Of Ships and Mitres: Kipling and the American Herald

 

Rudyard Kipling (1865-1936).
Image source: Wikipedia.

The English novelist and poet Rudyard Kipling (1865-1936) might seem an unlikely source of inspiration for the American herald Pierre de Chaignon la Rose (1872-1941), and I would have believed so until I happened upon Scott-Giles (1970) article revealing a heraldic side of the well-known author.  More importantly, Scott-Giles' (1970) article illustrated a coat of arms containing a bordure with eight charges, and this image immediately brought to mind a design by la Rose created two years following Kipling's article.    

As I considered the possibility of the English writer's influence on la Rose, I began connecting several data points which utterly shocked me.  Both were writers, for beginners.  La Rose taught English for several years at Harvard and published a book on the American-British writer Henry James (1843-1916), a colleague in the same category of Kipling (La Rose, 1921).  While I have no information regarding la Rose's appreciation of Kipling, the probability most certainly exists as well as the likely impact World War I had on both.  

While the "war to end all wars" raged across the European continent, Kipling published an article in The Spectator on November 3, 1917, using the style and language from the 17th Century heraldic writer John Guillim (c.1565-1621).  Appropriately titled, "A Displaie of New Heraldrie," Kipling furthered his reference by playing upon the name of Gillim's masterpiece, "A Display of Heraldry" (Kipling, 1917, November 3).  The timing and subject of Kipling's article would most assuredly pique la Rose's interest, as the herald quoted Gillim's heraldic maxims--simplicitas formae antiquitatis nota, for example--extensively in letters to his clients.        

According to Scott-Giles (1970), Kipling's article suggested heraldic augmentations to the arms of those nations within the British Empire to symbolically commemorate their sacrifices made during the war.

"He [Kipling] devised a number of coats representing the various theatres of war, with the idea that each state within the Empire should add to its arms an escutcheon on which would be marshalled the coats appropriate to the fronts on which its troops had fought, within a bordure azure charged with gold lymphads" (Scott-Giles, 1970, 23).    

Kipling's recommendation for a blue bordure charged with golden ships caught my attention.  Perhaps it is mere coincidence in seeing Scott-Giles' rendering (see below) of the bordure based on Kipling's article when considering la Rose's use of the same for a corporate coat two years later.  Nonetheless, Kipling provides the underlying purpose for his bordure: 

"I would charge upon her proper Armes an Escocheon, or Shield of Pretence bordured blew of the sea and sown (the bordure, I mean) with as manie Lymphads or little Ships as be Nations of our Empire" (Kipling, 1917, November 3).

The old English from Kipling's article is quite arresting given the posh style of the London-based magazine, and the novelist's rationale for the ships within the bordure makes heraldic sense.  

My view is that la Rose did read Kipling (1917 November 3) and was likely intrigued by the novelist's heraldic proposal and chuffed by Kipling's playful imitation of Gillim.  We know la Rose was a voracious reader and anything heraldry-related would have quickly appeared on his radar.  Furthermore, the herald's French lineage may have stirred a sense of pride for France.  As World War I concluded on November 11, 1918, the world would not forget the devastation of human lives as the price for peace.  

La Rose offers a glimpse into the war years at Harvard in his class report, where reportedly the class secretary had to track him down for an update:

"I'm sorry to send you such meager data so late. There's little or nothing to add to my 1915 report, as during the intervening 'War' years those of us who were not in active service couldn't travel and had to stay put. I remember chiefly that my quarters here in Cambridge were a frequent place of rendezvous for French officers and others passing through on their duties, and that my own activities were largely the translation of military French. 

"Your telegram this morning reminds me of the days when Colonel Azan's grey car used to stand outside the door, his orderly waiting to grab ' copy ' from me and rush it off to Boston" (Harvard College Class of 1895, 1920, 419).

Through la Rose's account of his years at Harvard during the war, it is entirely possible the herald knew officers and soldiers who might have been killed or wounded in action.  With all this data in mind, let's compare these two coats.     

Scott-Giles' rendering based on Kipling's descriptions,
appearing in Scott-Giles (1970) page 23.

Scott-Giles (1970) places eight golden ships on the blue bordure for Kipling's desire to show the number of nations within the British Empire engaged during the war.  The blue bordure and eight charges may likely be a key influence when considering la Rose's first design commission for a national organization of the Episcopal Church.

In 1919, la Rose devised a new corporate coat for The National Student Council of the Episcopal Church (National Student Council of the Episcopal Church, 1920 March, 12).  Because the national church lacked arms, much less any unifying national symbol at this point, la Rose created such a symbol using a blue bordure charged with eight white/silver bishop's mitres.  

The arms of the National Student Council of the Episcopal Church,
designed by la Rose in 1919 and appearing in Morehouse (1941), page 27.

The blazon for the arms of the National Student Council: Argent, a cross throughout gules cotised azure, over all an open book bound and edged with two clasps or thereon inscribed PRO CHRISTO PER ECCLESIAM, and on a bordure azure eight bishop's mitres argent.

Additionally, la Rose would employ the same blue bordure containing eight white/silver bishop's mitres in his proposed design for the national Episcopal Church in 1921.  To read more about la Rose's work with the Episcopal Church, please click here.

In the absence of la Rose's rationale for the student council's arms, eight miters probably references the number of provinces--or regional groups of dioceses--of the Episcopal Church at that time.  Numbering the provinces is one method to show national cohesion for a church lacking unifying symbols. Conversely, la Rose's final design for the national Episcopal Church itself adopted in 1940 used nine cross crosslets to show the number of founding dioceses of the Church.  Without hard facts, the rationale for the number eight is an educated guess.  

Based on collected data, by 1919 the herald counted 76 designs for corporate arms within his growing heraldic portfolio, and not one contains a bordure.  The corporate coat outlier for the National Student Council has always confused me since uncovering it in 2020.  Now with Scott-Giles (1970) we may have an explanation.      

Initially I believed the blue bordure was la Rose's way of showing cadency, a method used in Scottish heraldry.  After reading Scott-Giles (1970), I believe the bordure was a subtle nod to Kipling (1917 November 3) while honoring the sacrifices of war.  That this corporate coat would be used to identify college students working on behalf of the Episcopal Church would further this rationale to honor those young lives lost.  

For now, I am at peace with this connection between Kipling and la Rose and the plausible explanation for the herald's use of the bordure in two Episcopal corporate coats.  I readily admit that perhaps all of this is merely coincidental.  However, la Rose was an esthete and saw the world through the lens of abstraction, where symbols hold power in conveying messages of hope, peace, and identity. 

Works Cited

Harvard College Class of 1895. (1920).  Twenty-fifth anniversary report.  Harvard University Press.

Kipling, R. (1917 November 3).  A displaie of new heraldrie.  The Kipling Society.    https://www.kiplingsociety.co.uk/tale/a-displaie-of-new-heraldrie.htm

La Rose, Pierre de C. (1921).  Notes and reviews by Henry James.  Dunster House.  

Morehouse, C.P. (Ed.) (1941 September).  The Layman's Magazine of the Living Church, 20, 27.

National Student Council of the Episcopal Church (1920 March).  1919 annual report of the National Student Council, bulletin 6.  National Student Council of the Episcopal Church.

Scott-Giles, C.W. (1970).  Kipling as an armorist.  The Coat of Arms, 11(81), 23-24.

Revisions & Updates

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

Over the past several days, I've gone back and revised several old articles.  I wanted to overhaul several important posts to fit my style standards, etc.  One such article, "Variations on a theme: Pierre de Chaignon la Rose and the cross in national colors," desperately needed to be updated.  Furthermore, I was able to add two more corporate coats within this same theme.  Please click here to read a thematic analysis of 13 corporate coats designed by la Rose in the cross in national colors.  

For a non-la Rosian article, I've revised the "Heraldry of the University of the South," and included new emblazonments rendered by Lucas A. Hofmann.  Please click here to learn more about the heraldry of The University of the South.

I'm currently working on another unidentifiable scholastic coat and fielding numerous emails from archives all over the place--an exciting time as I prepare to close a chapter on data collection.  I can hear my dissertation chair in my head saying, "after 10 years, you have enough data (250 or so corporate arms) so start your analysis and write!"  Yes, I hear this message loud and clear.  To be honest, it is exhausting at this point to keep searching for new discoveries, as the gap seems to widen more and more in locating sources for attribution and dating.  

Furthermore, I have since accepted that I could either spend the rest of my life hunting down lost arms designed by la Rose, or simply push forward with the data in hand.  I've longed believed that no single researcher holds an absolute knowledge on any given subject.  The goal of research, in the end, is to publish and plant a flag in the ground pointing the way for others to follow.  It is my hope that others will continue the quest I started back in 2014.  Onwards!  

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

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

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

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

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

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

Application of the Krouse Method

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

Institutional Background

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

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

Geographical Artifacts  

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

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

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

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

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

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

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

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

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

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

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

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

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

Analysis

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

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

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

____________________

Epilogue

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

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

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

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

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

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

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

Works Cited

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

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

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

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

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

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

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

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

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

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

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

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

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

(1) Lenox School 

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

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

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

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

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

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

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

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

Arms of Lennox,
Image source: Wikipedia.

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

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

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

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

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

(2) St. Paul's School

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

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

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

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

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

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

(3) St. George's School

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rendered by
Chad Krouse, 2024.

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

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

Works Cited

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

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

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

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

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

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

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

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

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

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

The Glory and Unification of the Phoenix: A Case Study of Arms in Chicago

The seal and arms of the University of Saint Mary of the Lake in Mundelein, IL, designed by Pierre de Chaignon la Rose in 1930.  Rendered by Chad Krouse, 2024. 

For nearly 10 years, Chicago presented a major hurdle in my ongoing research focusing on the heraldic work of Pierre de Chaignon la Rose (1872-1941). Why? Due to gaps and limitations in the holdings of several important archives, I could not prove my long standing view that la Rose designed the arms for the Archdiocese of Chicago and the University of Saint Mary of the Lake--I had the supporting evidence of la Rose's work for Mundelein College. The rendering of the phoenix simply haunted me. While feelings can serve as a guiding impulse towards any given notion, having supporting evidence is, by far, superior.

I want to acknowledge and give special thanks to the archivists at the Women and Leadership Archives of Loyola University Chicago.  Through their preservation and kind assistance, we finally have data unlocking the mystery surrounding the "phoenix rising from the flames" in three corporate coats designed by la Rose for Roman Catholic institutions in Chicago.

Two Tasks In One Design

Through la Rose's heraldic designs for these three Roman Catholic institutions, we find clear evidence of his methodology for unification and differencing of arms.  In other words, the "phoenix rising from the flames," was the charge showing unification, while smaller charges placed on the either the breast or wings of the phoenix presented an artistic opportunity to show differencing at the same time.  This distinctly "la Rosian" method--placing charge upon charge--is but one version of how la Rose would accomplish these two critical tasks.  

Seal and arms of the University of St. Mary of the Lake.
Rendered by Chad Krouse, 2024.

Given the shear volume of designs he created, la Rose needed multiple methods for these two tasks in order to maintain consistency and thus allowing each new coat to be unique.  No respected herald would propose undifferenced arms from an established coat for new corporate arms, and la Rose worked diligently to cultivate his highly respected position as a herald in the US at a time when the field was void of such heralds.  To learn about la Rose's first method for both unification and differencing, please click here to read a case study on the arms of the Diocese of Quincy.

As I complete analyses on certain heraldic findings, especially in cases when the institution in question does not know or have any identifying information regarding their coat of arms, I make time to send all information I have in an effort to educate and complete their records.  This important educational step underscores my intention to help share the brilliance of la Rose's work--what good is served by hoarding vital historical information regarding these corporate arms?  Already with several such cases, I have thoroughly enjoyed helping institutions piece together these historical findings, and the responses have been both overwhelmingly positive and appreciated.  A major victory for la Rose!  

La Rose's First Academic Commission 

A close up view of la Rose's University of Chicago
design #1 carved above the entrance portico of
Harper Memorial Library. Image is from
the University of Chicago website.

The story of la Rose's work in Chicago begins in 1910 with his sketches for new arms for the University of Chicago.  To read more about la Rose's work with the University of Chicago, please click here to see how the "phoenix rising from the flames" would take flight.   La Rose's first draft of the arms for the university would be used for heraldic carvings on Harper Memorial Library, and later adopted by the board but revised following a "restudy" (La Rose, 1910).  For the University of Chicago, the final version of arms after the "restudy" was rendered by Sir Henry Farnham Burke (1859-1930), then Somerset Herald of Arms in Ordinary with the College of Arms in London (Office of Counsel and Business Manager, 1912).

The main objection to la Rose's design used for carvings on Harper Memorial Library was raised by the College of Arms in London.  As a reference, la Rose blazoned University of Chicago design #1, "argent on a phoenix gules an open book of the first, edged and bound or" (La Rose, 1910, 2).  

The heralds in London believed the placement of the open book upon the breast of the mythical bird was illogical, that while the phoenix itself is saved from the fires below, any object such as a book on its chest would likely be consumed (University of Chicago, 1912).  At present, I am unable to locate any response from la Rose concerning the heralds' astute observation.  

We learn la Rose's opinion, however, regarding this question of logic in the next instance la Rose used the "phoenix rising from the flames."  

The Phoenix Rises in Atlanta

Coat of arms, the Episcopal Diocese of Atlanta.
Rendered by Chad Krouse, 2024.

In 1920, la Rose designed arms for the Episcopal Diocese of Atlanta and charged the breast of the bird with a cross bottony to reference the dedication of the see's cathedral to Saint Philip (Diocese of Atlanta, 1921).  If la Rose agreed with the heralds in London concerning the possible consumption by fire for charges placed upon the bird, then he would not have placed the cross bottony for Saint Philip in Atlanta's arms. 

Banner of arms, the Episcopal Diocese of Atlanta.
Rendered by Chad Krouse, 2024.

The blazon for the arms of the Episcopal Diocese of Atlanta: Argent, on a pheonix rising from the flames gules a cross bottony of the first, on a canton azure a ciborium of the first (Diocese of Atlanta, 1921).  Thus, we know how la Rose likely felt about this matter.        

For Chicago, however, the phoenix would rest peacefully until 1930.  

Chicago Revisited 

His Eminence George Cardinal Mundelein (1872-1939) would be the first Archbishop of Chicago to be elevated to the College of Cardinals in 1924, and in my review of data, it certainly appears that Cardinal Mundelein's ministry was quite fruitful in the archdiocese, as His Eminence founded several institutions of higher learning as an example (Kahover, 2014).

Originally chartered in 1844 under the leadership of the first Bishop of Chicago, William Quarter (1806-1848), the University of Saint Mary of the Lake would serve as the seminary for the archdiocese, but ultimately shuttered her doors to priestly formation by 1866 (Kahover, 2014).  By the time Cardinal Mundelein took over the reigns of the Archdiocese of Chicago, there was a pressing need for more priests, and Cardinal Mundelein reopened the university in 1920 (Kahover, 2014, 9).

Coat of arms, the University of St. Mary of the Lake.
Rendered by Chad Krouse, 2024.

Tracking down the origins of the university's arms, however, led to many dead ends.  The answer to unlocking the 10-year mystery surrounding the designer of the arms for both the university and the Archdiocese of Chicago was found buried in the Women and Leadership Archives of Loyola University Chicago.

In a letter dated July 19, 1930 from la Rose to the Reverend Sister President of Mundelein College, la Rose explains the design rational for the college's new arms, and references Cardinal Mundelein in the letter:

"Then to show that the College is in Chicago, I have used the phoenix rising from his flames.  I refer you to the classical legend.  This symbol not only typified the history of the city, but is itself the ecclesiastical symbol of the resurrection.  

"I have but a month or so ago submitted to His Eminence a design of arms for the Archdiocese of Chicago embodying this symbol.  He now has it under consideration, but as he has already authorized its use, to indicate the Archdiocese, on the arms I am designing for the seminary (St. Mary of the Lake) I should wish, for the sake of uniformity in arms of the archdiocesan foundations, to use it also on your shield--subject to His Eminence's approval" (Letter from la Rose to the Reverend Sister President of Mundelein College). 

Finally, we have answers regarding all three of these attractive arms bearing the phoenix rising from the flames.  It is important to note, however, that the Archives of the Archdiocese of Chicago does not have any information in their collections regarding la Rose or the designs for the archdiocese's arms.  Yet, based on this data, it is evident and clear that la Rose should be attributed as the designer.  

La Rose added "(St. Mary of the Lake)" as the reference in the letter for the seminary.  While others may (and certainly have) disagreed with me regarding la Rose's attribution as the designer for the arms of the University of Saint Mary of the Lake and the Archdiocese of Chicago, no other herald was employing the phoenix in the early 20th century, much less rendering the mythical bird in the simplest form possible.  Additionally, la Rose enjoyed a prominent national reputation within the US Roman Catholic Church by this time, and likely most bishops were well aware of his work designing diocesan arms.       

Taken together, these three coats of arms illustrate la Rose's clever methods for showing unification and differencing at the same time.  If we follow the order mentioned in la Rose's letter, then, the arms were designed chronologically with the University of Saint Mary of the Lake as the first, the Archdiocese of Chicago next, and finally Mundelein College rounding out the trio of arms.

The Seminary Reborn

The University of Saint Mary of the Lake is located on the shore besides Saint Mary's Lake in Mundelein, Illinois and the barry wavy in base makes this reference clear for identification.  The torteau, or red roundel, is a play upon the Cardinal's red zuchetto worn by the second founder, Cardinal Mundelein.  The demi-phoenix upon the chief carries the two fleurs-de-lis that would eventually appear in the arms of the archdiocese--a reference to the early French settlers in the Chicago area.  In this instance, la Rose uses the chief to show the university's unification, or that the institution is an archdiocesan foundation.

Banner of arms of the University of St. Mary of the Lake.
Rendering by Chad Krouse, 2024.

The blazon for the arms of The University of Saint Mary of the Lake: Azure, issuing from a lake barry wavy in base, three Madonna lilies conjoined argent charged with a torteau, on a chief of the second, a demi phoenix displayed gules between two fleurs-de-lis on the wings of the second.  

The Arms of the Corporate Sole

For the Archdiocese of Chicago's arms, la Rose employed his method of referencing the patronal saint or the dedication of the see's cathedral, by way of a charge or tincture (color).  The see's cathedral is where the cathedra or chair of the prelate in question resides--the seat of authority for the episcopacy.  Presently, I have in my data 27 coats of arms for both Episcopal and Roman Catholic dioceses/archdioceses where la Rose employs this design technique.  The Cathedral of the Holy Name in Chicago houses the cathedra of the Archdiocese, and thus the monogram of the Holy Name is placed upon the breast of the phoenix.    

Coat of arms, the Archdiocese of Chicago.
Rendered by Chad Krouse, 2024.

The blazon for the arms of the Archdiocese of Chicago:  Or, on the breast of a phoenix rising from the flames gules the monogram of the Holy Name between two fleurs-de-lis on the wings all of the field. 

It must be disclosed that without la Rose's letter from July 19, 1930 to the President of Mundelein College, it may likely be impossible to prove la Rose's hand in designing the arms for the Archdiocese of Chicago.  Likewise, there is no existing data that can be found to disprove la Rose's design for the archdiocese.  

Banner of arms, the Archdiocese of Chicago.
Rendered by Chad Krouse, 2024.

There is one additional data point to consider, however.  In La Rose (1920), we get a glimpse into la Rose's plan for devising arms for all the archdioceses in the US.  Having just illustrated and explained the newly devised arms for the Archdiocese of Saint Paul in the article, la Rose adds:

"Of the fourteen archdioceses in the United States, we now have eight, a majority, equipped with diocesan heraldry, following the ancient precedent reestablished among us ten years ago by their Eminences Cardinal Gibbons and Cardinal O'Connell.  It is to be hoped that eventually the remaining six will follow suit" (La Rose, 1920, 41).

La Rose had a plan from the beginning to convert all the archdioceses over to sound heraldry for their arms.  While la Rose rendered the arms for the archdiocese in 1930, these arms would not be officially used until the late 1930s when Archbishop Samuel Stritch (1887-1958) succeeded Mundelein.  

My view is that Cardinal Stritch likely used la Rose's design for Chicago because Stritch previously led the Diocese of Toledo and the Archdiocese of Milwaukee prior to his translation to Chicago--both sees bore coats of arms designed by la Rose.  As a reference, the Diocese of Toledo's arms were designed in 1912 and the Archdiocese of Milwaukee's arms in 1933.  

Mundelein College and the University of Chicago 

Coat of arms, Mundelein College.
Rendered by Chad Krouse, 2024.

Mundelein College, established by the Sisters of Charity of the Blessed Virgin Mary, officially opened as a Catholic women's college on November 1, 1929--a mere two days following the disastrous crash of the US stock market (DeCock, 2001).  By 1991, Mundelein College would merge with Loyola University Chicago (Harrington & Moylan, 2001).

Banner of arms, Mundelein College.
Rendered by Chad Krouse, 2024.

Interestingly enough, Ralph Adams Cram (1863-1942) was hired to design the college in 1917, but work stopped as a result of World War I (Tarvardian, 1990, 56).  It is probable, therefore, that la Rose's involvement by 1930 was the result of Cram.  

The flag arranged based on the arms of Mundelein College, designed by Pierre de Chaignon la Rose in 1930.  Image is courtesy of the Women and Leadership Archives of Loyola University Chicago, September 2023.

For la Rose's third coat relating to the archdiocese, he recycled the first design he used for the University of Chicago in 1910.  This time, however, la Rose inscribed the open book for the proposal and further differenced the arms with the two roundels on the wings of the phoenix.

La Rose provides details regarding the book and charges placed on the wings of the phoenix to the Reverend Sister:

"On the 'Mundelein' book, I have provisionally placed Our Lord's own definition of himself, which also sums up the aims of all Catholic education.  But on this point you will naturally have your own choice to make... 

"These two symbols--the star and your badge--are very disparate in design, and it becomes necessary to make a tolerable heraldic composition, to bring them into some sort of uniformity at least of general outline.  I have therefore placed the silver star on a blue silver edged 'roundel' (silver and blue being Our Lady's heraldic colors) and done the same with your B.V.M., cross, and Passion nails... 

"The shield as it now stands reveals its ownership declaring it as clearly as the conventions of heraldry and the data at our disposal permit" (Letter from la Rose to the Reverend Sister President of Mundelein College, 1930 July 19).   

The inscription of Mundelein College's open book, via veritas vita, comes from the Vulgate version of the Gospel of John 14:6, "I am the way, the truth, and the life."  Indeed, a fitting motto for any Roman Catholic educational institution.

The arms of Mundelein College which was located in Chicago, IL and designed by Pierre de Chaignon la Rose in 1930. Image is courtesy of the Women and Leadership Archives of Loyola University Chicago, September 2023.

The arms for Mundelein College is blazoned:  Argent, on a phoenix rising from the flames gules, an open book edged or thereon inscribed VIA VERITAS VITA, on dexter wing a roundel azure edged of the field charged with a star of the first and on sinister wing a roundel of the fourth edged of the field charged with the symbol of the Sisters of Charity of the Blessed Virgin Mary of the first.  

The banner of arms of Mundelein College, designed by Pierre de Chaignon la Rose in 1930.  Image is courtesy of the Women and Leadership Archives of Loyola University Chicago, September 2023.

The year 1930 would prove quite a busy year for la Rose, a year of redemption for him in the Windy City.  If the "phoenix rising from the flames" serves as the Christian symbol for resurrection, it might also be an apt symbol for la Rose himself in relation to his work in Chicago.  That two of the three coats of arms discussed here are still in use 93-years later, attests to both the carrying power of the arms and the brilliance of the designer behind them.   

In recent years, both the University of Saint Mary of the Lake and the Archdiocese of Chicago decidedly removed the two fleurs-de-lis that were incorporated on the wings of the phoenix in both coats of arms.  Why?  I cannot find a logical explanation for the removal, and logic combined with the phoenix can get any herald into trouble. 

Works Cited  

DeCock, M. (2001).  Creating a college: The foundation of Mundelein, 1929-1931.  In A.M. Harrington & P. Moylan (Eds.), Mundelein voices: The women's college experience 1930-1991 (pp 3-29). Loyola Press.

Diocese of Atlanta (1921).  Journal of the 14th annual meeting of the council.  The Episcopal Diocese of Atlanta, 4.

Harrington, A.M. & Moylan, P. (Eds.). Mundelein voices: The women's college experience 1930-1991. Loyola Press.

Kahover, G. (2014).  Mundelein Seminary.  Arcadia Publishing.

La Rose, Pierre de C. (1930 July 19).  Letter from Pierre de Chaignon la Rose to the Reverend Sister President of Mundelein College.  Unpublished letter. 

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

La Rose, Pierre de. C. (1910 July 29).  Arms for the University of Chicago.  Unpublished document.  

Office of Counsel and Business Manager (1912 February 8).  Letter from the Office of Counsel and Business Manager of the University of Chicago to Horace S. Fiske.  Unpublished letter.

Tarvardian, P.M.A. (1990).  An uncompromising commitment to mission:  Mundelein College and the advancement of women's higher education 1930-1950 (2732) [Doctoral dissertation, Loyola University of Chicago].  Loyola eCommons.    

University of Chicago (1912).  The phoenix and book.  The University of Chicago Magazine, vol 4(7), 243-248.