In My Backyard: The Arms of the Diocese of Richmond

The armorial flag of the Diocese of Richmond.
Rendered by Chad Krouse, 2024.

I live less than a mile away from the Cathedral of the Sacred Heart in Richmond, Virginia.  This cathedral houses the cathedra, or chair, for the Bishop of the Diocese of Richmond.  Prominently emblazoned on a bronze plaque near the cathedral's west doors is the coat of arms of the diocese, expertly designed in 1913 by Pierre de Chaignon la Rose (1872-1941).  In a weird and unexplainable way, it feels comforting to know la Rose's heraldic work lives on so close to home.  

La Rose had a brilliant marketing scheme to showcase his heraldic work within the Roman Catholic Church.  Through articles he penned in The Ecclesiastical Review, a prominent national publication focusing on scholarly issues in the Church, la Rose would supply engraved images of arms he devised for both prelates and dioceses.  From my review of his articles in The Ecclesiastical Review, la Rose used this channel to both educate and market his methods for heraldic designs--and readers took notice.  

Caricature of la Rose appearing
 in the Boston Sunday Post
(1903 Feb. 15).

Moreover, La Rose saw his landmark commission in 1910 to design arms for the Archbishop of Baltimore,  James Cardinal Gibbons (1834-1921), followed by Archbishop and future Cardinal, William Henry O'Connell (1859-1944) of Boston, as effectively creating a new baseline for establishing unerring heraldry within the US Roman Catholic Church (La Rose, 1911).  

If heraldry in the US during the early 20th century could be a film, perhaps no other genre quite like the old gun-fighting wild western flicks--where the spirit of rugged individualism pervasively dictates one's survival--would seemingly feel an appropriate choice.  

La Rose would be our protagonist, complete with cigarette and a sheriff's badge, fighting it out on the dusty streets of Tombstone to wipe clean the scourge caused by outlawed heraldic "bucket shops."

In La Rose (1920), he offers this view regarding his purpose:  

"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" (41).

La Rose's crusade to convert as many dioceses as possible to employ flawless heraldry--both within the Episcopal Church and the Roman Catholic Church--engendered his life's purpose as a herald.  

The impaled arms of The Most Rev. Denis J. O'Connell,
designed by la Rose in 1913 and appearing in Brassard (1956), page 53.

In 1912, The Most Reverend Denis J. O'Connell (1849-1927) was named Bishop of the Diocese of Richmond and eventually la Rose was enlisted to design arms for both the bishop and the diocese.  O'Connell's impalement of arms containing his personal coat along with the arms of the Diocese of Richmond appeared in la Rose's article in The Ecclesiastical Review (La Rose, 1913).  La Rose designed both arms at the same time, ensuring the continuation of his baseline precedent for sound heraldry. 

For O'Connell's personal coat, La Rose (1913) provides the following blazon and rationale:

"Quarterly 1 and 4, per fess argent and vert between three trefoils counterchanged of the field a stag trippant proper... 

"The Ordinary's impalement [arms of Bishop O'Connell] is the first example among our American bishops of a quartered personal coat meaning precisely what quartering should mean--an armigerous paternal and maternal inheritance.  The Bishop's motto is that of the Wray family" (94).

La Rose pointedly notes the precise method for quartering arms--a heraldic method of combining two coats into a noble arrangement which continues to feverishly affect many American novices of heraldry.   

For the Diocese of Richmond, la Rose created the following blazon: Argent, an orle gules, over all on a bend azure three stars of the field.

For comparison, the arms of
the Borough of
Richmond, England. 
Image is from
Heraldry-wiki.com

When I started my quest to uncover la Rose's heraldry in 2014, one of the first research requests went to the archives of the Diocese of Richmond, these arms were in my backyard and it seemed fitting to begin here.  Following a series of email exchanges, I was asked to provide a brief article for the diocesan archives, describing the origins of the diocese's arms as well as some background information on la Rose.  Little did I know at the time, the Diocese of Richmond would later publish my article in 2019 in concert with the diocese's bicentennial logo competition.  

One interesting data point to consider, and one that I missed earlier in 2014 regarding Richmond's arms.  When devising new arms for dioceses, la Rose frequently incorporated a reference by way of a charge or colors to the dedication of the see's cathedral.  

In checking the history of the Cathedral of the Sacred Heart in Richmond, the building's construction began in 1903 and was completed by 1906--well before la Rose's design for the arms of the diocese in 1913 (Cathedral of the Sacred Heart, 2023 September 16).  La Rose did not use this method of referencing the see's cathedral in the arms of Richmond, and I cannot explain why--a minor detail I missed in my earlier research.  

It's rather amusing to read my work from nearly 10 years ago--I was firmly in my post-seminary writing mode, or a "highly romanticized" style which my doctorate would later calm.  Scholarly writing in the social sciences is quite straightforward given the clinical conventions of the Publication Manual of the American Psychological Association.  

When I begin drafting a book manuscript on la Rose in the coming months, I will be challenged to convert back to my beloved Chicago-style.  I mean, who doesn't enjoy a good footnote?  Below is my article, "Arms of the Diocese of Richmond: Origins and Designs," to peruse.  Dear reader, please forgive me.       

Works Cited

Brassard, G. (1956).  Biographical and heraldic dictionary of the Catholic bishops in America (vol. 2).  Stobbs Press, Inc.

Boston Sunday Post (1903 February 15).  Harvard professors object the side-spitting caricatures of themselves by talented students.  Boston Sunday Post, 26.

Cathedral of the Sacred Heart (2023 September 16).  Our cathedral: Cathedral history.  Cathedral of the Sacred Heart. https://www.richmondcathedral.org/our-cathedral/

La Rose, Pierre de C. (1911).  The arms of his Eminence Cardinal Gibbons.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 5(45), pp. 2-11.

La Rose, Pierre de C. (1913).  Recent episcopal arms.  In H.J. Heuser (Ed.), The Ecclesiastical Review, vol. 49(July), pp. 90-96.

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

Heraldic Artist Spotlight: Steve Cowan

 

Steve Cowan hard at work in British Columbia, Canada. 
Image source:  Steve Cowan Heraldic Artist website.

For the third installment of my series celebrating heraldic artists from around the world, I'm pleased to spotlight Mr. Steve Cowan from British Columbia, Canada.  To read posts on other heraldic artists featured in this series, click the blog tag "Heraldic Artist Series" at the end of this post.  Cowan was the very first heraldic artist I ever commissioned once I finalized the design for my own assumed arms.  Cowan has truly been a delight to work with over the years, and his story is fascinating.   

Initially, Cowan's foray into fine arts was through oil painting, but a 10-year journey around the world would pause all of that until 1980.  Cowan writes:

"Upon my return to Canada in 1980, career and family considerations kept me from pursuing endeavours in fine art.   While my wife, Judy, and I enjoyed photography as we travelled, I didn’t take up painting until quite recently.  Shortly before I finished my 30-year airline career in 2002, I took an oil painting course in Vancouver.  

The arms of Steve Cowan,
granted by the Canadian Heraldic
Authority in 2018.  Cowan designed
his arms which the CHA approved.
Image source: Steve Cowan Heraldic
Art, September 2023.

"After we traveled parts of Europe and Australia we settled in the Comox Valley in 2003.  Here I met Bill Maximick and admired how he uses acrylics to do his marine paintings.  Since then Bill has been my mentor and teacher" (Steve Cowan Heraldic Art, 15 September 2023).

Once Cowan caught the heraldry bug, it was game over.  

"In May 2015 I was presented with my Licentiate  (Level Three) qualification from the Royal Heraldry Society of Canada (R.H.S.C.).  I have been a member of the R.H.S.C. since 2009; in 2016 I was elected as the President of the BC/Yukon Branch of the R.H.S.C. At the 2019 Annual Conference of the Royal Heraldry Society of Canada in Calgary I was award a Meritorious Service Award for all the fun I have working with the Society members.

"I have been an Associate member of the Society of Heraldic Arts of the U.K. since 2014.  In April 2017 I was accepted as a Craft member of the Society following an assessment of my portfolio of heraldic work.  I am thrilled to have this recognition from fellow heraldic artists and to join other Canadians as Craft members" (Steve Cowan Heraldic Art, 15 September 2023).

The crest and arms of Chad M. Krouse,
emblazoned by Steve Cowan.

In 2014, I contacted Cowan to digitally render my assumed arms.  This commission would be my very first time working directly with a professional heraldic artist.  Since I was a pure novice at the time, Cowan was extremely patient and kind fielding all my questions.  I was simply nervous about working with, much less sending money to, someone in another country whom I've never met.  Ever the gentleman, Cowan would ease all of my anxiety surrounding this commission.  

The process of getting my arms to an acceptable design took months.  I wanted to design my arms to be the signature and identification of myself, and I took this task quite seriously.  In a previous article, "The Man and His Arms: An Origin Story," I provide more detail on the design evolution.  Please click here to read this article.  My humble line drawings in pencil could not prepare me for seeing the arms digitally in full color.  The end result, however, filled me with so much pride at seeing the design come alive. 

Needless to say, I was very happy with my first digital emblazonment.  Cowan's work was both thoroughly detailed and highly professional.  Moreover, though this initial commission, Cowan instilled in me a greater sense of confidence to work with other heraldic artists--something I rather treasure.  

In addition to his digital heraldry, Cowan is something of craftsman.  Recently, I commissioned him to make a wall plaque and table shield in my arms.  Upon opening the box, I was blown away by the quality and care Cowan pours into his work.  The finished products are of the highest quality and expertly crafted by Cowan.

A wall plaque and table shield of the arms of Chad M. Krouse,
designed and hand-crafted by Steve Cowan, September 2023.

I simply cannot say enough about how much I have appreciated working with Cowan over the years.  I highly recommend his services and can testify that the final product represents his utmost passion and devotion to the art and science of heraldry.

Please click here to visit Cowan's website to view his services and portfolio.  Additionally, there is a link to his website on the left under "Websites of Interest."

Support our heraldic artists who diligently translate the otherwise arcane blazons into colorful works of art--keeping heraldry alive and relevant today.  Cowan and others continue to provide expert services and friendly advice for anyone seeking to emblazon arms.  Without these artists, the field would be bleak and void of the vibrancy which heraldry calls for and these artists proudly answer.  Trust me, the reader would not be content with my penciled line drawings.   

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.

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

The seal and arms of the University of Saint Mary of the Lake in Mundelein, IL, designed by Pierre de Chaignon la Rose in 1930.  Rendered by Chad Krouse, 2024. 

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.
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

Coat of arms, 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).

Coat of arms, 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.    

Coat of arms, 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 

Coat of arms, 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.