Using Data to Identify La Rose's Work: Part 2

During this past summer, I happened across a peculiar seal and coat of arms set within a vesica piscis for a school I had never heard of before.  With my eyes now trained to spot certain heraldic features in order to determine whether or not Pierre de Chaignon la Rose (1872-1941) was the designer behind the image in question, my "la Rose senses" began tingling.  The seal and arms of St. Genevieve-of-the-Pines School simply knocked me off my chair.  I remember asking myself, "where on earth did these arms come from?"  In my data of more than 250 designs for corporate arms designed by la Rose, the State of North Carolina has but only a handful.  I had my doubts but also hope that I discovered a new one.    

Finding previously unknown coats of arms that are likely designed by la Rose is like opening presents on Christmas Day.  Not long before my discovery of the seal and arms of St. Genevieve-of-the-Pines School, I ran across a previously unattributed set of arms for the Episcopal Missionary District of the Philippine Islands.  To learn about how I used data to identify the designer for the seal and arms of the Episcopal Missionary District of the Philippine Islands, please click here.   

As my investigation into the newly discovered seal and arms kept finding dead ends, I surrendered to the likelihood I may never uncover any evidence as to the designer and rationale of St. Genevieve's arms.  The researcher in me decided to see how data could possibly render a verdict concerning my questions of the designer and rationale.      

To that end, I devised a methodology for how to use my data in order to compare the arms in question with the 250 or so known works designed by la Rose and confirmed with sources.  Given the volume of the sample size of data, I believe these methods help render data-informed decisions regarding the designer of arms in question.  Here is my method:

1. Institutional background.  When was the institution in question established?  If the institution is Roman Catholic or founded by a religious order, has la Rosed worked with these groups previously?  Does the date of the institutional founding work within la Rose's heraldic timeline? 
2. Geographical Artifacts.  Are there confirmed arms designed by la Rose within the geographical area in question?  What, if any, are the related themes in the confirmed works and those within the arms in question?
3. Analysis.  First and foremost, is the heraldry perspicuous and good?  If there is a blazon for the arms in question, is it simple and match known blazons created by la Rose?  For the ordinary, division, and charges for the coat in question, is there anything unique that can found in other known arms?  If the arms are contained within a seal, what decorative elements of the seal can be compared to confirmed seals rendered by la Rose?  If the seal is in a "wafer style," does it contain a gothic quatrefoil?  For seals in either the wafer style or the vesica piscis, are letters rendered in the gothic Lombardic font?  Is the name of the institution rendered in either English or Latin?        

Application of the Krouse Method

To render a verdict on the seal and arms of St. Genevieve-of-the-Pines School, let us apply these established methods and put them to the test.  For fun, I am simply labeling this methodology as the "Krouse method."    

Institutional Background

St. Genevieve-of-the-Pines School was established in Asheville, North Carolina on January 6, 1908 by a Roman Catholic order of sisters known as The Religious of Christian Education which originated in France (Citizen Times 2016, January 6).  Currently in my data, I do not have any established or cited arms by la Rose for this religious order.  By 1987, the school would merge with Asheville Country Day School (Citizen Times 2016, January 6).  

The date of the school's founding fits nicely within the timeline of la Rose's heraldic work, which I define as being between 1902-1940.  If the school was opened in 1908, it could be any number of years before The Religious of Christian Education needed a seal to authentic their diplomas.  However, we need to use more data to render any judgment as to the designer.

Geographical Artifacts  

Next, we need to consider previously known heraldic designs created by la Rose in North Carolina.  For this step, we know of three established coats by the herald for the Vicariate Apostolic of North Carolina, Belmont Abbey, and the Diocese of Raleigh.  Yet, the data does not show any scholastic coats designed by la Rose within North Carolina--a possible limitation.

The arms of the Vicar Apostolic of North Carolina designed by la Rose in 1910-1911,
as appearing in La Rose (1911), page 9.

In La Rose (1911), the herald gives us an illustration of the quartered arms for The Most Rev. Leo Haid, OSB (1849-1924) who served as the Vicar Apostolic of North Carolina.  In the arms of Bishop Haid, the first quarter displays the arms for the jurisdiction itself and incorporated pine cones in the design.  The fourth quarter displays the newly designed arms for Belmont Abbey that la Rose rendered.  The abbey is also located in North Carolina.  

La Rose offers this blazon for the new arms of the Vicariate Apostolic of North Carolina: "azure, a lion rampant, his left foot upon a garb and holding in his right fore-paw a staff paleways, the top ending in a cross of three pine-cones, all or; a demi-chaperon at sinister (or a 'point sinister') charged with a bendlet gules" (La Rose, 1911, pp. 9-10).   

In La Rose (1911), we learn more regarding the herald's design rationale for the arms of the Vicariate Apostolic:

"The arms of the Vicariate are based upon those of its founder, Pius IX (Mastaï-Ferretti).  The Mastaï arms are azure, a lion rampant, his left foot upon a globe, all or.  For the globe I have substituted a 'garb,' or sheaf of wheat, from one of the early seals of North Carolina; and as a reminiscence of the pine tree which appears there also I have given the lion a cross-staff ending in pine-cones" (10).

Additionally, Baumstein (1983) asserts that the pine tree la Rose references above is in fact pointing towards the "Crescat" pine tree found within the earliest known arms for Belmont Abbey in North Carolina (67).

Through the arms of the Vicariate we have a matching theme when considering St. Genevieve-of-the-Pines coat--pine cones.  Let us consider the other established coat found in North Carolina.   

A modern emblazonment of the arms of the Diocese of Raleigh designed by la Rose in 1929.
Image source: Wikipedia.

In La Rose (1929b), we learn of the second coat of arms designed within the State of North Carolina, those for the Diocese of Raleigh.  La Rose (1929b) provides the following description for the new diocesan coat:

"The arms of the diocese are based on those of Sir Walter Raleigh (now rapidly becoming known to smokers of a new brand of cigarettes!).  In the original coat the lozenges are conjoined to form a 'bend' or diagonal stripe across the shield; for the diocese the bend has been turned into a cross, as was done with the Lafayette and Monterey coats for the sees of those names" (183). 

We see a bit of a playful side of la Rose referencing a new cigarette brand.  La Rose created the following blazon for the arms of the Diocese of Raleigh: "gules, a cross throughout of eight lozenges argent conjoined, four in pale" (La Rose, 1929b, 183).  

Unfortunately, we do not have any matching themes or designs from these diocesan arms.  Now, let us move into the third step of the Krouse Method.  

Analysis

First and foremost, the vesica piscis and the lettering surrounding the border rendered in Lombardic is a match for la Rose's work.  Moreover, when comparing the design work above the shield in the seal of St. Genevieve-of-the-Pines--the sacred heart of Jesus--we find similar work in the gothic tracery above the arms for the Episcopal Cathedral of the Incarnation.  

The seal and arms of the Episcopal Cathedral of the Incarnation in Baltimore, MD, designed by la Rose in 1916.  Image is from DeKay (1993), page 106.

La Rose designed the seal and arms for the Episcopal cathedral in Baltimore, Maryland in 1916 (The Living Church, 1916 May 27, 150).  Through the seal for the cathedral, we find an example of la Rose adding decorative elements above the shield for seals set within the vesica piscis style--especially when a mitre is not appropriate.

The seal and arms for the Episcopal Diocese of Olympia designed by la Rose in 1913.  Image is from the Diocese of Olympia website.

La Rose rarely used the ship or galley in his heraldic designs.  In my data, we do find one example of the ship or galley used as a charge in the arms for the newly formed Episcopal Diocese of Olympia in 1913.  

In Diocese of Olympia (1913) we learn the following description of the arms provided by la Rose:

“It is based upon the voyage of Captain Gray which conserved the Territory of Washington to the United States, just as now the Church will conserve it to the Kingdom of Christ. The sail of the heraldic ship is charged with the arms of George Washington, in honor of whom, of course, the state is named. And to indicate the state rather than the city of Washington, D. C., I have charged the pennant at the masthead with the single star of an American State.  Had it been the city I should have used a 'mural crown' instead of a star.  So much for the sail and pennant. 

"The flag itself is charged with the St. George Cross, which in Ecclesiastical arms is constantly used to symbolize the Anglican Communion. The colors of the whole should naturally fall into a patriotic combination of the American colors. And I think that even without a knowledge of Gray’s voyage and the analogy involved, the whole symbolism of the Diocesan coat will be clear to the least instructed” (20).

During the diocese's convention held in May 1913, the following blazon was officially adopted:

"Azure, an ancient galley under sail with pennon and flag all argent; the sail charged with the arms of Washington—two bars and in chief three stars gules; the Pennon charged with a hurt and thereon a star of the second; the flag charged with a Saint George cross gules" (Diocese of Olympia, 1913, 21).

While the ship in Olympia's arms is not an exact match for the charge used in St. Genevieve-of-the-Pines arms, we now have a precedent for its use.  I cannot explain the rationale for using the ship--perhaps as a reference to the religious order's establishment (hint: the answer is in the epilogue).  

In terms of the chief for St. Genevieve-of-the-Pines School--or the top third of the shield--the technique of using semmé or repeating a singular charge upon the field is a method used in multiple arms designed by la Rose.  While the data does not contain any arms when the chief is composed of the repeating pattern, it is possible that St. Genevieve-of-the-Pines School's arms represent the first instance for la Rose. 

The impaled arms of The Most Rev. John Gregory Murray (1877-1956)
appearing in La Rose (1929a), page 390.

In La Rose (1929a) we find an example of la Rose employing a semmé of pine cones for the field in the newly created arms for the Diocese of Portland in Maine--seen above in the arms of The Most Rev. John Gregory Murray (1877-1956).  The blazon given by la Rose for the arms of the Diocese of Portland: "azure sown with gold pine-cones, a miller's cross of silver" (La Rose, 1929a, 390).  

The herald provides this description for the see's new coat:

"In the arms of the see [Diocese of Portland] the field imitates the ancient coat of France from which the name of the state is derived, the French fleurs-de-lis here being replaced by the pine-cones of the 'Pine Tree State;' the cross is from the arms of the Dukes of Portland" (La Rose, 1929a, 390). 

Through the arms of the Diocese of Portland we have clear evidence of la Rose employing a semmé of pine cones.  I want to thank The Rev. Pachomius Meade, OSB, a member of the American Heraldry Society, for reminding me of the arms of Portland.

Additionally, let us consider the shield itself.  The shape of the shield used in the arms of St. Genevieve-of-the-Pines does match one of the six known forms used by la Rose.

The six known forms of the shield used by la Rose throughout his heraldic work.
Digitally rendered by Dimitri Prica, August 2023.

While the shield's shape is not a primary factor, of course, it can be useful for our purposes.  Here I defer to experts as my historical knowledge behind the various shapes is extremely limited.

One of six shapes for heraldic shields used by la Rose throughout his heraldic work.
Digitally rendered by Dimitri Prica, August 2023.

In our "green" shield above, we find a perfect match with the shield used in the arms of St. Genevieve-of-the-Pines.  Typically, but not always, la Rose used this shield shape in emblazonments for arms he designed in the mid-1910s to 1920s.  As an example, I have included the arms for the College of St. Rose which is located in Albany, NY and designed by la Rose in the 1920s (currently waiting on the archives to date these arms).  It is likely, therefore, that the seal and arms for St. Genevieve-of-the-Pines School was designed during this same time period.

The arms of the College of St. Rose in Albany, NY designed by la Rose in the 1920s.
Image is from the College of St. Rose website.

To summarize the findings from our three steps in the Krouse Method, we have the following information to consider:  

• Good and perspicuous heraldry for the arms of St. Genevieve-of-the-Pines School
• No known blazon can be found 
• The institutional date fits within the heraldic timeline of la Rose's work
• A previously unknown religious order, but likely a first for la Rose 
• Three known arms by la Rose found in North Carolina 
• Matching Lombardic font surrounding the vesica piscis style seal with others by la Rose
• A known example of decorative elements added above the shield within the vesica piscis
• Matching theme of pine cones from a documented coat of arms found within North Carolina
• At least one example of la Rose using a ship under sail as a charge, though the ship's designs do not match
• One known example of la Rose using a semé of pine cones for the field, though no precedence for a chief containing the repeating pattern
• One of six known shapes of the shield is a match for those used throughout la Rose's heraldic work

Following the three steps outlined for our methods, the researcher must now render a conclusion.

As more documents become accessible, I've recently discovered the
school bore arms as early as 1917.  

Conclusion

Given a thorough review of all known available data, it is my conclusion that the seal and arms of St. Genevieve-of-the-Pines School was highly likely designed by Pierre de Chaignon la Rose sometime between 1919-1925.  From the image below, we know that the seal and arms were in use by 1924.  

"The Victorian," the yearbook of St. Genevieve's showing the seal and arms in 1924.

In cases where schools have closed and their archives lost or scattered, it may be impossible to uncover supporting evidence to prove my claim.  Using data collected over the course of 10 years containing 250 known designs by la Rose, however, can help us make an informed decision on these arms with a high degree of certainty.  Yet, the researcher must always acknowledge the clear limitations regarding available data.   

I want to give special thanks to Mr. Joseph McMillan, the corresponding secretary for the New England Historic Genealogical Society's Committee on Heraldry as well as a former president of the American Heraldry Society, for his kind assistance with the blazon for the arms of St. Genevieve-of-the-Pines School.

The blazon for the arms of St. Genevieve-of-the-Pines School:  gules, a ship under sail flagged and pennoned of St. George on waves of the sea argent, on a chief azure a semé of pine cones of the second.

The hunt will continue to find supporting documentation regarding these arms.  If the reader happens to know anything about the arms of St. Genevieve-of-the-Pines School, please message me at chad.m.krouse(at)gmail(dot)com.  I will certainly attribute any information uncovered as my thanks and appreciation. 

____________________

Epilogue

After publishing my article on the arms of St. Genevieve-of-the-Pines School, my friend and colleague Mr. Joseph McMillan kindly shared a likely source of inspiration for la Rose--the arms of the City of Paris in France.  In all fairness, when I initially wrote McMillan earlier in the summer regarding my new Carolinian find, he was abroad in Sweden attending the most recent Congress of Genealogical and Heraldic Sciences in Lund; his mind would have likely been far from considering the arms of Paris, France at that time.  

McMillan offers the following blazon for the arms of the City of Paris:  gules a ship under sail on waves of the sea argent, a chief azure semé de lis or.

The arms of the City of Paris, France
whose patron saint is St. Genevieve.
Image source: Wikipedia.

Moreover, as McMillan pointed out, the patron saint for the city of love is none other than St. Genevieve.  Thus, through the emblazonment of Paris' arms, we see the exact design technique and coloring la Rose used for the arms of St. Genevieve-of-the-Pines School.  The herald simply "Americanized" the arms of the City of Paris by changing the semmé of fleurs-de-lis to pine cones to reference the school's name and added the pennons of St. George on the ship for additional differencing.  Additionally, the Parisian basis references the roots of the founding congregation, the Religious of Christian Education. 

When comparing the arms of Paris with those of the Diocese of Portland, the "Americanization" by la Rose is clear and convincing for his hand in designing the arms for St. Genevieve-of-the-Pines-School.  For an example of how la Rose would "Americanize" another established coat of arms from the old world, please click here to learn about the arms for the Diocese of Richmond.

I share all of this to underscore the importance of the peer-review process; no one researcher has an absolute hold on knowledge.  As I continue to build my network of colleagues in the field of heraldry, I admire the wisdom and experience of others who both happily and readily add to the body of knowledge through sharing.  I am sincerely grateful for McMillan's depth and breadth of knowledge regarding all types of heraldry, for I would have not thought to look for these arms.  I also want to acknowledge Father Pachomius' assistance in pointing out the arms of the Diocese of Portland.  

Given this "Americanization" of an established coat from the old world, the attribution of the designer of the arms of St. Genevieve-of-the-Pines School is now 99.99% in favor of la Rose.  I have numerous examples of how the herald would make minute differencing elements for an established coat of arms from the old world with locally significant charges, rendering new corporate arms for his American clients.  

Works Cited

Baumstein, P. (1983).  Variations in heraldic insignia at Maryhelp Abbey.  In T. Kardong (Ed.), The American Benedictine Review, 34(1), pp. 62-73.

Citizen Times (2016 January 6).  Today in history: St. Genevieve-of-the-Pines school opens.  Citizen Times.  https://www.citizen-times.com/story/news/local/2016/01/06/today-history-st-genevieve-pines-school-opens/78344926/

DeKay, Eckford. (1993).  Heraldry in the Episcopal Church.  Acorn Press.

Diocese of Olympia. (1913).  Journal of the third annual convention of the Protestant Episcopal Church in the Diocese of Olympia.  Ranch Press.

Gowen, H.H. (1941).  The Diocese of Olympia.  In E.C. Chorley (Ed.), Historical Magazine of the Protestant Episcopal Church, 10(1), pp. 31-44.

La Rose, Pierre de C. (1911).  The arms of his Eminence Cardinal Gibbons. In H.J. Heuser (Ed.), The Ecclesiastical Review, 5(45), pp. 2-11.   

La Rose, Pierre de C. (1929a).  Recent episcopal arms.  In H.J. Heuser (Ed.), The Ecclesiastical Review, 80(4), pp. 386-390.

La Rose, Pierre de C. (1929b).  Recent episcopal arms.  In H.J. Heuser (Ed.), The Ecclesiastical Review, 81(2), pp. 181-185.

The Living Church (1916 May 27).  Maryland.  The Living Church, 55(4), 150.

A Case Study of la Rose's Designs for Episcopal Preparatory Schools

The arms of The Episcopal Church designed by la Rose between 1939-1940.
Rendered by Chad Krouse, 2024.

Throughout the heraldic work of Pierre de Chaignon la Rose (1872-1941) there exists many categories defining his corporate heraldry:  diocesan heraldry for the Episcopal Church, Roman Catholic diocesan and archdiocesan heraldry, heraldry for Roman Catholic religious communities, and scholastic heraldry to name but a few.  Within the category of scholastic heraldry there are multiple subcategories, and perhaps one of the smallest of those categories would be la Rose's corporate heraldry for Episcopal preparatory schools.

For this article, I will focus on three corporate coats la Rose designed for Episcopal preparatory schools found in New England, namely Lenox School, St. Paul's School, and St. George's School.  While this subcategory is rather small when compared to the overall volume of designs la Rose created within scholastic heraldry, these three coats showcase the brilliance of his methods and techniques for new corporate arms.  Moreover, I fully suspect there are more schools which fall into this category--especially Episcopal schools which have closed in the mid-to-late 1900s--and more research will be needed to uncover any additional arms.   

(1) Lenox School 

The arms of Lenox School.
Rendered by Lucas Hofmann, 2024.

Established in 1926, Lenox School was the visionary work of The Rev. George Gardiner Monks (1878-1978) to offer, "at moderate cost, a good secondary education with distinctly Christian emphasis" (Lenox School, 1933, 4).  By 1972, the school located in Lenox, Massachusetts would close due to a variety of enrollment and financial factors (Lenox School Alumni Association, 2014).  Between 1930-1931, la Rose was commissioned by Lenox School to create a seal and coat of arms.  

On Monday, November 10, 1930--the eve of the Feast of St. Martin of Tours--The Rev. Latta Griswold (1876-1931) delivered a sermon in Trinity Church, Lenox and offered this description for the school's newly adopted motto for the coat of arms:

"At their recent meeting the Headmaster and Trustees of Lenox School placed this school under the patronage of St. Martin of Tours.  A diligent search of the kalendar would fail to find a saint more fitting to be a patron of a school of the character and ideals of Lenox.  

"The Trustees adopted a motto and planned for a coat of arms.  The motto is the Latin version of part of the text chosen for this sermon [Matthew 20:28]--Non ministrare sed ministrare.  The Latin translation gives us a pleasant play upon words, for ministrare and ministrari, are spelled exactly the same...(Griswold, 1930, 1).  

According to Lenox School Alumni Association (2014), la Rose was asked to provide two sketches of designs for consideration.  Unfortunately, there is no data regarding the first sketch, but the second rendering was the adopted version seen above (Lenox School Alumni Association, 2014, 20).

Armorial flag or banner of arms of Lenox School.
Rendered by Lucas Hofmann, 2024.

For the arms of Lenox School, la Rose retained the use of an open, inscribed book bearing the Vulgate version of Matthew 20:28, and translated in the NRSV version as, "Just as the Son of Man came not to be served but to serve and to give his life a ransom for many."

Arms of Lennox,
Image source: Wikipedia.

Because the Town of Lenox was named for His Grace Charles Lennox (1735-1806), 3rd Duke of Richmond and Lennox, la Rose would draw inspiration from the duke's arms (Lenox School Alumni Association, 2014, 20).  As a reference, the Lennox arms are blazoned: Argent a saltire engrailed Gules between four roses barbed and seeded proper.  

La Rose would use the cross saltire, though not its engrailed version, and render it in gold upon a black field between three roses.  To honor the patron saint of the school, St. Martin of Tours, la Rose placed a martin in chief.

The blazon for the Lenox School coat of arms: Sable, on a cross saltire an open book edged and inscribed NON MINISTRARI SED MINISTRARE between three roses barbed and seeded and in chief a martin all Or.

To read a recent update on the arms of Lenox School, please click here for "Behind the Scenes II: Restoring the Dignified Arms of Lenox School."

One limitation regarding the arms of Lenox School is that due to school's closure in 1972, the archives have been scattered, or even worse, lost altogether.  It has proven impossible to uncover either the initial design sketch la Rose proposed, or a colored emblazonment of the adopted version rendered by la Rose--there are several drawn examples which do not match la Rose's careful hand.  I am grateful for the Lenox School Alumni Association's ongoing work to collect, archive, and share the rich history of Lenox School.

(2) St. Paul's School

The arms of St. Paul's School.
Rendered by Chad Krouse, 2024.

St. Paul's School, an Episcopal-affiliated preparatory school located in Concord, New Hampshire, opened its doors in 1856 (Heckscher, 1980).  By 1928, Ralph Adams Cram (1863-1942), the father of "collegiate gothic," was enlisted to renovate the school's chapel, and undoubtedly this commission would draft la Rose's heraldic skills for the school (Heckscher, 1980, 217-218).

Designed in 1931, la Rose would do something quite different for the arms of St. Paul's School (D. Parsi, personal communication, August 8, 2023).  We know la Rose's preference for using the book as a charge on scholastic arms, and I have numerous examples in my data of the book rendered as an open and inscribed charge; however, for St. Paul's arms, la Rose decidedly used a closed book.  The only other known coat by la Rose using a closed book for scholarship can be found in the arms of St. Scholastica College (now closed) which was located in Atchinson, Kansas.  It is likely, as in the case of Lenox School, that la Rose provided two sketches for the school's consideration but no other sketches could be found in the school's archive collections.     

Banner of arms of St. Paul's School.
Rendered by Chad Krouse, 2024.

The two swords in saltire are a clear reference to the school's patron and namesake.  Including the "pelican in her piety" charge in these arms represents the broad Anglican tradition of inclusion which the school embodies (Anderson, 1999, 81).  These arms are still used today by the school.

The arms for St. Paul's School is blazoned: "gules, two swords in saltire argent hilted or between in chief a pelican in her piety and in base a closed book of the last" (Anderson, 1999, 81).

(3) St. George's School

Arms of St. George's School.
Rendered by Chad Krouse, 2024.

St. George's School is the third and final coat of arms designed by la Rose for Episcopal preparatory schools in New England, and perhaps my personal favorite within this subcategory.  Founded in 1896 by the The Rev. John Byron Diman (1863-1949), St. George's School was to be located in Middletown, Rhode Island and established as a preparatory school for boys (Taverner, 1987).  

The flag of arms of St. George's School
designed by la Rose.
Image is courtesy of the
Archives of St. George's School,
August 2023.

Interestingly enough, Diman would resign from St. George's and received into the Roman Catholic Church in 1917, where he would later become a professed monk in the Benedictine Order and establish the Portsmouth Priory School (now Portsmouth Abbey School) in Portsmouth, Rhode Island (Taverner, 1987, 63).  

According to Taverner (1987), Diman changed his name to Father Hugh Diman, and was deeply conflicted about opening a new school so close to St. George's but did so out of obedience to his vows (65).  La Rose would also design the arms for both Portsmouth Abbey and its school.     

Fortunately the archives of St. George's School has a bounty of information concerning the school's beautiful and simplistic arms.  Just as Cram was commissioned to work on the chapel at St. Paul's School, Cram was hired in 1924 to create a design for the chapel on the campus of St. George's School (Taverner, 1987).

Bottom portion of the "Chivalry Window" inside the chapel of St. George's School.  Image is courtesy of the Archives of St. George's School, August 2023.  Click image to enlarge.

La Rose provided two design sketches for St. George's School.  In St. George's design #1, la Rose proposed: Argent, on a sun Gules, an open book edged with two clasps Or thereon inscribed VERITAS.  This design is simple and elegant, but somehow missed the mark for the school, as they selected his second design for adoption.

St. George's Design #1 created by la Rose for St. George's School.  This design was not adopted by the school. Image is courtesy of the Archives of St. George's School, August 2023

For the adopted design, the arms of St. George's School is blazoned: "Lozengy sable and argent, a cross of St. George Gules" (St. George's Alumni Association, 1939, 9).  La Rose's second design combines two elements together in a striking way to clearly identify the owner of these corporate arms.  

Through the arms of St. George's School, we see how brilliantly la Rose used the lozengy as a play on diamonds and the surname Diman--the school's founder

The red cross of St. George is made clear for identification.  When combined on the field, the lozenges and red cross simply create a visual aesthetic unmatched by any other of la Rose's designs--especially when these arms are rendered as a flag.

Armorial flag or banner of arms of St. George's School.
Rendered by Chad Krouse, 2024.

Scholastic heraldry represents a major portion of la Rose's heraldic portfolio.  In the examples of his work for Lenox School, St. Paul's School, and St. George's School, la Rose used a different design technique for each coat of arms to create clear and simplistic arms for each school.  Moreover, we see how la Rose evolved regarding the use of his favorite charge for scholastic corporate coats--the open and inscribed book.  If Lenox School represents the traditional "la Rosian" approach for incorporating an open and inscribed book, then the arms of St. Paul's School illustrates la Rose's rare design for a closed book. 

Rendered by
Chad Krouse, 2024.

The arms of St. Paul's School represents one of two armorial designs containing a closed book devised la Rose.  While la Rose initially proposed an open and inscribed book for the arms of St. George's School, the adopted arms for the school would not have a book at all incorporated into the design--and thankfully so given the visual delight of the final design.  

La Rose's capacity for capturing the history and spirit of the institutions he rendered arms for is a testament to his deep knowledge of the art and science of heraldry.  While Lenox School is no more, the arms for St. Paul's School have now been in use for 92 years, and those of St. George's for 84 years.  That these important academic institutions still proudly bear these coats of arms designed by la Rose so long ago, underscores the power of perspicuous heraldry to survive in an age of branding and marketing.  There is no doubt that countless generations of alumni from all three schools proudly claim these arms of their alma maters.   

Works Cited

Anderson, C.B. (1999).  Letter from the rector.  In St. Paul's School [Ed.], Alumni Horae, vol. 79(2), pp. 80-81.

Diocese of Rhode Island. (1905).  Journal of proceedings of the one hundred and fifteenth session of the Rhode Island Episcopal Convention.  Snow & Farnham Printers. 

Griswold, L. (1930).  St. Martin: A sermon preached on the eve of St. Martin's day.  Lenox School.

Heckscher, A. (1980).  St. Paul's: The life of a New England school.  Charles Scribner's Sons.

Lenox School Alumni Association (2014).  A history of Lenox School and its campus [white paper #1].  Lenox School Alumni Association.  https://static1.1.sqspcdn.com/static/f/677191/25529740/1412806899563/White+Paper+updated.pdf?token=BCgLzIhtb158bd5xBEbnyfr9XoM%3D

Lenox School (1937).  Lenox School: Past, present, future.  Case, Lockwood, and Brainard Company.

Lenox School (1933).  Lenox School Catalog: 1933-1934.  Lenox School.

St. George's Alumni Association (1939).  The new school shield.  In H.F. Preston [Ed.], Alumni Bulletin, St. George's School, vol. 22(2), 9.

Taverner, G.Y. (1987).  St. George's School: A history 1896-1986.  St. George's School.

The Churchman (1905 May 27).  Rhode Island.  In The Churchman [Ed.], The Churchman, vol. 91(21), 809.

Heraldic Artist Spotlight: Allen Crawford

The arms of Allen Crawford, designed and emblazoned by himself.
Image is from Allen Crawford - American Heraldry Facebook page, September 21, 2023.

For the fifth installment of the Heraldic Artist Spotlight series, I am pleased to share the work of Mr. Allen Crawford.  To read posts on the other heraldic artists featured in this series, click the blog tag "Heraldic Artist Series" at the end of this post.  

Crawford wears many, many hats:  an acclaimed artist, illustrator, designer, writer, conservationist, and historian for Clan Crawford.  What's funny, at least to me and Crawford, is that we both have admired each other's arms for some time.  Through various heraldry social media platforms, I remember well catching glimpses of both the cornus florida and cardinalis cardinalis in his armorial achievement, and thought this guy has good taste and style.

The arms of the CCA granted by
the Court of Lord Lyon in 2012,
and emblazoned by Allen Crawford. 
Image is from Allen Crawford
 American Heraldry Facebook page,
September 21, 2023.

For his heraldic work, Crawford's major project focuses on the heraldry of Clan Crawford through the Clan Crawford Association (CCA).  

In 2018, Crawford presented a paper, "The Clan Crawford Association Armorial: An Independent Armorial for the Scottish Diaspora," during the Heraldry Society's Biennial Congress held at the University of Winchester in England.  Crawford opened his presentation with these astute observations concerning heraldry in the US:

"...the peculiar conditions of the United States forbid a blind following of the heraldic laws of any one country, and the bearing of arms here can only be governed by a general knowledge of heraldry, an appreciation of circumstances, and the exercise of good judgment and good taste in the treatment of each individual case" (Crawford, 2018, 25).   

I could not agree more with Crawford on this point.  

Through CCA, Crawford himself has organized a rather impressive project, an armorial with the intention to provide both design work and registration of arms for CCA members who either live in countries without an heraldic authority or otherwise unable to secure a grant of arms.  This admirable project is a great way to not only educate future CCA armingers, but also ensures design consistency in accordance with the customs of heraldry. 

Several emblazonments by Crawford appearing in Crawford (2018), page 6. 
Click image to enlarge.

Recently, I commissioned Crawford to render my arms in his Scottish style and am absolutely thrilled with the final product.

The arms of Chad M. Krouse emblazoned by Allen Crawford, September 2023.

The crest of Chad M. Krouse emblazoned by Allen Crawford, September 2023.

The arms of Chad M. Krouse emblazoned by Allen Crawford, September 2023.

I will say this, Crawford's rendering of the cardinal in my crest is now my all-time favorite.  I asked him to make the bird as ferociously as possible--he simply nailed it.  I really like the detailing of the cornus florida, as Crawford's version is quite striking and has the power of identification when see from a distance.

Please click here to see Crawford's design website, his portfolio containing loads of his work, and his contact information.  It has been a delight working with Crawford--we're armorial brothers in a sense with our dogwood flowers and cardinals held in common.  I highly recommend Crawford's work to anyone seeking emblazonments in his Scottish style.

Works Cited

Crawford, A. (2018).  The Crawfords are coming: Creating an enduring armorial for the Scottish diaspora. In The Society of Heraldic Arts (Ed.), The Heraldic Craftsman, number 100, pp. 25-27.

Heraldic Artist Spotlight: Dimitri Prica

Dimitri Prica of Canada who created his own digital style of heraldry.
Image from Dimitri Prica, Heraldic Art, September 2023.

In the fourth installment in my ongoing series celebrating heraldic artists from around the world, I'm pleased to share the work of Mr. Dimitri Prica from Canada.  To read posts on the other heraldic artists featured in this series, click the blog tag "Heraldic Artist Series" at the end of this post.  Prica is the youngest heraldic artist to be spotlighted so far, and has crafted his own style within the field--using dark colors and various shading techniques to render arms.  

The "Prica style" is simply fresh, young, and eye-catching.  One reader shared this astute observation recently regarding Pica's emblazonments of arms found on this blog: "they look much like stained glass and, as you say, lend a modern and with-it air to an ancient art form."  Prica gives us some background on his website:

"I've been a freelance heraldic artist since 2020, when my creations started getting some attention. My initial drive in the world of heraldic art was a desire to broaden my own collection, so I spent a fair while toying around with various styles, often taking inspiration from old manuscripts and adapting them to the vector-editing tools I am familiar with" (Dimitri Prica Heraldic Art, About Me, September 18, 2023).  

Moreover, Prica discovered that he could incorporate his designs through Vector artwork.

"Once I recognized that vector artwork can look stunning, if and only if one is willing to invest the necessary time, I developed a textured style with lighting effects, diapering, the works. 

"In parallel, and almost despite myself, I developed a second house style based on flat colours and more modern compositions. These are often used as bookplates because of their bold outlines and ease of print, but they have also been declined as stamps or embossers" (Dimitri Prica Heraldic Art, About Me, September 18, 2023).  

Since 2020, Prica's work has exploded onto the heraldic scene as evidenced by his growing portfolio of completed commissions and services he readily offers.

Ex Libris for Chad M. Krouse
designed and rendered by Dimitri Prica, 2020.

I first engaged Prica during the COVID-19 pandemic lockdown for several heraldic projects.  At the time I discovered Prica's work online, I believe through his Instagram account, Prica was showcasing several recently completed ex libris commissions.  I simply had to have one rendered in his style.  Additionally, I worked with Prica to emblazon my design of attributed arms for the Black Lives Matter Movement in 2020.  Please click here to read and see Prica's work regarding these attributed arms.

Furthermore, you can readily see the evolution of the "Prica style" through two emblazonments rendered of my arms--one in 2020 and the other in 2023.

Arms of Chad M. Krouse emblazoned by Dimitri Prica in 2020.

Can you see the differences?  It's quite extraordinary to see how artists mature into their own styles throughout the course of time and experience.  If I had to choose between these two shields, I much prefer Prica's 2023 emblazonment--I love the lines used to highlight the charges.

The arms of Chad M. Krouse emblazoned by Dimitri Prica in 2023.

Needless to say, I've been keeping Prica busy these days with loads of projects.  I commissioned Prica to render several coats of arms for the blog, as I needed to update so many images.  The blog's masthead at the top is all Prica and brings a sorely needed fresh vibe to my blog.

A modern emblazonment by Dimitri Prica in 2023 for
the badge of Hampden-Sydney College.

There's simply a lot to say about Prica's careful eye for design along with his evolution as a young heraldic artist.  I am grateful that I discovered Prica's work back in 2020 and that we continue to work together on various heradry-related projects.

Please click here to view Dimitri Prica's website containing his portfolio and contact information for commissions.  I promise the reader, you will not be disappointed.  

In My Backyard: The Arms of the Diocese of Richmond

The armorial flag of the Diocese of Richmond.
Rendered by Chad Krouse, 2024.

I live less than a mile away from the Cathedral of the Sacred Heart in Richmond, Virginia.  This cathedral houses the cathedra, or chair, for the Bishop of the Diocese of Richmond.  Prominently emblazoned on a bronze plaque near the cathedral's west doors is the coat of arms of the diocese, expertly designed in 1913 by Pierre de Chaignon la Rose (1872-1941).  In a weird and unexplainable way, it feels comforting to know la Rose's heraldic work lives on so close to home.  

La Rose had a brilliant marketing scheme to showcase his heraldic work within the Roman Catholic Church.  Through articles he penned in The Ecclesiastical Review, a prominent national publication focusing on scholarly issues in the Church, la Rose would supply engraved images of arms he devised for both prelates and dioceses.  From my review of his articles in The Ecclesiastical Review, la Rose used this channel to both educate and market his methods for heraldic designs--and readers took notice.  

Caricature of la Rose appearing
 in the Boston Sunday Post
(1903 Feb. 15).

Moreover, La Rose saw his landmark commission in 1910 to design arms for the Archbishop of Baltimore,  James Cardinal Gibbons (1834-1921), followed by Archbishop and future Cardinal, William Henry O'Connell (1859-1944) of Boston, as effectively creating a new baseline for establishing unerring heraldry within the US Roman Catholic Church (La Rose, 1911).  

If heraldry in the US during the early 20th century could be a film, perhaps no other genre quite like the old gun-fighting wild western flicks--where the spirit of rugged individualism pervasively dictates one's survival--would seemingly feel an appropriate choice.  

La Rose would be our protagonist, complete with cigarette and a sheriff's badge, fighting it out on the dusty streets of Tombstone to wipe clean the scourge caused by outlawed heraldic "bucket shops."

In La Rose (1920), he offers this view regarding his purpose:  

"Of the fourteen archdioceses in the United States, we now have eight, a majority, equipped with diocesan heraldry, following the ancient precedent reestablished among us ten years ago by their Eminences Cardinal Gibbons and Cardinal O'Connell.  It is to be hoped that eventually the remaining six will follow suit" (41).

La Rose's crusade to convert as many dioceses as possible to employ flawless heraldry--both within the Episcopal Church and the Roman Catholic Church--engendered his life's purpose as a herald.  

The impaled arms of The Most Rev. Denis J. O'Connell,
designed by la Rose in 1913 and appearing in Brassard (1956), page 53.

In 1912, The Most Reverend Denis J. O'Connell (1849-1927) was named Bishop of the Diocese of Richmond and eventually la Rose was enlisted to design arms for both the bishop and the diocese.  O'Connell's impalement of arms containing his personal coat along with the arms of the Diocese of Richmond appeared in la Rose's article in The Ecclesiastical Review (La Rose, 1913).  La Rose designed both arms at the same time, ensuring the continuation of his baseline precedent for sound heraldry. 

For O'Connell's personal coat, La Rose (1913) provides the following blazon and rationale:

"Quarterly 1 and 4, per fess argent and vert between three trefoils counterchanged of the field a stag trippant proper... 

"The Ordinary's impalement [arms of Bishop O'Connell] is the first example among our American bishops of a quartered personal coat meaning precisely what quartering should mean--an armigerous paternal and maternal inheritance.  The Bishop's motto is that of the Wray family" (94).

La Rose pointedly notes the precise method for quartering arms--a heraldic method of combining two coats into a noble arrangement which continues to feverishly affect many American novices of heraldry.   

For the Diocese of Richmond, la Rose created the following blazon: Argent, an orle gules, over all on a bend azure three stars of the field.

For comparison, the arms of
the Borough of
Richmond, England. 
Image is from
Heraldry-wiki.com

When I started my quest to uncover la Rose's heraldry in 2014, one of the first research requests went to the archives of the Diocese of Richmond, these arms were in my backyard and it seemed fitting to begin here.  Following a series of email exchanges, I was asked to provide a brief article for the diocesan archives, describing the origins of the diocese's arms as well as some background information on la Rose.  Little did I know at the time, the Diocese of Richmond would later publish my article in 2019 in concert with the diocese's bicentennial logo competition.  

One interesting data point to consider, and one that I missed earlier in 2014 regarding Richmond's arms.  When devising new arms for dioceses, la Rose frequently incorporated a reference by way of a charge or colors to the dedication of the see's cathedral.  

In checking the history of the Cathedral of the Sacred Heart in Richmond, the building's construction began in 1903 and was completed by 1906--well before la Rose's design for the arms of the diocese in 1913 (Cathedral of the Sacred Heart, 2023 September 16).  La Rose did not use this method of referencing the see's cathedral in the arms of Richmond, and I cannot explain why--a minor detail I missed in my earlier research.  

It's rather amusing to read my work from nearly 10 years ago--I was firmly in my post-seminary writing mode, or a "highly romanticized" style which my doctorate would later calm.  Scholarly writing in the social sciences is quite straightforward given the clinical conventions of the Publication Manual of the American Psychological Association.  

When I begin drafting a book manuscript on la Rose in the coming months, I will be challenged to convert back to my beloved Chicago-style.  I mean, who doesn't enjoy a good footnote?  Below is my article, "Arms of the Diocese of Richmond: Origins and Designs," to peruse.  Dear reader, please forgive me.       

Works Cited

Brassard, G. (1956).  Biographical and heraldic dictionary of the Catholic bishops in America (vol. 2).  Stobbs Press, Inc.

Boston Sunday Post (1903 February 15).  Harvard professors object the side-spitting caricatures of themselves by talented students.  Boston Sunday Post, 26.

Cathedral of the Sacred Heart (2023 September 16).  Our cathedral: Cathedral history.  Cathedral of the Sacred Heart. https://www.richmondcathedral.org/our-cathedral/

La Rose, Pierre de C. (1911).  The arms of his Eminence Cardinal Gibbons.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 5(45), pp. 2-11.

La Rose, Pierre de C. (1913).  Recent episcopal arms.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 49(July), pp. 90-96.

La Rose, Pierre de C. (1920).  Recent episcopal coat of arms.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 62(July), 41.

Heraldic Artist Spotlight: Steve Cowan

 

Steve Cowan hard at work in British Columbia, Canada. 
Image source:  Steve Cowan Heraldic Artist website.

For the third installment of my series celebrating heraldic artists from around the world, I'm pleased to spotlight Mr. Steve Cowan from British Columbia, Canada.  To read posts on other heraldic artists featured in this series, click the blog tag "Heraldic Artist Series" at the end of this post.  Cowan was the very first heraldic artist I ever commissioned once I finalized the design for my own assumed arms.  Cowan has truly been a delight to work with over the years, and his story is fascinating.   

Initially, Cowan's foray into fine arts was through oil painting, but a 10-year journey around the world would pause all of that until 1980.  Cowan writes:

"Upon my return to Canada in 1980, career and family considerations kept me from pursuing endeavours in fine art.   While my wife, Judy, and I enjoyed photography as we travelled, I didn’t take up painting until quite recently.  Shortly before I finished my 30-year airline career in 2002, I took an oil painting course in Vancouver.  

The arms of Steve Cowan,
granted by the Canadian Heraldic
Authority in 2018.  Cowan designed
his arms which the CHA approved.
Image source: Steve Cowan Heraldic
Art, September 2023.

"After we traveled parts of Europe and Australia we settled in the Comox Valley in 2003.  Here I met Bill Maximick and admired how he uses acrylics to do his marine paintings.  Since then Bill has been my mentor and teacher" (Steve Cowan Heraldic Art, 15 September 2023).

Once Cowan caught the heraldry bug, it was game over.  

"In May 2015 I was presented with my Licentiate  (Level Three) qualification from the Royal Heraldry Society of Canada (R.H.S.C.).  I have been a member of the R.H.S.C. since 2009; in 2016 I was elected as the President of the BC/Yukon Branch of the R.H.S.C. At the 2019 Annual Conference of the Royal Heraldry Society of Canada in Calgary I was award a Meritorious Service Award for all the fun I have working with the Society members.

"I have been an Associate member of the Society of Heraldic Arts of the U.K. since 2014.  In April 2017 I was accepted as a Craft member of the Society following an assessment of my portfolio of heraldic work.  I am thrilled to have this recognition from fellow heraldic artists and to join other Canadians as Craft members" (Steve Cowan Heraldic Art, 15 September 2023).

The crest and arms of Chad M. Krouse,
emblazoned by Steve Cowan.

In 2014, I contacted Cowan to digitally render my assumed arms.  This commission would be my very first time working directly with a professional heraldic artist.  Since I was a pure novice at the time, Cowan was extremely patient and kind fielding all my questions.  I was simply nervous about working with, much less sending money to, someone in another country whom I've never met.  Ever the gentleman, Cowan would ease all of my anxiety surrounding this commission.  

The process of getting my arms to an acceptable design took months.  I wanted to design my arms to be the signature and identification of myself, and I took this task quite seriously.  In a previous article, "The Man and His Arms: An Origin Story," I provide more detail on the design evolution.  Please click here to read this article.  My humble line drawings in pencil could not prepare me for seeing the arms digitally in full color.  The end result, however, filled me with so much pride at seeing the design come alive. 

Needless to say, I was very happy with my first digital emblazonment.  Cowan's work was both thoroughly detailed and highly professional.  Moreover, though this initial commission, Cowan instilled in me a greater sense of confidence to work with other heraldic artists--something I rather treasure.  

In addition to his digital heraldry, Cowan is something of craftsman.  Recently, I commissioned him to make a wall plaque and table shield in my arms.  Upon opening the box, I was blown away by the quality and care Cowan pours into his work.  The finished products are of the highest quality and expertly crafted by Cowan.

A wall plaque and table shield of the arms of Chad M. Krouse,
designed and hand-crafted by Steve Cowan, September 2023.

I simply cannot say enough about how much I have appreciated working with Cowan over the years.  I highly recommend his services and can testify that the final product represents his utmost passion and devotion to the art and science of heraldry.

Please click here to visit Cowan's website to view his services and portfolio.  Additionally, there is a link to his website on the left under "Websites of Interest."

Support our heraldic artists who diligently translate the otherwise arcane blazons into colorful works of art--keeping heraldry alive and relevant today.  Cowan and others continue to provide expert services and friendly advice for anyone seeking to emblazon arms.  Without these artists, the field would be bleak and void of the vibrancy which heraldry calls for and these artists proudly answer.  Trust me, the reader would not be content with my penciled line drawings.