Myth-Busting Heraldry: Fables, Facts, and the American Way

Newly emblazoned arms for my daughter.
Rendered by Allen Crawford, December 2023.

Several days ago, I received a text message from my daughter detailing a rather intriguing assignment for a high school history class.  What was the assignment?  You guessed it, students were asked to design their own coat of arms.  I contacted the instructor with an offer to deliver an age-appropriate presentation on heraldry with a specific focus on US-based heraldry.  "Myth-busting heraldry: Fables, facts, and the American way," quickly became the perfect presentation title.  

Having way too much fun building this slide deck.

The main goal with this presentation is to dispel many of the common American myths regarding the subject--every family has a coat of arms, armorial devices for nobility only, etc.--and provide accurate context and facts regarding heraldry and its use in this country.  I also wish to emphasize armorial assumption (a.k.a. "the American way") as this country's method in the absence of any heraldic authority.  I continue to believe there is nothing more American than armorial assumption.  

Using my own achievement for illustration.

To engage the students with this subject, I created (what I hope will be) a fun and engaging quiz, "Name That Shield," to underscore how coat armor creates identity.  For example, I'll share the arms of Harvard, the Episcopal Church, the arms of the sovereign of the United Kingdom, and so forth to see which arms are immediately recognizable.  Like any good teacher, following the exercise we will unpack the reasons pertaining to how and why the students were able to name the bearer of those shields.  My hope is students will begin to understand that simple and perspicuously designed arms hold power in our memories, serving as timeless abstract symbols of identity.

Perhaps the most exciting portion of the presentation, at least for me, will be guiding the students through the design and creation process.  To help bring this exercise to life, I created a coat of arms for the school itself to keep everything close to home in the minds of the students.

Fuqua School is a private, K-12 school located in Prince Edward County, Virginia.  The school is named after its benefactor, Mr. J.B. Fuqua (1918-2006) whose generous philanthropy helped propel the school to live out its mission to provide excellence in rural education.

Proposed arms for Fuqua School
designed by the Author and rendered
by Lucas Hofmann, November 2023.

Since the school's benefactor and namesake did not bear arms, I opted to use the school's mascot as the basis for the design.  The black falcon displayed, an unusual attitude for this heraldic bird, was fun to render.  The school's livery colors are black and red, and I knew those colors needed to be incorporated somehow as well.  The school does not have a motto, and thus I selected to charge the breast of the bird with a closed book to represent learning and scholarship.  Using the book--open or closed--is a well-known charge in scholastic heraldry.  

Given several limitations, I wanted to incorporate in these armorial bearings a geographical reference for further customization.  Formed in 1754, Prince Edward County is named for Prince Edward, the Duke of York and Albany (1739-1767).  To reference the county's namesake, I selected a simple ancient coronet for clear identification.

For additional reference, I selected three sheaves of wheat to identify the location of both Farmville and Prince Edward County.  The county's seal contains wheat, but also Mr. Fuqua's origins of farming and agriculture fits nicely as well.  

Roundel showing identification in the proposed arms for Fuqua School.
Rendered by Lucas Hofmann, November 2023.

Having three sheaves of wheat enfiled by the ancient coronet contained in a roundel using red and gold provided a logical solution for using red while also locating the school geographically--a design scheme Pierre de Chaignon la Rose (1872-1941) created for his devisal of arms for Mundelein College in 1930.  For the college, la Rose used two roundels on the wings of a phoenix rising from the flames to reference the religious community's foundation as well as the corporate sole.  I believe this arrangement was perfect for this new design.  

The armorial flag of Fuqua School, rendered by Lucas Hofmann,
November 2023.

Through the American Heraldry Society, I received helpful feedback regarding my design.  One critical learning outcome:  falcons in heraldry are typically "belled and jessed," and this blazon was new to me. Adding bells tied with strings on the legs helps identify the bird as a falcon, while referencing the ancient practice of falconry at the same time. 

I was most impressed with how the designed turned out in full color--especially when seen as an armorial flag.  I can simply see this flag unfurled and flying on the school's flagpole any day now.

Why should schools consider adopting arms?  While it's my belief that heraldry was never intended to serve as a corporate brand as defined in the business literature, institutional heraldry serves as a distinctive expression of the mission and values of that brand.  In an age when schools, colleges, and universities (especially private ones) are constantly rebranding in order to own marketshare for enrollment needs, schools using arms provide a static symbol for countless generations of alumni and friends of their institutions.  A well designed shield creates a dignified emblem for the entire community to embrace and inhabit.  Additionally, arms provide decoration for school memorabilia, especially when otherwise using the legal corporate seal should be reserved for authentication.  Heraldry also elevates any school or academic ceremony with dignity while creating new traditions at the same time.  Ultimately, a school's coat of arms becomes a timeless symbol of pride for the entire community, a testament to the carrying power of an idea birthed in the 12th Century.  I believe these are among the best reasons for academic institutions to adopt and use arms. 

Sharing my love of heraldry, and how arms provide unique identification, is work I'll never grow tired of doing; I'm excited for next week.  While it remains to be seen if the school likes, much less adopts this design of arms, I enjoyed the process and the creative stimulation.  I'll certainly post any updates in the future.

Blazon of proposed arms for Fuqua School: Argent, on the breast of a falcon displayed sable belled and jessed proper, a closed book with two clasps Or, on each wing a torteau edged Or charged with three sheafs of wheat enfiled by an ancient coronet all Or.

Of Ships and Mitres: Kipling and the American Herald

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Works Cited

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

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

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

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

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

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

Flying Heraldry: The Arms of the American Heraldry Society

Flag of arms for the American Heraldry Society, rendered by Lucas Hofmann,
November 2023.

Flying heraldry brings to life the abstraction of the shield, and I simply love to see how a coat of arms can be translated as a flag.  Several days ago, I began sketching out the arms of the American Heraldry Society to see how they would appear when rendered as a flag.  Note, this flag is not official but just for fun.  My drafting skills are clearly limited and I work in pencil--the eraser is my friend.  Sadly, I've never learned digital art, and I'll leave that up to the experts.  My goal with any line drawing is to give the artist the exact proportions and overall design concept for a finished product. 

For these American corporate arms to become a flag, I wanted to use designs from the great Pierre de Chaignon la Rose (1872-1941) for a distinctly "American feel."  So, I cobbled together various artifacts from my data and voila.

The initial sketch with the talons and tail feathers compressed,
leaving empty space below the eagle.

La Rose used the eagle extensively in his design work, mainly as the charge representing Saint John.  Additionally, the phoenix rising from the flames has the same body as an eagle.

One of six shield shapes used by la Rose throughout his heraldic work,
rendered by Dimitri Prica.

For the three eschuteons on the chief, I wanted to use one of the six shapes la Rose employed throughout his career.  I selected the one above to help break up all the straight lines.

I received some helpful feedback based on my initial sketch, as the eagle's talons and tail feathers appeared too compressed.  With a solution in mind, I made another sketch landing on the final image below.

Concept sketch:  final line drawing for the flag.

La Rose was big on "filling the field," or rather keeping charges in proportion to the field to avoid leaving empty space.  My first sketch violated that cardinal rule as the bottom feathers and legs left too much empty space--a no no for the herald!  Needless to say, la Rose has a lot to teach us about design composition, and I'm learning something new--from something old--every day.

The Society's arms rendered as a heraldic banner, by Lucas Hofmann, November 2023.

Seeing a sketch come to life through a full-colored digital rendering is truly fun and gratifying.  For now, I'll keep doodling and see what else can be hoisted from a flag pole.

The Arms of The Episcopal Church: Design Evolution and Hazardous Committees Part II

The coat of arms of The Episcopal Church.
Rendered by Chad Krouse, 2024.

This article is the second and final part regarding the armorial bearings of the Episcopal Church.  To read the first installment on the history and evolution of the arms of the Episcopal Church, please click here.

Summary from Part I

The first installment surveyed publications from 1901-1914 that fueled a national discussion regarding seals and arms of the dioceses of the Episcopal Church.  Several articles called for a need to conform these images to the ancient rules and customs of heraldry.  Ralph Adams Cram (1863-1942) and The Rev. Dr. C. Ellis Stevens (d. 1906) attempted to contribute educational essays in support of proper heraldic use within the Episcopal Church.  Pierre de Chaignon la Rose (1872-1941) made additional education contributions to the cause, and his landmark commissions for a seal and arms for the Diocese of Quincy and its cathedral between 1905-1906 effectively set a new standard for heraldry in the Church.  

William M. Baldwin (d.1942), a layman from the Diocese of Long Island, began engaging the national church in a discussion around the need for symbols to represent the Episcopal Church in the US, following his work for the diocese's celebration in 1918.  

By 1921, the National Council and Presiding Bishop officially begin conversations about adopting armorial bearings with a proposed design submitted by la Rose.  No action is taken and a committee is appointed to study the design and consider various proposals in preparation for the 1922 General Convention.  We end the first portion of this article with the 1922 General Convention where the first official proposal for arms is submitted, but ultimately the General Convention took no action on the matter (General Convention, 1922).  

Finally, a note on the heraldic art.  The great value add, in my opinion, is visualizing the various proposals for arms, especially in the absence of original images.  I have humbly rendered several of the proposals based on their documented blazons.  Alas, I am a heraldic researcher and not an artist.

The Struggle Continues: 1925-1930 

Following an unsuccessful attempt during the 1922 General Convention,  Baldwin works behind the scenes through his own diocese to generate the next step in the story.  At the 1925 General Convention held during October in New Orleans, the 1922 Joint Committee on Flag and Seal would be formally disbanded and a new resolution passed authorizing a new Joint Commission on Flag and Seal.  Baldwin introduced the following resolution before the House of Deputies championing his cause:

"Whereas, The Diocese of Long Island in convention assembled May 27, 1925, instructed its delegates to the General Convention to urge the General Convention to adopt a Church flag and seal, it is therefore Resolved, the House of Bishops concurring, That a Committee of three Bishops, three Presbyters and three laymen be appointed to consider this matter and report later to this Convention" (General Convention, 1925, 190).

While it appeared that Baldwin would gain momentum during the convention, ultimately no proposed design was introduced.

Three years later, the General Convention of 1928 would appoint additional members to the commission, adding most notably Ralph Adams Cram.  Yet, no proposals or action regarding designs for the church flag or seal were taken during convention that year (General Convention, 1928).

La Rose's 1930 drafts for the Cathedral of St. John the Divine in New York City.  La Rose's preference was the image on the left.  Neither were adopted.  Images courtesy of the Archives of the Cathedral of St. John the Divine.

In October 1928, the canon bursar for the Cathedral of St. John the Divine in New York City writes Cram's office in Boston regarding a need for armorial bearings for the cathedral.  Senior Partner, Frank E. Cleveland (d. 1950) responds reluctantly, reminding the cathedral canon of la Rose's labor in designing sketches for arms for the diocese back in 1912 which were not adopted.  On December 3, 1930, la Rose submitted two options and their rationale in a letter to Cram; neither design was selected by the cathedral (La Rose, 1930, 3 December).  

An Eagle and Book

From 1928 until the 50th General Convention met in 1931, there is seemingly no published information concerning design proposals or behind the scenes work regarding a flag or seal.  During the 1931 General Convention, Baldwin puts forth the following design proposal on behalf of the Joint Commission:

"Argent on a cross gules charged with an open book proper, in dexter chief an American Eagle full front head erect in profile turned to dexter, displayed azure grasping in its talons an olive branch vert" (General Convention, 1931, 338).

The design resolution before the convention was presented as a flag for consideration.  Pending adoption, the blazon would be rendered into a coat of arms surmounted by a bishop's mitre with a key and crozier behind the shield in saltire.  On a ribbon below the shield would bear the motto, "go ye into all the world and preach the Gospel," and the whole arrangement would be set within a vesica piscis with the legend, "Protestant Episcopal Church in the United States of America" (General Convention, 1931, 338).  To visualize the Joint Commission's 1931 proposal, I've emblazoned the arms as an armorial flag below.

Flag design of the arms presented during the 1931 General Convention.
Rendered by Chad Krouse, 2024.

  The blazon proposed by the Joint Commission gives an impression of amateur work, as the blazon does not identify the corporation as the Episcopal Church, much less a national one.  Baldwin's thin rational provided in the resolution barely addresses any specific design components and lacks clarity in how the selected symbols would identify the Church.  

That the red cross of St. George is used as the basis for the design is both noteworthy and applaudable; however, there seems no logical explanation for using a blank open book.  Customarily, the book indicates scholarship and can be closed or open, and oftentimes inscribed with a motto on its pages.  Within US corporate heraldry, using the book as a charge is typically reserved for scholastic coats.  Moreover, the blue eagle holding a green olive branch violates the color-on-color "rule," which suggests a lack of expertise within the commission.  Overall, the design is simple but not powerful enough to represent a national church with its undertones of a militaristic feeling.      

While the House of Deputies adopted Baldwin's resolution, however, the House of Bishops would not concur and voted down the design (General Convention, 1931, 371).  With no flag or seal adopted, the General Convention instructed the Joint Commission to continue its work and fill vacancies as needed (General Convention, 1931, 383).  

During the next General Convention in 1934, the Joint Commission would not submit any resolutions for a design, citing, "the matter of a seal has brought up questions of law and expediency to which your Commission is giving careful thought and study" (General Convention, 1934, 299).  The convention journal does not reveal any of those legal concerns or discussions preventing a proposal; nothing further relating to a design for the church flag or seal would be included in the convention's journal.

The General Convention of 1937  

By the time the Episcopal Church gathers in Cincinnati, Ohio for its 52nd General Convention during October 1937, the Joint Commission is serious about getting a design adopted.  Since discussions began in 1921, the Church has now invested 16 years on the matter of selecting a flag and seal.   

"That the time has arrived, however, when there is a distinct demand by the people of the Church for a flag that in its component parts is historically correct and its design artistic and in accordance with the accepted rules of heraldry, and which will typify the solidarity of the Episcopal Church as it will be proper to display it in every church and mission in this broad land and in every one of our foreign mission stations" (General Convention, 1937, 451).   

The Joint Commission, in its initial design resolution, proposes the following blazon for a new church flag:

"on azure nine mullets in saltire argent (for the first General Convention of this Church) a cross gules, quadrate, fimbriated argent (for the Christian Church) at the fesse point an open book or, thereon the words--'Book of Common Prayer'" (General Convention, 1937, 452).

From this blazon, those possible objections raised concerning the 1931 design proposal containing the blank open book and blue eagle were seemingly corrected.  There is no justification provided for using a cross quadrate or fimbriating the ordinary; the cross quadrate was most likely the commission's solution to better contain the open book.  Fimbriating the cross allows the the use of a red cross by adding a white line when the field is blue--avoiding the color-on-color rule of heraldry.  The eagle and olive branch were removed, the blank open book is now identified to be the Book of Common Prayer, and nine white/silver stars are arranged in saltire to historically represent the original founding dioceses.  

To visualize the first 1937 design proposal, I've created an emblazonment below.

Emblazonment of the first proposal during the 1937 General Convention. Rendered by Chad Krouse, 2024.

As soon as Baldwin submitted the Joint Commission's resolution containing the first design to the House of Deputies, it was amended and sent back to the commission to report later during the convention (General Convention, 1937, 251-252).  There is no data cited as to the cause for the amendments, much less what those amendments were.  It is possible that design revisions were requested.  With Baldwin's leadership and utter determination to see a design adopted, the commission submitted a revision of the flag's design to the Deputies with the following blazon:

"On azure nine mullets in saltire argent (for the nine Dioceses repre­sented in the First General Convention of this Church) a cross gules, fimbriated argent (for the Christian Church) at the fesse point the ninth star" (General Convention, 1937, 252).

The revision made by the Joint Commission maintained the blue field for the flag and replaced the red fimbriated cross quadrate with a simpler red fimbriated cross.  The inscribed book was removed as the central charge and the nine white/silver stars are given prominence in the overall design.  

To better visualize the second design proposal in 1937, I've emblazoned the proposed flag below.  

Emblazonment of the second, or revision, to the flag proposal during the 1937 General Convention. Rendered by Chad Krouse, 2024.

Considering all proposed designs from 1921 to 1937, we begin to understand how the flag's design would evolve to its final form.  Three design elements seemingly win approval, or rather keep emerging throughout this laborious process: (1) the red cross of St. George, (2) the number nine to represent the founding dioceses, and (3) incorporating the Scottish heritage by employing the saltire in various forms. 

The final resolution which sealed the fate of the Joint Commission's second design came from the House of Bishops, adopting, "Resolved, the House of  Deputies concurring, that the design submitted be  approved after it has been approved or modified by such experts in heraldry as your Committee may be able to consult" (General Convention, 1937, 254).  While the second design would gather momentum, possibly representing the closest proposal for adoption yet, the General Convention did not vote on adopting a flag or seal in 1937.  The struggle for Baldwin would continue.   

The Earl Marshal's Warrant of 1938

Since 1672, the dukes of Norfolk have maintained a hereditary position as an officer of state in the United Kingdom, that of Earl Marshal.  Fox-Davies (1978) notes that not only is the Earl Marshal head of the College of Arms in London, but to his office is delegated all control of armory in the United Kingdom save those particulars held in right by the Crown.  Therefore, whenever the Earl Marshal issues a warrant pertaining to heraldry, the warrant becomes the law of arms.

On February 9, 1938, Earl Marshal, His Grace Bernard Marmaduke Fitzalan-Howard (1908–1975), the 16th Duke of Norfolk, issued such a warrant to codify the practice of flying church flags within the Church of England.  Requested by the Archbishop of Canterbury Cosmo Gordon Lang (1864-1945), the warrant directs an appropriate design scheme for showing unification and differencing in the church's flying heraldry.  In the warrant, the Earl Marshal writes:

"I, Bernard Marmaduke, Duke of Norfolk, Earl Marshal and Hereditary Marshal of England, Knight of the Most Noble Order of the Garter and One of His Majesty’s Most Honourable Privy Council having taken the said request into my consideration, with the advice of Garter, Clarenceux and Norroy Kings of Arms hereby Ordain and Declare the Banner or Flag proper to be flown upon any Church within the Provinces of Canterbury and York to be the Cross of Saint George and in the first quarter an escutcheon of the Arms of the See in which such Church is ecclesiastically situate. 

"And I do order that upon all occasions you do so advise and direct the Archbishops, Bishops and Clergy and all others concerned and that this Order be recorded in the College of Arms for which this shall be your sufficient Warrant" (Norfolk, 1938).

The timing of the warrant is auspicious, especially considering the Episcopal Church's plight to adopt a flag.  The warrant sets precedence for how the Church of England would represent unification by way of the red cross of St. George and provide suitable differencing through the dexter canton (or the first quarter).  

Click image to enlarge.  Illustration rendered by Chad Krouse, 2024. 

The Earl Marshal's warrant issued in 1938 is a critical data point often missed when discussing the evolution of the Episcopal Church's flag and arms.  Throughout the 1930s, all design proposals submitted before General Convention were rendered as flags, likely influenced by Baldwin.  While no data exists at present regarding la Rose's knowledge of this warrant, there is a high probability that the herald would have been alerted to its publication.  Given the subject of the Earl Marshal's warrant of 1938, the timing and its relevancy for the Episcopal Church would have most assuredly caught the attention of many interested parties.

Redemption and Adoption: 1938-1940

At the close of the 1937 General Convention, a directive to have the second design approved or modified by an expert on heraldry was issued to the Joint Commission.  Which expert would the commission seek out?  

Following his proposal for arms in 1921 for the national church, la Rose all but focused his ecclesiastical work with the Roman Catholic Church.  During the 1930s, la Rose would submit designs for arms to the Cathedral of St. John the Divine, devised arms for three Episcopal dioceses (pending confirmation from several archives), and completed commissions for three New England preparatory schools with ties to the Episcopal Church, but otherwise nothing else.  To read a case study on la Rose's work for three Episcopal preparatory schools in New England, please click here.  

The armorial flag, or banner of arms, of St. George's School in Middletown, RI designed by la Rose in 1939.  Rendered by Chad Krouse, 2024.

In other words, why would la Rose consider this commission from the Church late in his career?  Certainly, la Rose would have recalled his previous attempt in 1921 and seen the committee's revision of his work in 1922.  In the absence of known data to explain la Rose's involvement in late 1930s with the Episcopal Church, we need only look to his heraldic partner-in-crime of 33-years, Ralph Adams Cram. Cram's appointment to the national commission in 1928 becomes more relevant now in the years following the 1937 General Convention, where he is listed as an active member of the Commission on Church Flag and Seal (General Convention, 1937, x).

If one could have been a fly on the wall when Cram made this proposal to la Rose.  It is my view that Cram's service to the commission of now 10 years, coupled with the House of Bishop's directive for expertise and a nearly adopted design at the previous convention, propelled Cram to plead with the herald from Harvard for one last favor.  

No one, save Cram, could have otherwise convinced la Rose to re-tangle himself with Episcopal Church committees and armchair enthusiasts.  If my assertion is correct, Cram finds his ultimate redemption in the world of heraldry following his troublesome article of 1901.  For if Cram failed to convince la Rose to accept this commission, the Episcopal Church would not have its beloved symbol known and cherished today.           

Baldwin's handmade prototype of the proposed flag.
Note the red cross is off center.
Image source:  Diocese of Long Island.

Based on the second design proposal from 1937 along with the Earl Marshal's warrant from 1938, la Rose had plenty of subject matter to consider for a new design.  Taken together, these two data points effectively reveal how the final version of the Episcopal Church's flag and arms were logically constructed by la Rose.  Perhaps it is for this reason--an easily and readily apparent design--made la Rose's decision to accept the commission more palatable. 

It is likely la Rose's rendering of the 1940 proposal of arms would have included his version of the 1515 mitre.  Rendered by Chad Krouse, 2024.

The simple red cross of St. George explains itself and its connection to the Church of England.  La Rose changed the field in the dexter canton from white/silver to blue, as the blue field was used in both 1937 flag proposals.  For the final design component, the herald had a clever plot twist in mind, showing la Rose's mastery of how abstraction could tell a deeper story in corporate heraldry.

While maintaining the saltire arrangement for nine charges, la Rose replaced the stars with cross crosslets and added the design to the first quarter.  From previous writings, la Rose reserved the star as a symbolic charge for either a state or the Blessed Virgin Mary.  In the case of the Episcopal Church's coat, the star as a charge does not make sense.  In one simple canton, la Rose illustrated the nine founding dioceses of the Episcopal Church, its aim for the heavenly Jerusalem with the cross crosslets, and honored the Scottish Episcopal Church's ordination of its first bishop Samuel Seabury (1729-1796) through the saltire arrangement.  La Rose's finished product would truly represent a "cross in national colors."  

No other heraldic designer could have incorporated such history and meaning into one coat of arms, much less render the design in the simplest form possible--the previously proposed designs over the years attest to this fact.  Without any precise dates, it is likely the design work took place between 1938 to as late as the Spring of 1940, as any final rendering would have to be in place well before the convention in October.  There would be a natural time lag due to mailing correspondence to multiple parties and so forth.    

The armorial flag, or banner of arms, of The Episcopal Church designed by la Rose and adopted during the 1940 General Convention.  Rendered by Chad Krouse, 2024

During October 1940, the General Convention convened in Kansas City, Missouri and the commission would submit la Rose's design for consideration.  Commission Chair, The Rev. Arthur B. Kinsolving (1884-1964), informed the governing body that the commission had not met since the 1937 convention, noting that members were scattered across the country and several resigned.  Kinsolving reports:

"On accepting the chairmanship, I felt the wisest course of procedure would be to secure expert advice in  this highly technical field so as to avoid the glaring heraldic errors appearing on some of our diocesan shields.  Accordingly, I consulted Mr. Pierre deC. laRose, of Harvard University, a member of its Standing Committee on Arms, and recognized as probably the leading authority on ecclesiastical heraldry in this country. 

"He has graciously and generously given of his time and thought and his opinions have received the hearty approval of your Commission.  Of the design we are submitting, Mr. Ralph Adams Cram writes:  'I  am very pleased with this.  I can give it my full approval.'  Another of our most expert members in this field, Major Chandler, writes:  'I am sure any delineation--shield, seal or flag--which Mr. laRose may make will be unassailable heraldically and any composition of which Mr. Cram approves will be beyond question artistically'" (General Convention, 1940, 287).

The commission proposed the following blazon:  "Argent a cross throughout gules, on a canton azure nine cross crosslets in saltire of the field" (General Convention, 1940, 288).  It is unclear if la Rose's design was rendered as a shield or a flag.  Given Baldwin's hand-sewed prototype seen above, the flag suggests the design was likely a shield, for Baldwin's prototype mistakenly renders the red cross off center.  Was the uncentered cross a limitation of available fabric, time, or knowledge of how to translate a shield's composition to a flag?  Nonetheless, Baldwin's mistake has been replicated countlessly by flag manufacturers and used to this day.

Click graphic to enlarge.
Illustration rendered by Chad Krouse, 2024.

With seemingly little fanfare, the commission's proposal is adopted and the Episcopal Church, at long last, has a properly designed coat of arms. 

The adopted arms of the Episcopal Church are both simple and clear, providing the national church with a beloved symbol still in use 83-years later.  In many ways, the final design is the perfect ending to la Rose's stormy involvement with the Church.  Through this one coat of arms, we see la Rose at the height of his heraldic powers.  Perhaps no ecclesiastical or corporate coat is more widely recognizable in the US today than the arms of the Episcopal Church.  

With his work for numerous dioceses, several cathedrals, and now a national coat for the Episcopal Church completed and in good order, la Rose would hang up his herald's tabard to rest eternally in 1941--a year following what could arguably be one of his greatest designs.

Post-1940 Heraldic Developments 

Baldwin's 22-year crusade for a national church symbol comes to a successful close.  For his tenacity and perseverance, Baldwin deserves much credit for his contributions in the struggle to adopt such a symbol.  With his ministry concluded, Baldwin would die two years later in 1942 with his place cemented in the Church's history.

Cram's redemption in this story, in some ways, is tied to his heraldic partner la Rose.  While Cram would bow to the herald on matters of ecclesiastical heraldry, Cram's involvement in how the Episcopal Church adopted arms--most likely enlisting la Rose's help--is cause for vindication.  Cram would also die in 1942 and commemorated on December 16th in the Episcopal Church's liturgical calendar.

The seal of the Presiding Bishop
adopted during the
1946 General Convention,
appearing in
General Convention (1946), 345.

During the General Conventions of 1943 and 1946, the Church revisited the role and responsibilities for the office of Presiding Bishop.  Previously, the Presiding Bishop had to maintain oversight for his diocese in addition to serving his national role (Luce, 1958).  When the canons changed allowing the new Presiding Bishop to resign his see, the need for an official seal became apparent.  During the 1946 General Convention, the governing body officially adopted a seal for the Presiding Bishop using la Rose's design from 1940 as the basis (General Convention, 1946).  

From 1946 until 1982, little was mentioned concerning heraldry in the Episcopal Church.  During the 1982 General Convention held in September, a resolution to establish an advisory committee on heraldry was introduced and passed.  The resolution was as follows:

"That the Presiding Bishop be authorized and requested to appoint an Advisory Committee on Heraldry of not less than three persons who have special knowledge and skills in heraldry.  The Committee shall serve in an advisory capacity to the Presiding Bishop, Diocesan Bishops and other individuals or organizations seeking advice on seals, crests and other applications of heraldry" (General Convention, 1982, C-75-C-76).

On May 26, 2005, The Rev. Canon J. Robert Wright (1936-2022) presented, "Heraldry of the American Episcopal Church," at the New York Genealogical and Biographical Society and offered insight into the committee's work.  According to Wright (2005), the Committee on Heraldry included the following members:  John P.B. Brooke-Little from the College of Arms, The Rev. Canon Edward N. West from the Cathedral of St. John the Divine, Col. Harry D. Temple of the US Army's Institute on Heraldry, Dr. James Waring McCrady of Sewanee: The University of the South, and Canon Wright of the General Theological Seminary.  

Furthermore, Wright (2005) notes this committee met only once, never distributed minutes following its meeting, or even produced a public report.  During the presentation, Canon Wright provided a summary compiled by Brooke-Little from the committee's sole gathering. 

• "Guidelines for the use of heraldry in the Episcopal Church should be written and published
• Bishops should be required to use arms even if other symbols are also utilized
• The bishops’ arms should appear on their diocesan seals with a legend beginning “Seal of the Diocese of ...” at 7 o’clock
• The committee should help with the design of the bishops’ arms, which, in turn, should be registered with the committee after diocesan adoption
• The blazon, or technical description, of the arms, rather than any picture or drawing, is to be the criterion that is followed
• The permissive designs for ecclesiastical hats as laid down by the Earl Marshal of England in 1976 for Anglican clergy should be adopted for clergy below the rank of bishop. 
• The use of mottoes should be discouraged
• The use by bishops of a key and crozier behind their arms should be permitted, the key being in bend and the crozier in bend sinister, and both of gold
• Bishops may or should ensign their arms with the mitra preciosa, either gold and jeweled or chased as jeweled with gold infulae (insignia of office)
• The only mandatory ornament exterior to an episcopal coat of arms should be the mitre, of which the infulae are essential
• The color of the lining of the mitre is of no consequence
• Cathedrals should not have arms, but only the bishop as diocesan
• Seals should not be depicted in color and can be of any shape but preferably vesical or round
• In legends on seals the colon should be used for separation, and a full point for an abbreviation
• There should be a manual prepared on flags, banners, etc. 
• There should be a set form of approved registration"  (Wright, 2005, 7-8). 

To read the Earl Marshal's warrant from 1976 regarding ecclesiastical heraldry, please click here.  Wright (2005) concluded by stating some of the aforementioned guidelines took hold while many others have not.  The noble attempt in 1982 to regulate church heraldry seemingly fizzles and becomes a low priority for the Church.

The arms of The Rev. Canon John G.B. Andrew, OBE (1931-2014)
XI Rector of Saint Thomas Church, NYC.
Rendered by Chad Krouse, 2024.

In 1993, The Rev. Canon Eckford J. de Kay (1923-2012) published, "Heraldry of the Episcopal Church," the only publication concerning the Church's heraldry in modern times.  De Kay (1993) provides illustrations and design rationales for approximately 600 seals and arms of dioceses, cathedrals, parishes, and other church-related organizations.  The biggest criticism of De Kay (1993) is the lack of sources citing his data.  Based on my review, it appears that De Kay (1993) likely wrote letters to each organization in order to secure emblazonments and information.  The work does contribute to the body of knowledge regarding American ecclesiastical heraldry, but know the information is most likely self-reported and requires additional investigation for source attribution.

Conclusion

The story of how the Episcopal Church adopted its ubiquitous coat of arms is rather long (precisely 39 years covered here) but filled with interesting actors and minor dramas.  The publications on the Episcopal Church's heraldry from 1901-1914 help frame this story, contextualizing the early 20th century American mindset regarding ecclesiastical heraldry.  William Baldwin's quest for a national church symbol began in 1918 following his work for the Diocese of Long Island's anniversary, and the layman would see this dream realized by 1940.

Commissions and committees comprised of clergy and laity reflect the governing ethos of the Episcopal Church.  While designing seals, flags, or arms by committee is both dangerous and causes unnecessary delays, the structure of the Church demands balance between ordained and non-ordained.  This balance of power was incorporated into the Church's constitution and canons and seemingly follows the same spirit found in the US Constitution.  

Without the data for la Rose's design in 1919 for the National Student Council and the minutes from National Council's meeting in 1921-1922, it would be impossible to render a guess for the very first design proposed for the Church in 1921.  Moreover, as the designs became rendered as flags throughout the 1930s, the Earl Marshal's warrant of 1938 likely played a key role influencing la Rose's final design.  In the absence of original images, I have attempted to bring to life the blazons and descriptions found in meeting minutes and convention journals.  These images illustrated the numerous proposals which helped get the Church to a place to adopt its final design.  

This is the complete and untold story of how the Episcopal Church got her arms based on all known data.  I hope these two articles provide a needed contribution towards our understanding of the Church's armorial bearings by filling in gaps to the story.  It has been a delight to learn and share all of this rich information, and I simply cherish my church's symbol even more knowing the struggles behind its evolution.  

 Works Cited

Baldwin, W.M. (1941).  History of the church flag.  Historical Magazine of the Protestant Episcopal Church, 10(4), 408-409.  

Chandler, G.M. (1946 December).  Seal of the Diocese of Washington--1946.  Washington Diocese, 5-6.

Cram, R. A. (1901 June 29).  The heraldry of the American church.  The Churchman, 83(26), pp. 813-818.

Cram, R.A. (1901 August 31).  The heraldry of the American church [Letter to the editor].  The Churchman, 84(9), pp. 263-264.

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

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

Egleston, C.L. & Sherman, T. (2019 May 19).  A flag and a seal: Two histories.  In C. Wells (Ed.), The Living Church, 258(9), pp. 16-17. 

Fox-Davies, A.C. (1978).  A complete guide to heraldry. Bonanza Books.

General Convention (1922).  Journal of the 47th General Convention of the Protestant Episcopal Church.  Abbott Press.

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General Convention (1928).  Journal of the 49th General Convention of the Protestant Episcopal Church.  Abbott Press & Mortimer-Walling, Inc.

General Convention (1931).  Journal of the 50th General Convention of the Protestant Episcopal Church.  Frederick Printing & Stationary Co.

General Convention (1937).  Journal of the 52nd General Convention of the Protestant Episcopal Church.  W.B. Conkey Company.  

General Convention (1940).  Journal of the 53rd General Convention of the Protestant Episcopal Church.  W.B. Conkey Company, pp. 286-288.  

General Convention (1946).  Journal of the 55th General Convention of the Protestant Episcopal Church. W.B. Conkey Company.  

General Convention (1982).  Journal of the 67th General Convention of the Protestant Episcopal Church.  Seabury Professional Services.

Hertell, E.S. (1941).  Our church's flag.  In C.P. Morehouse (Ed.), The Layman's Magazine of the Episcopal Church, no.15, 14-15.

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

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

Norfolk, E.M. (1938).  Flags to be flown on churches.  College of Arms.  College of Arms record MS I.80/283. https://www.college-of-arms.gov.uk/images/downloads/Church_Flags_Warrant_1938.pdf

La Rose, Pierre de C. (1907 May).  Ecclesiastical heraldry in America.  In R.A. Cram (Ed.), Christian Art, 1(1), pp. 64-70.

La Rose, Pierre de C. (1907 November).  Ecclesiastical heraldry in America II.  Diocesan arms.  In R.A. Cram (Ed.), Christian Art, 2(2), pp. 59-71.

La Rose, Pierre de C. (1914 April 11).  Ecclesiastical heraldry.  The Living Church, 50(24), pp. 835-836.

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

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. (1930 December 3).  Letter from Pierre de Chaignon la Rose to Ralph Adams Cram.  Unpublished letter.

Luce, J.H. (1958).  The history and symbolism of the flag of the Episcopal Church.  Historical Magazine of the Protestant Episcopal Church, 27(4), 324-331.

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

National Council. (1921a).  Minutes from the February 17th meeting of the National Council of the Episcopal Church [unpublished document].  The Episcopal Church, New York, NY.

National Council. (1921b).  Minutes from the April 27th meeting of the National Council of the Episcopal Church [unpublished document].  The Episcopal Church, New York, NY.

National Council. (1922a).  Minutes from the February 8-9 meeting of National Council of the Episcopal Church [unpublished document]. The Episcopal Church, New York, NY.

National Council. (1922b).  Minutes from the May 10-11 meeting of National Council of the Episcopal Church [unpublished document].  The Episcopal Church, New York, NY.

Slocum, R.B. & Armentrout, D.S. (Eds.) (2000).  An Episcopal Dictionary of the Church: A user-friendly reference for Episcopalians.  Church Publishing, Inc., 174. 

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Stevens, C.E. (1902 April 5).  Anglican Episcopal seals.  The Churchman, 85(14), pp. 431-435.

Story, F.W. (1901 August 10).  To the editor of The Churchman [Letter to the editor].  The Churchman, 84(6), 172.

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