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.  

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

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). 

Arms of Christ Church Cathedral, Eau Claire, WI
Designed by the Rev. Henry Martyn Medary
Rendered by Chad Krouse, 2025 

Medary also designed the arms for Christ Church Cathedral in Eau Claire, WI.  The cathedral was then a parish when Medary's design was unveiled in 1921.  Click here to learn more about Medary's design for Christ Church.

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 Series: St. Paul's Church By-The-Lake

Arms of St. Paul's Church By-The-Lake (Episcopal) in Chicago
Rendered by Chad Krouse, 2025

A recent discovery online and worthy of sharing, the coat of arms of St. Paul's Church By-The-Lake in Chicago, Illinois.  In my ongoing challenge to seek and find heraldry in the Episcopal Church to better understand how the American heraldic tradition has been shaped, as well as to prove this ancient art is alive and thriving in the US today, the arms of St. Paul's Church By-The-Lake came as a pleasant surprise.

To read other articles in the Recent Finds Series, click on the label at the end of the post.

One immediate observation was the parish arms completely avoid any use of the attributed arms to Saint Paul.  The seemingly use of the reverse pall cross to show unification with the Episcopal Diocese of Chicago is another feature rarely seen in parish arms.  In this article, I'll cover both the arms of the parish and those of the diocese as well.  

Side by Side Comparison:  Arms of the Diocese of Chicago and St. Paul's Church By-The-Lake
Rendered by Chad Krouse, 2025

The parish arms make effective use of geographical identification using barry wavy in base for what I could only see as a reference for Lake Michigan.  The sword provides the only reference to Saint Paul with stark simplicity.  The parish arms are simple and clear; heraldry at its best.  As of now, I do not know who designed the arms for the parish.  Hopefully, we can learn in time.  

Current logo in use by the parish
Image source: Parish Facebook page

Several renderings of the parish arms have 1) the sword with hilt to chief/point to base, and 2) the field behind the sword is a lighter blue than the barry wavy in base, likely for contrast.  The current logo seen above omits the barry wavy altogether.  

Without a blazon, I used artistic license for simple corrections to match carvings of the arms found in the sanctuary.  To me, the carvings appear correctly rendered.

Arms of the Episcopal Diocese of Chicago (pre-1919)
Rendered by Chad Krouse, 2025

The arms of the Episcopal Diocese of Chicago were designed by Ralph Adams Cram (1863-1942) and adopted by the see in 1904 (Episcopal Diocese of Chicago, 1904, 29-31).  

La Rose's proposed revision
Rendered by Chad Krouse, 2025

Cram's heraldic partner, Pierre de Chaignon la Rose (1872-1941) would later critique the design in Cram's own journal, Christian Art.  La Rose (1907) writes:

"Chicago. Gules, on a pairle reversed azure fimbriated argent, between three crosses-crosslet of the last, as many fleurs-de-lis, the two inferior ones chevronways, or; on an inescutcheon or a phoenix gules.

"This shield - a beautifully balanced design seems to me a trifle too elaborate. Furthermore, because of the position of the inescutcheon, it is under suspicion of being a compound coat. By raising the inescutcheon in chief one may, to be sure, destroy some of the beauty of the composition, but the shield will become unassailable on the score of heraldic logic and grammar, which is not quite the case at present. The seal of the diocese has three objectionable features among the external ornaments of the shield. It places a motto upon the fanons of the mitre, a procedure for which I can find no heraldic precedent (furthermore, no bishop ever went about with a motto hanging down his back, attached to his pontifical head- gear) . It shows a doubly warded key a corrupted form for two keys.  And it displays a sword, to which, as an external ornament, neither diocese nor bishop has the least right. 

"I know that as the cathedral is dedicated to SS . Peter and Paul, it was thought that in this way the seal might honour both of these saints.  But a sword used as an external ornament to episcopal arms has, heraldically, nothing whatever to do with St. Paul, but denotes solely that the bishop possesses the feudal jus gladii, a right which the bishops of Chicago do not possess. The sword should be removed from the seal as an impropriety. Taken in conjunction with the inescutcheon as at present placed, it would seem to indicate that the bishop, in addition to his episcopal state, sets up to be also mayor or high sheriff of Chicago" (66-67).

Note the blazon cited above is la Rose's interpretation and not official.   

Cram did not relent and his design remained.  I wonder just what kind of friendship these two had, after all they did a lot of work together over the years.  Perhaps Cram chalked it up as la Rose simply being himself.  A good friend, I gather, knows the difference.

Arms of the Episcopal Diocese of Chicago
Rendered by Chad Krouse, 2025

The blazon for the arms of diocese, however, were never officially recorded when the see adopted arms in 1904.  Any heraldry enthusiast knows that the blazon is of paramount importance.  Some 15 years later, the question of the diocese's blazon would finally be settled.

"Unfortunately, the 'blazoning' of the seal was not recorded at the time [1904 convention], and in order that there may be no doubt as to its proper coloring, the remaining members of the committee ask to have the correct description, as given by Mr. Cram, entered in the Journal.

"Blazoning of the Seal:--Arms: On a shield, gules voided argent, between three crosses crosslet, argent, a pall reversed, azure, voided argent, bearing three fleurs-de-lis or.  On an inescutcheon, argent, a phoenix rising from the flames, gules" (Episcopal Diocese of Chicago, 1919, 61). 

As far as I can tell, the codified blazon contains two major changes:  1) the addition of a silver outline within the shield, and 2) changing the metal on the inescutcheon from gold to silver.  Frankly, silver works much better with the inescutcheon.  I cannot, however, explain the silver outline or its importance.

Chicago and the backstory of all her heraldry forever maintains a prominent place in the American heraldic tradition.

To learn about the saga surrounding the arms of the University of Chicago, click here.   Don't forget the Catholics!  The story of the Archdiocese of Chicago's arms and its foundations can be found here.

Works Cited

Episcopal Diocese of Chicago (1904).  Journal of the proceedings of the sixty-seventh annual convention of the Church in Chicago.  Diocese of Chicago, 29-31.

Episcopal Diocese of Chicago (1919).  Journal of the proceedings of the eighty-second annual convention of the Church in the Diocese Chicago.  Diocese of Chicago.

La Rose, Pierre de C. (1907).  Ecclesiastical heraldry in America, II. Diocesan arms.  Christian Art, 2(2).

If The Mitre Fits

The arms of The Rt. Rev. Peter Eaton, Bishop of Southeast Florida
Rendered by Chad Krouse, 2025

I'm rolling out a new mitre as an external ornament for arms of dioceses and bishops.  With a distinctive Anglican aroma, I figured it was time to try and customize my own version to use.  Above are the personal coat of arms of The Rt. Rev. Peter Eaton, Bishop of the Episcopal Diocese of Southeast Florida, featuring the new episcopal hardware.  Earlier this past winter, I was blessed to attend mass at Sewanee celebrated by Bishop Eaton who is simply an outstanding liturgist and pastor.  So, the good bishop was on my mind.

The arms of the Episcopal Diocese of Southeast Florida
Rendered by Chad Krouse, 2025

The mitre traditionally used to ensign such ecclesiastical arms is the mitra preciosa, adorned with jewels and other intricate details.  Pierre de Chaignon la Rose (1872-1941) made prolific use of the mitra preciosa, which he modeled on those found in the 1515 roll of peers at the College of Arms in London.  His version can be seen below.

Arms of the Episcopal Diocese of Albany
Rendered by Chad Krouse, 2025

Often incorrectly attributed, the arms of the Episcopal Diocese of Albany were designed by la Rose and adopted by the diocese in 1931 (The Living Church, 29 August 1931, 603).  Even today, the diocese still illustrates its coat of arms capped with la Rose's version of the mitra preciosa.  He designed the arms for the Roman Catholic Diocese of Albany as well--the city was home to the la Rose Family. 

I wanted the new mitre to have a 3D effect whereby the hat is turned slightly towards one side, giving the viewer a fuller glimpse of the front and back.  Additionally, I wanted the infulae, or lappets, to appear as unfolding with their creases in tacked and flanking both sides of the escutcheon.  I opted to add a dark red trim to help provide visual contrast.  I will admit that the colors clash depending on the arms they ensign.  The clashing problem will need to wait for now.

  

The arms of the Episcopal Diocese of West Virginia
Rendered by Chad Krouse, 2025

Since I was recently working on a project and needed to render the arms of the Diocese of West Virginia, I show them here topped with the new mitre.  I am conflicted about West Virginia's arms and truly wish something more unique could be created.  It is my home after all. 

Below are a few select examples.

The arms of the Episcopal Diocese of Connecticut
Rendered by Chad Krouse, 2025

The arms of the Episcopal Diocese of the Central Gulf Coast
Rendered by Chad Krouse, 2025

I think the mitre looks perfect on the arms of the Episcopal Diocese of the Central Gulf Coast.  The diocese's coat of arms were designed by Dr. J. Waring McCrady (b. 1938) and adopted in 1971.

The arms of The Rt. Rev. William K. Crittenden
Rendered by Chad Krouse, 2025

The personal coat of arms of The Rt. Rev. William K. Crittenden (1908-2003), Fifth Bishop of the Episcopal Diocese of Erie, were designed by The Very Rev. Frederic R. Murray (1910-1996) who served as Dean of St. Paul's Cathedral during Crittenden's episcopate in Erie.  Always good to design arms for your boss.

The arms of the Province of Canterbury, Church of England
Rendered by Chad Krouse, 2025

The arms of the Episcopal Church
Rendered by Chad Krouse, 2025

Playing with the trim color to solve my color clash issue, and perhaps this scheme of going darker with gold will work.  Knowing myself, I'll likely continue to tweak and refine things over time.

Works Cited

The Living Church (29 August 1931).  Heraldic arms for the Diocese of Albany.  The Living Church, 85(18), 603.   

The Arms of St. Norbert's Abbey at 100

The coat of arms of St. Norbert's Abbey in De Pere, WI
Rendered by Chad Krouse, 2025

When my research on Pierre de Chaignon la Rose (1872-1941) led me to St. Norbert's Abbey in De Pere, Wisconsin, I began learning about the first religious house established by the Order of Canons Regular of Prémontré in the US.  I am most appreciative of the Norbertines' assistance in finding documents in the archives related to la Rose's work designing the abbey's coat of arms.

By shear coincidence, the Norbertine community in De Pere was preparing for its centennial celebration, marking 100 years since its elevation to an abbey in 1925.  As a result of my inquiry, I was invited to write a brief article on the coat of arms for Abbey Magazine which circulates to approximately 14,000 friends and supporters of the De Pere community.  Scroll to the bottom of the post to read the article.

Given the space constraints for the article, I'm expanding here so as to complete the story of these Norbertine arms.  

The Abbey

The arms of St. Norbert's Abbey and its college
Rendered by Chad Krouse, 2025

The new elevation from priory to abbey would cause new heraldic ensigns to be created, as I don't believe the priory used arms.  For this commission, la Rose created three coats of arms for the new abbot's consideration: 1) the personal and impaled arms of the abbot, the new arms for the abbey, and a proposed coat of arms for the college.  

In March 1925, la Rose wrote to Abbot Bernard H. Pennings, O.Praem. (1862-1955) in response to the abbot's submission of a few designs rendered by members of his community.  La Rose held nothing back.

"I do not find any of the designs which you have been good enough to send me acceptable heraldry, for reasons which I will try to explain... 

"The modern notion, which dates from the rapid decline of the art in the 17th century and later: that a coat-of-arms should be in more or less symbolic terms, a moral portrait of its owner, or in the case of an ecclesiastical coat, should even declare its owner's religious programme, etc, etc, is wholly erroneous.  

"The arms of your own venerable Order are a case in point: they declare in themselves or express absolutely nothing. They are simply the personal arms of Saint Louis, which he himself permitted as a special royal favor to the Order, to bear, differentiating the coat from his own by the addition of two croziers diagonally crossed" (La Rose letter to the Right Reverend Father Abbot Pennings, March 21, 1925). 

The coat of arms of the Order of Canons Regular of Prémontré (modern)
Rendered by Chad Krouse, 2025 

In a sense, la Rose's argument regarding the order's arms is legitimate, as the arms lack any bespoke identification reflecting the Norbertines.  There is another version of these arms whereby the fleurs-de-lis are arranged in semme with the crossed croziers overall.    

The blazon for the arms of the Order of Canons Regular of Prémontré (modern):  Azure, two croziers in saltire with crooks outwards between four fleurs-de-lis all Or. 

The shear used as a charge
Rendered by Chad Krouse, 2025

Since la Rose believed the arms of the order to be insufficient for his design, he turned to St. Norbert himself for inspiration, appropriating the heraldic shear as one means of identification.  More detail about la Rose's rationale for the abbey's arms is covered in the article below.

The coat of arms of St. Norbert's Abbey in De Pere, Wisconsin
Rendered by Chad Krouse, 2025

The blazon for the arms of St. Norbert's Abbey:  Argent, a cross saltire between as many shears all Gules on a chief Azure a crescent of the field between two fleurs-de-lis Or.

Now at the ripe age of 100 years old, the coat of arms of St. Norbert's Abbey illustrate what la Rose called "carrying power" for those arms illustrating sound heraldry.  In other words, good heraldry will pass the test of time.

Unification & Differencing

Unification and differencing in arms for Roman Catholic
religious communities
CLICK TO ENLARGE
Rendered by Chad Krouse, 2025

In response to the proposed designs sent by the abbot which included mottoes below the shield as well as designs for the college arms, la Rose addressed those points by sharing  the rules for illustrating unification and differencing in arms for Roman Catholic religious communities.  The graphic above summarizes la Rose's points in simple terms.

Proposal for St. Norbert's College

The unadopted arms proposed for St. Norbert's College in De Pere, WI
Rendered by Chad Krouse, 2025

La Rose's third proposal for the abbot's consideration were arms for St. Norbert's College, a foundation of the newly elevated abbey.

La Rose continues in his letter to Abbot Pennings:

"Now for St Norbert's College, these arms again should be sufficiently differentiated from those of the Abbey to prevent the least visual confusion- but should also show a close relationship.  One of the most frequent mediaeval practices was to "difference" two similar shields by a change of color. 

"Therefore, while retaining the distinctive design of St.Norbert's heraldry, I have changed the colors into the green and silver now (I gather from the letters you sent me) used by the College. 

The open book inscribed with Euntes Docete ("Go and Teach") for St. Norbert's College
Rendered by Chad Krouse, 2025

"I have retained the blue chief of the Abbey arms, but changed it now with an open book, the symbol most common traditionally to academic arms, thus indicating St. Norbert's College. 

"And as an open book, even in heraldry, normally bears a short legend on its pages, I have inscribed them with the Euntes Docete, which, although it should not be used as a "motto" on a ribbon beneath the shield, may with perfect heraldic propriety appear in its present position- or it may be replaced by any other brief legend that may seem desirable" (La Rose letter to the Right Reverend Father Abbot Pennings, March 21, 1925).

La Rose moved the proposed motto from the Great Commission found in Matthew 28:19-20,  Euntes Docete ("Go and Teach) from an external ribbon and inscribed an open book to use as the chief for St. Norbert's College.  For one reason or another, la Rose's design for the college would not be adopted.

The blazon for the unadopted arms of St. Norbert's College:  Argent, a cross saltire between as many shears all Vert on a chief Azure an open book bound and edged with two clasps Or thereon EUNTES DOCETE.

St. Norbert's College Today

(L-R): The coat of arms of St. Norbert's College and Berne Abbey in The Netherlands
Rendered by Chad Krouse, 2025

St. Norbert's College bears its own coat of arms as seen above, the inspiration for those arms came from the Norbertine's Berne Abbey located in Holland.  Why?  The founders of St. Norbert's in De Pere, Wisconsin originated from Berne Abbey and showing this historical connection must have been viewed as important to the designer of the college's arms (St. Norbert College, 1989).

"Berne Abbey took its coat of arms from Fulco of Berne who gave his castle to a group of religious.  The Norbertines were the first permanent occupants, and Berne Abbey was the last of the Norbertine abbeys founded by St. Norbert himself.  

"Fulco's coat of arms had alternating stripes, three red and three blue, with eight scepters superimposed. The eight scepters indicated that Fulco was related by eight lines to the Emperor of the Holy Roman empire...the Dartmouth colors of green and white for the alternative stripes, and gold for the scepters were adopted" (St. Norbert's College, 1989).

The rationale for the college's arms comes from a pamphlet found in the college archives and linked below.  I created the following two blazons:

The blazon for the arms of St. Norbert's College:  Argent, three bars Vert overall an escarbuncle of eight points each ending with a fleur-de-lis Or.

The blazon for the arms of Berne Abbey:  Azure, three bars Gules overall an escarbuncle of eight points each ending with a fleur-de-lis Or.

Abbey Magazine

Finally, here's my brief article in Abbey Magazine, Spring/Summer 2025.  It might be necessary to pop out the article into a larger window for the document to reload.

Works Cited

La Rose, Pierre de Chaignon (21 March, 1925).  La Rose letter to the Right Reverend Father Abbot Pennings.  Unpublished.

St. Norbert's College (1989).  The coat of arms of St. Norbert's College.  Archives Publications. 6. 

https://digitalcommons.snc.edu/digitalarchive/6/

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.

Spokane's Evolving Arms

Arms of the Episcopal Missionary District of Spokane (Washington)
Rendered by Chad Krouse, 2025

Earlier this winter, I was fortunate to spend a few brief moments in one of my favorite libraries, DuPont Library, at my alma mater Sewanee: The University of the South.  During my days there as a seminarian, I would bounce from stack to stack pulling books whose titles caught my eye.  With my little pile of gems I would sit on the floor and take them all in.  I probably should have spent that time on homework, but looking back now I'm glad for those moments getting, "lost in wonder, love, and praise." 

The theological section contains virtually every diocesan journal and I had a list of arms that I wanted to get confirmation on while there.  Time was not on my side; however, I did manage to nail down a few.

The Episcopal Diocese of Spokane's coat of arms was one item on my list to research.  While I was aware of two designs that existed--the earlier version and a later revision--I could not track down their dates.   

(L-R): Arms of the Episcopal Missionary District of Spokane
Arms of the Episcopal Diocese of Spokane
Rendered by Chad Krouse, 2025

The illustration above shows the two designs that I referenced.  Both coats of arms were designed by Pierre de Chaignon la Rose (1872-1941).  I was able to date the coat of arms on the left as being adopted in 1921 by then Missionary District of Spokane (Missionary District of Spokane, 1921).

In la Rose's initial design, we see the national colors of red, white, and blue used--albeit Argent contains ermine in a rather unusual way.  Likely, the ermine referenced the City of Spokane's role in the fur trade.  The dancetty lines referenced mountainous terrain in the area while the stars in chief are a differenced version of those found in the historic arms of Washington (Dekay, 1993).

Blazon for the 1921 coat of arms for Missionary District of Spokane:  Ermine, a cross throughout Gules on a chief dancetty Azure three mullets Argent.  

Arms of the Episcopal Diocese of Spokane
Rendered by Chad Krouse, 2025

Merely 8 years later, the Missionary District of Spokane adopted a revised version of its coat of arms (Missionary District of Spokane, 1929).  Why?  Dekay (1993) cites that the design of arms from 1921 simply did not garner widespread acceptance causing a new design to become necessary.

In 1929, we see la Rose's revision containing a color combination he rarely used in his designs.  In this design, forests, farming, and the timber industry would dominate as references in the new coat of arms.

Blazon for the 1929 coat of arms for Missionary District of Spokane:  "Vert, three crosses-crosslet Or on a pale Purpure fimbriated Argent between two garbs of the second" (Dekay, 1993, 71).  

Today, the Diocese of Spokane continues to use la Rose's revision of 1929 as its coat of arms.  Let's quickly compare Spokane with its neighbor Olympia.

Arms of the Episcopal Diocese of Olympia
Rendered by Chad Krouse, 2025

During its third convention in 1913, the new Diocese of Olympia adopted a coat of arms designed by la Rose.  Along with his draft, la Rose offered the following rationale.

"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" (Diocese of Olympia, 1913, 20).

La Rose's blazon for the arms of Episcopal Diocese of Olympia:  "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).

The diocese's arms are completely different from Spokane's design.  You'd never guess they were neighbors.

Works Cited

De Kay, E.J. (1993).  Heraldry of the Episcopal Church.  Acorn Press. 

Diocese of Olympia. (1913). Journal of the 3rd annual convention of the Protestant Episcopal Church in the Diocese of Olympia.  Diocese of Olympia, 19-22.

Missionary District of Spokane. (1921).  Journal of the 29th annual convocation of the Church in the Missionary District of Spokane.  Missionary District of Spokane.

Missionary District of Spokane. (1929).  Journal of the 37th annual convocation of the Church in the Missionary District of Spokane.  Missionary District of Spokane.