Hope Patten found himself to be the right person in the right place at the right time. Everything came together, in this decade when Anglo-catholicism reached the peak of its influence in the Church of England, and the Church itself was the most vivid it would ever be in the national consciousness. He installed an image of Our Lady of Walsingham in the Anglican parish church of St Mary. Throughout the 1920s, visits to the statue grew in popularity, until thousands of Anglo-catholics each year were coming to pray in the church and to process around it. As you may imagine, the Anglican Bishop of Norwich was outraged, and demanded that Hope Patten remove the image from his church. Hope Patten being the kind of man he was, he acceded to this request by building a new replica of the Holy House on the other side of the Priory ruins, and placing the statue inside it. At last, the Shrine of Our Lady had been returned to Walsingham - but, much to the the chagrin of the Catholic Church, it was an Anglican one.  Simon Knott, September 2007

         

Good old Hope Patten!  From here the National Shrine's presence grows.  The shrine is elevated by a canonical coronation decreed by Pope Pius XII in 1954.  And most recently, Pope Francis elevated the National Shrine to a minor basilica in 2015.

 

So now the heraldry bit.  Upon the elevation of the Shrine to a basilica, new external ornaments are required to show the papal umbraculum or "big umbrella" and crossed keys.  Over at the UK's Anglican Ordinate blog, I found the following:

Dr. David [Andrew] Woolf has been a longstanding pilgrim and supporter of the Shrine and remains a member of the Order of Our Lady of Walsingham. He was links with the Rector of the Basilica, Monsignor John Armitage, who has since asked him to ensure that heraldically suitable Arms might be adopted by the Basilica of Our Lady of Walsingham.

A manuscript dating from c. 1510 records the Arms of the Priory of Walsingham as Argent on a cross sable five lilies slipped argent, i.e. a black cross on a white background, with five lilies superimposed on the cross. The Basilica is now the modern day successor of the Priory of Walsingham, and as such it is appropriate that the Basilica has assumed the Arms of the Priory. These Arms have been augmented to include the ombrellino and the Papal crossed keys: one gold, the other silver.  

And here's where I ask the question:  does the basilica have the right to bear the undifferenced arms of the Augustinian Priory of Walsingham?  With all due respect to Dr. Woolf, a fellow member of The Heraldry Society, my answer:  no.  

Consider the following:

1. When the College of Guardians of the Holy House of Walsingham applied for a grant of arms from the College in 1945, the grant of arms were differenced with, "a canton Azure, charged with a Holy House Or."   

2. When the Anglican Ordinariate (intentionally named "The Personal Ordinariate of Our Lady of Walsingham") was established under Pope Benedict XVI, the ordinariate assumed arms in 2011 and selected to difference their arms with a cross Azure and Fleurs-de-lis rather than the cross Sable and Madonna lilies.  The arms are blazoned: "per pale, in dexter argent upon a cross azure five fleurs-de-lis proper [of the field]; the sinister half, Or upon a fasce dancette gules between three heart gules."   

3.  The original arms, as far as we know, were granted to a Priory of Augustinian canons in Walsingham.  The National Shrine is simply not a successor to that group, for they are neither a priory nor Augustinian.  Simply being the same denomination does not grant successor status in my opinion.  

I'm not the sort of chap that complains without proffering a solution.  I propose a revision to the arms currently being used by the National Shrine and Basilica of Walsingham.  

My proposal:  Argent, on a cross sable five Madonna lilies slipped and seeded proper, on a canton Sable a crescent Or.  This revision, in my opinion, is in keeping with the College of Arms' differencing of the Guardians' arms and frankly looks quite slick.  The crescent charge has long been a Marian symbol and rendering it in gold alludes to Pope Pius XII's canonical coronation.  I also like how the crescent charge plays with the cadency mark.  In a sense, the Basilica is the "child" of the Priory (albeit a distance one, like a different cadet branch, and not able to inherit the undifferenced arms!).  I even toyed with the idea of substituting the tincture of the canton Sable to be Azure like the Guardians'.  Though, I felt like that made things too similar.    

I've made a quick sketch in pencil of my proposal.  I think these arms bring together the legacy of the Basilica and provide adequate differencing for the corporate body to have their own unique arms.

Maybe I've missed something?  Kindly let me know.  I am by no means an expert in heraldic law and inheritance.

The revised arms of the National Shrine and Basilica of Our Lady of Walsingham, by Dr. Krouse.

The Arms of Brookline Public Library

The Arms of Brookline Public Library in Massachusetts 

designed by Pierre de Chaignon la Rose and drawn by the author.

Several years ago, I became obsessed with the heraldry of Pierre de Chaignon La Rose (1872-1941), undeniably America's greatest heraldic designer.  La Rose, perhaps, made his greatest contributions in the fields of ecclesiastical and scholastic heraldry, advancing a design aesthetic unseen on American soil.  Prior to la Rose's explosion onto the scene, American heraldry was all over the place with plenty examples of poorly composed and designed arms.  From among the 200 or so coats that I've identified thus far designed by la Rose, there is one oddity among them that stands out, the Brookline Public Library.  The arms for the Brookline Public Library, known thus far, is the only non-academic or non-religious arms designed by la Rose.  

Brookline, Massachusetts was the first town in the Commonwealth of Massachusetts to establish their own library as a result of new legislation in 1857 allowing localities to adopt taxes for this purpose.  According to Battis, Reed & Clark (2009), the library committee set aside $100 in 1910 for the creation of a seal for use as a bookplate.  Interestingly enough, this is the first and only example that I've been able to find of what la Rose charged for his design services.  According to one website which adjusts for inflation, $100 in 1910 is today the equivalent of $2,780.00.  This is not an insignificant amount!  La Rose would have likely provided a sketch and a painting of the design, since he was not an engraver.  Most likely the seal was engraved by someone else in Boston.  

The Trustees of the Public Library of Brookline (1911) published in their 54th annual report noted,

 "reference should be made to the seal of the library, especially designed for the carved medallion over the east door of the facade, which also may be used on the stationary and bookplates.  We are indebted to Mr. Pierre La Rose for the design, and to Mr. Sturgis, our architect, for the final rendering of it" (p.363).

This pieces together how la Rose most likely got involved in the library project.  

Richard Clipston Sturgis (1860-1951) was a well-known Boston architect and most assuredly knew fellow architect Ralph Adams Cram (1863-1942).  Cram and la Rose ran among similar Brahmin circles in Boston.  Based on my research, it is my belief that Cram was the one who leveraged his book of business in order to launch la Rose's heraldic career.  Early on, Cram and la Rose partnered on a number of heraldic projects within the Episcopal Church.  Before too long, Cram's firm was slammed with work.  I also believe that at some point, Cram bowed to la Rose and acknowledged the latter's expertise on the subject of heraldry.  Thus, if Cram's firm had a project requiring heraldic work, the firm would recommend la Rose to the client.  

Brookline Public Library in Brookline, Massachusetts.
Source: The Brookline Library Webpage

Brookline Public Library arms carved medallion in the pediment.
Source: The Brookline Library Flickr Site

The Bookplate created by Pierre de Chaignon la Rose in 1910.
Source: Battis, Reed & Clark (2009), page 75.

In my rendering above, I made the open book larger since it's the central charge in the arms.  Without access to a scanner, it's a poor quality photograph for now, I'm afraid.  I prefer Lombardic font for armorial bearings and seals, so I tried my hand at the inscription Sapientia Legendo, loosely translated as "reading for wisdom."  La Rose adds small symbols or "doodles" to balance the inscription on an open book.   I've observed a number of these symbols, this one looks like a shamrock.  On religious institutional coats that bear an open book, for example, he uses small maltese crosses.  Thanks to the hatching on the above Flickr photograph, one can just about make out the tinctures and metal used in the arms.  

The armorial bearings of Brookline Public Library is thus blazoned: Gules, an open book edged with three clasps or and inscribed SAPIENTIA LEGENDO, and in base barry wavy argent and sable. 

Beautiful, elegant, and characteristically simple--la Rose was a brilliant heraldic artist.  And yes, I'm still obsessed with la Rose's work.

Works Cited

Battis, C., Reed, A., & Clark, A. (2009).  Public library of Brookline: A history celebrating 150 years of library service, 1857-2007.  Authors, 69.

Trustees of Brookline Public Library (1911).  The fifty-fourth annual report of the trustees of the public library of Brookline for the year ending December 31, 1910.  Grimes Press, 363.