The alphabet is one set of arbitrary symbols. The figures of heraldry are another set of arbitrary symbols. In the fourteenth century every gentleman knew one: in the twentieth century every gentleman knows the other. The first gentleman was just precisely as ignorant for not knowing that c-a-t spells "cat," as the second gentleman is for not knowing that a St. Andrew's Cross is called a cross saltire, or that vert on gules is bad heraldry. -- G.K. Chesterson
I'm an Academic Herald. I'm not a "real" herald; I don't register people's coats of arms (though I can certainly suggest designs for those who might be interested). What I do is study, research, teach, and write about heraldry. And I like to share what I have learned about heraldry, hence this blog. I hope that you'll find it informative, interesting at least occasionally, and worth your time to come back. Got a question? Comments? Feel free to let me know. I'd love to hear from you. You can find my contact information in my Profile.
It never really ceases to amaze me, that I seem to run across coats of arms and heraldic pieces wherever I go. Even when I'm just visiting a local antique store looking for something else entirely having no relationship at all to heraldry.
The most recent example of this was last Friday, when my wife and I went to an antique shop because they were having a big sale and we're in the market for a nice painting or other piece of art to fill in the big blank area over the television. We've been looking for a little while now. We haven't found what we're looking for yet (though we have seen a couple that we rated as "almost, but not quite"), but we're pretty sure we'll know it when we see it.
But while wandering about the place looking at paintings, etc., I saw this in a display case.
It's a three-handled tankard with the arms/crest/logo of the Boston Athletic Association and the date 1887 on it.
The BAA was established on March 15, 1887, and is one of the oldest athletic clubs in the country. It is probably best-known for its organization and sponsorship of the annual Boston Marathon beginning in 1897.
The BAA's logo is a blue shield with a gold unicorn's head erased atop a torse. Above is the one found on the tankard, and below is the one that the BAA uses on its website today.
As an heraldic purist, that they put a crest on the shield irks me, but I don't think that the modern version is an improvement, having the unicorn's horn project outside the shield and with the "B.A.A." banner (which at most should be placed under the shield like a motto scroll) overlying the shield.
Still, it's a comparatively simple design, and it uses a real unicorn's head and not just a horse's head with a horn attached to its forehead, so I think I'd give them reasonably high marks for the attempt at making it heraldic. The concept isn't bad, but it ends up missing the "this is good heraldry" mark by a fair bit.
Still, it was an interesting piece of heraldic art to run across while looking for something entirely different!
Next stop on our tours around Glasgow was The Collection at the Burrell, some 9,000 objects of art from a wide variety of times and places, the compilation of collector Sir William Burrell and his wife Constance.
One of the first things you see after entering the building is the very impressive 16th Century Hornby Arch, taken from Hornby Castle in Yorkshire, where it served as the main doorway. The Burrell Collection obtained it in 1930 when the estate was broken up and most of the house demolished.
Hornby Castle was largely rebuilt in the late 15th and early 16th Centuries by William Conyers, first Baron Conyers, The house had earlier belonged to the St. Quintin family, until heiress Margaret Quintin married John Conyers.
In the image above, you can see the name "Conyers" carved into the peak of the doorway arch below the arms.
Though in some ways similar to the arms of the Earls of Huntingdon which we have discussed earlier (http://blog.appletonstudios.com/2017/06/im-earl-of-huntingdon-and-youre-not.html), these arms are not those of the Hastings family; note, for example, the different supporters, different quarterings on the shield, and so on. Further, the coronet is that of a baron, not an earl. (I am certain that full-color versions of both the Hastings and Conyers arms would further highlight all of their differences.)
The paternal arms of the Conyers are given in Burke's General Armory as Azure a maunch or, which Baron Conyers of London and Hornby Castle differenced (per the 1568 Visitation of London*) with a crescent or surmounted by another gules in chief. In the carved depiction here (and you may have to click on the image to go to the larger version to see it) the crescent appears on the maunch itself rather than on the field in chief.
* The Visitation of London 1568 published by the Harleian Society notes that "Francis Conyers descended of a younger howse of Conyers of Hornsby in Yorkshire." The Visitation of Yorkshire 1563-64 gives the arms of Conyers of Hornsby as "Saphire a une manche topace, sus la manche une annulet Ruby" (or, in standard blazon, Azure a maunch or, on the maunch an annulet gules (for difference)), which appears to more closely match the Conyers arms depicted here. (The cadency mark on the maunch is hard to make out, but it looks to me more like an annulet than a crescent or a crescent on a crescent.)
I'm not certain that the lion rampant in the alcove above the arms is to be taken for the crest. If you look at the large picture of the Hornby Arch at the top, on the right is a crest, a bull's head. Burke, however, gives the crest of Conyers (of London and Hornby) as A sinister wing gules differenced with a crescent or surmounted by another gules. A different Conyers family (Conyers of Bowlby) used a bull's head with its neck pierced by an arrow as a crest, but not this family, at least that I have found.
Anyway, I'm not entirely certain what the lion here represents.
Additionally, at the top of the Arch on the left side, are two smaller shields, one with three escallops and one with three chaplets or laurel wreaths. I'm not certain who they represent; neither appears to be the arms of the St. Quintins.
You may also notice the paternal arms of a maunch on a small escutcheon at the very top of the work, though I do not see any marks of difference on that shield.
So although some of this display remains a bit of a mystery as far as the identification of all of the quarters, the rampant lion, and the two small shields go, what a grand entrance to a house. We should all be grateful that the Burrell Collection was able to acquire this piece of monumental heraldry when much of the house was demolished, thus preserving it for us to see and share!
Just outside of Provand's Lorship in Glasgow is the St. Nicholas Garden, "created as part of a tourist and environmental initiative by the Glasgow Development Agency, Glasgow City Council, and Strathclyde Regional Council." It's a very pleasant garden, and around part of it beneath an arcade are a number carved stone figures, and among these are a few coats of arms.
Unsurprisingly, given its wide use just about everywhere as an element of architectural design, the Royal Arms of Scotland.
Note the very long horns on the unicorn supporters! And the startled look on the lion's face in the crest. (Perhaps a result of the tips of the unicorn's horns giving him a bit of a jolt? Anyway, wow.)
Also on display are two versions, one older, one newer (1995) of a variant of the arms of the City of Glasgow with the bird in the tree, the bell, and the fish with a ring in its mouth, along with the motto "Let Glasgow flourish".
I always find it interesting to see how different artists will interpret the same shield, don't you?
And finally, there was this double panel with two different Campbell arms with the well-known gyronny.
Presumably the lower shield shows the marriage of a Campbell with a branch of Stewart, with their fess checky.
And thus we end our tour of Provand's Lordship in the St. Nicholas Garden and a little time with some famous Scots heraldry.
Next time, we begin our tour of the Burrell Gallery and some of the heraldry that can be found therein.
The American Broadcasting Corporation (ABC) here in the United States has begun running a mini-series that is supposed to be a continuation of Shakespeare's Romeo and Juliet, picking up from shortly before the end of that play and giving the viewer an idea of "what happened next" between the Montagues and the Capulets. So, yeah, it's basically a major TV broadcast network giving us some summertime filler in the form of what I call "Shakespearean fan fiction." I am speaking, of course, about Still Star-Crossed.
Why am I writing about this here, on a heraldry blog? Well, because they put some heraldry into it, and I thought I'd do a little research into the arms being shown on screen and share the results of that research with you.
First off, we are shown what I have to assume is the arms of Verona, in the person of the Prince, which have been embroidered onto a large wall hanging behind his throne, and which I would blazon as Gules a cross or.
Unfortunately, these were also the easiest arms to check, as the arms of Verona can be found in any quick internet search and in a number of armorials, including this depiction from an armorial dated to 1550:
So, blue field, not red. But at least they got the cross correct, so that's something, I guess.
Next, we have the coat of arms of the Capulet family, which are shown in Still Star-Crossed like this (please forgive the poor quality of the picture, taken from the screen with an iPhone):
I would blazon these arms as Or a tierce azure ermined or overall a griffin segreant contourny or.
But this shield is nothing like any of the several variants of the arms of the Capelli and Capello families of Verona and elsewhere. (The name went through a couple of variants on its way to Shakespeare; Dante, in his Divine Comedy, gave the name as Cappelletti, a diminutive of Capelli/Capello, and Shakespeare anglicized it to Capulet. Amusingly enough, some websites, like that of House of Names, tries to convince us that Capulet is of Anglo-Saxon origin, and is a derivative of Caplewood/Capelwood/Capilwode/Capulwode. On another page they say that the name is of French origin, while a third page there gives us some possible Italian origins. Always remember, people: Just because you see it on the internet doesn't mean it is true.) Most of the Capelli/Capello arms are canting, and contain a hat, or in some cases, three hats, on the shield.
Nary a griffin to be found. Nor a tierce. And especially not a tierce in an ermine-type fur that is not found in heraldry of the period. Just sayin'.
Finally, we have the arms of the Montagues in Still Star-Crossed:
I would blazon these as Or on a chevron between two towers and a bear rampant gules three lozenges or, with a crest A tower sable. (I am assuming that the black edge around the shield is simply delineation, and not an extremely anemic bordure.)
I was unable to find any real coats of arms for the family Montecchi (the name as given in Dante's Divine Comedy) or Montague (Shakespeare's anglicization of the Italian name). Nor have I run across any arms answering to this blazon.
So there we have it, folks! Three coats of arms, for the three major players in this mini-series, two (the Capulet and Montague arms) made up out of whole cloth, and third, for Verona, with a red field instead of the correct blue one.
Once again, we have it demonstrated unmistakably to us the difference between real heraldry and "reel" heraldry.
It's a shame, really, because it's so easy to do it right.
For our last item in the interior of Provand's Lordship, the oldest house in Glasgow (built in 1471), we ran across this relatively simple, but very nice, armorial wooden chest or box.
While really pretty plain-looking, the carving of the square in the front with the coat of arms is very deep and - despite its relative simplicity - very well-carved, with a lot of delineation and visual interest.
The arms appear to be those of Muirhead, Argent on a bend azure three acorns or, or possibly Akers, Argent on a bend sable three acorns or. (If the latter, they are canting arms, a pun on the surname: acorns sounds a lot like Akers.) I did not see any sign near the box which gave any information about it or its provenance.*
But what a great way to use a coat of arms!
* Correspondence from our good friend Margaret Sainte Claire of Glasgow confirms that these are the arms of Muirhead of Lauchope. She forwarded a link (http://www.theglasgowstory.com/image/?inum=TGSA05012&t=2) that led to an illustration (below) of the arms of Andrew Muirhead, Bishop of Glasgow 1455-1473 at the bottom of his seal.
Bishop Muirhead built Provand's Lordship in 1471, so this armorial box is entirely appropriate to the building. How cool is that?
In an article dated June 5, 2017, Alanna Martinez reports on an "Online Contest Puts Pop Culture Spin on the Ancient Art of the Family Crest."
Graphic designer Aaron Draplin challenged students in his on-line Skillshare logo design course to put a contemporary spin on the "family crest." (I will try to leave out my usual rant about people calling coats of arms "crests".)
Nearly 500 students submitted designs for famous athletes, artists, cartoon and television characters, and famous people both real and fictional.
Normally, I'd copy one or two (or three) images to post here, but I just can't convince myself that any of these shields are more than remotely like heraldry. Please feel free to click on the link above to see for yourselves.
It's a cool idea, but as is often the case when you get people with little knowledge of heraldry designing coats of arms, the results are usually less than, umm, "ideal".
I hope that, over the course of the past eight years and a little over four months, you have found it to be of interest and of use. I hope that at least some of the posts have been informative; I hope. also, that you have made some use of the links I have added (and continue to add to periodically). It was, and is, my desire that this blog could be a resource for people doing heraldic study and research.
Oh, yeah, while I think of it; if you should happen to find any broken links in my links lists, please let me know. I don't usually have the time to do anything more than spot check them occasionally, and we all know how fickle the "intertubes" can be about having websites die out or change their URLs. So if you find a broken link, please let me know so I can keep the resources here up to date, either by changing to the new URL or removing it from my lists here.
Anyway, the odometer is turning over at this blog post. We've done 1,000. Here's to many more!
And now, to keep things focused on the titular topic of this blog, and for your heraldic viewing pleasure, here's a few renditions of my own coat of arms created by various heraldic artists (as well as a couple by myself) over the years. Enjoy, and I look forward to writing for you in the future!
Continuing to make our way through Provand's Lordship in Glasgow, and its extensive collection of old furniture and furnishings - some heraldic and some not - I ran across the following carved wooden panel:
Please feel free to click on the image to go to a larger version, so that you can take it all in more effectively than in this comparatively small version here.
Though it has clearly suffered some damage over the years, it remains a most impressive piece of heraldic decoration.
It is, of course, the arms of Hastings, Earls of Huntingdon (or Huntington). The seventh creation of this Earldom, the title was given to George Hastings by Henry VIII in 1529. The title continues, the current Earl, William Edward Robin Hood Hastings-Bass, being the 17th.
The pronomial arms, in the first quarter (the upper left of the shield as you look at it, are Argent a maunch sable. The crest (atop the helm) is A bull's head erased sable armed and gorged with a ducal coronet or.
The supporters on either side of the shield are a fairly unusual monster, Two man-tigers guardant or. A man-tiger (or sometimes, man-lion) is basically a lion with a bearded man's face.
I've not had the time to look up the identification for each of the quarters here (none of the peerages I have give more than the Hastings arms, and there's only so much time in the day; I can only let the yard grow wild for a short while before having to get back out there and weed whack back Nature in all its fecundity), but if you look closely you can quickly identify the Royal Arms of England (Quarterly France and England) with a label and the well-known arms of the Spencers.
For comparison, here we have the arms from a portrait of Henry Hastings (b. 1536), 3rd Earl of Huntingdon (1560-1595).
As you can see, the 3rd Earl's arms are painted with sixteen quarters, while our carving above only has twelve, and in a slightly different order. Still, it's nice to be able to see the colors without having to look everything up.
All in all, what a great piece of heraldic art, a wonderful display, and, of course, a method of saying to everyone who sees it, "I'm the Earl of Huntingdon (and you're not)!"
I had considered covering the second of these two items at a later date, but then the first item was brought to my attention very recently, and because they both touched on the same general topic, I felt I just had to say something now.
In a post over on LogoDesignLove on May 30, blogger David Airey talks of the "Origins and making of the Porsche crest." (We'll forgive him, this time, the use of "crest" when talking about a "coat of arms," or in this case, a coat of arms used as a corporate logo.)
It turns out that the Porsche logo (above) is simply the arms of the state of Württemberg (with the addition of the word "Porsche" across the top of the shield), with an inescutcheon (the small shield in the center of the large shield) of the city of Stuttgart (with the word "Stuttgart" across its top). Mr. Airey explains the main elements in the following graphic:
In short, the Porsche logo is simply the usurped arms of the German city and state where the cars are made. You can read the entire post (and find some links to a video that shows how the hood emblem is made as well as a couple of other articles about the Porsche logo, on LogoDesignLove at http://www.logodesignlove.com/porsche-crest-origins
So what was the other story about heraldic usurpation that had cropped up? The use of one family's personal coat of arms as a logo by properties owned by the current President of the United States of America, Donald J. Trump. (We have posted about his troubles with Lord Lyon King of Arms in a post back in January 2012. See http://blog.appletonstudios.com/2012/01/heraldry-in-news_18.html)
It turns out, according to several news reports, that the coat of arms/logo at issue (above) wasn't just something thought up by the people who work for him. It's an actual coat of arms granted (though in different colors) by the College of Arms in London in 1939 to Joseph Edward Davies, the third husband of Marjorie Merriweather Post, the socialite who built the Mar-a-Lago Resort in Florida, which Mr. Trump purchased and is now often serving as the "weekend White House." The arms granted to Mr. Davies are:
That these arms are now used (with the change of the motto Integritas ["Integrity"] to "Trump" and the reduction in the number of tinctures) by The Trump Organization at Mar-a-Lago and the other resorts owned by The Trump Organization has set a number of people's teeth on edge, including the heralds at the College of Arms. And since The Trump Organization has trademarked the logo here in the U.S., there is very little that the family can do about it.
There are a number of articles about this issue on-line; I will simply include the links here so you can to and see for yourself what is being said. (Well, except for the one comment by a correspondent of mine who said that he found it amusing that "Trump was apparently keen to make sure that it was an 'Integras-free zone.'")
There was another not-very-comfortable-looking chair in Provand's Lordship in Glasgow with a coat of arms carved into its back. This one, alas, did not have a sign giving any information about it, so we are pretty much left on our own to try to ferret out the arms here.
After going through several of my ordinaries (books that organize coats of arms by the charges on the shield) for Scottish heraldry, I believe that these arms carved here are a variant of Mercer, many of which are in the form of On a fess between three crosses (usually paty, sometimes crosses crosslet, sometimes plain) three roundels.
The Mercer arms that come closest to the arms on this chair were found in An Ordinary of Scottish Arms for Mr. Robert Mercer of Cannaway: Or on a fess between three crosses paty in chief gules and in base a mullet azure three bezants. The Lyon Ordinary, Volume I, gives this same blazon for Mercer of Aldie (1672-7).
The crosses on this chair might more specifically be blazoned as crosses moline, but may very well fall within the more general description of crosses paty (a cross in which the arms widen as they extend out from the center.
So do we have an identification for this coat of arms? I think that we do: Mercer.
But still, I'm not certain that I'd want to sit in this chair for very long, with all that carving digging into my back. I'll stick to my leather recliner, thank you very much!
In addition to the carved wooden Royal Arms in our last post, suitable for ornate display, Provand's Lordship has some more practical carved wooden coats of arms.
In particular, they have an oak chair, dated 1659, from Pircaple Castle in Aberdeenshire. The chair bears on it, as a sign notes, the "Lumsden coat of arms."
I have been unable to find this particular coat of arms in my sources. Burke's General Armory does have one coat that is close:
Lumsden (Cushnie, co. Aberdeen). Azure a buckle or between two wolf's heads and an escallop argent. As you can see, there is no buckle on this rendition.
The Lyon Ordinary by Balfour Paul gives these same arms (with the buckle) as belonging to Lumsden of Cushing, first matriculated 1672-7). They are also found in Nisbet's A System of Heraldry (1722) for Alexander Lumsden of Cushnie, and in Burke's Landed Gentry, for Lumsden of Pitcaple (not Pircaple, as the sign noted).
An Ordinary of Scottish Arms From Original Pre-1672 Manuscripts by Eilean and John Malden and William G. Scott notes: Lumsden of Cushnie, Argent a chevron sable between two wolf's heads gules and an escallop or.
Is the coat carved here an error for Lumsden of Cushnie/Cushing? Or Lumsden of Pitcaple? Is it a differenced version of those arms, removing the buckle (or the chevron)? Or is there some other explanation? From what I have been able to find, I cannot make a judgment one way or another.
Except, of course, to note that, really, this chair doesn't look all that comfortable to sit on.
Continuing our tour through Provand's Lordship, the oldest house in Glasgow, we came across the following carved spruce panel with the Royal coat of arms as used in Scotland.
The sign with it states: "This finely carved coat of arms represents King Charles II (1630-1685), and is probably from a parish church." The panel itself dates from 1660-1685 (the years of Charles II's reign), and was donated to the Provand's Lordship Society in 1923.
Frankly, I love the somewhat startled expression on the lion supporter's face with its very round eyes. It reminds me very much of of the tee shirt I bought at King's Chapel in Boston (where my tenth-great grandparents, John and Mary (Chilton) Winslow, are buried). The lion supporter to those arms (the Royal Arms as borne by the Hanoverian Kings of Great Britain) also has very round eyes which, with the eyebrows, give it a similarly-startled expression.
It is always interesting to me to see how different artists have created sometimes wildly different depictions of a coat of arms. And this one of the Royal Arms from Provand's Lordship is a great example of just that. The detailing and three-dimensionality of this carved wooden piece make a wonderful study.
(Nota bene: Delicacy prevents me from discussing, or even bringing to your attention, the somewhat large and detailed pizzles* on both the unicorn and lion supporters.)
* "Pizzled. Used to describe the penis of an animal when of a different tincture from the body." An Heraldic Alphabet, J.P. Brooke-Little, Robson Books, 1996, p. 165.
Just over a year ago, Yale University’s Calhoun College was renamed Grace Hopper College, in honor of Grace Murray Hopper, a Yale alumnus, trailblazing computer scientist, and Rear Admiral in the United States Navy. Yesterday, May 18, 2017, Yale unveiled the newly-designed coat of arms for Grace Hopper College.
The arms are blazoned: Azure semy of plates and billets argent a dolphin embowed or on a chief argent a fess engrailed sable.
Various elements of the arms refer to Rear Admiral Hopper's work in computers (billets and plates looking very much like ones and zeroes), and the dolphin, of course, to her service in the Navy. The blue color of the shield links both to Yale University and to the U.S. Navy. The fess engrailed on the chief is evocative both of waves on the sea and of the Calhoun (the original name of the College) coat of arms, which contain a saltire engrailed.
Three Yale alumni worked to create the coat of arms: John Gambell, University Printer, the person responsible for Yale's visual identity, led the project; Stephen Scher, an art historian with "an extensive knowledge of heraldry"; and Jonathan Corum produced the final artwork. (I do think that the arms are far better than we usually see designed for American educational institutions.)
The Beaumont and Ramsden arms in old stained glass panels were not the only such arms to be found in Provand's Lordship in Glasgow.
Other such panels found there include the related families of Copley and Wortley:
Copley: Argent a cross moline sable.
Sir Francis Wortley, Bt.: Created a baronet in 1611, the title expired with his son, Sir Francis Wortley, the second baronet. Argent on a bend between six martlets gules three bezants. Burke's General Armory gives the crest, not shown in this window, as An eagle’s leg plumed on the thigh with feathers argent.
Leonard Jansen, dated 1681, about whom I have been been unable to find more information. The arms are unusual, and I suspect not English:
Set into a large window there are several armorial panels: across the top, there are four unidentified coats of arms which appear to have been done in black and white, and in another panel a coat of arms which is unnamed but dated 1644: Argent three lozenges gules. Papworth's Ordinary of British Armorials shows these arms borne by: Ducarel, Gargan, de Greystocke, Gernegan, Gramore, Mortlock, Pitcairn, Pychard; and the Dictionary of British Arms assigns them to: Gerugahn, Jernygam, Montacute, Pichard.
Again, a wonderful display of 17th century heraldic art, in such a comparatively fragile medium. How nice it is that it has been saved and is being preserved!
Provand’s Lordship is the oldest house in Glasgow. It is believed to have been built near Glasgow Cathedral in 1471. By the 1600s, it had become a private home. From the 18th through the early 20th centuries, it was used as an inn and housed a wide range of shops on the ground floor, with rented rooms above. In 1906 these shops included: a barber, a grocer, and a confectioner. A small extension to the building housed the City’s hangman for many years.
There are several old armorial stained glass panels in the Provand’s Lordship. Five of them were made in the 17th Century by Bohemian glazier Bernard Dinninckhoff, who worked in York from the late 1500s into the middle 1600s.
These window panels commemorate the marriages of the Beaumont family from Whitley Beaumont in Yorkshire, and were probably made for Sir Richard Beaumont’s hall at Kirkheaton, built in the early 1600s (and thus are contemporaneous with Provand's Lordship). Sir Richard Beaumont of Whitley, the son of Edward Beaumont and Elizabeth Ramsden, was was knighted by James I of England in 1609, and created a baronet on August 15, 1628. Beaumont died unmarried and with his death the baronetcy became extinct.
Among these armorial stained glass panels we find the following:
Beaumont of Whitley, York: The paternal arms are Gules a lion rampant argent langued and armed azure within an orle of crescents argent. Crest: A bull’s head erased quarterly argent and gules [here, orbed and armed or]. Neither Burke’s General Armory nor his Landed Gentry gives the quarterings shown here, only the arms of the name. However, in the panel here (and below) the second quarter is Harrington: Sable a fret argent.
Another panel gives the same Beaumont arms marshaled with those of Ramsden:
Ramsden: Argent on a chevron between three fleurs-de-lis sable three ram’s heads couped at the neck argent [here, armed or]. Crest: An arm in armor couped at the elbow proper holding in the gauntlet a fleur-de-lis sable. The panel here shows both the Beaumont and Ramsden crests.
And finally, there is a panel (much repaired over the years, it appears) with just the Ramsden arms:
It is rare to find stained glass panels nearly 400 years old still extant. How wonderful is it that Glasgow has been able to collect and preserve these armorial works of art!
As our group left the Kelvingrove Art Gallery and Museum, we passed a tall sundial:
Sundials always tend to get my attention in any case; I find their variety to be fascinating. This one attracted me because of the different gnomons (the part that casts a shadow onto the hour lines) on the two different faces here.
But, of course, what really caught my eye was the four coats of arms to be found around the base of the obelisk, three of which we've seen before in Glasgow in other settings:
And, of course, the arms of the City of Glasgow:
And then there was this one, which was entirely new to me:
It is clearly not the arms of Glasgow, though it is also clearly related to Glasgow, with the tree and fish with a ring in its mouth. Given the brick wall taking the place of a fess going across the shield, and the two books in chief, along with the motto (meaning "to build and communicate"), I suspect that these may be the arms (whether granted or assumed) of the Kelvingrove Art Gallery and Museum itself, though I have been unable to confirm that anywhere, including on the Museum's website. I could also be completely off base with that suspicion. But the motto would certainly described the Kelvingrove's overarching mission, don't you think?
Anyway, as we headed off down the hill and back into Glasgow proper, I wanted to leave you with this last bit of heraldry from an art gallery and museum with a most eclectic collection!