The Heraldry of the University of the South

Founded in 1858, the University of the South, more commonly called Sewanee, is a gothic paradise located high atop the Cumberland Plateau in the town of Sewanee, Tennessee.  Legally owned by 28 dioceses of The Episcopal Church (a peculiar only in America), Sewanee is wholly an Episcopal university comprised of the College of Arts & Sciences (the undergraduate college), the School of Theology (the seminary), and the newcomer on the block, the School of Letters, which awards graduate degrees in creative writing.  

"The Domain," as campus is called, encompasses nearly 13,000 acres of natural beauty, where university buildings in Tennessee limestone blend seamlessly into the landscape.  Described once to me as an "Episcopal theme park," the Domain is filled with academic buildings designed in gothic architecture, with one of the main campus' central towers, Breslin Tower, modeled on Magdalene College, Oxford--pronounced properly "Maudlin."  The professors wear their academic gowns to class, and the whole place is a haven of the best of the Episcopal Church.   

My three years as a seminarian at Sewanee were among the best in my life so far.  I am very proud to have earned a master of divinity degree from this university and to call Sewanee my alma mater.  Perhaps no place else provides the perfect backdrop to showcase scholastic heraldry quite like the neo-gothic campus of the University of the South.  

Sewanee's heraldry, in many ways, is a model of best practice for US schools when employing heraldry in a dignified way in order to express the values of the institutional brand.  To be clear, heraldry is not branding but can be used as an expression thereof.  While it may have taken 123 years for the university to embrace heraldry, the outcomes are transformational.  Generations of alumni, families, and faculty have symbols they can cherish and embrace.   

To Seal or Not to Seal  

The story of Sewanee's heraldry begins with the popular use of the university's seal.  By definition, a legal corporate seal serves as the institutional authenticating signature on official documents; for colleges and universities the seal is appropriately used on diplomas, for example, attesting to the graduate's completion of requirements for the degree earned.  Corporate seals do not have to be heraldic in nature, though some are.  The seal of the University of the South, as seen above, was settled as late as 1977 but evolved over time since its first inception in 1872 (McCrady, 2009b; McCrady, 1981).  

"Do not step here."  The seal of the university emblazoned
in the floor of All Saints' Chapel at The University of the South.

The seal takes pride of place everywhere across the Domain, including a bronze emblazonment in the floor of the vestibule inside All Saints' Chapel--new students are warned to not step a single foot upon that sacred image, ensuring that they see their future graduation.  Using the legal corporate seal for decoration on souvenirs can be problematic for any college or university and only serves to muddle the distinction and reservation of seals for official use by the institution. 

In 1956, we see the first impulse for heraldry at Sewanee.  The Rt. Rev. Richard Bland Mitchell (1887-1961), the Episcopal Bishop of Arkansas, pressured the university to stop using the legal corporate seal to, "validate souvenir china," for this very reason (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).  The bishop's argument is the perfect reason to introduce heraldry as a means of creating dignified decorations for souvenirs.   

 

An Increasing Need for Heraldry

The 1951 U.S. Air Force shield 
for Sewanee's R.O.T.C, program.
Image is from McCrady (2009a).

McCrady (2009a) notes that in 1951, the first real instance of heraldry in use on campus came by way of the U.S. Air Force R.O.T.C. program which required a heraldic shield for use as uniform insignia.  It was the Air Force that brought heraldry in whatever form, finally, to campus.  Following these two impulses for heraldry, the university would mark its centennial celebration in 1957, and, "it was decided, following rather hastily the dictum of visual simplicity for the best heraldry, that the most obvious and simple shield for Sewanee would be the time-honored tiger" (McCrady, 2009a, 550).

The provisional arms of the university prominently featured the heraldic tiger, as opposed to the Bengal tiger, with the body of a lion, the mane of a horse, and whose ears and beak were drawn to resemble a wolf (McCrady, 2009a, 550).  The blazon for the provisional arms:  Purpure, a tiger rampant or.  

The provisional arms featuring the    
heraldic tiger.  Image is from
McCrady (2009a).

From a letter in the University's Archives, dated August 1, 1957 from then Vice Chancellor Dr. Edward "Ned" McCrady (1906-1981) to the University's Board of Regents, McCrady provides a clear design rationale for the new arms along with the steps taken to ensure their correctness.  Moreover, we learn in the announcement of the new provisional coat of arms that, "accordingly I have had my son Waring, make a drawing, a print of which is shown on the accompanying proof-sheet" (Letter from Vice Chancellor Edward McCrady to the University Board of Regents).  Thus, we now know that Sewanee's first and proper coat of arms was rendered by none other than the future herald of Sewanee, Dr. James Waring McCrady (b. 1938).  It is interesting to note that McCrady does not name himself--or anyone else for that matter--as the designer of these arms.

Sewanee's heraldry would finally reach its zenith in 1981.  Designed by Sewanee alumnus and French professor Dr. James Waring McCrady, the arms for the university and its subordinate schools are simply genius, reflecting through the abstraction of heraldry, the mission and values of this storied institution.

The 125th Anniversary and New Arms

In 1983, the university celebrated its 125th anniversary since its founding in 1858.  In preparation for this milestone occasion, Dr. McCrady designed the arms for the university, the seminary, and the undergraduate college in 1981 (McCrady, 2009a).  Away went the heraldic tiger, as he was moved outside of the shield to become a ferocious "supporter."  Following in the footsteps of other great American heralds of scholastic heraldry--Orville Watson, Pierre de Chaignon la Rose, and Eric Hutchinson--McCrady developed a unique design for the "Sewanee tressure" to show unification within Sewanee's heraldry.  

Until the 1980s, most US scholastic heraldry would employ either unifying chiefs or unique charges--such as the "chief of Kenyon College," the three open and inscribed books of Harvard, or the red frond of Stanford--as a means of illustrating corporate unification (Doty, 1996; Hammond, 1981; Krouse, 2023).  McCrady's tressure, "a double tressure long-crossed and counter long-crossed counterchanged," as found in the main coat of the university, was his creation that incorporated many elements into a singularly dignified design. 

By creating new arms without the use of established coats, McCrady would avoid unnecessary controversy regarding designs that might allude to any founders of the university, which present day social and cultural issues could otherwise force uncovering baggage from the past.  Halley (2022) covers precisely the arguments surrounding la Rose's 1936 design of arms for Harvard Law School which incorporated the undifferenced arms of Isaac Royall, Jr. (1719-1781) in the design.  Harvard Law School dropped la Rose's design in 2016 and unveiled a new coat of arms for the school in 2021.

McCrady's tressure carried over the unbroken circular chain found in the university seal and transformed it into a tressure.  Perhaps the most well known tressure can be found on the royal arms of Scotland which features the red double tressure with fleurs-de-lis.  

By changing the fleurs-de-lis to "long crosses," McCrady visually shows the owning dioceses of the university linked together in harmony (McCrady, 2009a).  As a scholar, McCrady likely appreciated the peer review process in order to have other experts from the field examine and critique his work.  McCrady would submit his designs to both the College of Arms in London and to the Court of Lord Lyon in Scotland for advice and consent (McCrady, 2009a; McCrady, 1983).  

McCrady (2009a) provides this detailed account:

"At last, it was decided to get serious for the 125th anniversary of the school.  A set of arms for the Seminary, the College, and the University were drawn up, and in 1981 the designs were approved personally both by the Norroy and Ulster King of Arms, at the College of Heralds in London, and by the Lord Lyon King of Arms in Edinburgh... 

"Since the precedent for this design [the Sewanee tressure] comes from the double tressures of Scotland...it was thought to seek Scotland's approval.  The Lord Lyon granted it most cheerfully and suggested that the design be known as a 'Sewanee tressure'" (551-552).

The Sewanee tressure would be applied to the arms of the seminary and the undergraduate college to show their allegiance to the university.   

The full "achievement" of the arms of the University of the South, including supporters, crest, and motto.  Image is from McCrady (2009a).  

The blazon for the university's arms:  Purpure a cross pall or overall a double tressure long-crossed and counter long-crossed counterchanged (further referred to as the "Sewanee tressure");

For the university's crest:  Out of the coronet of a vidame, a dove holding in its beak an olive branch all proper;

The Supporters:  Dexter, a mountain goat argent; sinister, a heraldic tiger or.

Motto:  Ecce Quam Bonum.  Translated as "behold how good!" from Psalm 133: 1.  From the Vulgate:  Ecce Quam Bonum Et Quam Iucundum Habitare Fratres In Unum, or "behold how good and joyful a thing it is for brethren to dwell together in unity." 

The arms of The University of South, designed by Dr. McCrady in 1981 and emblazoned by Lucas Hofmann, September 2023.

The use of the pall cross, or the Y-shaped cross, was employed by McCrady because the cross is, "specifically symbolic of authority within a province of the church (and Sewanee stands as the center of the Sewanee Province, or Province IV [of the Episcopal Church])" (McCrady, 2009a, 554).  Moreover, it is a nice play on the arms of the archiepiscopal see of Canterbury, which prominently features the  pallium, a material symbol of metropolitan authority within the church--the pallium mimics the cross pall.

From the university's full achievement, I am most drawn to the crest, or the portion of the achievement which rests on top of the shield.  Most wrongfully confuse the crest for the shield, and this is incorrect.  According to Fox-Davies (1978), the first known crest appeared in 1198, and the fanciful stories describing the history of the crest are both numerous and incorrect (page 326).    

The heraldic coronet of a French Vidame. 
McCrady's design for the university's crest is rendered without the fussy jewels. 
Image is from Wikipedia.

In particular, I admire the use of a vidame's coronet in the crest.  The office of a vidame is an old relic from France where the title is derived from the Latin, vicedominus, or literally vice ("instead of") and dominus (lord or master).  In feudal times, a prelate would designate a member of the laity to attend to certain judicial or other matters.  

As a professor of French, McCrady would have likely known quite a lot about the office of the vidame and its symbolism.  For McCrady, the use of the coronet in the university's crest makes a clear reference to the power of the laity within the church, "in a coronet symbolizing lay authority over church property stands the dove as proposed in 1870" (McCrady, 2009a, 554).  The dove of peace was taken from the popular seal of the university and clinches in its beak an olive branch.          

The Arms of the School of Theology

The University of the South

The arms of the School of Theology, The University of the South designed in 1981 by Dr. McCrady and emblazoned by Lucas Hofmann, September 2023.

The blazon for the arms of the School of Theology:  Gules on a cross or surmounted by a Sewanee tressure counter-changed a crossed fleam sable.   

According to McCrady (1983), the colors gules (red) and or (gold) come from the arms of The Rev. William Porcher DuBose (1836-1918), who served as the second dean of the seminary.  The crossed fleam in the center represents the patron saint of the seminary community, Saint Luke. Saint Luke was also the name of the seminary's first building on campus as well as the name of one of the chapels which can all be seen today.  The Gospel writer is attributed as a physician, hence the use of the fleam which was a physician's implement for bleeding.  

McCrady added the cross bar to the fleam in a most unusual way that gives dignity and significance to the design--typically in heraldry, the fleam is a stand-alone charge and McCrady's differencing of that symbol is purely masterful.  To render the crossed-fleam in sable (black) not only alludes to the clerical color, but also to the Manigault arms, "the widow upon whose benefaction the seminary originally depended" (McCrady, 1983, page 30).  I've dug deeper into these arms in another post.  Please click here to read my analysis of the School of Theology's arms.

In 2024, the American Heraldry Society selected the seminary's arms to receive its annual Pierre de Chaignon la Rose Design Award.  Click here to read the press announcement from the School of Theology.   

The Arms of the College of Arts & Sciences 

The University of the South

The arms of the College of Arts & Sciences, The University of the South designed in 1981 by Dr. McCrady and emblazoned by Lucas Hofmann, September 2023.

The blazon for the arms of the College of Arts & Sciences:  Azure, within a Sewanee tressure three celestial crowns all Or.

For the arms of the College of Arts & Sciences, McCrady incorporated three celestial crowns within the Sewanee tressure rendering a rather dignified design.  The celestial crowns were borrowed from the previously established coat of arms for All Saints' Chapel, and their arrangement based on the arms of Oxford University.

McCrady's simple and straightforward design for the undergraduate college underscores the primal canon of heraldry, simplicitas formae antiquitatis nota.  The simplicity of the form as its known in antiquity should clearly identify the individual (or in this case, corporation) bearing arms.  McCrady honored this maxim to the letter with all of his heraldic designs for the university.

The Arms of All Saints' Chapel 

The University of the South

The arms of All Saints' Chapel, The University of the South emblazoned by Lucas Hofmann, September 2023.

The blazon for the arms of All Saints' Chapel:  Azure, a semmé of celestial crowns Or.

While technically not officially defined by the university's heraldry, the arms for All Saints' Chapel have been in use since the early 1960s.  While no designer is named in McCrady (2009a), I fully suspect Dr. McCrady created these arms if we consider his humble omission of the designer behind the 1957 provisional arms.  

There is one additional data point, however, that I cannot make sense of regarding these arms.  In an undated document titled, "The Festival Banners Described," found in the University Archives, there is a description for a banner noted as the "Banner of All Saints'" which reads as follows:

"The Banner of All Saints'.  Some years ago, Thad Holt, alumnus, had designed by the College of Heralds a flag for All Saints' Chapel.  This banner is based on that design and depicts the crowns of the royal priesthood, the Communion of All the Saints, past, present, and future" (All Saints Chapel, n.d.). 

It is remarkable that the College of Arms in London was engaged at some point in the 1960s for a design. Moreover, I believe "Thad Holt" referenced in the document above is Thaddeus Goode Holt, Jr. (1930-2019), who graduated from Sewanee in 1952 and was a Rhodes Scholar.  Given Holt's exposure to heraldry during his time at Oxford--and later at Harvard Law School--the design referral to the heralds in London fits nicely.  

Processional banner with eight
celestial crowns inside All Saints' Chapel.

Presently, there is a processional banner in use at All Saints' Chapel which has eight celestial crowns emblazoned on three strips of fabric. The number three either represents the Holy Trinity or perhaps the "communion of all the saints past, present, and future."  Employing the number eight for the crowns is likely a reference to the "Eighth Day," or time-out-of-time which is the day reserved for the Resurrection.  Baptismal fonts, including the one inside All Saints' Chapel, are octagonal for this very reason.  I cannot confirm if this banner is the one referred to in the aforementioned document.

It is likely that we owe the use of celestial crowns as heraldic charges to represent the university's chapel to English heralds.  

My view is that Holt's referral to the College of Arms gave the university precedence for employing celestial crowns, and McCrady created the chapel's arms by sewing the field with them--the semmé technique has French influence which we have previously encountered with the vidame's coronet in the university crest.  Regardless, the arms of All Saints' Chapel illustrate the early history of heraldry at Sewanee and are thus included.

Celestial crowns are crowns with stars, an illusion McCrady employed for the undergraduate college to show reference to All Saints' Chapel.  The chapel is prominently situated at the very heart of the main academic campus and cannot be missed.  These celestial stars, moreover, embody that ever-expansive constellation of heaven where all the Christian saints guide believers to the salvific glory of Jesus Christ.  

The Arms of the University Choir

The University of the South

The arms of the University Choir, The University of the South emblazoned by Lucas Hofmann, October 2023.

The arms of the University Choir:  Impaled, (dexter) Azure, a cross throughout Argent, (sinister) Argent, the Blessed Virgin Mary aureoled Or holding in sinister arms the infant Jesus aureoled Or.  

The University Choir with banner.  Image source: University of the South.

Here again, as with the arms of All Saints' Chapel, the armorial bearings for the University Choir would be considered unofficial but featured prominently on the choir's banner carried during services at All Saints' Chapel.  

The arms of the University Choir as appearing on the choir's banner.  My guess is the design was rendered in the 1940s to early 1950s.  Image is from the University Choir's Facebook page.

On the banner of the University Choir, the arms are supported by two Bengal tigers, a bishop's mitre is placed above the shield, and the arrangement sits on top of a scroll of ribbons containing the Greek letters found in the University's seal:  the Alpha and Omega and IH XP for the name of Jesus.  Taken as a whole, this heraldic arrangement suggests an earlier unadopted design for either the university itself or the chapel--perhaps a discarded sketch from an architect working on All Saints' Chapel.  This arrangement of supporters and the bishop's mitre, in my opinion, is simply too elaborate for a minor foundation of the university.      

I was unable to locate any documentation of sources for these arms other than the choir's banner as a point of reference.  By using known data, we can render a guess regarding the rationale for these arms.  

The arms of Canterbury Cathedral.
Image Source: The King's School
Canterbury website.

Inside All Saints' Chapel there is a stone from Canterbury Cathedral embedded into one of the walls of the chapel, forming a connection to the mother church of the Anglican Communion.  This cathedral stone may likely serve as the source of inspiration for the dexter (left) portion of the choir's arms, as the cathedral bears the same coat but with the addition of Roman letters "I" and "X" upon the white cross.  By omitting the Roman letters in the choir's arms, there is adequate differencing of Canterbury's coat and thus avoiding any infringement.   

For the sinister (right) side of the choir's arms, there is precedence found in the arms of the Church of England's Diocese of Salisbury which features the Blessed Virgin Mary holding the infant Jesus on a blue field.  However, in Salisbury's coat the Madonna holds the infant Jesus in her dexter (right) arms, wears a golden crown upon her head, and holds a scepter ending in a lily.  The Madonna in the choir's arms holds the infant Jesus in her sinister (left) arms, and does not wear a crown or hold a lily scepter.  Additionally, the choir's arms are suitably differenced by having the color of the field rendered as white/silver.

The arms of the Diocese of Salisbury,
Church of England.
Image Source: Clergy of the Church
of England Database.

This rationale is my educated guess for the design of the choir's coat of arms.  While it is unusual, in this case anyways, for corporate arms to be impaled with two coats lacking any clear identification of the University Choir, it is very likely that the design pre-dates McCrady's heraldic work placing a date range prior to the late 1950s.  The Bengal tigers used as supporters on the choir's banner--as opposed the heraldic wolf version designed by McCrady in 1957--supports this theory.  

If this early dating is the case, changing the design now risks diminishing a treasured symbol for many past and present choristers.  While I am unable to attribute the designer of these arms, my guess in dating the creation of the choir's armorial bearings as seen in the line drawing above would likely fall between the 1940s to early 1950s.  If the date range is true, then, the choir's arms would be the oldest continually used coat at the university and likely appropriated to the choir from an earlier design for arms to be used for the chapel.  More research will be needed to better understand the history behind these arms.        

Nonetheless, I have never encountered a fully colored emblazonment of these arms before, and it was a delight to get the University Choir's arms emblazoned.  I include these arms within Sewanee's heraldry simply because they are used by the University Choir and displayed during each service.  Given the generations, now, of alumni choristers who have beautifully given their talents to enrich the worshipping life of the university, it is clear that the University Choir's coat of arms is a cherished symbol of pride. 

Sewanee's Heraldry Today

In recent years, the heraldry of the university has finally been embraced as evidenced by a few events.  In 2014, I wanted to see how Sewanee's heraldry would look displayed as armorial flags.  Given all the pomp and circumstance of university ceremonies, I believed there had to be a way to increase the visibility of McCrady's heraldry.  I posted several line drawings of how the arms would be laid out as flags on this blog back in September 2014, knowing full well no one in the world would take notice.  I was wrong. 

The Rev. Robertson "Rob" C. Donehue T'16, a seminarian at the time at the School of Theology, saw my post and sparked several conversations about Sewanee's heraldry.  Rob's passion for Sewanee's heraldry, along with his savy leadership, brought my humble sketches into reality.  My dream of seeing Sewanee's heraldry come alive and "fly," was simply made possible by Rob.  By the university's Easter 2015 commencement, all three flags were up and flying (Steele, 2016 April 16).  Please click here to read The Sewanee Purple's article.  I am incredibly thankful for Father Rob and the work he did as a seminarian, and we still correspond about these very topics. 

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The Armorial Flag and Banner

What is the difference between an armorial flag and an armorial banner?  The term banner can be tricky when describing either one, loosely speaking it's not an incorrect descriptor.  While there is a lot of history surrounding both, here is my simplified explanation.

Armorial flags are heraldic ensigns appropriated for outdoor use and typically used by corporate bodies.  Sometimes called "banner of arms," the design from within the shield is merely laid out in a rectangular form.  The armorial flag often uses a ratio of 2:3; however, the flag of the corporate sole and its foundations are rendered longer in length to show its importance in relation to any other flags.  Thus, I prefer the term armorial flag to describe this method of flying heraldry--it is by far my favorite.

In the modern era, armorial banners are usually square in shape and may include fringe around the border--which does not have to match livery colors.  Nowadays, armorial banners are typically flown indoors though historically were carried on the battlefield to identify the otherwise unknown knight hidden beneath his armor.  The banners displayed inside Westminster Abbey identifying Knights and Dames of the Order of the Bath, and those inside St. George's Chapel at Windsor Castle for members of the Order of the Garter, are just two examples of how armorial banners are used today.  

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Unfurled and flying, the heraldic flags at Sewanee inspired further developments for the campus.  During the Fall of 2018, Dr. McCrady unveiled his designs of armorial flags for all the undergraduate residence halls on campus (Prior, 2018 October 16).  Click here to read about the new flags in The Sewanee Purple.  Here again, McCrady's simplicity for design is carried over from the university heraldry into the arms of the residence halls, and giving residents cherished symbols of community.  

The armorial flags of the undergraduate residence halls flying prominently inside McClurg dining hall.  Image source, The Sewanee Purple.

Moreover, it is important to note that the Sewanee tressure was not used for any of the arms of the residence halls.  Why?  It is likely McCrady reserved that unifying symbol for the accredited colleges and schools of the university, which gives an altogether dignified distinction within all of Sewanee's heraldry.  For what it's worth, I think McCrady's reservation of the tressure was spot on.    

Embracing Cherished Symbols

When colleges and universities use heraldry correctly, the outcomes can be transformational for the community.  Sewanee's heraldry, a remarkable gift from Dr. McCrady, inspires and dignifies the mission and values of The University of the South.  The Sewanee heraldic tradition, furthermore, should represent a model of best practice for schools in the US.  In the end, I believe, Sewanee got it right.

Heraldry was never intended to serve as a corporate or institutional brand, as the business literature defines such a term.  When heraldry is done right, such as seen through the work of Dr. McCrady, these shields become true and lasting expressions of the brand, illustrating through abstraction institutional identity, values, and mission.  Establishing heraldry for any academic institution allows the human experiences of those students and alumni to pile their memories onto that shield.  While this phenomenon is not unique to heraldry, for it was never intended to bear such weight, institutional arms serve as a symbol of pride for generations of alumni.      

Thank you Dr. McCrady for the extraordinary gifts that you have given all of us in the Sewanee community.  Indeed, the Sewanee tressure is truly a treasured tressure.   

Yeah, Sewanee's Right!

Works Cited

All Saints' Chapel. (n.d.).  The festival banners described.  Unpublished document.

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

Fox-Davies, A.C. (1978).  A complete guide to heraldry.  Bonaza books.

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.

Hammond, M. (1981).  A Harvard armory: Part 1.  Harvard Library Bulletin, 29(3), pp. 261-297.

Krouse, C.M. (16 August 2023).  The heraldic genius of Orville Watson and the heraldry of Kenyon College.  Walsingham Wanderings. https://walsinghamwanderings.blogspot.com/2023/08/the-heraldic-genius-of-orville-watson.html 

McCrady, E. (1957 August 1).  Letter from Vice Chancellor Edward McCrady to the University Board of Regents.  Unpublished letter.

McCrady, J.W. (1981).  The changing seal:  Nexus in university history.  The Sewanee News, 47(1), pp. 15-17.

McCrady, J. W. (1983).  After 125 years completing the university's heraldry. The Sewanee News, 49(1), pp. 29-30.

McCrady, J.W. (2009a).  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, 549-554. 

McCrady, J.W. (2009b).  Evolution of the university seal.  In G.L. Smith & S.R. Williamson (Eds.), Sewanee perspectives:  On the history of the University of the South.  The University of the South, pp. 555-560. 

Pryor, M. (2018 October 16).  Heraldry brings Sewanee a sense of “community” for residence halls. The Sewanee Purple, https://thesewaneepurple.org/2018/10/16/heraldry-brings-sewanee-a-sense-of-community-for-residence-halls/

Steele, T. (2016 April 6).  Second founding honors past and welcomes future. The Sewanee Purple, https://thesewaneepurple.org/2016/04/06/second-founding-honors-past-and-welcomes-future-2/

The Man and His Arms: An Origin Story

The arms of Chad M. Krouse emblazoned in a Spanish-style by Dr. Antonio Salmeron (ES).

In light of several posts regarding the arms of two of my alma maters, I thought it appropriate to share my journey into the world of heraldry.  I used to be somewhat embarrassed about my passion for heraldry.  It's an arcane subject that most Americans wrongly associate with aristocratic impulses.  I feared that others might interpret my interest as a way to portray myself as something that I am not.  Over the years, thankfully, I was able to shed those unfounded fears.   

I am a visual learner.  I lean on my confluence skills, sifting for patterns and common themes in data--it's a gift I have and one I certainly didn't ask for.  Add to this my love of symbology and extracting meaning and identification through otherwise abstract ideas and images.  Perhaps this is why I was drawn to heraldry.

It all began as a freshman at Hampden-Sydney College back in 1998.  I was enamoured by the college's coat of arms, and I literally spent all of my high school graduation gift money in the College Bookstore on just about everything emblazoned with those arms.  Yes, I'll even admit to ordering my college ring as a freshman simply because I wanted to proudly wear those beautiful arms--fortunately my investment was proven upon graduation.  Click here to learn about Hampden-Sydney College's coat of arms.  

Following my undergraduate studies, I started to take a keen interest in the study of heraldry, purchasing loads of books on the subject.  My first work was to design arms within a vesica piscis for my local parish, Johns Memorial Episcopal Church.  Because the parish already had an existing banner containing an otherwise generic coat of arms, I had no choice but to run with that design in order to get the seal approved by the Rector and Vestry.  The blazon for the arms of Johns Memorial Episcopal Church:  gules an agnus dei carrying a resurrection banner proper.  Admittedly, there are some issues with this coat, but nonetheless, you have to begin your heraldic journey somewhere.  I learned a lot about proposing such things before committees, and yes, it's a dangerous thing.

The seal of Johns Memorial Episcopal Church in Farmville, Virginia.  Designed by the author in 2006 and emblazoned by Dr. Richard McClintock, Hampden-Sydney College.

I was extremely fortunate to attend the School of Theology at the University of the South for seminary, where I earned a master of divinity degree.  Sewanee, as it's simply called, is an Episcopal university high atop the Cumberland Plateau in Tennessee.  Gothic architecture dominates the landscape and serves as the perfect backdrop for heraldry.  While Sewanee's heraldry was cleverly designed in 1981 by French Professor Dr. James Waring McCrady (b.1938), the shields were not in use, bowing to the popularity of the university's seal (also set within a vesica piscis) prominently emblazoned on the floor inside the vestibule of All Saints' Chapel.  I would have to say that my time at Sewanee truly catapulted my heraldic interest to the next level.  Click here to read about the arms of the School of Theology, The University of the South.

A non-heraldic seal for the Sewanee Society of Our Lady of Walsingham, a short-lived student group at the seminary, designed by the author 2009.

In a small way, I was able to give something back to Sewanee by way of heraldry.  As my interest grew in the subject, I wanted to see how Sewanee's heraldry would look displayed as banners.  Given all the pomp and circumstance of university ceremonies, I felt deep in my gut that there was a way to increase the visibility of McCrady's work.  I posted several line drawings of banners here in September 2014, knowing full well no one in the world would take notice.  I was wrong.  

A line drawing correctly displaying McCrady's 1981 design for the arms of the University of the South, designed by the author, Sept. 19, 2014.

The Rev. Robertson "Rob" C. Donehue T'16, a seminarian at the time at the School of Theology, saw my post and sparked several conversations about Sewanee's heraldry.  Rob's passion for Sewanee's heraldry, along with his savy leadership, brought my humble sketches into reality.  My dream of seeing Sewanee's heraldry come alive and "fly," was simply made possible by Rob.  By the university's Easter 2015 commencement, all three banners were up and flying (The Sewanee Purple, April 16, 2016, website).  Please click here to read The Sewanee Purple's article.  I am incredibly thankful for Father Rob and the work he did as a seminarian.  To this day, we still correspond on occasion about these very topics.  

By 2014, I was deeply engrossed in researching my family genealogy.  My motivation was simple:  I wanted to share with my children who we are and where we come from in this wide world we inhabit.  Through my research, I joined a number of hereditary societies:  The Sons of the American Revolution, the Sons of the Revolution, the Order of First Families of Massachusetts, the Order of First Families of Rhode Island and Providence Plantations, and the Military Order of the Loyal Legion of the United States.  All this research got me thinking about designing and adopting my own arms as a way to honor my newfound discoveries.

My research muse, Pierre de Chaignon la Rose (1872-1941), photograph from his Harvard Class of 1895 yearbook.  Image source Harvard Archives.  

As a researcher, I went looking for resources about how to design arms in accordance with the strict customs of heraldry.  Lo and behold, I kept running into a most unusual name, Pierre de Chaignon la Rose (1872-1941).  Throughout my seminary studies, I identified with the Anglo-Catholic movement within the Church of England--a story rife with historical "fringe figures" complete with equally colorful personalities.  It was no wonder, then, that my fascination with la Rose took off.  Now going on ten years of research, I am extremely grateful to la Rose for a number of reasons.  I learned through his work to appreciate the art and science of heraldry, and I mean good heraldry.  I credit la Rose for giving me the tools to create my own arms.

As a son of West Virginia, and now an adopted one of the Commonwealth of Virginia, I knew I wanted two key elements:  the dogwood flower and the cardinal.  As a lover of irony, the cardinal is the official bird for both states, and you can readily spot these brightly colored, majestic creatures taking flight in both areas.  Furthermore, I love "canting" arms, or using charges within a shield that play upon the arminger's name.  Thus, I knew I had to use the cross attributed to Saint Chad of Mercia (d. 672).  Saint Chad is truly my aspirational saint, a humble man who walked his diocese (refusing to ride horseback) with grace and even turned over his see in a demonstration of obedience. 

In the spirit of humility, an early draft of my arms in 2014.  Through this rather busy and unattractive design, you can see where I'm heading as I arrived at my final version.

Furthermore, I wanted my arms to be layered in a distinctly English sort of way.  The barry wavy lines of six became a logical solution, for it represents my love of water, fishing, and just about anything fun to do on lakes, rivers, and streams (ironically, I'm not a huge fan of the ocean on account of Jaws).  After multiple drafts--some decent, some horrible--I finally arrived on a design that I could live with.  

My very first digital emblazonment, rendered by Steve Cowan (CA) in 2014.

As I began joining various heraldry groups, I oozed envy over seeing all the beautiful digital emblazonments that armingers had commissioned.  While poor at the time, I wanted my own!  I connected with Steve Cowan, a heraldic artist in Canada who was so gracious and patient with me.  A link to Cowan's website and portfolio can be found under "websites of interest."  Once I received the emblazonment above, I proudly shared my arms within those groups.  And that's where I learned my first lesson:  blazons should be very specific.

The dogwood flowers in the shield above are distinctive of the species found in Canada, not the cornus florida variety which is the official state flower of Virginia.  I was incredibly embarrassed that I missed this key detail--it wasn't Cowan's fault, I simply needed to specify my blazon.  We quickly corrected this mistake and I learned the true importance of the blazon in heraldry.

The corrected cornus florida, emblazoned by Steve Cowan (CA).

And that's how I arrived at my final blazon:  Per chevron Gules and barry wavy Argent and Azure, in chief two dogwood flowers (Cornus Florida) Proper and in base a cross of Saint Chad of the first.

  

The next mistake I would make would be found within my motto.  I wanted my motto, "I make right," rendered in German to honor my fifth generation German-American ancestry.  I developed the motto to reflect my desire to "make right" all the wrongs I have (or may) done in the course of my existence.  I foolishly turned to Google where I landed with ICH MACHE RECHTE.  To this day, any German-speaking person reads this as, "I make laws."  It's imperfect, just like me.  As I would later learn the true translation, I decided to keep it for that very reason.

A rather ferocious cardinalis cardinalis. 
The crest of Chad M. Krouse, emblazoned by Steve Cowan (CA).

For my crest, I knew I wanted the cardinal and the madonna lily.  Again, I learned that the blazon must specify the type of bird lest it suggest some poor and unfortunate Roman Catholic prelate's head had been ripped off.

The blazon for my crest is: a cardinal's head (Cardinalis cardinalis) erased clutching in its beak a Madonna lily (Lilium Candidum) seeded Proper.  While the cardinal has been covered, I wanted to incorporate a symbol for the Blessed Virgin Mary as depicted in the image and vision of Our Lady of Walsingham (England).  It seemed fitting to have the bird clutch the seeding flower--a image of growth and vitality. 

The coronet of dogwood flowers (cornus florida) and fleur-de-lis along with the motto,
 emblazoned by Quentin Peacock (UK).

During the ill-timed COVID-19 pandemic in 2020, I wanted to create a heraldic badge and update my emblazonments.  I commissioned Quentin Peacock in England, who is rapidly becoming the expert artist for all things British heraldry.  With Peacock's expertise, we agreed on a coronet of dogwood flowers (cornus florida) and fleur-de-lis to encircle three madonna lilies.  I simply love my badge!  Click here to read the full details on my arms as they appear in the International Armorial Register.

The banner, arms, and badge of Chad M. Krouse, beautifully emblazoned by Quentin Peacock (UK).

 

Finally, during those dark and lonely days of lockdown, I leaned into heraldry as a way to highlight social injustice in our country.  I devised attributed arms for the Black Lives Matter Movement to visually portray the struggles many women and men of color face each day in our society.  The blazon I created: Argent a fist couped Sable flaunches Gules masoned of the field, on a chief Vert a demi dove displayed of the first auerled Or.  I was shocked that my work went viral!  Through these arms, I tried to show not only how extremely relevant heraldry is in our common human experience, but to make a contribution of hope.  I appreciated all the great feedback I received from this project.  Click here to read about the attributed arms for the Black Lives Matter Movement.

The attributed arms of the Black Lives Matter Movement, designed by Chad M. Krouse and emblazoned by Dimitri Prica, June 10, 2020.

My origin story of heraldry is uniquely my own and rather reflective of my journey in life.  While I'll continue to make mistakes as any human will, I endeavor to learn from them to make things right.  The journey led me to discover one of my passions in life, heraldry, and also gave me a research focus on the life and heraldic work of la Rose.  More importantly, I have connected and befriended so many enthusiasts of heraldry all over the world.  I cherish these friendships and connections.

My task, now, is crystal clear: to share la Rose's work with the world in order to give him the credit he truly deserves.  The goal is to publish a book, complete with my findings in the near term.  I even have an amazing research assistant now, an undergraduate student at Virginia Commonwealth University, where I earned my doctoral degree and continue to serve in a professional capacity.  

The arms of Chad M. Krouse, emblazoned in the inimitable style of Sivane Saray (BE).

In so many weird and unexpected ways, heraldry has given me a deeper sense of purpose along with a tangible goal.  I'm having the time of life.  ICH MACHE RECHTE!

Unification and Differencing: A Case Study in Quincy

The arms of the Diocese of Quincy.
Rendered by Chad Krouse, 2024.

Over the past 10 years, I've diligently combed through archives across the US and Canada on my quest to uncover the heraldic work of Pierre de Chaignon la Rose (1872-1941).  I have met so many archivists and volunteers who are passionate about the organizations whose histories they maintain.  Sometimes I am lucky and find answers, other times not so.  Today, however, was one of those good days. 

During the 28th annual convention of the Episcopal Diocese of Quincy, which met on May 16-17, 1905 in the Cathedral of St. John, the assembly voted to officially adopt a coat of arms designed by la Rose (Diocese of Quincy, 1906, pages 34-35).  Based on my data, now hovering around 250 institutional coats designed by la Rose, the arms for the Diocese of Quincy was the first coat la Rose designed for an Episcopal diocese.  

The seal of the Diocese of Quincy designed by la Rose and found upon the bishop's cathedra inside St. John's Parish and Cathedral in Quincy, IL.  Photo courtesy of The Rev. Patrick Smith, Rector.  Note the diocese's motto, Jehovah Jireh, placed in the base of the vesica piscis. 

There is something else, however, that makes this coat extra special--keep reading.  

The blazon for the arms of the Diocese of Quincy: Argent, between two pallets wavy azure debruised in fesse, a cross quadrate gules, thereon seven mascles conjoined three, three, and one or.  

An article appearing in The Living Church (1906), offers this description for the diocese's arms:

"The story told upon the shield is an interesting one and descriptive of the location, the history, the work, and the aspirations of the diocese. One versed in heraldry might read the shield as follows: The land between the rivers, of military associations where the Anglican Communion has spread the gospel net, which land is Quincy and whose church sends influences beyond the rivers. This is a free translation, very free, but better understood to-day than the language of ancient heraldry. 

"The diocese includes a little more of the State of Illinois than was in what was known as the 'Military Tract,' a tract reserved after the war of 1812 to reward the soldiers. This fact, and the other one that within the diocese the Federal Government has its greatest arsenal, will account for the 'Military Associations.' 

"An interesting fact is that the lozenge like the devices in the centre of the shield arranged as these are, 3, 3, and 1 , in heraldry mean both Quincy and the gospel net. The motto 'Jehovah Jireh,' chosen as all will remember by Bishop Chase, while it may not properly be included in the design is correctly placed in the rim" (page 1007).  

Furthermore, DeKay (1993) notes that the arms of the diocese prominently features those from the "de Quincy family, Earls of Winchester, were [blazoned] 'gules, seven mascles conjoined, 3, 3, 1 or'" (page 36).  All of this background information is great, but there's more.

Banner of arms for the Diocese of Quincy.
Rendered by Chad Krouse, 2024.

In Wright (1908), we learn that not only did la Rose design arms for the diocese, but also arms for its cathedral of St. John (page 244).  This is the special coat that I've been pinning to see.    

The only way I could find these arms was to contact The Rev. Patrick Smith, Rector of St. John's Parish and Cathedral, who so kindly sent me these photographs today.  The parish and building are now affiliated with the Anglican Church.  Moreover, Wright (1908) notes that the reredos was designed by none other than the Boston-based firm of Ralph Adams Cram (1863-1942).  Wherever there is Cram, and heraldry is involved, la Rose is surely not far behind.

The arms of St. John's Cathedral carved onto the reredos inside St. John's Parish and Cathedral in Quincy, IL.  Photo courtesy of The Rev. Patrick Smith, Rector. 

The arms of St. John's Parish and Cathedral are blazoned: Azure, on an eagle displayed Argent aureoled Or, an escutcheon Gules charged with seven mascles conjoined three, three, and one Or.

Arms of St. John's Cathedral.
Rendered by Chad Krouse, 2024.

Now, we have the very first coat that la Rose designed for a cathedral or parish in the US.  Through the arms of St. John's Cathedral, we encounter for the very first time la Rose's method for showing unification and differencing.  The escutcheon on the displayed eagle is a clear reference to the cathedral's ownership by the Diocese of Quincy.  In this one coat of arms, la Rose not only differences the established de Quincy coat, but does so in a rather genius way which shows unification at the same time. 

The altar and reredos in St. John's Cathedral were dedicated on July 7, 1907 (Wright, 1908, page 244).  Thus, it is likely--given the time lag between mailing designs, actual construction, to final dedication--la Rose designed these arms between 1905-1906. 

La Rose would use the displayed and aureoled eagle for St. John in several future designs, as well as charge heraldic creatures with an escutcheon showing unification.

Arms of St. Francis de Sales Seminary (St. Francis, WI) designed by la Rose.
Rendered by Chad Krouse, 2024.

Arms of St. Edward's Seminary (Kenmore, WA) designed by la Rose in 1931.  Rendered by Chad Krouse, 2024.

If you're interested to read more about the arms of St. Edward's Seminary, click here to see one of my first posts regarding la Rose.  La Rose continues to keep me on my toes with how he uses charges, tinctures, and metals to either show unification or differencing in his work.  What is truly fascinating, at least to me, is that he worked out a logical solution to this problem very early in his heraldic career.  La Rose would continue to refine his methodology over the years, and I have many examples in my data.  Today was a good day.

Works Cited

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

Diocese of Quincy (1906).  The 28th annual convention of the Diocese of Quincy.  Review Printing Company.    

The Living Church (1906).  Diocesan seal for Quincy.  The Living Church, vol 35(24), 1007.  

Wright, J. (1908).  Some notable altars in the Church of England and the American Episcopal Church.  MacMillan Company.  

The Arms of the School of Theology, The University of the South

Armorial flags of the University and its Seminary, rendered by Lucas Hofmann, 2024.

In the Fall of 2007, the Krouse family moved onto the Domain of the University of the South.  Located atop the Cumberland Plateau in the town of Sewanee, Tennessee,  the School of Theology has been forming women and men for ordained ministry in the Episcopal Church since 1878.  With my daughter celebrating her first birthday, and my son coming along to join the clan in a few months, both the seminary and community became a treasured safe-haven for me and my family. 

The School of Theology has produced scores of priests, theologians, and bishops throughout the world formed at Sewanee and ready for ministry within the church.  I was truly fortunate to have been taught and formed by so many legendary academics.  Professors such as The Rev. Dr. Donald S. Armentrout (1939-2013) who famously taught church history with so much hyperbole and excitement, students oftentimes felt alive and embraced by the characters he portrayed.  I can still see Dr. Armentrout holding onto his suspender straps.  The Rev. Dr. A. Richard Smith (1928-2020), the legendary professor who taught New Testament Greek, not only made an ancient language understandable but helped us dive deeply into those texts for a richer understanding of the Christian faith.  

In times of personal crisis, Dr. Joseph E. Monti (1943-2023) was always there with an empathic ear and wise counsel.  An ethicist, Dr. Monti taught moral theology and famously wheeled in a cart containing his notoriously thick syllabus--literally filling up an entire three-ring binder and bringing tears to the eyes of his pupils.  He was a force to be reckoned with, but sweet and gentle all the same.  Another inspiring and vibrant professor was The Rev. Dr. Susanna Metz (d. 2022.) who taught contextual theology and led the field education program.  Susanna, as she insisted on being called, was always laughing and believed deeply that Jesus wanted us all to simply lighten up.  I cherish clinking mugs of beer with Susanna and my classmates at Shenanigans, as we successfully coaxed her to move our small class discussion at times.

Proud dad moment.  My son was baptized in 2007 during the Great Easter Vigil at All Saints' Chapel, Sewanee.  My proud grandfather, "Pappaw," smiles with me.  

Finally, I had the honor of befriending The Rev. Dr. Marion J. Hatchett (1927-2009) towards the end of his historic and scholarly life.  I worked with him to arrange his vast library collection and deliver boxes of old books to the university's library so as to fill in any gaps in their collections.  I am thankful that I had Marion, as he simply wished to be called, autograph for me every copy from his list of published works.  I cherish our many luncheons we had together.  What a gem!    

Today, new legends are forming at the seminary, and while my path led me in a different direction away from ordained ministry, I have employed countless lessons learned as a seminarian which continue to enrich my life.  Why do I share all of this?  Simply because I have learned over the years that Ralph Waldo Emerson (1803-1882) knew of how we view symbols.  The great transcendentalist deeply understood the power these symbols have in the course of human experience.  Emerson wrote:

The world being thus put under the mind for verb and noun, the poet is he who can articulate it. For though life is great, and fascinates, and absorbs; and though all men are intelligent of the symbols through which it is named; yet they cannot originally use them. We are symbols and inhabit symbols [emphasis mine]; workmen, work, and tools, words and things, birth and death, all are emblems; but we sympathize with the symbols, and being infatuated with the economical uses of things, we do not know that they are thoughts" (Emerson, 1983, page 456).

In other words, whenever I see the arms of the School of Theology, I cannot help but heap onto that shield my own deeply personal experience with the place.  While heraldry was never intended to bear such weight, the human experience appropriates, when in use, those memories onto a coat of arms.  I believe this with all my heart.  Perhaps, this is why scholastic heraldry is so important.  I need something to hold onto to bear in my life those memories.  I live and inhabit this coat of arms.  

The arms of the School of Theology, from a library painting which prominently hangs inside the Student Common Room, Hamilton Hall.

Designed in 1981 by Sewanee Professor James Waring McCrady (b. 1938), the arms of the seminary carry forward McCrady's unique "Sewanee tressure," his device for showing unification within the arms of the subordinate colleges and schools of the university (McCrady, 2009, p. 552).  In McCrady (1983), he offers this blazon for the seminary's arms, "Gules on a cross or surmounted by a Sewanee tressure counter-changed a crossed fleam sable" (page 30). 

For a detailed analysis on the heraldry of the University of the South, please click here. 

The arms of the School of Theology,
The University of the South designed in 1981
by Dr. McCrady and emblazoned
by Lucas Hofmann, September 2023.

According to McCrady (1983), the colors gules (red) and or (gold) come from the arms of William Porcher DuBose (1836-1918), who served as the second dean of the seminary.  The crossed fleam in the center represents the patron saint of the seminary community, Saint Luke. Saint Luke was also the name of the seminary's first building on campus as well as the name of one of the chapels which can all be seen today.  The Gospel writer is attributed as a physician, hence the use of the fleam which was a physician's implement for bleeding.  McCrady added the cross bar to the fleam in a most unusual way that gives dignity and significance to the design--typically in heraldry, the fleam is a stand-alone charge and McCrady's differencing of that symbol is purely masterful. To render the crossed-fleam in sable (black) not only alludes to the clerical color, but also to the Manigault arms, "the widow upon whose benefaction the seminary originally depended" (McCrady, 1983, page 30). 

McCrady's design for the arms of the seminary is simply genius.  His forms are simple and direct.  Not only are the seminary's arms beautiful, but they convey clearly the mission of the school.  This shield is a treasured possession for so many seminarians and Episcopal clergy who were deeply formed within the walls of Hamilton Hall.

In 2024, the American Heraldry Society selected the seminary's arms to receive its annual Pierre de Chaignon la Rose Design Award.  Click here to read the press announcement from the School of Theology.   

An armorial flag for the School of Theology, The University of the South drawn by the author, September 19, 2014.

Over the past few years, the School of Theology has embraced her arms as evidenced by a few events.  When comparing the popular use of the seminary's coat to the others found within Sewanee's heraldry, it is likely that the seminary's arms are used more so due to the influence of heraldry within the Episcopal Church.  For example, choir dress for clergy in the Episcopal Church requires a black preaching scarf upon which are (sometimes, depending on individual taste) tippet seals or arms are sewed to show clerical's seminary and/or diocese.  

The flags of the University of the South on full display inside All Saints' Chapel during a lecture.  Source: The University of the South.

In 2014, I rendered all the arms at Sewanee as flag and posted those drawings to this blog.  Enter The Rev. Robertson "Rob" C. Donehue T'16.  I truly suspected that no one in the world would ever read my posts here, but I was wrong.  At the time, Rob was a seminarian at the School of Theology and saw my post, sparking conversations about Sewanee's heraldry.  Rob's passion for Sewanee's heraldry, along with his savy leadership, brought my humble sketches into reality.  My dream of seeing Sewanee's heraldry come alive and "fly," was simply made possible by Rob.  By the university's Easter 2016 commencement, all three banners were up and flying (The Sewanee Purple, April 16, 2016, website).  Please click here to read The Sewanee Purple's article.  I am incredibly thankful for Father Rob and the work he did as a seminarian to make all this possible.  To this day, we still correspond about these very topics.  

The armorial flags of the University of the South and its schools.
Rendered by Lucas Hofmann, 2024.  Click image to enlarge.

In 2018, the graduating class of seminarians gave the seminary a gift of the school's arms rendered as a banner for processions.

The graduating class of 2018 pictured with the new banner.  Source:  The University of the South.

And perhaps most exciting of all, in the fall of 2022, the St. Luke's Community (the name for the student body association for the seminary) announced through Facebook that signet rings and pendants bearing the seminary's arms would be available for purchase.  Through a collaboration with a local Tennessee jeweler, Mr. Jim Woodard of Woodard's Diamonds and Design, two seminarians (now ordained), The Rev. Garron Daniels T'23 and The Rev. Suz Southern T'23 helped make the seminary's arms more tangible through this creative project.  Huzzah!  

A new project brought to life by The Rev. Garron Daniels T'23 and The Rev. Suz Southern T'23.  Source: School of Theology Facebook page.

It is so exciting to see these heraldic developments at my alma mater.  The School of Theology is truly a special place.  These armorial bearings mean more to me than simply good heraldry.  Memories, lessons learned, and the people who came into my life there, forever changed me.  I will never be able to pay back the debt I owe to the School of Theology, save winning the lottery.  I am a proud M.Div. graduate, and though my career in higher education philanthropy is so far removed from ordained ministry, I lean heavily on my formation from Sewanee each and every day.  I'll simply close with the fight song:

"Tiger, Tiger,

Leave 'em in the lurch.

Down with the heathen

And up with the Church

Ye-aa-ah, Sewanee's right"

Works Cited

Emerson, R.W. (1983).  Ralph Waldo Emerson: Essays and lectures.  Literary Classics of the United States, Inc.

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), 30.