Mace & Crozier: Cathedral Heraldry in The Episcopal Church

Coat of arms of Christ Church Cathedral (Episcopal), Hartford, CT
Rendered by Chad Krouse, 2025

In the Episcopal Church, external ornaments for diocesan and cathedral coats of arms differ for identification.  For bishops and dioceses, the key and crozier are placed behind the escutcheon in saltire, while a mace and crozier are arranged accordingly for a cathedral's coat of arms.  Both, however, are ensigned with the bishop's mitre with infulae fringed and draped to the sides of the shield.

External ornaments for an Episcopal diocese and cathedral
Rendered by Chad Krouse, 2025

External ornaments in ecclesiastical heraldry add touches of dignity while also providing additional identification of the arms themselves. 

During the late 1960s, Col. Harry D. Temple (1911-2004) was commissioned by the Washington National Cathedral in Washington, DC to render arms for ornamentation of the various cathedrals in The Episcopal Church.  As I understand it, many of those cathedrals did not bear coats of arms and Temple successfully designed around 30 or so cathedral arms for decoration.  

As a retired US Army Colonel, Temple likely appreciated design uniformity and widely used the mace, crozier, and mitre as external ornaments in his new designs for cathedral arms.  These additions help identify the cathedral as such with a militaristic flair.  Not every designer would follow suit.

Coat of arms of Vergers in the Episcopal Diocese of Southeast Florida
Rendered by Chad Krouse, 2025

Why a mace?  Symbolically, its a sign of authority and mimics the virge or verge, carried by vergers.  The mace would be used by a minister to clear a pathway for the procession.  The ministry of a verger is now found widely across the Episcopal Church.  Click here to learn more about the Verger's Guild in the Episcopal Church.

Arms of Trinity Episcopal Cathedral, Trenton, NJ
Designed by Col. Harry D. Temple
Rendered by Chad Krouse, 2025

Temple would go a step further with his cathedral template by creating a systematic method for charging the cathedral's mace with a symbol for additional identification.  De Kay (1993) cites the lion passant found on the mace in Temple's design for Trinity Episcopal Cathedral in Trenton is a reference to the arms of the State of New Jersey (110).  The charge is a nice reference for Trinity and an example of how Temple's method was used.

Examples from Temple's designs with charges on cathedral maces
Rendered by Chad Krouse, 2025

In addition to the charges on the mace, Temple sometimes varied the shape and style of the cross itself adorning the top of the mace giving harmony to the whole design.

The Episcopal Church does not regulate heraldry or its use for cathedrals; however, a few attempts to wrangle in the wild west of Episcopal coat armour have been tried over the years.

The Advisory Committee on Heraldry, created during the 1982 General Convention, was a significant move attempting to standardize heraldic practice with consistency across the Church.  Packed with experts from the field at that time, the Advisory Committee met only once and developed a possible framework guiding heraldry for the church.  Temple was one of those heraldic experts appointed to serve.  One recommendation from the committee noted that cathedrals should not bear arms, but simply use those of the diocese.  The point seems rather moot as many cathedrals had arms by the 1980s thanks in part to Temple's commission with the National Cathedral.  Wright (2005) further notes the advisory committee agreed that the only "mandatory ornament exterior to an episcopal coat of arms should be the mitre, of which the infulae are essential."  

The advisory committee, Wright (2005) stated, did not produce a public report or distribute minutes from its only meeting.  I remain curious to know Temple's thoughts on suppressing arms for cathedrals given his portfolio of work in this area.  We may never know.

Arms of St. Michael's Episcopal Cathedral, Boise, ID
Rendered by Chad Krouse, 2025

The forerunner designing arms for cathedrals in the Episcopal Church was none other than Pierre de Chaignon la Rose (1872-1941).  His first known cathedral design was created for the Cathedral of St. John for the Diocese of Quincy between 1905-1906.  Click here to learn more about la Rose's design for the cathedral and arms for the Diocese of Quincy itself.  The Cathedral of the Incarnation in Baltimore and Christ Church Cathedral in Hartford are two designs for cathedral arms by la Rose included in this article.  I cannot find any examples of la Rose using external ornaments in the arms for those two aforementioned cathedrals.  However, I do believe we see an example of la Rose using the key and crozier as external ornaments in the arms of St. Michael's Episcopal Cathedral in Boise seen above.  One illustration of the arms found in de Kay (1993) shows a key and crozier in saltire behind St. Michael's coat of arms.  The designer is not attributed in de Kay's analysis and I believe la Rose designed these arms.  As research continues, it might be possible to learn why la Rose used the key rather than a mace; perhaps he was influenced by published rolls for English sees and cathedrals. 

Arms of Trinity Episcopal Cathedral, San Jose, CA
Designed by the Rev. Canon Eckford J. de Kay
Rendered by Chad Krouse, 2025

The Rev. Canon Eckford J. de Kay (1923-2012), a former cathedral dean and military man, continued Temple's use of the mace and crozier in his designs for cathedrals.  De Kay also employed Temple's method of charging the mace with an additional symbol for identification.  In the arms of Trinity Cathedral in San Jose, de Kay uses the "mission bell" on the mace (De Kay, 1993, 100).

Arms of Christ Church Cathedral (Episcopal), Houston, TX
Designed by the Rev. Canon Edward N. West
Rendered by Chad Krouse, 2025

The Rev. Canon Edward N. West (1909-1990), as far as we know, did not use external ornaments in his designs for cathedral arms.  In 1966, West designed the arms of Christ Church Cathedral in Houston, TX which de Kay (1993) shows as a seal (p.119).

It seems most likely that the commission may have dictated whether or not external ornaments were created, as several cathedrals appear to use seals containing arms within a matrix rendering external ornaments obsolete with certain layouts.  Within the vesica pieces design widely used by dioceses, the key and crozier with the bishop's mitre works rather well.  

Another variation can be found in a commission by the Rev. Henry Martyn Medary (1871-1962), who designed an armorial flag for St. Matthew's Episcopal Cathedral in Laramie, Wyoming (De Kay, 1993, 122). 

Armorial flag of St. Matthew's Episcopal Cathedral, Laramie, WY
Designed by the Rev. Henry Martyn Medary 
Rendered by Chad Krouse, 2025

Arms of St. Paul's Cathedral, Erie, PA
Designed by the Very Rev. Frederic R. Murray
Rendered by Chad Krouse, 2025 

The Very Rev. Frederic R. Murray (1910-1996) would create his own external design to support his creation of the arms of St. Paul's Cathedral in Erie, Pennsylvania where he served as dean.  De Kay (1993) provides an illustration of Murray using two swords--points to base--supporting the escutcheon, a phoenix rising from its flames as the crest, and adds the motto, "Press On."  Altogether something different.

Rendered by Chad Krouse, 2025

I wanted to see if I could add another touch, in hopes of providing identification of the see itself on the crozier for cathedrals.  As such, I've placed the escutcheon of the arms of the appropriate see within the crook as an additional ornament.  Hopefully, the addition does not make the design too fussy. 

Arms of Washington National Cathedral and the Diocese of Washington
Rendered by Chad Krouse, 2025

Here's an up close view of how these two pair together.  The arms of Washington National Cathedral were designed in the late 1940s by Alanson H. Sturgis, whose sister was married to the dean of the cathedral (Washington National Cathedral, 1949).  The Diocese of Washington's coat of arms were designed by la Rose and illustrated in Christian Art (1907, November, 59-71). 

As seen, each designer added their unique touch when designing arms for cathedrals in the Episcopal Church--but the quest for uniformity in the Church's heraldry continues.  

Works Cited

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

La Rose, Pierre de C. (1907 November).  Ecclesiastical heraldry in America II.  Diocesan arms.  In R.A. Cram (Ed.), Christian Art, 2(2), pp. 59-71.

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

Washington National Cathedral (1949).  The Cathedral Age, 24(1).

Wright, J.R. (2005 May 26).  Heraldry of the American Episcopal Church [Lecture summary].  New York Genealogical and Biographical Society. https://silo.tips/download/heraldry-of-the-american-episcopal-church

Recent Finds Special Edition: Arms of St. Anne's Parish

Coat of arms of St. Anne's Episcopal Parish, Annapolis, MD
Rendered by Chad Krouse, 2025

Founded in 1692, St. Anne's Episcopal Church located in Annapolis, Maryland proudly boasts more than 333 years of proclaiming the Gospel in North America and stands tall among the oldest houses of worship in the US.  There's loads of information online regarding St. Anne's history, so let's focus on its heraldry.

I want to especially thank Eric Fredland, the parish historian for St. Anne's Episcopal Church, for his corrections and insights regarding the parish arms.  

One of the more interesting coats of arms that I've discovered online during my search for corporate heraldry shaping the American tradition, are those of St. Anne's Parish.  These arms stand out boldly, much like a peacock.  Certainly not in a bad way, but rather unusual when compared to arms from its brother and sister parishes.  Then again, most of those faith communities have not been around for more than 300 years.  

The designer, a well educated cleric whose published extensively on American colonial Anglicanism, would abstractly combine parish history and its location to create these unique arms for St. Anne's.

St. Anne's banner led by the parish processional cross inside Washington National Cathedral
during an Acolyte Festival
Image Source: Washington National Cathedral Facebook page

The Rev. Canon Arthur Pierce Middleton (1916-2020) sounds like the perfect guest for a dinner party, given his wide range of life experiences.  Take a minute to read Bay Journal's article celebrating Middleton's life.  I wonder if its fair to say Middleton was living history?  One of his ancestors, after all, signed the Declaration of Independence.

Processional cross, St. Anne's Parish
Rendered by Chad Krouse, 2025

According to Hjortsberg (2011), Middleton designed the coat of arms which St. Anne's formally adopted in November 1989.  The arms were created in anticipation of the parish's upcoming 300th anniversary celebration in 1992 (E. Fredland, personal communication, 12 May 2025).  Middleton found inspiration from the church's historical foundation which may explain the quarterings used from the arms of the Sovereign of England in his rendering.  

Furthermore, Hjortsberg (2011) notes that Middleton was well supplied with research assistance by Dr. A. Weems McFadden (1925-2010), a decorated US Naval officer and noted dermatologist.  The final product was a bespoke coat of arms reflecting the identity of St. Anne's, and altogether a highly researched design layered with meaning.  

Processional banner, St. Anne's Parish
Rendered by Chad Krouse, 2025

The parish was founded during the reign of King William III and quarterings #1 and #2 reflect this special history.  Additionally, King William III gave St. Anne's Parish communion silver in 1695 which is still used today (E. Fredland, personal communication, 12 May 2025).  I dare say not a lot of parishes can tout such a royal gift.  Quarterings #3 and #4 are from the Calvert and Crossland arms used to identify Maryland.  

In summary, the quartered escutcheon abstractly identifies the owner as one who was founded during the reign of King William III of England and located in the Baltimore-Maryland region.  The chevron, ermine, and crown likely serve as sufficient differencing marks while reinforcing the parish's royal ties.  Another interesting fact is that Queen Anne provided a bell for the parish's original building (E. Fredland, personal communication, 12 May 2025).  

Shortened blazon for the arms of St. Anne's Parish in Annapolis, Maryland:  Quarterly; 1: France quartering Plantagenet (England); 2: Stuart (Scotland); 3: Calvert; 4: Crossland, overall on a chevron ermine an imperial crown proper.

Other arms found within Maryland illustrating various components of either Calvert or Crossland can be seen below.  

Examples of Episcopal Church arms incorporating elements from Calvert and Crossland
Click to enlarge
Rendered by Chad Krouse, 2025

Top Row:  Episcopal Diocese of Maryland

Middle Row (L-R):  Trinity Cathedral, Easton and St. Augustine Parish, Chesapeake City

Bottom Row (L-R):  Emmanuel Church, Baltimore; St. Anne's Parish, Annapolis; Cathedral of the Incarnation, Baltimore

Pierre de Chaignon La Rose (1872-1941) designed the arms of the Diocese of Maryland and the Cathedral of the Incarnation.  Col. Harry D. Temple (1911-2004) produced arms for Trinity Cathedral in the Diocese of Easton and St. Augustine Parish.

Examples of Roman Catholic arms incorporating elements from Crossland
Rendered by Chad Krouse, 2024

The Archdiocese of Baltimore and Notre Dame University of Maryland are two Roman Catholic arms using elements of Crossland in their arms--both designed by la Rose.

Abstractly illustrating historical foundation, saintly dedication, and geographical location are critical elements when constructing new corporate arms.  To successfully combine these elements in the simplest and clearest manner possible, I am finding, demands practice and research.

The arms of St. Anne's Parish are a treasured example of sound heraldry in the Episcopal Church.    

Works Cited

Hjortsberg, Carol (ed.) (2011).  St. Anne's Annapolis: History and times, Vol. II.  St. Anne's Parish.

In Recognition of 'Good' Heraldry

Past recipients of the AHS Design Award
Rendered by Chad Krouse, 2025
Click to enlarge

Of course good heraldry can be a rather subjective judgement.  I can hear a certain former mother-in-law exclaiming, "there's no accounting for taste!"  My philosophy of corporate heraldry falls into a transcendentalism world view rooted in the power we humans ascribe symbols for not just identification, but for representation.  More on all this later.  As such, I'm cautious to tear apart or degrade a coat of arms--regardless if I believe the design is efficacious or not--because someone somewhere believes to be represented by those arms.  So, I settle on whether or not a given design is clear and perspicuous, nothing more.  

In a sense, the American Heraldry Society believes something similar, accomplished through its Pierre de Chaignon la Rose Design Award.  Here's my write up for the award that I use for the election.

"Established in 2006, the Society's annual award is named in honor of Pierre de Chaignon la Rose (1872-1941), the great American heraldic designer who led a revival in American heraldry during the early twentieth century.  The purpose of the award is to encourage and support excellence in American heraldry by recognizing coat of arms that provide the bearer with a strong public identity embodying the best heraldic design of the highest form, function, and aesthetic.

"Nominees for the award represent corporate bodies from academic, military, civic, religious, or social organizations whose coat of arms exemplifies the best in heraldic design. The arms must have been designed in the United States. The designs are nominated by the Society’s membership; finalists are selected by the Board of Governors."

Fairly straightforward.  To the point, I really like how we recognize those organizations proudly using their arms--most are rather surprised when they hear from us regarding such an award.  I think its important to provide education regarding sound heraldry by recognizing those designs selected by the Society.  Click here to see the AHS webpage for the design award.  

Recently, I was asked to render all the past recipients so that we could add all the arms to our new website and maintain a consistent design--see above!  Both la Rose and Col. Harry D. Temple have designs recognized by the award over the years.  One of my alma maters, The School of Theology at The University of the South received the award in 2024.  Click here to read about the 2024 recipient.  

Arms of the Gov. John R. Rogers High School ROTC
Rendered by Chad Krouse, 2025

The first recipient of the design award was Gov. Rogers HS ROTC, located in Pullyup, WA and whose arms were designed by the US Army's Institute of Heraldry in 1999.

Check out their blazon:  Celeste a pile reversed dancette of three the pale enhanced Argent below and between two demi-rams salient combatant armed and unguled Gold Brown

Arms of the Shrine of Our Lady of Guadalupe
Rendered by Chad Krouse, 2025

The arms of the Shrine of Our Lady of Guadalupe received the award in 2009 , and were designed by Professor Brian Abel Ragen of Southern Illinois University.  The arms are blazoned:  Tierced in chapé Vert and Argent a bunch of roses Gules leaved and slipped Vert.

Arms of the San Francisco Fog Rugby Club
Rendered by Chad Krouse, 2025

Finally, a rather cool design, the arms of the San Francisco Fog Rugby Club received the Society's award in 2007.  I like how the nebuly sort of resembles the famous fog in the Bay area.  Designed by Pete Arden and blazoned:  Barry nebuly of six Argent and Azure, on a bend Sable three mullets of the first.

Recent Finds Part III

Coat of arms, St. Luke's Episcopal Church, Baton Rouge, LA
Rendered by Chad Krouse, 2025

Finding well done US corporate heraldry on the Internet continues to inspire me--it's somewhat coincidental that the majority of arms found are from parishes in the Episcopal Church.  I will change up my keyword searches for some variety down the road.  I've included a few of my favorites from the latest batch which I've rendered, staying as faithful as I can to the images in the absence of blazons.

First up, St. Luke's in Baton Rouge.  For St. Luke's the "bordure" is the Diocese of Louisiana.  Clear, clean, and well done heraldry.  

Coat of arms, Episcopal Church of St. John the Baptist, Thomaston, ME
Rendered by Chad Krouse

The coat of arms of the Episcopal Church of St. John the Baptist in Thomaston, Maine was a fun discovery.  It's a coastal town, hence the fountain and the use of the Amalfi cross for John the Baptist is spot on too.  A lovely and simple design.   

Coat of arms, St. James Episcopal Church, Zanesville, OH
Rendered by Chad Krouse, 2025

The coat of arms of St. James Episcopal Church in Zanesville, Ohio avoided the traditional arrangement of three escallops, opting for one shell charged on a sword.  I think the sword references the city's role in hosting scores of Union troops during the Civil War.

Coat of arms, St. Peter's-by-the-Sea Episcopal Church, Bayshore, NY
Rendered by Chad Krouse, 2025

One more red shield, but oh boy it's a good one.  The coat of arms of St. Peter's by-the-Sea Episcopal Church in Bayshore, NY nailed it by using the traditional crossed keys of St. Peter in an original way.  In fact, I would venture to say that this may be the best heraldic identification for a parish dedicated to Peter that I've seen. 

Coat of arms, St. Paul's Episcopal Church, Walla Walla, WA
Rendered by Chad Krouse, 2025

Here's another splendid variation on a saint's attributed arms--the coat of arms of St. Paul's Episcopal Church in Walla Walla, Washington.  I'm guessing with the Columbia River nearby, the barry wavy readily explains itself as does the sword in pale with point to base (for St. Paul).  Original heraldry!

Coat of arms, Christ Church, Pelham, NY
Rendered by Chad Krouse, 2025

The next two examples are rather interesting.  The arms on the left for Christ Church Pelham, NY can be seen in one of the parish's stained glass windows; however, a processional banner and current wordmarks show the arms on the right.  My guess is that the canton was not popular enough to stand the test of time.  

Coat of arms, Emmanuel Episcopal Church, Southern Pines, NC
Rendered by Chad Krouse, 2025

The exact same issue occurs with the coat of arms of Emmanuel Episcopal Church in Southern Pines, NC.  The arms on the left can be found in one of the stained glass windows of the church, in addition to a processional banner actively used!  I believe the stained glass version includes the Blessed Virgin Mary and Christ child in pale.  Yet, the arms on the right are used in marketing word marks to identify the parish.  I believe the flowers are dogwood flowers--the official flower of the State of North Carolina.  However, without a blazon, its anyones guess.  Still, nice arms.

Both of these latter examples show how two parish coats of arms have seemingly evolved over time--likely those rendered in stained glass were the original arms only to be amended in time.  Why?  Possibly due to a parish leader's belief that "more" is needed in the design in order for the arms to be "more" dignified.  Both arms in stained glass, in my opinion, are perfectly acceptable.  

Finding Patterns in Temple's Heraldry

Four ecclesiastical coats of arms by Col. Harry D. Temple
Rendered by Chad Krouse, 2025
click to enlarge

Searching the Internet for what I deem to be "good" US corporate heraldry has yielded quite a few finds.  For this article, I want to highlight a few themes (or patterns) in the data so far likely identifying the designer.

Col. Harry D. Temple (1911-2004) was a proliferate heraldic designer in the Episcopal Church, active from the mid-to-late twentieth century.  While he was head of the US Army's Institute on Heraldry, he must have been a devout Episcopalian given the sheer volume of arms he produced for cathedrals and parishes.  To date, I've only discovered two coats of arms for Episcopal dioceses designed by Temple--Virginia and Georgia.  The Diocese of Virginia, however, plays an integral part in one theme under examination here.  

Coat of arms of Christ Church in Alexandria, VA
Rendered by Chad Krouse, 2025

The chief of St. George, argent a cross throughout gules, is seen in two known arms by Temple as illustrated above in the top row--Diocese of Virginia and Christ Church Cathedral in Louisville, KY.  Two designs that I found recently play perfectly into this design scheme, St. James Episcopal Church in Leesburg and Christ Church Alexandria, both in Northern Virginia.  In these two later coats of arms, we see Temple adding differencing marks in the chief for variation.  Due to Christ Church's geographic location in Washington, DC, the undifferenced arms of Washington are used in chief--kind of brilliant I think.

Blazon for the arms of Christ Church Alexandria:  Azure, three lymphads Or on a chief Argent two bars and three mullets in chief Gules. 

Coat of arms of St. James Episcopal Church in Leesburg, VA
Rendered by Chad Krouse, 2025

St. James' avoids using the traditional three escallops and places one at fesspoint on the chief.  The checky base comes from the Lee arms to play on the geographic location of the parish    

Blazon for the arms of St. James Episcopal Church in Leesburg, VA:  Checky Or and Azure, on a chief Ermine a cross throughout Gules charged at fesspoint with an escallop Or.  

I feel very confident attributing the designs of Christ Church and St. James to Temple--once a designer has developed her or his framework for illustrating unification and differencing, those designs tend to be repeated and variated throughout their work.  I learned this lesson through my research on Pierre de Chaignon la Rose (1872-1941).

Another example of Temple's framework showing unification through the canton
Rendered by Chad Krouse, 2024

Another example of Temple's framework for showing unification can be shown above in the arms of Augustine Parish (left) and Trinity Cathedral (right) in the Diocese of Easton.  

Temple's framework using the canton for differencing
Rendered by Chad Krouse, 2025

Temple also used the canton for differencing and/or to provide additional historical facts/names/etc. for the corporate arms in question.  Here we see (left) Cathedral of St. James in South Bend, IN, (center) St. Luke's Cathedral in Orlando, FL, and (right) the retired arms of St. Paul's Parish in Richmond, VA.

Likely another example of Temple's framework for unification
Rendered by Chad Krouse, 2025

Finally, I'm currently on the hunt for evidence to support my hypothesis that these two arms were designed by Temple.  First, the canton raised my suspicion followed by the "bordure" of the arms of the diocese where the parish is located--Central Gulf Coast (left) and New Hampshire (right).  The cantons, here, provide additional geographic references--the star for Texas and the chevron between three estoiles refers to the arms of the Earls of Peterborough.

I love finding patterns in data, especially in heraldry.  Yes imitations exist, but more often than not, a designer's framework is easily recognizable once understood.  More to come. 

Recent Finds Part II

Arms of the Episcopal Diocese of Texas and its cathedral
Rendered by Chad Krouse, 2025

As I keep coming across good heraldry found online, I've taken up the challenge to render and post here for the sake of preservation.  First up, the arms of the Episcopal Diocese of Texas--not a new coat to me but its cathedral, Christ Church is a new one.  I like the simplicity of the cathedral's design, especially by carrying the diocese's star over and placed in dexter quarter to show unification.  The designer of the cathedral's arms, unknown to me at present, clearly knew what they were doing.

Arms of Christ Church Cathedral Houston, TX
Rendered by Chad Krouse, 2025

Blazon for the arms of Christ Church Cathedral in Houston, TX:  Argent, on a cross throughout Azure the Greek monogram for Christ (I and X) paleways Or in dexter quarter a mullet Azure.

Arms of Boutetourt Press Williamsburg, Virginia
Rendered by Chad Krouse, 2025

Here's a corporate coat of arms, those of Boutetourt Press located in Williamsburg, Virginia.  While not found on the Internet, these arms grace the dust jacket of my copy, "Hark Upon the Gale," a pictorial history book on the College of William & Mary.  I'm drawn to these arms because they are simply brilliant for a press to bear and use.  

Arms of Zion Episcopal Church, Manchester, VT
Rendered by Chad Krouse, 2025

Creating the fretty for the arms of Zion Episcopal Church in Manchester, Vermont was quite the challenge for me.  But...see how the fretty in base creates the image of a six pointed star, or the Jerusalem star?  Brilliant!

What I believe to be the arms of St. James Episcopal Church, Hendersonville, NC
Rendered by Chad Krouse, 2025

The arms for St. James' in Hendersonville, North Carolina were discovered carved in relief on the parish's sign.  The three golden escallops were easily identifiable and the fretty design was also visible.  As to the tinctures/metals?  The top of the fretty was painted red, so the base has to be a metal.  I tried gold and the shells truly became lost due to the field's powerful color.  So, I used Argent.  Who knows which is correct at present?

Arms of All Saints Episcopal Church, Palo Alto, CA
Rendered by Chad Krouse, 2025

I like how the semy plays on the celestial crown which customarily represents "all the saints."  I think these arms were designed by The Rev. Ekford Dekay.  

Arms of All Saints Episcopal Church Peterborough, NH
Rendered by Chad Krouse, 2025

The coat of arms of All Saints Episcopal Church located in Peterborough, New Hampshire were quite fun to recreate.  The image I found for the arms was rather small and I believe the charges between the canton's chevron are estoiles.  Moreover, there's a lot of symbolism packed into this design.  I fully suspect Col. Harry D. Temple (1911-2004) designed these arms.  The bordure contains the arms of the Diocese of New Hampshire to show the parish's unification and the canton refers to the arms of the Earls of Peterborough--argent, a chevron between as many estoiles sable.

Recent Finds

Rendered by Chad Krouse, 2025

Every now and then I stumble upon a rather attractive coat of arms from an unknown designer living on the Internet or social media, providing its owner with a dignified symbol.  It so happens that the four designs I rendered and posted above are ecclesiastical coats from parishes in the Episcopal Church.  When the subject of heraldry in the Episcopal Church emerges, we find ourselves in the lawless deserts of the wild west.  Truly, and I mean it, anything goes...or rather seems appropriate to adorn an escutcheon.  

The other ironic feature of these four coats of arms is the clear theme of barry wavy.  Additionally, my study of these four proves once again that a decent emblazonment makes all the difference.  The modernization of these designs leave much to the imagination...Nonetheless, I am committed to preserving good corporate heraldry in the US, regardless of the designer.

Coat of Arms, St. Patrick's Episcopal Church Brewer, Maine
Rendered by Chad Krouse, 2025

St. Patrick's Episcopal Church bears a lovely coat of arms with striking originality.  My favorite design of this set.  I only wish there was some form of geographical identification incorporated into the design--absolutely illustrate the dedication of the parish but don't go overboard!  I chose to use an ancient Celtic crozier rather than some shiny new crook.  The symmetry of the snake's head facing dexter with the crook to sinister works nicely I think.

Coat of arms, Holy Trinity Episcopal Church, Branford, CT
Rendered by Chad Krouse, 2025

Coat of arms, Grace Episcopal Church, Massapequa, NY
Rendered by Chad Krouse, 2025

Coat of arms, Trinity Episcopal Church, Galveston, TX
Rendered by Chad Krouse, 2025

I'll keep hunting for more.  These designs give me hope and prove that there is such a thing as good American heraldry.

Two late comers, but worthy nonetheless...

Coat of arms, Church of the Holy Trinity, New York, NY
Rendered by Chad Krouse, 2025 

Coat of arms, Christ Church Alexandria, VA
Rendered by Chad Krouse, 2025

More Designs by Temple

My variation for a seal with the arms of the City of Fredericksburg
Rendered by Chad Krouse, 2024.

In 1971, Temple's (1911-2004) armorial design for the City of Fredericksburg, Virginia was officially adopted by the city.  Packed with meaning and references for Fredericksburg, Temple's design is blazoned:  Argent, on a cross saltire Azure two ostrich feathers in saltire Or on an ineschuteon Gules the crown of Charlemagne Or.  

The arms of Tift College in Forsyth, Georgia.
Rendered by Chad Krouse, 2024.

The design of arms Temple devised for Tift College which was located in Forsyth, Georgia was adopted by the school in 1965 (Stone, 1969, p.173).  Tift College merged in 1986 with Mercer College and thus these arms are no longer extant. 

Earlier this year, I wrote about Tift College's arms as I had finally located an official blazon; click here to read about Temple's design of arms for Tift College.   

The blazon of arms for Tift College is: Argent, a cross Sable with a maltese cross of the first, on a chief Azure three roses Or barbed Vert (Tift, 1967, p.107).

The coat of arms of Augustine Parish
Rendered by Chad Krouse, 2024

The arms of St. Augustine's Parish in Maryland were covered in my previously article on Temple's design; without hard evidence its entirely likely that Temple created these arms.  I've sent correspondence to Augustine Parish inquiring about design information for their coat of arms which I rendered above and added the processional cross which he used in a few designs.

Blazon for the arms of Augustine Parish:  Per pale Argent and Vert, in base two arrows in saltire Argent with points to chief surmounted by a winged spur Or and a canton of Calvert (Paly of six Or and Sable a bend counterchanged).

The arms of St. Peter's Cathedral in Helena, Montana.
Rendered by Chad Krouse, 2024. 

Dekay (1993) provides both the blazon and design rationale for the arms of St. Peter's Cathedral in Helena Montana; however no designer is named.  Based on the illustration in DeKay (1993) this coat is highly suspicious in that Temple most likely designed the cathedral's arms.  The line dancetty abstractly refers to the Rocky Mountains, the gold base comes from the arms of the first bishop of the Diocese of Montana, and the black cross patee honors the first vicar of St. Peter's.  I will send the cathedral a request for design information in the coming days.

Blazon for the arms of St. Peter's Cathedral in Helena, Montana:  Per fess dancetty Azure and Or in chief a civic crown Argent charged with two keys in saltire Gules in a base a cross patee Sable (DeKay, 1993, p.109).

The arms of the Cathedral of St. Luke in Orlando, Florida.
Rendered by Chad Krouse, 2024.

The arms of the Cathedral of St. Luke located in Orlando, Florida is another design likely created by Temple.  I happened upon these arms randomly and the canton immediately raised an eye brow towards Temple.  While I cannot locate a design rationale, the white canton and red cross saltire makes a clear reference to Florida's flag and the fleam is often attributed as a charge for St. Luke the "surgeon."  I rather like this simple design.

Blazon for the arms of the Cathedral of St. Luke in Orlando, Florida:  Pean, on a canton Argent a cross saltire Gules charged with a fleam Or.

The arms of the Cathedral Church of St. James in South Bend, Indiana.
Rendered by Chad Krouse, 2024.

Dekay (1993) credits Temple for designing the arms for the Cathedral Church of St. James in South Bend, Indiana blazoned:  Azure, three bendlets Or on a canton Gules an escallop Argent (p.112).  The escallop is an attributed charge for St. James the Greater while the three gold lines mimic the waters left in the wake of St. James' missionary travels by ship.  I also like this simple design.

One thing remains clear, Temple loved a canton and he utilized them well. 

Works Cited

Dekay, E. (1993).  Heraldry in the Episcopal Church.  Acorn Press.

Stone, E.W. (1969).  Yesterday at Tift.  Foote & Davies.

Tift College (1967).  Chiaroscuro [yearbook].  The Chiaroscuro Collections, Special Collections and University Archives, Mercer University, Macon, GA.  http://hdl.handle.net/10898/10928