Chariots in Ecclesiastical Heraldry

Chariot on Fire!
Rendered by Chad Krouse, 2025

As the Recent Finds series rolls on, I've referenced that I've learned a thing or two while undertaking this assignment.  Its time to share one bit, at least, for now.  

Cue theme music to Chariots of Fire.

One charge that I encountered for the first time in my quest to uncover sound ecclesiastical heraldry in the Episcopal Church was the chariot.  Even from my days as a seminarian I cannot recall bumping into this mode of transport as a Christian symbol.  

Two examples of arms with chariots
(Left) St. Philip's Church Harlem, NYC
(Right) Episcopal Church of the Ascension, Sierra Madre, CA
Rendered by Chad Krouse, 2025

Two coats of arms I discovered for parishes using the chariot as a charge were St. Philip's and Ascension.  As I soon learned, using the chariot as a charge to abstractly identify the parish dedication made complete sense.

St. Philip's Church Harlem (Episcopal)

Arms of St. Philip's Church Harlem, New York City
Rendered by Chad Krouse, 2025

The first coat of arms I came across were the arms of St. Philip's Church located in New York City's borough of Harlem.  The parish website credits The Rev. Canon Edward N. West (1909-1990) as the designer of the arms, which he completed sometime in the mid-1960s.

From St. Philip's Church website:

"St. Philip's arms was commissioned in the mid-1960s by Dr. M. Moran Weston to be its identifying symbol. It represents the account of Philip, deacon and evangelist as written in Acts 8:26-40.  The shield was created by Reverend Edward N. West, Canon Sacrsist [sic] of the Cathedral of St. John the Divine.

 "In the upper left-hand corner of the shield is the Cross of St. George, representing the Anglican Communion throughout the world.  Superimposed on the Cross of St. George is a six pointed star with a circle intertwined, symbolic of the Holy Trinity.  The descending dove and halo represent the Holy Spirit that came down to Philip and instructed him to go south on the road from Jerusalem to Gaza and told him to speak to the Ethiopian sitting in the chariot. The paving stones under the chariot symbolize the road traveled together by Philip and the man, who was described as being in charge of all the treasures of Candace, Queen of the Ethiopians. The broad wavy lines at the bottom of the shield represent the body of water in which Philip baptized the Ethiopian" (St. Philip's Church Harlem, nd).

I suppose if West had simply used the chariot sans paving stones we might be left to really guess as to its purpose.  Thankfully, the good Canon did not.  

Thus, we now know that one heraldic symbol for St. Philip is the chariot owing to the account from the Acts of the Apostles 8:26-40.  The other use for a chariot in ecclesiastical heraldry is on fire, literally.

Episcopal Church of the Ascension

Arms of the Episcopal Church of the Ascension, Sierra Madre, CA
Rendered by Chad Krouse, 2025

The Episcopal Church of the Ascension's processional banner prominently displays a chariot on fire against a white background.  Again, this image was new to me and I could not begin to think the reference was for St. Philip.  I needed to dig a little deeper.

Processional Banner, St. Philip's
Church Harlem
Rendered by Chad Krouse, 2025

Knowing that this symbol abstractly represents ascension per se, I immediately thought of the Gospel account of Christ's ascension.  How could a chariot abstractly represent this sacred moment?  Surely no. And then it donned on me.

Old Testament.  The Prophet Elijah.  Chariot ascending.  Bingo!

In the Old Testament account of 2 Kings:11, we read about Elijah being swept up into heaven by a whirlwind on a chariot of fire.  Now, this is beginning to make sense heraldically, anyways.  Likely due to the difficulty in creating an apt symbol for Christ's ascension, leaning on the Old Testament account works perfectly.  I should write how nice it is to see an Old Testament reference in Christian heraldry.

The use of the chariot in ecclesiastical heraldry has at least two separate references--St. Philip the Apostle and Elijah's ascension.  Learning new charges and references continue to be an unexpected (albeit fun) outcome from the Recent Finds series.  Heraldry has always told a story and these two coats of arms help teach the Faith in such a way as only heraldry can do.  

Surely, I'm bound to encounter more.

To read other articles in the Recent Finds series, click the corresponding label at the bottom of the post.

Works Cited

St. Philip's Church Harlem. (n.d.)  Our church symbols.  St. Philip's Church Harlem. https://www.stphilipsharlem.org/our-church-symbols  

Anglican Knights: The Order of Sir Galahad

The seal with coat of arms of the Order of Sir Galahad
Rendered by Chad Krouse, 2025

The other day I found the most extraordinary thing while casually searching a historical periodical:  I stumbled upon the arms of the Order of Sir Galahad.  The order of what?  This was an Episcopal-affiliated periodical and I was stunned to see that the Episcopal Church had a chivalric youth organization in the early 20th century.  Yet, what really caught my eyes were the Order's coat of arms, instantly recognizing these as the work of Pierre de Chaignon la Rose (1872-1941).  

My data-informed attribution to la Rose will become clear, I believe, by the end of the article.  If nothing else, la Rose was responsible for the artwork.

Background

Here are a few facts to bear in mind concerning la Rose's commissions in the early 1900s:

• In 1919, la Rose supplied renderings of coats of arms for Charles Connick's (1875-1945) stained glass masterpiece, the "Holy Grail" window inside Procter Hall at Princeton.  The building project was led by Cram & Ferguson.  Sir Galahad's coat of arms were among those la Rose researched and rendered for the project.

• La Rose designed the coat of arms for the National Student Council of the Episcopal Church in 1919 which likely represented his first national commission within the Church.  Without any national symbols for the Episcopal Church at that time, la Rose worked with what he had in order to show the student council's national scope--maintaining the national colors of red, white, and blue.  

• Established in 1918, the Catholic Students' Mission Crusade (CSMC) might be seen as the Roman version to the Anglican Galahad, albeit with a more focused mission of evangelism.  La Rose designed the arms for CSMC in 1924.

• Click here to learn more about the arms of the National Student Council of the Episcopal Church and the Catholic Students' Mission Crusade.

• La Rose submitted his first draft of a coat of arms for the Episcopal Church in 1921. An evidence informed blazon of la Rose's 1921 proposal for arms of the Episcopal Church:  Argent, a cross throughout Gules, on a bordure Azure eight bishop's mitres Argent.  La Rose's draft was later amended and presented for debate before the National Council in 1922.  The eight mitres were replaced with thirteen stars (five points).  An evidence informed blazon for the 1922 proposal of arms for the Episcopal Church:  Argent, a cross throughout Gules on a bordure Azure thirteen mullets of the field. 

• Click here to learn more about la Rose and the struggle within the Episcopal Church to adopt a national symbol.

Ultimately, we begin to see a real need for national symbols both in the Roman Catholic and Episcopal Churches during the early 20th century. That several of these arms were overly designed to illustrate their national enterprise underscores this identity problem.  Busy, colorful, and eye-crossing corporate coats of arms can be found in this state of liminality. 

The Order of Sir Galahad

The arms of the Order of Sir Galahad
Rendered by Chad Krouse, 2025

According to Wanewetch (1932), the Order of Sir Galahad (now the "Order") was established in 1896 as a parish club for boys in Boston, and later incorporated as a national organization affiliated with the Episcopal Church.  If the reader is interested in more details, there are a few artifacts on the Philadelphia Studies from the Order and linked here.   

The Rev. Ernest Joseph Dennen (1866-1937) founded the Order at his Boston parish, St. Stephen's Episcopal Church in 1896.  The Order would later be incorporated in Massachusetts on January 14, 1921:

"For the purpose of promoting units of The Order of Sir Galahad in churches as a means of building up the religious life and character of boys and men, and bringing them into closer relations with the Church, through a progressive program based upon their interests and the traditions of chivalry" (Order of Sir Galahad, 1921, XIII).

Arms of Sir Galahad
Rendered by Chad Krouse, 2025

A rather dense manual for leaders in the Order was published in 1921 with a lot of detailed minutiae.  We Episcopalians do love our rubrics.  

The attributed arms for Sir Galahad are simply, Argent, a cross throughout Gules.  These simple arms provide ample space for creating a unique design for the Order.

Order of Sir Galahad (1921) provides some clarity as to the design rationale for the Order's coat of arms.

"The shield is our official Coat of Arms. The colors, red and white, are our official colors. Blue is added to make up the national tricolor of our flag and that of England, whence we get the story of Sir Galahad. The common bond of brotherhood between the nations is thus symbolized as an ideal. Blue symbolizes truth.  White symbolizes purity of life. Red symbolizes courage. The five stars stand for our five degrees with their respective vows. The cross stands for the Church. The lion stands for strength. The cross of red, the field of white, the rampant lion and the stars are emblems anciently attributed to Sir Galahad" (pg. XV).

Blazon for the arms of the Order of Sir Galahad:  Argent, on a cross throughout Gules five mullets of the field in dexter canton a lion rampant Azure.

A likely timeframe for the design work, painting, engraving, etc. of the Order's arms would fall between 1920-1921 in order to be published in the 1921 manual.  Now, let's compare the artifacts recently discovered to those already verified in the data of la Rose's portfolio.

Comparing Artifacts  

La Rose's engraved seal version containing the
Order's coat of arms
Image source:  Lawrence (1922), 12

First, let's consider the shield's shape along with the quatrefoil wafer upon which the coat of arms rests.  The rendering from Lawrence (1922) is an exact match with the seal and arms of the Catholic Foreign Mission Society of America (Maryknoll) which la Rose rendered and included in his 1918 article in The Ecclesiastical Review.  

La Rose's engraved image of the coat of arms of the 
Catholic Foreign Mission Society of America designed by The Rev. J.A. Nainfa, SS.
Image source: La Rose (1918), 193

It is important to note that the Maryknoll arms that la Rose illustrated were designed by his colleague at The Catholic University of America, The Rev. J.A. Nainfa, SS. (1878-1938).  Click here to read more about la Rose and Nainfa's collaboration regarding the Maryknoll arms and the cross in national colors.

La Rose preferred the quatrefoil wafer as the design upon which his seals would showcase their coats of arms.  The indentations and gothic tracery create the perfect enclosure spotlighting a coat of arms.  Certainly, I have examples in my data of la Rose choosing other options for the wafer design, but by and large the quatrefoil has the highest frequency in his work.  

The only imitation of la Rose's quatrefoil seal that I've uncovered so far can be seen in the seal design of the Church of the Advent in Boston.  Advent's seal features a trefoil in gothic tracery rather than than the quatrefoil.    

Now, let's consider the library painting of the Order's arms as illustrated in Order of Sir Galahad (1921).

Painting of the Order's coat of arms likely by la Rose
Image source: Order of Sir Galahad (1921), 12  

The above image of the Order's arms follows the exact scheme seen in at least one of la Rose's verified paintings of arms.  The College of St. Rose in Albany, New York (la Rose's hometown) bears arms designed by la Rose and his painting is below.

When I compare these two works, I see the Order's painting as rather rushed.  Perhaps la Rose was working under a very tight deadline to finish the commission and meet the Order's publication deadline for the leader's manual.  

Painting of the arms of the College of St. Rose,
Albany, NY by la Rose
Image Source: College website

Note the hand-painted lettering is an exact match--see capital letters A and S for example.  The shapes of the shields match as do the shading and 3-D technique lifting the arms off the paper.  Since I've starred at hundreds of various heraldic artifacts by la Rose, I feel entirely confident attributing him as the designer of the Order's arms.  Certainly, the reader might agree, la Rose completed the artwork for these arms.

Concluding Thoughts

Processional banner of the Order of Sir Galahad
Rendered by Chad Krouse, 2025

I learned a few things by discovering the Order's coat of arms.  I had no idea that an organization such as the Order of Sir Galahad existed in the Episcopal Church.  I mean, I took Episcopal Church history in seminary!  Moreover, I could not begin to describe what Sir Galahad's attributed arms looked like (St. George for England!).

Regardless who designed the Order's arms, they fall into that awkward category of national corporate arms designed before any unifying national symbols were devised for the Episcopal Church.  My recent article on the fanciful arms of the American Church Union only underscores the need for national unity through symbols.    

Works Cited

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

Lawrence, W. Appleton. (1922 February 4).  A boy's club--plus.  The Churchman, 125(5), 12-13.  

Order of Sir Galahad. (1921).  The manual for leaders of the Order of Sir Galahad.  Boston: Order of Sir Galahad. Accessed on 6 April 2025 https://dn790004.ca.archive.org/0/items/manualforleaders00orde/manualforleaders00orde.pdf

Wanewetch, George. (1932 March 6). Letter from George Wanewetch to John Gossling.  Unpublished letter.  Accessed on 5 April 2025. https://philadelphiastudies.org/2015/03/10/short-history-of-the-order-of-sir-galahad-at-st-marks-church-frankford-1932/  

The Fanciful Arms of the American Church Union

Coat of Arms of the American Church Union
Rendered by Chad Krouse, 2025

During the Covid-19 pandemic, I came across the most unusual coat of arms online and knew I needed to save the image for future analysis.  I had completely forgotten about the arms of the American Church Union--an organization within the Episcopal Church--until recently when I was reviewing old files.  Don't adjust your screen yet.  

Fanciful and decadent arms?  Yes.  Incorrect?  Well, no.  Just busy trying to convey multiple references by using too many charges.  

The American Church Union was established in 1936 as the outgrowth of previous versions, this one dedicated for the "maintenance and defense of the doctrine, disciple, and worship of the Church, as enshrined in the Book of Common Prayer." 

Image of the American Church Union coat of arms
Image source:  Woodruff (1936, November 11), page 621

Above is the original image published in the The Living Church article written by Clinton Rogers Woodruff (1868-1948) who served as President of the ACU and an attorney from Philadelphia.  Woodruff was actively involved in furthering the Anglo-Catholic movement within the Episcopal Church.  

Advertisement appearing as early as 1912
in Living Church Annual (1912), p.467

Woodruff (1936, November 11) notes this newly formed ACU was the outgrowth of two previous unions, one from the 1860s and the most recent version from 1908.  The article does not supply a blazon or design rationale for ACU's coat of arms, only noting the arms were previously borne by one of the earlier unions and seen in use as early as 1912.

 Side by side comparison of the arms of the United States of America
and those of the American Church Union
Rendered by Chad Krouse, 2025

In the absence of any additional known data concerning the arms of the American Church Union, we can render a few informed guesses as to the design rationale.

These arms represent the state of heraldry in the Episcopal Church at the turn of the 20th century--the very purpose Pierre de Chaignon la Rose (1872-1941) saw in his heraldic work to correct by creating simple, clear, and perspicuous heraldry.  

First, we know by the dates involved these arms predate the 1940 adoption of arms of the Episcopal Church.  The lack of any unifying national symbol for the Episcopal Church in the earlier 20th century likely caused the designer to use the arms of the United States of America as the basis to show the organization's national scope.  I believe that much is quite clear when comparing ACU's arms with those of the US as seen above. 

Arms of the American Church Union
Rendered by Chad Krouse, 2025

Secondly, as to the charges on the cross quadrant, we're left to speculation as to their purpose.  Here's my working theory.  Given ACU's mission to preserve the 1) doctrine, 2) discipline, and 3) worship of the Episcopal Church in the Book of Common Prayer,  I think we can see a rationale beginning to emerge.

Doctrine could be illustrated by the seven red roses likely representing the seven sacraments of the Church, along with those three roses inverted surrounding the inescutcheon for the Holy Trinity.  The two gold bishop's mitres also likely represent discipline and authority.  For worship, I think, we see the blue fleur-de-lis in base which could represent the Blessed Virgin Mary and would strengthen the arms with a catholic purpose.

The blue inescutcheon with the Lamb of God might also be representative of worship, the heavenly banquet and aim of the Christian life.

I wanted to see if it was possible to revise the arms of ACU thinking and using those early mid-20th century resources for corporate heraldry.  Two possible revisions came to mind.

Two possible revisions for the arms of the American Church Union
Designed and rendered by Chad Krouse, 2025

The first idea of mine was to draw out the inescutcheon and work with the image of the Lamb of God while still incorporating the three ideas of doctrine, discipline, and worship.

Revision Example 1
Designed and rendered by Chad Krouse, 2025

Doctrine could be seen by the lamb standing on the barry wavy lines representing one of the many miracles Jesus performed during his earthly ministry--walking on water.  Discipline was again represented with the gold mitre of a bishop.  I liked the idea of the lamb embracing the mitre, showing the Church's tenderness and care for the ministry of the historic episcopacy.  

Pennon or flag designed by Chad Krouse, 2025
Click to Enlarge

I wanted the pennon or flag to show two references at once: creating a national symbol by placing the red and white bars horizontally to represent the flag of the United States and adding the chalice and host for both catholicity as well as for worship.  I felt this design gave a national symbol more readily recognizable to many by playing on the national flag.  

The chalice and host design has been used historically by Anglo-Catholic organizations and congresses, likely for the centrality of the Eucharist in the life of the Church.  I believe this image would also provide clearer references to ACU's catholic aims.

Admittedly, this design is still busy while attempting to simplify all the references made within ACU's arms.

Revision Example 2
Designed and rendered by Chad Krouse, 2025

The second idea emerged as my preference of the pair.  With this design, I wanted to strip away as much fussiness as possible with a clear and simple design.   

Side by side comparison of two design ideas
Designed and rendered by Chad Krouse, 2025

Using the arms of the US as the basis to form the bordure would provide a reference to the national scope of the organization, while the chalice and host in pale provides clear catholic identification which would likely have been known to many at that time.  I think it could be argued that doctrine, discipline, and worship can all three be represented in a singular "catholic," emblem of sorts.  I believe all three are implied.  Regardless, the chalice and host create a simple and clear design.  

Had the Episcopal Church's coat of arms been designed then,
here's an example of using those as the bordure.
Designed and rendered by Chad Krouse, 2025

I had two versions in mind here:  one to place the fleur-de-lis on the chalice playing on the Blessed Virgin Mary's role in the Incarnation (a very catholic position), or even more simply to have the monogram of the Holy Name placed on the host.

I think either would work, but the latter is becoming my favorite.

My favorite version of the revised arms of ACU
Designed and rendered by Chad Krouse, 2025

In summary, the arms of the American Church Union represent the state of heraldry in the Episcopal Church at the turn of the 20th century and underscore the need for a unifying national church emblem.

La Rose's emergence on the heraldic scene would help steer the fanciful impulses for heraldry towards a more simpler and dignified approach, employing a systematic framework for designing new corporate arms while establishing a standard for others to later follow.

Works Cited

Living Church Annual (1912).  The Living Church Annual and Whittaker's Churchman's Almanac.  Milwaukee: The Young Churchman Company. 

Woodruff, Clinton R. (1936, November 28).  An earlier Church Union.  The Living Church, 621-622.

New Arms for the Episcopal Parish of Alton and its Rector

The newly adopted coat of arms of the Episcopal Parish of Alton
Designed and rendered by Chad Krouse, 2025

It is quite humbling when someone compliments your art work; even more so when it becomes the identity of an entire community.  I am thrilled to share the newly adopted coat of arms for the Episcopal Parish of Alton in Alton, IL.  The Rector is a dear friend and I wanted to help as he establishes his new ministry as Rector.  Somehow, I managed to convince him to adopt arms too.

Following the framework for corporate heraldry used by Pierre de Chaignon la Rose (1872-1941), the design for these arms came readily to mind--my own mental "refrigerator test."  In other words, when I struggle to construct a coherent design, I know the time isn't right just yet.  On the other hand, there have been many instances when the design becomes immediately clear to me--those designs are the best.  The arms of the Episcopal Parish of Alton came to mind rather quickly, a positive indication for a prospective coat of arms.

Infographic from the proposal
Click image to enlarge

In a nutshell, la Rose's goal in creating corporate arms was to layer as many references identifying the owner while keeping the design simple and clear.  One charge--or in "la-Rosian" style, charge-on-charge--could combine multiple references to the corporate body without fuss.  

Since the Episcopal Parish of Alton combines two historically independent parishes, St. Paul's and Trinity, I knew there was a solution honoring the heritage of both while creating something new in the process.

The blazon I landed on seemed clear and reasonable to me.  It combined references to the dedication of both parishes with the sword in pale for St. Paul and three paddle wheels for the Holy Trinity.  Moreover, the chevron makes a nice image of two separate sides coming together at one point, and I felt satisfied in honoring the two communities.  The paddle wheels and barry wavy lines on the chevron reference the parish's location along the Mississippi River and honors local history.  

The blazon for the arms of the Episcopal Parish of Alton: Gules, a sword in pale Argent point to base hilt and pommel Or debruised by a chevron barry wavy Argent and Azure fimbriated Or with three paddle wheels of the field.

Applications for Identity 

Example of business card

Example of letterhead

I wanted to design a simple word mark incorporating the new arms to help reinforce its use within the daily life of the parish.  For example, the two images above show the coat of arms and word mark used to create official parish stationary, such as business cards and letterhead.  

Armorial flag, processional banner, and seal designed
for the Episcopal Parish of Alton
Designed and rendered by Chad Krouse, 2025

Countless applications come to mind for the new arms:  coffee mugs, lapel pins, automobile stickers, tee shirts, and the list of merch goes on and on.  Because these files are rendered in vector, the sky is the limit for adding this new dignified decoration to almost anything.  

Cover page of the proposal
Designed and rendered by Chad Krouse, 2025

I believe it is critically important that all members of the corporate body have the ability to inhabit their organization's coat of arms--be that on a Christmas ornament or cufflinks, owning a piece of the corporate brand only serves to strengthen and sustain it. 

This was a fun project for me and I'm delighted that the parish will use these designs in one way or another.  I am thankful that I can begin to share my work freely for good use.  My goal is to help smaller parishes either adopt new coats of arms to be used as branding, or help update current digital assets with vector files for use in social media, web design, and so on.  The rationale is that these faith communities would likely not spend money on this sort of project--I've found my niche for ministry and a special way I can serve.  

New Coat of Arms for the Rector

The coat of arms of The Rev. Daniels,
Rector of the Episcopal Parish of Alton
Designed and rendered by Chad Krouse, 2025

Not only was I able to have my first parish coat of arms adopted, I designed arms for the Rector too.  

Arms: Argent, on a fess Sable two Mayflowers (epigaea repens) Argent barbed Vert each charged with a fleur-de-lis Azure debruised by a pile Azure charged with a dove descending Argent haloed Or

Motto: Dum Spiro Spero, “While I breathe, I hope”

Design Rationale: The new armiger is an ordained priest in the Episcopal Church, and referenced through the clerical color of black for the fess. The fess is charged with two Mayflowers (epigaea repens) honoring the armiger’s ancestor, William Bradford (1590-1657), who emigrated from England and arrived at Plymouth Colony aboard the Mayflower in 1620.

The flowers are charged with a fleur-de-lis representing not only the City of St. Louis where his ministry began, but also his devotion to the Blessed Virgin Mary. Additionally, the fleur-de-lis is used as the crest in the armiger’s order, the Order of Christ the Savior.

The blue pile represents the limitless heavens above as the dove of peace descends offering grace, healing, and hope in the world today. The motto is attributed to King Charles the Martyr, representing another saintly model for the armiger.

Date: 10 January 2025

The cleric's arms are ensigned by a black galero, cords alternating white and black, and ending with one tassel to indicate his priestly office.  As a guideline, I followed the Earl Marshal's Warrant of 1976 which authorized clergy in the Church of England to ensign their arms with ecclesiastical hats following a prescribed "annex schedule."  To read the Earl Marshal's Warrant of 1976 regarding the use of ecclesiastical hats, click this link to view the document on the College of Arms website.

To view illustrations by rank/office from the College of Arms, click this link for the College of Arms website.