Thursday, August 17, 2017

Heraldry in Craufurdland Castle


The Craufurds of Craufurdland may live in a very old, historical* castle, but while it is historical, it is also their home, as you can see as soon as you walk in the front door ...


 ... where you are greeted by this fine old carved oak armorial bench, with the "Wellies" and outdoor shoes of the family lined up beneath it, a perfect juxtaposition of historical home and modern use.

The are two painted coats of arms, with crests and mottos, on the back of the bench.

The arms on the right are, of course, those of Craufurd, which we discussed in more detail in the last post: Gules a fess ermine.


The coat of arms on the left is the arms of Howison:


Of the Howison arms, Burke says: Howison (Braehead, co,. Midlothian; now [this is the 1884 edition of Burke] represented by Howison Craufurd, of Craufurdland, co. Ayr, and of Braehead, co. Midlothian). Ar[gent] a man's heart gu[les] on a chief az[ure] three fleurs-de-lis or. Crest - A dexter hand couped apaumée [proper]. Motto - Sursum corda. Once again, we turn to Fairbairn's Crests for the translation: Hearts upward.

Next time, we'll look at some more examples of the Howison arms in the castle, and later see how the Craufurd and Howison arms are combined there.



* They believe "The Keep" was built in the 1300s, and that the tower was then abandoned and the Laird's house built in the 1600s. Early 1700s saw the joining of the Laird's House to the Tower.

Monday, August 14, 2017

The Heraldry of a Fine Old Scottish Home


The day after our tours of the University of Glasgow, the Kelvingrove Art Galleries, Provands Lordship, Glasgow Cathedral, and the Burrell Collection, those of us who had signed up for it were taken on three days of tours around Scotland, and were treated to an amazing amount of heraldry.

First off on the first day was a stop at Craufurdland Castle, home to the Craufurds of Craufurdland since 1245. We were met and entertained by Simon Douglas Houison Craufurd of Craufurdland and Braehead, the 29th laird, and his wife Adity Priyadarshini, and their two daughters, Indra and Manisha.

Right off the bat we were treated to some heraldry, in the form of the Craufud remarkably simple coat of arms on the exterior of the house, both in the front and in the back.




The arms are blazoned in Burke's General Armory as: Crawfurd, or Craufurd (Craufurdland, co. Ayr: the heiress m. 1744, Howieson, of Braehand [s/b Braehead]). Gu[les] a fess erm[ine]. Crest - A marble pillar supporting a man's heart [proper]. Motto - Stant innixa Deo. Fairbairn's Crests gives the translation of the motto as "They stand depending upon God."

In a somewhat unusual use of heraldry, one of the chimney tops was made to resemble the pillar of the Craufurd crest:


Isn't that cool? I love it!

Next time: Heraldry as soon as you walk in the door.

Thursday, August 10, 2017

A "Final" Heraldic Work from the Burrell Collection, Glasgow


To "end" our tour of some of the heraldic holdings of the Burrell Collection (yes, I know it's taken a long time to get through this, but they have a lot of stuff there!), I thought I'd finish up with a "final" heraldic work.


This is a painted limestone tomb from the monastery of Santa Maria de Obarra, at Calvera (near Huesca), in northern Spain.

The sign accompanying this work tells us, in addition to the information just above, that:

The effigy is said to represent Don Ramon Peralta de Espés (d.1348), Captain General of the Armies of Aragon and Grand Admiral of Aragon and Sicily.

A lot of the paint has disappeared from the stone over the centuries, but if you click on the image above to see a bigger version, you will find that a fair bit of paint is still left, especially his belt, some of the small shields on his surcoat, and on the second shield from the left on the side of the tomb (Azure a griffin segreant or).

The shields on the side of the tomb repeat, being (left to right) a quarterly coat (assuming that the colors on the small shields on his surcoat are correct, Quarterly or and gules), the griffin, the quarterly coat, and another griffin.

And so we "end" our heraldic tour of the Burrell Collection with this very nice 14th century funereal piece of heraldry, and say "final goodbye" both to Don Ramon here and the gallery which houses Mr. Burrell's extensive collection!


Monday, August 7, 2017

A Little Heraldic Something to Hang on the Wall


As the owner of a very nice heraldic tapestry myself (a tapestry version of a portion of the Nine Worthies and Nine Female Worthies taken from an early 15th century fresco at Castello della Manta castle in Italy. We purchased the tapestry while we were in Bruges/Brugge, Belgium, while attending the XXVI International Congress of Genealogical and Heraldic Sciences back in 2004. It's been hanging in our living room ever since), this custom-made tapestry in the Burrell Collection caught my eye.

The accompanying sign included this information:

English, mid-17th century
Silk and metal on silk



The central panel depicts Old Testament story of the pious widow Judith and the Assyrian general Holofernes. Here, she is placing his decapitated head into a sack held by her maid.

The border depicts and number of different animals surrounded by a floriated scrollwork, from a rabbit to lions to a squirrel to a chicken to a wolf to other birds.

The accompanying informational poster tells us that the tapestry was made for Luke Lloyd (1608-95) and his wife, Katherine Whitney (1610-1701). Most of panels like this one were intended for large, wealthy houses, but this one belonged to Lloyd, a Puritan who served as a Captain in the Parliamentary forces during the [English] Civil War, and was Sheriff of Flintshire in 1648. He lived with his family in a timber and brick farmhouse known as the Bryn. His wife was from a Royalist family living in Acton, Cheshire.

Once again, though, what really caught my eye was the impaled coat of arms at the top center of the work.


I have been unable to find these Lloyd and Whitney arms in Burke's General Armory. Nor did I find these Lloyd arms in the Dictionary of British Arms.

In the Dictionary of British Arms, Vol. 3, I did find the following for the Whitney arms:

Richard Weteley/Whetely: Argent on a chief gules three garbs argent. (Though much of the silk thread has rotted away over the centuries, there does seem to be a little bit of red color remaining around the edges of the garbs.)

I did not find this Lloyd crest in Fairbairn’s Crests. (The majority of Lloyd crests were Demi-lions erect.) The closest to this crest (which appears to be atop a mount a boar statant pierced by a spear bendwise sinister), but none of which is an exact match, is attributed to Bacon.

Fairbairn’s Crests assigns the crest over the Whitney arms, A stag’s head holding in the mouth a serpent, to “Borthwick, Cart, Caw, *Finlayson, Tipper, Wigton.”

So the arms and crests are still a bit of a mystery, insofar as a confirmed identification goes, but still, what a wonderful piece of work, and how well it has survived over the last several centuries!

Thursday, August 3, 2017

An Old Armorial Chest


Also in the Burrell Collection was this old armorial chest dating back to the early 14th Century, and what a great way to haul and store your "stuff."


The accompanying sign read:

Painted chest of Richard de Bury
English; early 14th century
Inside the lid of this chest are colourful heraldic shields and fabulous animals. The outside of the chest would have been painted too. It was probably used to carry and store armour, both on the battlefield and at home. 
Oak
The "colourful heraldic shields and fabulous animals" are, from left to right:





With the exception of the third coat of arms (does anyone here not recognize England {though the quarters here are reversed; it is usually seen as Quarterly: 1 and 4, France [here, France ancient]; 2 and 3, England}. Anyone? Bueller? Bueller?), I have yet not found a firm attribution for these coats of arms.

You gotta love those critters, though, don't you? The last one, especially, to me is reminiscent of some of the animals and monsters found in the Book of Kells.

You can find a little more information about the chest and its background at http://www.gla.ac.uk/media/media_276745_en.pdf

All in all, what a great way to haul and store your stuff!

Monday, July 31, 2017

Another Nice Piece of Armorial Silver


Another nice piece in the Burrell Collection was simply labeled "An English silver SALVER made in 1679-80."


There was, alas, no identification made of the arms that were engraved upon it.


However, a few minutes of research (Papworth's Ordinary of British Armorials) led me to "Busbridge, Echingham, Essex. Erm. six roses gu. three, two and one."

Which is, of course, one less rose than is engraved here. Could it be an error for six? (Questions you always have to ask yourself when trying to trace a coat of arms.)

But a quick search on-line and here we are at a website called "Sussex Families," where under "Busbridge" we are given the following:

Arms. Erm. six roses gu. 3, 2, and 1.
Crest. A cubit arm, habited ...., cuffed ...., holding in the hand a cimeter [scimitar] ppr.
Quartering. Arg. on a fesse, engr. sa. betw. three escallops az. as many eagles, displayed, or, for Reve.
Note. These arms and crest attested, and belong to the family of Busbridge, of Kent, per Robert Cook, Clarencieux, 1588; but the coat of Reve was quartered now in the time of the Visitation.
I don't find Busbridge in the Kent Visitations of which I have copies (1619-23 and 1663-68), so that was a bust.

However, the Visitations of Sussex (1530 and 1633-34, published by the Harleian Society in 1905) give some slightly different information:

Busbridge
[Harl. 1562, fo. 129.]
Arms. Quarterly: 1, Ermine, seven roses gules, four, two, and one [Busbridge]; 2, Argent on a fess engrailed sable, between three escallop shells azure, as many eagles displayed or [Reve]; 3 and 4, [blank].
Crest. A cubit arm erect in chain armour or, the hand proper, grasping a falchion argent, hilt and pommel of the first.

These arms & crest attested to belong to the ffamyly of Busbredg of Kent P. Rob. Cooke, Clarenceulx King of Armes, but the coate of Reeve quartered now in the time of the Visitation 1634.

So that's where we get the seven roses rather than six, and the salver is apparently not in error.

Turns out that, according to the Sussex Visitation, John Busbridge of Hareman in the parish of Echingham, Sussex, married (as her second husband, of three) Mary daughter of John Reeve of the Abbey of St. Edmonsbury in Suffolk.

So, mystery solved! The salver was made for a member of the Busbridge family, of Sussex, and quarters the arms of Busbridge with the arms of Reve/Reeve, a quartering the family had been using for at least 45 years.

How cool is all that?

Thursday, July 27, 2017

And, Of Course, Some Fine Armorial Silver


Also in the Burrell Collection in Glasgow was this very fine piece of armorial silver:


The sign accompanying it says: "An English silver gilt SALVER made in 1695 and engraved by Simon Gribelin. Engraved with the Exchequer seal of William and Mary ..." (with the arms of Mary, having William on an inescutcheon):


"... and the arms of Montagu. Commissioned by Charles Montagu, Earl of Halifax and Chancellor of the Exchequer at the time of Queen Mary's death in 1694."


The Montagu arms were a bit of serendipity for me; when I first looked carefully at them, I thought, "I've seen these arms somewhere else!" And it only took me a few minutes to remember where.

Yorktown, Virginia, when we visited there in 2010.

You can see my previous encounter at Yorktown with the Montagu arms (though at Yorktown, the arms were those of John Montagu, Second Duke of Montagu, created Master-General of the Ordnance in 1740 by King George II) in my posts of June 17, 2010 (http://blog.appletonstudios.com/2010/06/solving-heraldic-mystery-part-1.html) and June 21, 2010 (http://blog.appletonstudios.com/2010/06/solving-heraldic-mystery-part-2.html).

George, second Duke of Montagu, is not a lineal descendant of Charles, Earl of Halifax, as the latter was childless and was succeeded by his nephew. The arms clearly demonstrate, however, a familial relationship.

But how cool to run across these arms again, in such a different venue!

Monday, July 24, 2017

Good Night, Sweet Prince ...


... And flights of angels sing thee to thy rest! (Hamlet, Act V, Scene 2).

Or, put another way, "It's good to be the King!" (Mel Brooks as Louis XVI, History of the World, Part I)

In any case, you would think that you might sleep at least a little more soundly in something like this, found in the Burrell Collection in Glasgow:


It is, of course, an ornately carved (perhaps a little too ornate for my taste, but then, I'm a plebeian and not a king!) bed, with equally ornate canopy.

At the center of the headboard we find this:


The achievement of arms of the Stuart kings of England, 1603-1649 and 1660-1689.

I can almost hear the king now, saying, as does the character Dr. Sheldon Cooper in the TV show The Big Bang Theory, "That's my spot."

Thursday, July 20, 2017

Another Item for the Heraldic Dining Room Setting


In the same area of the Burrell Collection as the tin-glazed earthenware highlighted in my last post, there was also this really nice (almost understated, really) 17th Century German armorial stoneware and pewter tankard.


If you're serious about your beer-drinking, and your heraldry, you need a tankard like this!

The arms, of course, clearly relate to the German state of Saxony (Sachsen):


The first quarter of the shield (in the upper left) and the crest (above the helm) have a slightly simplified version of the lesser arms of Saxony, Barry sable and or a crancelin vert. The inescutcheon in the center show the crossed swords of the Imperial Arch-Marshal of the Holy Roman Empire.

It's all very fancy, with lots of quarters on the shield with lions and eagles, and three helmets and crests, and yet because it's all cream-colored throughout, it feels a little understated. ("Yes, I'm important, but don't mind me; I'm also just a regular beer-drinking guy.")

All in all, it's a very nice tankard, and I'm glad to have been able to see it, and also to be able to share it with you.

Monday, July 17, 2017

Heraldic Earthenware


Continuing our meanderings through the Burrell Collection Gallery, we ran across several items of tin-glazed earthenware which also happened to be heraldic.

Most of the items were made in Spain, but weren't all intended for the Spanish market.

This first one, however, most certainly was:


This is a 15th Century ceiling tile from the castle of the Count de Parsent, near Valencia, where it was made.

The arms are similar to, but not, the arms of Spain that we often see, Quarterly Castile and Leon. The difference here is that I don't think that's supposed to be a lion in the lower left. It looks to me more like a wolf, another animal that we often see in Spanish heraldry.

This next one, however, was made for the Tondi family of Siena, Italy:



This wonderful dish, with the Tondi arms in the center, was made in around 1460 to 1480. I presume that the upper portion is a capo d'Angio, the chief of Anjou, showing the family's allegiance to the Ghibellines (as opposed to their opponents, the Guelphs).

And the final example, this fine copper lustre dish was, like the other pieces here, made in Valencia in the 15th Century. The photographs here really do not do the piece justice; it's a lot more spectacular in person!




I cannot say if the design in the center (the shield) is supposed to be an actual coat of arms, or whether it is just heraldry-like decoration. Still, what a great piece it would be to have in the dining room china cabinet, right?

Thursday, July 13, 2017

Attributed Arms in the Burrell Collection, Glasgow


Further into the Burrell Collection, we saw this very nicely done and highly detailed stained glass window of Christ Carrying the Cross done in Cologne, Germany in the late 15th Century.


As I said, nicely done and highly detailed, a beautiful example of the art.

What caught my eye, of course, was not so much the central figure, but the two heraldic banners near the top.


I suppose that I'd blazon them as (l-r): Argent a scorpion fesswise sable and Gules a wyvern erect sable. (A German blazon would make the last charge a drache, a drake or dragon; Continental blazons tend not to differentiate between the two-legged and four-legged varieties of dragons the way that English blazon does.)

I can't say for sure if these arms are supposed to represent the Devil or not,* but they are certainly being carried by those persecuting the central figure of Christ and clearly working towards his death, so at the very least, the arms represent the minions of Satan, if not the Deceiver himself.


* Satan is often given the attributed arms Gules a fess or between three frogs vert. The banners in the window are clearly not these.



Monday, July 10, 2017

These Are the Arms of ... Wait! Or Are They?


Continuing our tour through the Burrell Collection, we ran across this German armorial stained glass window:


The card which accompanied this piece states:

"Donor couple with armorial shield"

This donor panel originally formed part of a monumental window in the Carmelite Church at Boppard-am-Rhein 1443 - 46.

For many years it was identified as representing Siegfried von Gelnhausen and his wife, but that has recently been called into question by art historians.


I'd love to know on what basis these unnamed "art historians" question the identification of the arms here. Is the art style wrong for the dates of the donor? His and his wife's clothes don't match the period? Are the coats of arms incorrect? (No, that wouldn't be a judgment for art historians without a solid background in heraldry.) So, what is the issue that casts doubt on the attribution of these arms?

Frankly, I'd be more impressed with the issue of identity if it had been called into question by heralds. I mean, really, the Court of the Lord Lyon is on 40-50 miles away from the Burrell Collection. (Yes, I know, Europeans think that that's a long way away, but it's the same as the distance I drive at least once a month from my house near Dallas to a regular meeting of a lineage society held on the west side of Fort Worth. So not that far.) And I'm certain that the very nice folk at the Lyon Office, if they don't have the resources themselves, have some excellent heraldic connections on the Continent.

Or, for that matter, I'm sure the people at Der Herold in Berlin (http://www.herold-verein.de/), the Westphalian Heraldry Society (http://www.westfalen-heraldik.de), or the professionals at Pro Heraldica based in Stuttgart (http://pro-heraldica.de/) would be more than happy to assist in the identification of these coats of arms.

Harrumph! "Called into question by art historians," indeed!

Still, it's a great piece of heraldic stained glass, isn't it?

Thursday, July 6, 2017

Some English Armorial Stained Glass


In my last post, I included a photo of the arms of Howard from an armorial stained glass window in the Hutton Rooms of the Burrell Collection. These rooms are reconstructions of three rooms from Sir William Burrell's home, Hutton Castle near Berwick-on-Tweed: a wood-paneled drawing room, hall, and dining room with their furnishings.

The rooms are kept pretty dark, and are roped off so you can't walk into them, but that dark means that you can really see the splendors of the armorial stained glass in the windows to their best effect. Here are some of the arms to be found there. There was nothing identifying these arms in the rooms, and so I am making some tentative attempts here using Papworth's Ordinary of British Armorials and a few other sources.

The Royal Arms of England, of course, and those of the Prince of Wales as heir to the English throne:




Its difficult to be certain of the charges on the chevron the dexter arms on this coat, but if they are fishes, then this is likely the arms of Penniles, Argent on a chevron azure three fishes or. The arms on the sinister side may be Maunsell, Gules a fess argent.


I hope that the lion's face in the arms below are simply a re-use of some earlier stained glass, though I have to admit that I find his expression somehow appealing. If the arms are meant to be Azure a cross or, there are too many possibilities in Papworth's for even a tentative identification without additional information.


I'd blazon the following arms as Vair a chief quarterly gules a lion passant gardant or and azure two roses or. Its a very distinctive design, but I've not found who it belongs to yet.


Or three fleurs-de-lis sable are the arms of Bereford, Fors, or Mortimer.


The arms to dexter appear to be Tierney, Argent a chevron sable and a chief gules. I'm not certain how to parse the arms on the sinister side of the shield; it looks like three different coats in an odd "quartering."


The coat (and the dexter coat on the one immediately following) this shield looks like Or on a chief azure three lions rampant or, is most likely Lisle or Lisley.


The sinister coat, Sable a bend or between six plates, is attributed to Bubbewith.


I have to assume that the gold spots all over the lion in these arms are intended to be there, making this Argent a lion rampant azure bezanty crowned or, but I cannot find an identification in Papworth.


I suspect these arms are more religious than personal, representative of the wounds on the body of Christ. I've not found an identification for it, though.


Gules a fess between six martlets or has too many entries in Papworth for a certain identification, though Beauchamp is a strong possibility.


In this pair of arms, the dexter in each, Azure a cross argent, is likely to be Aylesbury, and the sinister, which looks to me like Quarterly or and sable a cross counterchanged counterermine and or between four birds (argent? counterchanged sable and argent?) may be Grindall or Gryndall, Quarterly or and azure a cross quarterly counterermine and or between four peahens counterchanged.


The arms in the window to the left are best-known as the arms of the Clares, Or three chevrons gules, though there are a few other possibilities. The arms in the right-hand window, Gules two lions passant gardant in pale or, are most famous as the arms of Normandy, but there are number of English families which bore this coat.


Argent a chevron gules between three broad arrowheds sable is borne by Walsh.


Argent a chevron gules between three leopard's faces azure is borne by Chamberlaine, Gibbs, and Gibons/Gybons. I'm not quite sure what to make of the "engrailed to base" in the depiction here, but I don't find these arms with a chevron engrailed gules in Papworth.


These final two complex coats from the Hutton Rooms (the first, Quarterly of seven, and the second Quarterly, impaling grand-quarterly) I'm not even going to attempt to identify. They are included here just for the pleasure of looking at them. Enjoy!