Two Corporate Coats Emerge From Black & White

A full color emblazonment of the arms of the Foreign Mission Sisters of Saint Dominic, designed jointly by Pierre de Chaignon la Rose and The Rev. John A. Nainfa, S.S. in 1923.  Image is courtesy of the Maryknoll Mission Archives, September 2023.

In a recent search online, I happened across a pleasant surprise.  The Maryknoll Mission Archives published a rather thorough review of two corporate coats designed by Pierre de Chaignon la Rose (1872-1941) and his Sulpician heraldic partner in crime, The Rev. John A. Nainfa, S.S. (1878-1938).  Furthermore, the Archives posted full color emblazonments from their collections--a veritable feast for the eyes.  Please click here to read the article by the Maryknoll Mission Archives.

My digital renderings of these two arms.

Both of these coats of arms represent a key theme in la Rose's heraldic work.  The "cross in national colors" was an early theme I found in my analysis regarding several designs devised by la Rose.  Please click here to read my article on the theme of the "cross in national colors."  Previously, I had only seen emblazonments of these two coats in black and white, which truly does no justice to their designs.  Seeing these coats in full color, however, proves the "carry power" of these shields, a point la Rose often cited with his new designs, and this is what made me smile.  

A modern emblazonment of the seal and arms for the Catholic Foreign Mission Society of America, designed in 1917-1918 by The Rev. John A. Nainfa, S.S.  Image is courtesy of the Maryknoll Mission Archives, September 2023.

In La Rose (1918), we learn that la Rose credits the design for the Catholic Foreign Mission Society of America to his heraldic partner The Rev. John A. Nainfa, S.S., who was working at the Catholic University of America located in Washington, DC.  Oftentimes, la Rose would lean on Nainfa for historical background when devising new arms for Roman Catholic institutions. 

The arms of the Catholic Foreign
Mission Society
within a seal matrix composed
of a gothic quatrefoil. 
Image source: La Rose (1918), page 193.

La Rose (1918) writes:

"...the arms of the Catholic Foreign Mission Society of America, designed by The Reverend John A. Nainfa, S.S.  Its blazon:  Argent, a cross quarterly azure and gules.  

Here the same idea--the Cross in the national colors--is carried out with admirable directness and decorative simplicity" (193).  

Again, to see this coat in full color is simply stunning.  

In 1923, we would see yet another coat of arms designed along the theme of the "cross in national colors," jointly designed by la Rose and Nainfa.  The arms of the Foreign Mission Sisters of Saint Dominic was featured in a national publication, The Field Afar, as seen below.  

From The Field Afar, September 1923, page 254.  Image is courtesy of the
Maryknoll Mission Archives, September 2023.  Click image to enlarge.  

Based on my research of la Rose's heraldic work, I believe la Rose suggested the gyronny combined with Nainfa's Maryknoll cross for the design.  Furthermore, the painting of the Sisters' arms above in the introduction, was most likely rendered by la Rose--the lettering in the ribbons below the shield match other works by la Rose in my data.  Ecce ancilla domini, or "behold the handmaid of the Lord," is from the Vulgate version of the Gospel of Luke 1:38.  The Annunciation of the Lord is a rather fitting motto representing the work and mission of the Order. 

Finally, the shape of the shield for the Sisters' arms is reflective of one of the six shapes la Rose employed throughout his work--the differences in the two shapes when set side-by-side can be seen in The Field Afar (1923).

The joint attribution in The Field Afar (1923), coupled with Nainfa's credit in La Rose (1918), was most likely la Rose's statement to correct the injustice he endured at the hands of the University of Chicago in 1910.  Please click here to read the story of mistaken identity in the arms of the University of Chicago.  

Arms of the Foreign Mission
Sisters of Saint Dominic appearing
in The Field Afar (1923), page 254.

Why do I assert this belief?  Simply because everything la Rose did served a purpose.  As a student of English and eventually a professor thereof, every word la Rose used mattered.  If memory serves me well, la Rose's attribution of Nainfa in La Rose (1918), was the only instance la Rose illustrated arms created by another herald in the multitude of articles he published in The Ecclesiastical Review.  

The joint attribution in The Field Afar (1923) represents a significant outlier in my data of more than 250 corporate arms designed by la Rose--this case is the only instance of joint attribution.  I am not a conspiracy theorist; the data merely suggests there is much more behind this story of joint attribution. 

Nonetheless, the black and white emblazonment of these arms does not render justice to the splendor of color found upon the shield.  The arms of the Sisters' carry the gyronny of eight representing the order's ties to Saint Dominic as well as the Maryknoll cross in national colors.  The blazon for the arms of the Foreign Mission Sisters of Saint Dominic:  gyronny of eight argent and sable, a cross quarterly azure and gules. 

Heraldry is meant to be rendered in full color;  the identification and "carrying power" of any given coat of arms demands the splendor of colors, metals, and furs.  Thank you Maryknoll Mission Archives for sharing these vividly colored arms in your article.

Works Cited

Conning, S. (2023 September 13).  Coats of arms.  Maryknoll Mission Archives website.  https://maryknollmissionarchives.org/coats-of-arms/

La Rose, Pierre de C. (1918).  Some examples of Catholic corporate heraldry.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 58(February), pp. 189-198.

The Field Afar (1923).  Arms of the Catholic Foreign Mission Society of America and Foreign Mission Sisters of Saint Dominic.  The Field Afar, vol. 17(9), 254.

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

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

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

Two Tasks In One Design

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

Seal and arms of the University of St. Mary of the Lake based on la Rose's original design.  Rendered by Chad Krouse, 2024.

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

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

La Rose's First Academic Commission 

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

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

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

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

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

The Phoenix Rises in Atlanta

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

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

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

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

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

Chicago Revisited 

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

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

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

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

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

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

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

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

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

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

The Seminary Reborn

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

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

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

The Arms of the Corporate Sole

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

Arms of the Archdiocese of Chicago.
Rendered by Chad Krouse, 2024.

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

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

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

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

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

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

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

Mundelein College and the University of Chicago 

Arms of Mundelein College.
Rendered by Chad Krouse, 2024.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Works Cited  

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

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

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

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

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

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

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

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

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

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

Heraldic Artist Spotlight: Dr. Antonio Salmeron

 

Dr. Antonio Salmeron of Madrid, Spain. 
Image is from Dr. Salmeron's website.

For the second installment highlighting heraldic artists, I'm pleased to present Dr. Antonio Salmeron from Madrid, Spain.  Perhaps one of the most prolific heraldic artists these days, Dr. Salmeron is quite busy producing high-quality work found across the globe.  

A scholar by training, Dr. Salmeron's methodology supporting his heraldic work is best explained in his own words.  

"My style as a heraldic artist could be drawn with three terms: clear, symbolic and methodic.

"It is clear because my work searches pieces which transmit energy and vital force to the owner and its relatives. I think that a coat of arms should be a source of light and joy and an expression of freedom. That's why in my heraldic creative process I do prefer to get inspiration in early stages of the heraldic history and portray that freshness to the present.

"It is symbolic because coats of arms must be a representation of its bearer, his/her ideals, goals, motivations, history and anything he/she might want to display. Thus, the creation of a coat of arms should encompass all the signifieds brought by the future owner together with its signifiers, the blazon heraldic rules and the art contributed by the heraldic artist.

"It is methodical because heraldic art is founded on a science, the so called science of heraldry. This systematic knowledge has its principles, its composition rules and its own formal language all of those the true foundations of my artistic methodology. The method must not be considered disincentive to creativity, but a fair support and a guarantee of the professional work" (Blason, 2023 September 11). 

From International Society of Commoners Heraldry: Roll of Arms,
page 18, as an example of Dr. Salmeron's work.

I admire how Dr. Salmeron adopted his own methods to maintain consistency with all his work.  You can definitely tell that this heraldic artist is very much a scholar.

I connected with Dr. Salmeron in 2020 during pandemic through a growing and vibrant Facebook group, "The International Society of Commoners Heraldry."  

Now with more than 2,300 Facebook members, the Society purports to provide, "a place for those who choose to embrace heraldry in the contemporary world as a means of representing themselves using the traditional symbolism of Heraldry."

As an example of just one project, Dr. Salmeron created an armorial for the group, cataloging arms for each member as they join--the Roll of Arms grows by the week and Dr. Salmeron keeps quite busy here.  In addition to his ongoing projects with the International Society of Commoners Heraldry, Dr. Salmeron receives commissions from all of the world to either create new arms or emblazonments of existing arms rendered in his own style. 

Ever the scholar, Dr. Salmeron provides insight into how he applies his methods for arms to achieve harmony between the art and science of heraldry.  The image below is taken from the "Friends of Dr. Antonio Salermon Cabanas" Facebook group as an illustration of Dr. Salmeron's methodology in action. 

Finding balance between the art and science of heraldry in the work of Dr. Salmeron.  Image is from "Friends of Dr. Antonio Salmeron Cabanas" Facebook group, September 2023.

Finally, I'm pleased to share my arms rendered by Dr. Salmeron, in which I requested his Spanish style to give my arms that Salmeron touch.

The arms of Chad M. Krouse, rendered in the Spanish style by Dr. Salmeron, May 2020.

I highly recommend Dr. Salmeron to anyone looking to either design their own arms or simply create a new and unique emblazonment of existing arms.  Please click here to view Dr. Salmeron's website for contact information.  You simply won't be disappointed!  Dr. Salmeron is a scholar and a gentleman.  

Heraldic Artist Spotlight: Brian Abshier

 

The arms of Brian Abshier rendered in his style. 
Image source:  Art by Brian Abshier website.

I'm starting a new series to celebrate various heraldic artists around the world, as a means to showcase the modern relevancy heraldry enjoys well into the 21st century.  Suffice it to say, the shear volume of these expert heraldic artists working today could easily keep any arminger busy submitting commissions for quite a long time--a great problem to have in our field.

Brian Abshier is a heraldic artist residing in the United States, and is one whom I've had the pleasure of working with for a few years.  Abshier was my first commission during the COVID-19 pandemic--he was slammed busy with requests for heraldic art at that time.    

Abshier gives us the following autobiography from his website:

"Artwork has always been a hobby and passion of mine, but it had always been done in traditional medium for most of my life. I first began seriously working with digital art in the late 2000's by creating textures and assets for various computer games. Through this, I became familiar with the techniques, tools, and software involved in the digital artwork. 

Around 2016 I found the artwork of artists like Andrew Stewart Jamieson, Quentin Peacock, and others and found it very captivating. Like many others, heraldry created a natural bridge between the interests of medieval history and art" (Art by Brian Abshier, 11 September 2023).

Arms and Crest of Chad M. Krouse rendered by
Brian Abshier in the "Bellenville style," March 2020.

Furthermore, as his style and knowledge in heraldry progressed, Abshier's work would be featured in a number of publications.  By 2018, Abshier took the plunge and began accepting commissions.  

Initially, I commissioned Abshier in 2020 to have my arms and crest emblazoned in the "Bellenville" style.  Abshier's rendering of the cardinal in this style is just pure genius--I love it!

According to Hofman (2017), the Bellenville Armorial was one of the most famous and admired works of heraldry developed between 1355-1380 and consisting of 75 folios.  Abshier's interpretation of the style made famous by the armorial, illustrates the artist's depth of knowledge in medieval history along with his talent for creativity.  Moreover, I just loved how unusual and historical my arms appear in the Bellenville style.  

Not long after that commission, I asked Abshier for a full set to include a banner, badge, etc.  I was not disappointed in the results.  Abshier's style provides absolute identification of the individual bearing arms--as draftsmanship and blazoning are vital elements for good heraldry.  As Pierre de Chaignon la Rose (1872-1941) once wrote concerning several designs for new arms,

"In determining the merits of these designs, they should be studied at a distance, and their relative effectiveness thus determined.  The shield which is at a distance is the simplest and perspicuous--has the most 'carrying power'--is always the best heraldry" (la Rose, 1910, 4).

From any distance, I believe, Abshier's heraldic work provides that critical "carrying power" necessary for heraldry.    

Who would want to attack the dashing knight bearing this shield? 
The arms of Chad M. Krouse rendered by Brian Abshier, March 2020.

No other artist, that I have worked with so far, has rendered the flowering dogwood (cornus florida) quite like Abshier--my absolute favorite version.  I admire the detail and shading techniques Abshier employs to render the cornus florida as an acceptable heraldic charge.  

The flowering dogwood (cornus florida)
rendered by Brian Abshier, March 2020.

I hope the reader will consider Abshier for a commission--you simply cannot go wrong with an emblazonment in his Bellenville style.  For more information, please click here to visit Abshier's website, which contains a full gallery of work, contact information for commissions, etc.  

Works Cited

Abshier, B. (2023 September 11).  Background.  Art by Brian Abshier.  http://www.abshier.us/about.html 

Hofman, E. (2017 July 7).  Bellenville's two armorials.  Heraldica Nova.  https://heraldica.hypotheses.org/5785

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