The Heraldic Genius of Orville Watson and the Heraldry of Kenyon College

The arms of Kenyon College and Bexley Hall Seminary.
Rendered by Chad Krouse, 2024.

I've long been fascinated with the arms of Kenyon College, a historic Episcopal Church-related institution located in Gambier, Ohio.  Initially, I was drawn to these arms during my earlier research on Pierre de Chaignon la Rose (1872-1941), suspecting that he may have designed these attractive arms.  For some background information on la Rose, please click here.  I was wrong.  The search for the designer of Kenyon's arms, however, led me down a rather deep and interesting rabbit hole, ultimately to discover the heraldic genius of The Rev. Canon Orville E. Watson (1857-1951).  

 The Rev. Canon Orville Ernest Watson (1857-1951)
at his desk in Kenyon College, Gambier, Ohio. 
Photograph from Lockert (1955). 

I am especially indebted to Mr. Alex J. Gilkey, a 2021 graduate of Kenyon College, for his assistance in correcting several data points and pointing me towards a new reference regarding Bexley Hall's arms.  

While it is true that American heraldry has a twisted reputation within the wider world of heraldry--we have no central granting authority, anyone can essentially do whatever they want with their personal arms, etc.  There stands one unique aspect of American scholastic heraldry that is truly a gift to the world of heraldry, something that we students of American heraldry should be rather proud to claim.  What, then, is that special gift?  The gift to the world of heraldry is what I call (in this instance) the "unifying chief."  As sometimes might be the case, this design method for showing unification in scholastic heraldry would be created out of simple necessity.     

The arms of Kenyon College as used by the college today.  This modern emblazonment eliminated the engrailed chevron and diluted both the crozier in chief as well as the crosses flory.  Image is from Kenyon College's website.

Corporate Unification

Based on my data, I can safely assert that through the arms of both Kenyon College and its subordinate theological seminary Bexley Hall, we have the first instance in US scholastic heraldry of showing clear ownership and surrogacy through a "unifying chief."  This distinctly American methodology for showing corporate allegiance to another institution by means of a unique charge, or in some cases, a unique chief, is simply the heraldic genius of Canon Watson employed in 1907-1908.  For further context on our English academic ancestors, I recommend Brooke-Little (1951) and Scott-Giles (1952) for background on the heraldic developments at Oxford and Cambridge.  I also commend Lumbley's (2021) article which updates Booke-Little's (1951).  Click on the embedded hyperlinks to read these three articles.

The arms of Calhoun College at Yale (now retired by the university)
designed by la Rose in 1931.
Rendered by Chad Krouse, 2024

La Rose would, of course, create the "Chief of Yale" in the arms of Calhoun College in 1931 (Lohmann, 1948).  Theodore Sizer (1892-1967), named Yale's first Pursiviant of Arms in 1963, would later follow suit with his devisal of arms for Yale College (Sizer, 1963, notes).  The arms of Calhoun College show the first instance of la Rose employing unification with a chief in a scholastic coat.  

However, if showing unification was a design method created by la Rose (as I originally believed), then why not use the "Chief of Yale" for the arms he devised for Pierson College (Sizer, 1963)?  La Rose did not employ the chief for Pierson because la Rose created attributed arms for Abraham Pierson (1646-1707) and followed the English custom--the arms simply did not require differencing.  

The arms of Harvard Law School in use between 1936-2016.  La Rose used the undifferenced arms that Isaac Royall, Jr. purportedly used as the basis for his design, thus needing the "Chief of Harvard" as a way to difference the design.  The 1936-2016 arms of Harvard Law School are blazoned:  Azure three garbs or two and one, a chief of Harvard University.  Rendered by Chad Krouse, 2024.

La Rose would continue to employ an institutional chief design in his best known work with Harvard's schools.  Perhaps the most well know application of this distinctive method of showing unification comes by way of la Rose's work for the schools of Harvard in preparation for the Tercentenary celebrations in 1936.  I recommend Janet Halley's (2022) excellent article on the rise and fall of Isaac Royall, Jr.'s (1719-1781) arms that were incorporated by la Rose into the arms of Harvard Law School.  Moreover, la Rose created the "Chief of Harvard," as I call it, based on necessity and a clear mandate from Harvard's Office of The Governing Boards of Harvard University to restrict the use of Harvard's shield as a decoration, because the shield was in fact the legal corporate mark of the university (Halley, 2022).   

The arms of Stanford University designed by Dr. Hutchinson.
Rendered by Chad Krouse, 2024.

Stanford Chemistry Professor, Dr. Eric Hutchinson (1920-2005) would create the "red frond" for Stanford University's heraldry in 1967 to serve as the unifying charge for all of the arms of the schools (Doty, 1996).  Click here to view Doty's (1996) article on the heraldry of Stanford.  

The arms of The University of the South designed by Dr. McCrady.
Rendered by Chad Krouse, 2024.

Finally, Sewanee French Professor, Dr. James Waring McCrady (b. 1938) would create the "Sewanee Tressure" in 1981 as a unifying symbol for the arms of The University of the South and its schools (McCrady, 2009; McCrady, 1983).  Click here to view my post on Sewanee's heraldry.  Knowingly, or unknowingly, all these great designers would follow in the footsteps of Canon Watson.  

Allow me to defend my thesis.  

A quick review of data for US schools, colleges, and universities bearing arms and ordered chronologically based on the institutional adoption (or creation) date for their arms, we find:*

1. Harvard University adopted in 1643
2. College of William & Mary granted in 1694
3. Yale University adopted in 1740
4. Brown University adopted in 1833
5. Princeton University adopted in 1896
6. Washington University in St. Louis adopted in 1897
7. Washington & Lee University adopted in 1901
8. Groton School adopted in 1904
9. Bryn Mawr College adopted in 1904
10. Kenyon College and Bexley Hall Seminary designed in 1907-1908, adopted in 1937

*As always, if there is an error in my data, kindly let me know and I will promptly update this post.

Let's return to Gambier, Ohio where the story picks up.

Cover of The Reveille (1909), the yearbook illustrating the new coat of arms of Kenyon College.  Note the ornate crozier in chief.  Source:  Kenyon College Archives.

Kenyon College

Founded in 1824 and located in Gambier, Ohio, Kenyon College was the dream of The Rt. Rev. Philander Chase (1775-1852), the first Episcopal bishop of the Diocese of Ohio.  The college had an attached seminary, Bexley Hall, which was the name of the actual building in addition to the seminary itself.  Like many young Episcopal institutions in the US at that time, Bishop Chase sailed to England in search of funding his academical dream only to befriend the Lords Kenyon and Gambier (Smythe, 1924).

Orville Watson, an Episcopal priest and later a canon of Trinity Episcopal Cathedral in Cleveland, Ohio, graduated Phi Betta Kappa from Ohio Wesleyan University in 1882.  Following his time at Ohio Wesleyan, Watson went on to attend seminary at Bexley Hall and graduated in 1892 (Revielle, 1909).  Interestingly enough, Watson spent his first year of theological studies at The General Theological Seminary in New York City before transferring to Bexley Hall (Spielmann, 1974).  

By 1904, Watson received an appointment at Bexley Hall to become the professor of New Testament, teaching there until he was 90 years old (Spielmann, 1974).  He was a beloved teacher and embraced by the college community, so much so that in 1955, a new residence hall would be named Canon Orville E. Watson Memorial Hall (Greenslade, 1975, 134).  The University of Michigan and Kenyon College house his archives of letters and postcards.  Watson was somewhat of amateur doodler, and Michigan's archives has several examples of his drawings and sketches.   

The coat of arms of Kenyon College.
Rendered by Chad Krouse, 2024.

According to Kenyon College Archives, Watson designed the arms for both the college and seminary in approximately 1908 (A. Hafeez, personal communication, August 14, 2023).  The first published instance of the Kenyon College arms appeared in the 1909 yearbook which was in fact published in 1908 (L. Shahan, personal communication, September 22, 2014).  Given the time lag between design work and engraving, etc., it is possible that Watson designed both arms as early as 1907.  While the arms were in general use on campus, Kenyon's board of trustees did not officially adopt the arms until 1937 (Greenslade, 1975, 55).    

Watson created the unifying chief a full 23 years before la Rose would employ the same technique for the arms of Calhoun College at Yale.  However, it must be noted that both Watson and la Rose used the undifferenced arms of both Lord Kenyon and Calhoun as the basis of their designs.  No respected herald would move forward with these two designs without suitably differencing them in order to avoid infringement.  

Finally, we know the underlying reason why the unifying chief was created, it was created out of necessity for differcing arms when an otherwise undifferenced coat forms the basis of the design.  To be fair to la Rose, he may have arrived at the same conclusion as Watson all on his own. 

The arms of the Lord Kenyon blazoned: Sable, between a chevron engrailed Or as many crosses flory argent.  Watson used the undifferenced arms of Kenyon as the basis of his design for the college.  Image source Wikipedia.     

There is, however, one important data point to consider.  In 1917, The American College Catalog would publish a full-color rendering of the arms of Kenyon College, its blazon, and the design rationale:

"The Arms of Kenyon College.  Sable, a chevron engrailed or, between three crosses flory argent, on a chief purpure a pastoral crook of the second, thereon an open book proper bearing the motto 'Magnanimiter crucem sustine."

The arms of Kenyon College are derived from the arms of Lord Kenyon from whom the college takes its name.  The field with its chevron and crosses and the motto in chief come from the Lord Kenyon's arms.  The chief contains local symbols, suggesting the origin and aim of the college.  The bishop's staff commemorates the founder, Bishop Chase.  The book is a conventional collegiate charge and the motto across its open pages approximately expresses the spirit and purpose with which the college was founded" (Ward, 1917, 242).   

Through this national publication, I believe, it is likely that la Rose would have been alerted to these arms and possibly see how Watson differenced an established coat of arms through a chief.  Again, I cannot speak for the dead, and I know only what the data suggests.  Yet, we know la Rose was deeply interested in these matters.  

Another version of the arms of Kenyon College in vector format.
Rendered by Chad Krouse, 2024.

In a letter dated July 23, 1930 from la Rose to the President of the University of Notre Dame in South Bend, Indiana, la Rose writes, "only a week ago I was looking over the catalogues of eight Jesuit Colleges.  Each had on its cover what purported to be the arms of St. Ignatius Loyola: all eight were different" (La Rose, 1930).  La Rose would later design the arms for the University of Notre Dame in 1930.  

The arms appearing for the first time on Kenyon College's academic catalogue for the 1916-1917 academic year.  It appears that by 1917, the arms were in popular use.  The lag time of nearly eight years feels appropriate within higher education, where nothing moves quickly.  Source:  Kenyon College Archives.

It is clear that Watson followed the English custom of incorporating elements from either a founder or namesake into new corporate arms.  Everything below the chief in Kenyon College's arms is taken directly from Lord Kenyon's arms, and only differenced by means of the unifying chief.  Furthermore, Watson adhered to one of John Guillim's (c.1565-1621) maxims for heraldry, simplicitas formae antiquitatis nota.  In other words, keep the designs for arms simple and clear.

One final point on Kenyon's arms.  Bishop Chase did, apparently, use the "Chase" arms which prominently features the cross flory, or at least his granddaughter thought the arms made the title page look more attractive, see below.

     Title page from Smith (1903) illustrating the "Chase" arms.    

With a sufficient description for the design rationale of Kenyon's arms, let's turn to those of Bexley Hall.  This coat is where we encounter Watson's unifying chief.  For these arms, Watson pulled together elements from the Lord Bexley's arms to create something meaningful for the young institution.  

Bexley Hall Seminary

The coat of arms of Bexley Hall Seminary designed by Canon Watson.
Rendered by Chad Krouse, 2024.

Both the seminary building and the school itself was named for the Lord Bexley by The Rt. Rev. Charles P. McIlvane (1799-1873), the second Episcopal Bishop of Ohio, because, "Lord Bexley has been an hospitable and munificent benefactor, first for Chase and especially for McIlvane" (Spielmann, 1974, 21).  

The first published illustration of the arms of Bexley Hall Seminary, appearing in The Reveille (1925), page 13.  This emblazonment is very likely Watson's original design for the seminary's arms.  Source:  Kenyon College Archives.

Because Bexley Hall's arms are extremely difficult to find, save the odd tippet seal of the arms sewn onto black preaching scarves of the Episcopal clergy who graduated from there, I believe these arms were not widely known when compared to those of the college.  For it is only in the arms of Bexley Hall that we see the heraldic genius of Watson.  Case in point:  while Bexley Hall's arms appear on the cover of Spielmann's (1974) history of the seminary, there is no mention of the seminary's arms within.  Moreover, it is clear that the arms of Bexley Hall Seminary evolved over time.

Based on the 1925 emblazonment above, the blazon for Watson's initial design: Ermine, an eagle displayed argent, on a chief gules a crozier Or in fess behind an open book proper with two clasps inscribed "Magnanimiter crucem sustine."  

As a reference, the Lord Bexley's arms are blazoned: Ermine, an eagle displayed sable, on a chief gules a ducal coronet or between two crosses patée argent.  Note that in the blazon "ermine," which is emblazoned as a white field with black ermine spots.

Armorial flag or banner of arms of Bexley Hall Seminary designed by Watson.
Rendered by Chad Krouse, 2024.

In the 1925 emblazonment above, we see Watson using the same methodology for the undergraduate college's arms, albeit with a twist.  For the seminary's coat, Watson undoubtedly turned to the Lord Bexley's arms for the "emine" (white field with black spots) and displayed eagle in base, along with using gules (red) for the "Chief of Kenyon College."  Here's the twist:  while Watson used the undifferenced coat of the Lord Kenyon for the college, he made one differencing element with the seminary's arms--changing the displayed eagle from black to be rendered in silver/white.  Why?  We simply do not have enough data.  

To difference the seminary's arms by switching the coloring of the displayed eagle from black to silver/white is loosely suitable enough in the tradition of heraldry to difference the arms of the seminary from those of Lord Bexley.  The addition of the "Chief of Kenyon College," was therefore a necessity to render the seminary's arms in accordance with the canons of heraldry.  Employing the color gules (red) is also a nice play on the faculty color for divinity (scarlet) which lines the trim of the academic hood for US colleges and universities. Nonetheless, the unifying, "Chief of Kenyon College," remains.

By the time these arms were officially adopted in 1937, I wonder if Watson was pressured to change the seminary's arms--replacing the displayed eagle with the celtic cross, and change the ermine to ermines--for a more straightforward reference to the school's theological mission.  At best, it's an educated guess. 

The arms of Bexley Hall Seminary as presently known today.  Image is from the Kenyon College Archives.

A description of Bexley Hall's arms as found on the program for "An Order for Installation of the Eleventh Dean of Bexley Hall" on September 13, 1984.  Program leaflet from Kenyon College Archives.  

The arms clearly evolved over time and the base was completely changed--the displayed eagle along with the emine (white with black spots) were removed.  The version of Bexley Hall's arms as we know them today are blazoned:  Emines, a celtic cross argent, on a chief gules a crozier Or in fess behind an open book proper with two clasps inscribed "Magnanimiter crucem sustine" (DeKay, 1993).   

Another version of the arms of Bexley Hall Seminary in vector format.
Rendered by Chad Krouse, 2024.

The celtic cross in base, which replaced the displayed eagle, is most likely a clear reference to the large marble celtic cross given by the Class of 1902 to honor the place where Bishop Chase held the first worship service in Gambier in 1826 (Spielmann, 1974).  A photo of the cross is below.    

According to Smythe (1924), the senior class of seminarians from Bexley Hall erected the celtic prayer cross to commemorate the spot at Kenyon where Bishop Chase held his first liturgy (page 259).

The other change made to Bexley Hall's arms was to invert the emine to ermines, or black with white spots.  This change highlights the celtic cross in base, giving a clearer reference to the seminary's mission and focus on priestly formation.  

From Kenyon College Archives.

Bexley Hall separated from Kenyon College and moved to Rochester, New York during the summer of 1968 to join forces with The Colgate Rochester Divinity School (Spielmann, 1974).  

I began writing this post during the pandemic, and frankly, it was killing me to not share the story of Watson's heraldic work at Kenyon.  I am so thankful that I went down this rabbit-hole to learn about Watson and how he created a "unifying chief," out of necessity.   We students of US heraldry need to share Watson's work more widely, showing unification through unique heraldic charges, tinctures/metals, and/or through a institutional chief was truly a gift to world of heraldry.  

I want to close this post with a quotation from one of Watson's sermons, entitled, "The Holiness of Beauty:"

"Therefore, since it is in the nature of man to respond to some appeal of beauty as naturally he breaths, it is the supreme effort of any life which endeavors nobly at all, to get some satisfying order and comeliness and grace into its material environment" (Lockert, 1955, 99).

Thank you Canon Watson for the gift of beauty and order in heraldry.  Rest well, good and faithful servant.  

Epilogue

The official flag of Kenyon College.  Source: Kenyon Collegian.

I remain fascinated by flying heraldry, and in recent years, the arms of the college have become the source of discussion concerning a new flag.  According to an article in the Kenyon Collegian, the student newspaper of Kenyon College, a new design was drawn and proposed in 2019 by Alex J. Gilkey, then a current student.  Click here to read the article from the Kenyon Collegian. 

Here, Gilkey used his knowledge and love of vexillology to create a unique design and shared this with me recently:

"I’ve been interested in the design of the arms since I was accepted to Kenyon and have been making headway with my flag redesign efforts since my sophomore year.  In high school, I joined the North American Vexillological Association (NAVA), an organization dedicated to flag studies, which fueled my love of the topic and ultimately the inspiration for my project. Over the years, I’ve spoken with teachers, administrators, and my fellow students about the importance of our communal pride through flag design. I believe this is especially the case for Kenyon, where community is a profoundly important aspect of college life. 

"I was inspired to undertake my project because I believe flags are a natural way of bringing people together. I think Kenyon is uniquely positioned for this because of the degree it considers the design and placing a strong emphasis on maintaining traditions" (A. Gilkey, personal communication, September 5, 2023).  

Mistakenly, I thought the intention was to render the college's arms as an armorial banner.  I readily admit to misunderstanding Gilkey's intentions for the flag design.  In fact, I would go so far to say that Gilkey's design is a clever play on Kenyon College's arms.  In other words, he created a symbol based on abstraction (the college's arms) as way to bring together the college community.    

The new flag design by Alex J. Gilkey, Kenyon College graduate of the Class of 2021.

Moreover, I believe that both Gilkey's flag as well as an armorial banner can work together in harmony--this is the beauty of how heraldry as a decoration can inspire dignity while giving students and alumni a treasured symbol (or symbols) to hold near and dear.  Thank you Alex for sharing this with me.  Bravo!  

The arms of Kenyon College, however, have clearly changed over the years, dropping the engrailed chevron, and muddling both the crosses flory and the crozier (the crozier looks more like a strange key as compared to the rather ornate crozier used on the cover of the 1909 Reveille).  These changes are likely the result of branding exercises aimed at modernizing the College's brand.  Marketing firms in the US that specialize in college admissions work closely with those offices in order to appeal to the widest audience of prospective students and families within a given market.  Why?  Simply because tuition remains the largest source of revenue for most US colleges and universities, especially private ones.  Therefore, admissions materials, the institutional "look and feel" has to match the market to attract "buyers." 

I would not expect any creative designer working within those firms to know or understand the arcane language of heraldry and blazonry.  Yet, these modern changes found within Kenyon College's arms underscore the importance of following its heraldic blazon in order to keep the image of those treasured arms consistent throughout the institution's history.  Blazons are the Anglo-Norman descriptors, weirdly a language of its own, guiding artists with the armorial design composition, tinctures (colors) and metals, and its arrangement.    

Heraldry was never intended to serve as a brand, as the business literature defines such a term.  When heraldry is done right, such as Watson's designs for Kenyon College and Bexley Hall, the shield becomes a true and lasting expression of that brand, illustrating through abstraction institutional identity, values, and ultimately, its mission.

When the image of an established coat of arms changes, in other words, there is a risk in diminishing the human experiences of those alumni who heaped their memories onto that shield.  While this phenomenon is not unique to heraldry, for it was never intended to bear such weight, an institution's shield serves as a symbol of pride for generations of alumni--alumni who are also most likely donors to the institution.     

The armorial flag or banner of arms for Kenyon College.
Rendered by Chad Krouse, 2024.

By dropping the engrailed chevron and muddling the crosses flory, the arms no longer reflect the clear allusion to the Lord Kenyon (and even Chase)--a critical component of the arms Watson so cleverly designed.  In my line drawing seen above, I've arranged the arms of Kenyon College based on the blazon as published in Ward (1917).  Along with Mr. Gilkey's new flag, these two flying symbols would simply look stunning at any academic ceremony.   

To my friends at Kenyon College, I say courageously bear these beautiful arms designed by Watson, but let the blazon guide you.  

Works Cited

Brooke-Little, J.P. (1951).  Oxford University and its colleges. The Coat of Arms, 5-7(January-July).

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

Doty, A. (1996).  Hutchinson's heraldry:  Bringing color to commencement.  Sandstone & Tile, vol. 20(2-3), pages 2-9.

Greenslade, Thomas B. (1975).  Kenyon College: Its third half century.  KNA Press.  

Halley, Janet (2022).  When brands go bad: The rise and fall, and re-rise and re-fall, of Isaac Royall, Jr. In M. Biagiola & M. Sunder (Eds.), Academic brands: Distinction in global education.  Cambridge University Press, pp. 160-219.

La Rose, Pierre de C. (1930 July 23).  Letter from Pierre de Chaignon la Rose to the Very Reverend President of the University of Notre Dame.  Unpublished letter.  Archives of Notre Dame, UPCO 5/88.

Lockert, Lacy (ed.). (1955).  Selected sermons of Canon Orville E. Watson.  Parthenon Press.  

Lohmann, Carl A. (1948).  The arms of Yale University and its colleges at New Haven.  Yale University Press.

Lumbley, L. (2021).  Oxford College arms.  The Coat of Arms, 4 (no. 238), 57–74.

McCrady, J.W. (2009).  Evolution of the university’s arms. In G.L. Smith & S.R. Williamson (Eds.),  Sewanee Perspectives: On the history of the University of the South.  The University of the South.

McCrady, J. W. (1983).  After 125 years completing the university's heraldry. Sewanee News, vol 49(1), March.  

Reveille (1909).  The Kenyon Reveille. Vol 97.  Kenyon College.

Scott-Giles, C.W. (1952).  Cambridge University and its colleges.  The Coat of Arms, 11-12(July-October). 

Sizer, Theodore (1963).  The arms of Yale University and its colleges at New Haven.  Yale University Press.  Revised edition.

Smith, Laura C. (1903).  The life of Philander Chase.  E.P. Dutton & Company.

Smythe, G.F. (1924).  Kenyon College: It's first century.  Yale University Press.  

Spielmann, Richard M. (1974).  Bexley Hall: 150 years a brief history.  Colgate Rochester Divinity School.

Ward, Henry P. (1917).  The American college catalog: A book of information, with suggestions for the improvement of catalogs and other publications of colleges and schools.  Champlin Press.

Using Data to Identify La Rose's Work

The seal of the Missionary District of the Philippine Islands.  Most likely designed by la Rose between 1913-1917.  Image is from DeKay (1993).

As my research on Pierre de Chaignon la Rose (1872-1941) progresses, I recently discovered another coat of arms within the theme of the "cross in national colors," found in the arms for the Missionary District of the Philippine Islands of the Episcopal Church.  This new discovery seemed oddly perfect for a coat of arms designed by la Rose.  Rendering the cross in various forms combining red, white, or blue is a key theme found in several designs for arms la Rose created.  For a full analysis on the theme of the "cross in national colors," please click here to the article. 

Currently, I am unable to locate any evidence as to who designed the arms and seal.  Using the data that I have been collecting since 2014, I am able to analyze several elements to render a verdict.  

Firstly, the district was formed in 1901 and its status changed in 1937--dates that all nicely fit within la Rose's lifetime.  That piece of information, however, is too easy and the researcher must dig deeper.  Yes, the engraving above is a dead-ringer of la Rose's work with the lombardic font and artistic layout.  But, we need more information!  With limited access to the district's complete series of journals online, I have pieced together the following information to inform my attribution to la Rose. 

Architectural rendering of the seal in full color. 
Image is from Wikipedia.

According to the missionary district's annual reports that are accessible, reports for the years 1909, 1910, 1911, 1912, and 1913, there is no use of the seal or mention of its adoption.  However, a very interesting fact surfaced in my review of these documents.  In Missionary District of the Philippine Islands (1913), noted Boston architect Richard Clipston Sturgis (1860-1951) is mentioned twice for preparing architectural designs for St. Luke's in Manila (page 11 and 36).  

In 1910, Sturgis and la Rose worked together for the architectural rendering of arms for the Brookline Public Library in Massachusetts.  Click here to read my story about the arms of Brookline Public Library.  Thus, it is likely that if Sturgis needed a coat of arms for his architectural rendering for St. Luke's in 1913, he would have already known la Rose's capabilities.   

Date-wise, we can presume these arms were likely designed after 1913 and very probably around 1916 given la Rose's unique design for the Diocese of Maryland and it's cathedral as noted in Diocesan Convention of Maryland (1916).  Other than The Rev. John Abel Nainfa, S.S. (1878-1938) no one else in the US was designing arms using the quarterly-counterchanged cross method in the early 20th Century.  Nainfa designed the arms for the Catholic Foreign Mission Society of America in 1918 (La Rose, 1918) and la Rose blazoned these arms, "argent, a cross quarterly azure and gules" (pg. 193). 

The arms of the Catholic Foreign Mission Society of America (Maryknoll) devised by The Reverend John A. Nainfa, S.S. in 1918.  Nainfa was a dedicated partner early on with la Rose.
Image source from La Rose (1918).

Moreover, the cathedral for the missionary district--in place and referred to in the annual reports--is named the Cathedral of St. Mary and St. John in Manila.  The silver/white star in the coat is very likely a reference to either the Philippine's status vis a vis the US or the Blessed Virgin Mary, a unique method employed by la Rose.  

In my data of more than 200 corporate coats, I have 19 diocesan coats designed by la Rose where he uses a charge or certain tinctures as a reference to the patron saint of the see's cathedral.  Another example can be found in my analysis of the arms of the College of Notre Dame of Maryland.  Click here to read my analysis of the arms of the College of Notre Dame of Maryland.

La Rose's painting of the proposed arms for the Episcopal Diocese of New York.  The arms were never adopted.  Note the mitre.  Image is from Facebook and found in the Archives of the Cathedral of St. John the Divine, New York.

The mitre used in the vesica piscis is unique to la Rose.  In a letter from September 3, 1912 to The Rt. Rev. David Hummell Greer (1844-1919), Episcopal Bishop of New York, la Rose provides sketches for possible arms for the Diocese of New York to consider, see above.  The letter is housed in the archives of the Cathedral of St. John the Divine, New York.  As he closes the letter to the bishop, la Rose addresses the mitre he prefers to use as the external ornament placed above the shield:

"The mitre on my drawing [proposed coat of arms for the Episcopal Diocese of New York] is copied with very slight modification from those on the roll of peers dated 1515 in the Herald's College [College of Arms, London], a type which has crystallised and become now practically their official heraldic form for a mitre, and here we are concerned only with the mitre from the point of view of heraldry, not of archeology or liturgies" (Letter from Pierre de Chaignon la Rose to the Right Reverend David H. Greer).

When viewing la Rose's painting above for the Episcopal Diocese in New York (note that it's dated 1912), it is the exact same mitre used for the Diocese as Maryland as can be seen below.  I've added the Roman Catholic Diocese of Marquette (La Rose, 1923, 407-408), designed in 1923, to illustrate that la Rose did not discriminate between denominations.  La Rose would adorn countless diocesan coats with this exact mitre.  

Over the years, la Rose would rework and change up the mitre a bit and I have a few examples in my data of his evolving style.  Artistically, notice the curvature of the top of the shields shown in New York, Maryland, and Marquette.  Notice how the mitre fits rather snuggly on top of the escutcheon--these details are characteristic of la Rose and his obsession with decoration and elegance.  

Finally, la Rose was no stranger to the Philippines.  He devised arms for the Roman Catholic Dioceses of Tuguegarao in 1911 (La Rose, 1911, 8-9) and Zamboanga in 1917 (La Rose, 1917, 624-625).  

To review all known data for the arms of the Missionary District of the Philippine Islands:  we have the right dates for la Rose, we have the simplicity of the design, the design matches a key theme of la Rose's work, we have a named architect who la Rose worked with around the same time, we know of other arms designed in the Philippines around the time, and we have a match with the style of mitre used by la Rose.  Data does not lie.  Thus, given all of this information, I proudly give la Rose credit for the arms of Missionary District of the Philippine Islands.  

DeKay (1993) gives the blazon as, "quarterly gules and argent, a cross counterchanged, in dexter chief a mullet of the second" (pg. 87).

La Rose's painting of the arms for the Episcopal Diocese of Maryland and designed in 1916.

La Rose's painting of the arms for the Roman Catholic Diocese of Marquette in Marquette, Michigan.  Designed in 1923 (La Rose, 1923).

One prevailing criticism of DeKay's (1993) work is that it lacks citations.  At no point in his book will the reader find references to his data.  I remember receiving my copy back in 2006, and like most amateur students of heraldry, I simply loved thumbing through all the pictures.  It never once occurred to me back then to look for references. 

In DeKay (1993), there are several coats designed by la Rose in which DeKay does not mention the designer.  Those coats designed by la Rose and unattributed by DeKay (1993) are in my data and verified with sources.  Thus, here is what I find rather ironic.  In his early section which describes the heraldic artists who dominated the landscape within the Episcopal Church, DeKay writes:

"Among the seals he [la Rose] designed for dioceses of the Episcopal Church are those for the Dioceses of Springfield, Quincy, Lexington, Massachusetts, Western Massachusetts, Michigan, West Missouri, Nevada, New Hampshire, Oregon, Pittsburgh, Rhode Island, Spokane, and Milwaukee.  

Truly Mr. LaRose has left his mark.  These are listed in the same order as they appear in this book, so that you may browse through the diocesan section and spot them.  His style will become immediately apparent so that you will easily recognize a LaRose design when you see one..." (DeKay, 1993, 14).

Clearly, la Rose's style was not apparent to some, and I readily admit to passing over la Rose's arms for the Missionary District of the Philippine Islands many times in the past.  I was taught in my master's program at Sewanee to be kind and charitable towards all authors as a sign of respect for their work and contributions.  DeKay does give us a great overview of heraldry in the Episcopal Church as he makes an important contribution in advancing the literature on the subject.  Furthermore, we have the benefit in 2023 of a great many works digitized and easy to search.  Primary sources are readily available today thanks to the internet.  So, I will be kind.  Though, as I've said to my students in the past, cite everything.

Works Cited

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

Diocesan Convention of Maryland (1916).  Journal of the one hundred and thirty-third annual convention of the Protestant Episcopal Church of the Diocese of Maryland.  Diocese of Maryland.

La Rose, Pierre de C. (1923).  Recent episcopal arms.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 69(October), 407-408.

La Rose, Pierre de C. (1918).  Some examples of corporate Catholic heraldry.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 55(February), 189-198.

La Rose, Pierre de C. (1917).  Some recent episcopal coats of arms.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 56(June), 624-625.

La Rose, Pierre de C. (1912 September 3).  Letter from Pierre de Chaignon la Rose to The Right Reverend David H. Greer.  Unpublished letter.

La Rose, Pierre de C. (1911).  The arms of his Eminence Cardinal Gibbons. In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 5(45), 8-9.

Missionary District of the Philippine Islands (1913).  Journal of the tenth annual convocation of the Missionary District of the Philippine Islands.  Missionary District of the Philippine Islands.

Heraldry and Discord: A Generous Community

 

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

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

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

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

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

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

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

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

The blazon that I give la Rose's arms as they appeared on his 1895 bookplate is: Azure, a lion rampant Or langued Gules and charged on the shoulder with a rose of the third barbed and seeded proper, holding in dexter arm a sword proper.  Motto:  Fortiter et Suaviter (Firmly and gently). 

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

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

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

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

Look to the Seal: An Analysis of Select Works by Pierre de Chaignon la Rose

 

The arms of Notre Dame of Maryland University as depicted in stained glass from the university's chapel.  Image source:  Notre Dame of Maryland University website.

In my ongoing research on Pierre de Chaignon la Rose (1872-1941), I have learned a great deal about the art and science of heraldry.  Now going on nearly 10 years, I have trained my eyes to look for certain elements in an organizational coat to determine whether or not la Rose designed the arms in question.  Through this method, I discovered one corporate coat of arms that took me down a winding trail, only to discover that the arms were designed not long after la Rose's death by a former student.  

One "dead ringer" is finding a coat of arms within a seal matrix surrounded by the institutional name rendered in Latin, especially if the school was founded in the early part of the 20th Century.  Since many schools that la Rose rendered designs for arms have since closed and their archives scattered or lost, I am incredibly grateful that many of these seals are illustrated with hatch-work for the purpose of blazoning these arms.

Recently, I came across the seal and arms for Notre Dame of Maryland University located in Baltimore, Maryland--immediately alarm bells went off suggesting la Rose may have designed these arms.  Following an email exchange with the university's archives, I had an answer affirming my suspicion. 

Founded in 1873, Notre Dame of Maryland was a college at the time of la Rose's involvement in designing their seal and arms, and represents la Rose's first Roman Catholic academic commission.  La rose designed the arms first in 1914 and then created the seal by 1920 (J. Kinniff, personal communication, August 8, 2023).

Based on my data regarding la Rose's heraldic work for colleges and universities, la Rose's first commission was to provide three draft sketches of arms for the University of Chicago in 1910, followed by his second commission for a seal and arms for Rice University in 1912.  Please click here to read about mistaken identity in the arms for the University of Chicago.

Rice University was, however, la Rose's first academic seal.  His original work for the seal and arms of Rice University can be seen below, and note his signature which "authenticates" it.  If the reader is counting, Notre Dame of Maryland's arms represents la Rose's first Roman Catholic scholastic coat of arms and his third overall for colleges and universities.

In 1910, la Rose received his landmark Roman Catholic commission to design arms for the Archdioceses of Baltimore and Boston, and it most likely that this commission led to la Rose's involvement with Notre Dame of Maryland (La Rose, 1911).  Please click here to read about la Rose's commission in 1910 for the Archdioceses of Baltimore and Boston. 

The arms la Rose designed for Notre Dame of Maryland is blazoned: 

A modern rendering of
the seal and arms
of Notre Dame of Maryland.
Image source: 
Notre Dame of Maryland University
 website.

Quarterly azure and argent, a cross bottony throughout quarterly of the first and second, in dexter canton a rose barbed and seeded of the second.  

Moreover, Notre Dame of Maryland's arms illustrates one of la Rose's methods for suitably differencing a corporate coat of arms.  Please click here to learn more about la Rose's first method for showing unification and differencing in corporate heraldry.  

For Notre Dame of Maryland, la Rose used the cross bottony (from the Lord Baltimore's arms) and the colors white and blue, all found in the archdiocese's coat.  He differenced the quartering on the cross bottony and added a white rose as the symbol for the Blessed Virgin Mary, whereas in the arms for the archdiocese, la Rose used the white star to represent both the Blessed Virgin Mary as well as the state of Maryland.  

La Rose (1911) explains the star used in the arms of the Archdiocese of Baltimore:

"in addition to the cross of Faith, in this its peculiarly Baltimorean form [cross bottony], there remained Our Lady to be more definitely symbolized.  At once the star suggested itself to me, as being not only one of the titles and attributes of Our Lady, but also the accepted symbol of an American state" (5).

The colors white and blue, the cross bottony, the quartering, and the dexter canton charge ties Notre Dame of Maryland to the Archdiocese of Baltimore in a uniquely "la Rosian" style.  In my data, I have numerous examples of how la Rose would continue this method for suitably differencing institutions under the authority of another.

By definition, an organization's corporate seal serves as the signature for authenticating documents.  Within the academy, most encounter the seal on a diploma, attesting the graduate's completion of requirements for the degree earned.  Moreover, seals do not have to be heraldic either, consider the vast sea of seals of the US states.  La Rose sympathizes with the pervasive confusion that exists in most American minds believing a "seal" and a "coat of arms" to be synonymous (La Rose, 1917, 190).  

La Rose (1917) gives an example of why an organization would want to bear arms while demurring the current state of corporate heraldry at that time:

"A seminary is to be built, let us say, in traditional 'collegiate gothic.'  Above the portal the architect wishes to place several well cut shields...finally the architect clamors for the heraldry of the seminary itself.  

"'Oh yes,' muses the Rector, 'we have a seal,' and produces a stamp...[read a non-heraldic seal]" (191). 

La Rose continues in the article to describe the plight of the poor architect who now has to devise arms for the fictional seminary in order to complete the interior decoration of the building.  Through this example, we in fact learn how la Rose likely got his start as a herald.  The majority of la Rose's earlier commissions came by way of his friend Ralph Adams Cram (1863-1942), the noted American architect and father of "collegiate gothic."  One limitation in my data is that I cannot explain why la Rose used gothic tracery in his seal for Notre Dame of Maryland, as no gothic buildings exist on campus. 

With an increasing interest from institutions to adopt coats of arms, La Rose (1917) adds:  

"In short, it is often useful, as well as very pleasant, to have a corporate coat-of-arms for a religious institution irrespective of whether or not it is to be used on the institution's seal.  In the first place, it is a valuable architectural decoration...where a seal would be wholly out of place.  

"And it is largely for this reason that many corporate bodies are reverting to the ancient use of corporate heraldry, not from any snobbish, 'aristocratic' impulse--for corporate heraldry as such never had any 'aristocratic' implications whatever, but from a natural desire to avail themselves of a traditional decorative means of adding to the beauty, dignity, and significance of their environment" (192).

Beauty, dignity, and significance are three extremely great reasons for a corporate body to possess arms.  Many schools and universities employ their seals on souvenirs as a decoration, even when seemingly inappropriate.  

An example of a non-heraldic corporate
seal set within a vesica piscis, that of
Sewanee: The University of the South.
Note the descending dove.
Image source:
The University of the South website.

In 1956, Richard Bland Mitchell (1887-1961), the Episcopal Bishop of Arkansas, pressured Sewanee: The University of the South to stop using the legal corporate seal to, "validate souvenir china" (McCrady, 1982, page 29).  The bishop was successful in rallying the university's governing board to his cause and stated that the board, "objected to the Holy Ghost descending into beer mugs" (McCrady, 1982, page 29).  

Sewanee's corporate and non-heraldic seal contains a descending dove representing the Holy Ghost.  Undoubtedly, Dr. James Warring McCrady (b.1938) used the bishop's argument to devise arms for the university in 1981.  Please click here to learn about Dr. McCrady's designs for the heraldry of The University of the South.  It's funny to read the bishop's objection now in 2023, but a great reason for institutions to use heraldry as a decoration rather than the legal corporate seal.

Below is a snippet of seals designed by la Rose in chronological order.  I have endeavored to find as close as possible la Rose's submitted design work, as opposed to any modern digital creations.  Again, notice the heraldic hatching which helps guide the blazoning of arms.  

Based on my experience so far, a lot of these institutions have either lost, modernized their arms for marketing purposes, or simply do not have a blazon in their archives.  Alas, heraldic hatching saves students of heraldry the headache of attempting to interpret the coat as the designer intended.  

The seal of Rice University in Houston, TX designed in 1912.  After his sketches for the University of Chicago in 1910, Rice was la Rose's second academic coat, but his first academic seal.

Azure, two chevronels argent between as many Athenian Owls of the second

The seal of St. Mary's Seminary and University (Roman Catholic) in Baltimore, MD designed in 1917 (La Rose, 1918). Note how la Rose went with a new scheme for displaying the cross bottony.

Per bend or and sable, on a bend argent three crosses bottonny of the second; on a chief azure, between two stars of six points argent, the Badge of the Society of Saint Sulpice in the United States

The seal of St. John's Seminary (Roman Catholic) in Boston, MA designed in 1917 (La Rose, 1918).  The "aureoled" eagle is a symbol for St. John.  The trimount in base is la Rose's way of canting Boston.  La Rose (1911) offers this: "Boston at one time having been called, in early Chancery documents, Tremontinensis" (5).  The trimount can found in countless Boston-area arms devised by la Rose.

Gules, an eagle displayed argent, aureoled or, above a trimount of the last

The seal of Boston College in Boston, MA designed in 1917 (La Rose, 1918).  Boston College's arms are the only coat la Rose employed Greek for the text on the open book.  There are a few examples of Greek letters, such as "alpha" and "omega" that he used for other coats.

Gules, above a trimount in base or, an open book argent edged of the second, thereon an inscription (in Greek, "ever to excel"); on a chief sable between two crowns composed of alternate crosses patty and fleurs-de-lis or, the badge of the Society of Jesus

The seal of Notre Dame of Maryland University designed in 1920.  According to Dougherty (1949), the seal of the college, "was adapted in 1920" (page 18) and this date has been confirmed by the university (J. Kinniff, personal communication, August 8, 2023). La Rose's first Roman Catholic academic institutional coat and his third scholastic coat designed.  This image of the seal is from Dougherty's (1949) master's thesis.

Quarterly azure and argent, a cross bottonnee throughout quarterly of the first and second, in dexter canton a rose barbed and seeded of the second

The seal of St. Benedict's College in Atchinson, KS designed in the 1920s.  I am waiting on confirmation from the institution.  The cross moline is a heraldic symbol for St. Benedict.  

Argent, a cross moline sable, on a chief embattled azure an open book with two clasps or thereupon inscribed VIA VERITAS VITA ("the way, truth, and life")

An example of how la Rose differenced the arms of St. Benedict's College from those of St. Benedict's Abbey, both in Atchinson, KS.  For the abbey, la Rose used a white crescent, and for the college an inscribed open book.  The abbey founded both the college and St. Scholastica.  I am waiting on confirmation from the institution.  Dom Wilfried Bayne, OSB (1893-1974), a student of la Rose and respected herald in his own right, offered this blazon: 

Argent, a cross moline sable, on a chief embattled azure a crescent argent

The seal of the College of St. Scholastica (now St. Benedict's College) in Atchinson, KS designed in the 1920s.  This was the sister school to St. Benedict's.  I am waiting on confirmation from the institution.  

In Kerr (1956), we find a transcription from one of la Rose's letters to the school detailing the design rationale for the arms:

"So I propose: A red shield, thereon a gold lion holding a book in profile (for the college) with a silver dove resting for a moment on the top edge of the book. The dove, of course, represents the spirit of Saint Scholastics, as Saint Benedict saw it ascending, at her death. This, I think, will make as choice a bit of heraldic symbolism as that very restricted art permits, and I think I can make a handsome shield of it" (29).

Gules a lion rampant supporting a closed book with three clasps all or perched thereon a dove argent 

The seal of The Lenox School in Lenox, MA (now closed) designed between 1925-1930.

Sable, on a cross saltire or an open book edged of the second and inscribed NON MINISTRARI SED MINISTRARE ("not to be ministered unto but to minister"), between as many roses barbed and seeded with a martin in chief all or  

The seal of the College of St. Rose in Albany, NY designed in the 1920s.  Albany was la Rose's hometown.  La Rose varied the shield's shape, and he placed the roses in semme, a design technique he rarely used with corporate coats.  This image of the seal is from Dougherty's (1949) master's thesis.

Argent, a semme of roses barbed and seeded gules, on a chief azure three lilies of the first

The seal of St. Thomas Seminary (Roman Catholic) in Hartford, CT designed between 1930-1934.  The colors gold and red represent St. Thomas Aquinas.  Is the lion argent or proper?  I say argent, based on similar techniques la Rose used.     

 Bendy or and gules a lion rampant argent  

 

The seal of St. Joseph's College in Rensselaer, IN designed in 1934.  La Rose rarely used bordures in his heraldry, and note the use of "gutty de sanguine" to honor the Fathers of the Precious Blood which opened the school.  Very little information on these arms.  This is my educated guess at this point.

Azure within a bordure argent eight gutty de sanguine a chevron between as many lillies seeded of the second

The seal of Trinity Washington College, now Trinity Washington University in Washington, DC designed in 1935.  According to Doughtery (1949),"upon the triangle is placed an open book, gold-edged and bound in gold, bearing the motto of the College" (15).  For a further analysis on the arms of Trinity Washington College, please click here.

Gules, on a triangle inverted and void of the field an open book with three clasps all or inscribed SCIENTA ANCILLA FIDEI ("knowledge the handmaid of faith"), on a chief azure three stars argent

Works Cited

Dougherty, Margaret (1949).  A Study of the significance of the Symbols and other items comprising the coat of arms and seals of girls Catholic colleges in the north and middle Atlantic states [Master's thesis, Canisius College].  ProQuest Dissertations Publishing.

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

La Rose, Pierre de C. (1918).  Some examples of corporate Catholic heraldry.  In H.J. Heuser (Ed.),  The Ecclesiastical Review, 55(Feburary), pp. 189-198.

Kerr, Mare E. (1956).  A study of the significance of the symbols and other items comprising the coat of arms and seals of girls Catholic colleges in the north central states of the United States [Master's thesis, Canisius College].  ProQuest Dissertations Publishing. 

McCrady, J. (1983).  After 125 years completing the university's heraldry. The Sewanee News, vol 49(1), 30.