Muddy Waves for Brookline: A Case Study in Unification of Arms by la Rose

Ex Libris of Brookline Public Library located in Brookline, Massachusetts.  Image is from the Author's private collection.

Several years ago, I happened upon a most unusual find created by Pierre de Chaignon la Rose (1872-1941) for Brookline Public Library in Brookline, Massachusetts.  While la Rose is widely known for his ecclesiastical heraldic work, finding artifacts relating to his civic heraldry is quite rare.  La Rose designed the seal for the library working with Richard Clipston Sturgis (1860-1951) who was the architect for building.  Completed in 1910, Sturgis incorporated into the eastern facade of the building la Rose's seal for the library (Trustees of Brookline Public Library, 1911, 363).  For additional background and context relating to the arms of Brookline Public Library, please click here.    

A close up image of the arms from the ex libris.

Recently, I purchased an ex libris containing la Rose's design for the library--I was thrilled to have a clear image of this simple coat.  Based on the heraldic hatching of the arms, the blazon for the arms of Brookline Public Library is: Gules, an open book edged with three clasps Or inscribed Sapientia Legendo and in base barry wavy Argent and Sable.  

After I wrote my analysis back in 2020, I believed that was all that could be mentioned about these arms.  Until now.

A Muddy River

We know, based on collected data, that la Rose maintained a strict adherence to design schemes for those charges and layouts for arms.  In other words, once he determined how a charge should be rendered, generally speaking, he kept to the design.  Moreover, once he settled on how he would geographically identify a given coat of arms, he would maintain that design in order to illustrate unification with those coats.

La Rose never referred to himself as a herald, per se, likely knowing full well the title carried more than simply designing coats of arms.  Rather, la Rose saw himself as an "archeologist," and embraced this title through his heraldic work by incorporating critical elements from the past in new corporate arms for unique identification.  Brookline is no exception to his keen sense of that calling.

Prior to its official incorporation in 1705, the town of Brookline was known as "Muddy River."  It is highly likely the black and white lines of barry wavy are la Rose's method of referencing Brookline's history.  In the absence of any correspondence or rationale for Brookline Public Library, the design reference matches scores of examples in my data of how the designer would illustrate local history in corporate arms.  For example, the City of Boston was once known as "Tremontinensis," and from this la Rose used the trimount as a symbolic reference for geographical identification (la Rose, 1911, 5). 

Two Newly Discovered Arms

As my research progressed, I discovered two additional coats of arms for corporate bodies located in Brookline and these findings simply astounded me.  Ironically, I found these arms on my birthday, and I quietly said "thank you," to both la Rose and the heraldic gods up above!  Just when I believed to have la Rose figured out, something new emerges keeping me alert and on my toes. 

From a careful review of yearbooks from Roman Catholic schools in Massachusetts, I randomly stumbled on St. Mary of the Assumption High School located in Brookline.  Yearbooks are a rich source for scanning academic seals and coats of arms.  Inside the school's 1941 yearbook Assumpta, I found two seals containing arms for the school and its sponsoring parish.  In both sets, the black and white lines of barry wavy are present along with additional charges for identification and unification.

A disclaimer.  As is usually the case with these artifacts, very little evidence exists to corroborate the designer, the blazon, or even the date of creation.  For this reason alone, I constructed what I call the "Krouse Method," for using existing data to inform my attribution to la Rose.  To learn more about the Krouse Method for data informed attribution, please click here. 

The seal and arms of the Parish of St. Mary Assumption Roman Catholic Church located in Brookline, Massachusetts.  Image is from St. Mary of the Assumption High School (1941), p.7.

Here we find a very rare example of la Rose designing arms for a parish church, as I have but only a couple in my data of more than 250 designs for corporate arms.  

The seal and arms for the Parish of St. Mary of the Assumption are striking, simple, and clear.  Based on the heraldic hatching in the image above, the arms can be blazoned:  Azure, a six pointed mulllet Argent ensigned by an ancient coronet Or and issuing from base barry wavy Argent and Sable a trimount Or. 

Each design component within the parish's arms provides important symbolism for identifying the church.  The blue field, star, and ancient coronet represent the Queen of Heaven, the Blessed Virgin Mary.  The trimount in base identifies the parish as one within the Archdiocese of Boston, and the black and white barry wavy geographically places the community within Brookline.  Finally, the arms are set within la Rose's classic gothic quatrefoil seal wafer surrounded with the legend in Latin using Lombardic font.  Who else, I dare ask, could render in such a simple and clear manner arms bursting with meaning and identification? 

The seal and arms of St. Mary of the Assumption High School located
in Brookline, Massachusetts.  Image is from St. Mary of the Assumption
High School (1941), page 20.   

The arms of the school carry forward several design elements from those found in the parish's coat.  First, the color of the field and the ancient coronet show unification with the parish as well as symbolizing the Blessed Virgin Mary.  The black and white barry wavy lines geographically locate the school in Brookline.  While I cannot find the citation at the moment, I did read the parish's territory was dedicated to St. Joseph, thus both the chevron rendered as a carpenter's square and three Madonna lilies provide additional geographical identification.  

Based on the heraldic hatching for St. Mary of the Assumption High School, the blazon is:  Azure, issuing from base barry wavy Argent and Sable three Madonna lilies conjoined and seeded Argent enfiled by an ancient coronet and overall a chevron rendered as a carpenter's square Or.

Two Religious Congregations 

Diving deeper into the background surrounding the arms of the high school reveals a bit of a mystery in terms of la Rose's possible referencing within his design.  We find two religious congregations involved at the school.  In the beginning, the Sisters of Notre Dame de Namur were invited to run--what I believe the history shows--the elementary school in Brookline.  According to Oates (1978), this congregation was not terribly keen on teaching boys, and so it appears the elementary school was strictly for girls (p. 662).

In 1924, however, things changed.  The parish decided to open a co-educational high school and needed new teachers willing and able to help, and the Sisters of St. Joseph from the Boston Congregation filled the void (Oates, 1978, 664).  If 1924 was the year in which St. Mary of the Assumption High School opened, then it's likely la Rose's use of the conjoined Madonna lilies and chevron as a carpenter's square was referencing the Boston Congregation of the Sisters of St. Joseph.  Since it appears that the Sisters of Notre Dame de Namur had no involvement with the high school, then, the reference to the Boston Congregation makes perfect sense.  

The supporting evidence for this theory can be found three years prior to the school's opening.  In 1921, la Rose designed the Boston Congregation's arms and blazoned them: Azure, issuing from a vase Or in base three flowering lilies Argent, overall a chevron rendered as a carpenter's square Or and on a chief Sable three crowns composed of alternate crosses patty and fleurs-de-lis Or.  I still struggle to rationalize the ancient coronet in the school's arms, perhaps a nod to the crowns in chief from the Sisters' arms, or a charge for unification from the parish's arms?  My take:  the coronet is referencing the parish given la Rose's prominent placement in both arms.  However, its truly anyone's guess.

As the research stands for now, I believe it's highly possible that la Rose designed both the arms for the Parish of St. Mary of the Assumption and its high school around 1924.

After working with the archivist from the Boston Congregation of the Sisters of St. Joseph, I believe neither the school or the parish know these beautiful designs by la Rose exist.  I hope, possibly, to help bring these back to life for them.  

So, a muddy river shall unite them all.

Works Cited

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

Oates, M.J. (1978). Organized voluntarism: The Catholic sisters in Massachusetts, 1870-1940.  American Quarterly, 30(5), pp. 652-680.

St. Mary of the Assumption High School. (1941).  Assumpta.  St. Mary of the Assumption High School.

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.

Heraldry and Discord: A Generous Community

 

The first digital emblazonment of the arms of Pierre de Chaignon la Rose (1872-1941) after his 1895 bookplate.  Digital rendering by "vErmines Love Supreme" and Encyclopedia Heraldica August 11, 2023. 

Several weeks ago, a friend of mine in the heraldry community suggested that I join the Discord server in order to participate with the Heraldry group there.  Previously, my social media interactions were limited to several vibrant Facebook groups, where each group has a particular focus--American Heraldry Society, Ecclesiastical Heraldry, Scholastic Heraldry (the group I founded during the pandemic), the Royal Canadian Heraldry Society, etc.  Click here to join the Facebook group on scholastic heraldry.  I took my friend's suggestion and downloaded Discord to my phone, set up an account, and was live in the group.  Immediately, and much to my suprise, I discovered that the community on Discord was extremely active, supportive, and engaged.

Based on my experiences with both Facebook heraldry groups and now Discord, there are several notable comparisons.  Facebook heraldry groups tend to skew towards an older audience.  Typically, I've observed sharper comments regarding posts, arguments between members, etc.  Generally speaking, however, these Facebook groups stay on point for whichever heraldic topic is the focus.  Because the members are older, they do offer deeper insights to heraldic conundrums, can quickly correct an error in a blazon, and connect histories and themes for given arms.  

The arms of the Heraldry Discord Server, created on May 24, 2022 and rendered by "ET72."

Discord, so far as I've seen, is much younger.  There is a ton of digital artists who will quickly, and I mean quickly, emblazon anything.  This experience gives me the feeling that heraldry is alive, it's real, and to see folks engaging with the subject in new and creative ways is truly palpable.  As an aside, I feel like even the arms of the group as seen above, wonderfully illustrates my point.  

The arms are blazoned: Per saltire Gules and Azure, a fret between two escutcheons in pale Argent and as many bees in fess proper.  The crest is blazoned: A demi-pantheon Azure charged with a semy of estoiles Argent and gorged of a coronet of oak-leaves Or, bearing in the forelegs a torch Gules enflamed Or. And the supporters are blazoned:  Two lions rampant regardant, the dexter Argent, the sinister Gules, both armed and langued Azure and gorged of coronets of oak-leaves Or.

Even the motto is on point: "By the arms knowst thou the man."

Case in point:  I asked in one subgroup to see if anyone was willing to take a shot at emblazoning the arms of Pierre de Chaignon la Rose (1872-1941), as I've yet to encounter a colored emblazonment (much less a digital one) anywhere.  I shared the blazon that I created based on la Rose's 1895 bookplate, an image of the bookplate, as well as my own line drawing.  For more background, please click here to read my previous post on la Rose's arms.  Within 24 hours, two members took up the challenge and rendered unique digital emblazonments.  Much to my delight, both arms look authentic, alive, and frankly beautiful.  Thank you Schnitzel, Herzog von Westfalen and vErmines Love Supreme.

The blazon that I give la Rose's arms as they appeared on his 1895 bookplate is: 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). 

So, I highly recommend joining Discord and the vibrant heraldry community there!  You won't be disappointed.  

Another digital emblazonment rendered by "Schnitzel, Herzog von Westfalen" on August 11, 2023.  I absolutely love the lion's expression.  It's almost like the lion is supplicating!  Amazing detail! 

My line drawing of la Rose's arms as they appeared in 1895, drawn on June 9, 2020.

The bookplate of Pierre de Chaignon la Rose from the Houghton Library, Harvard, 1895

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.

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 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.