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This paper considers the religious sympathies and motivations of the antiquary William Dugdale, and of some of those who helped support the publication of his works through patronage of their engraved plates. It examines in particular a series of nineteen costume plates illustrating Catholic religious habits, which feature in Dugdale's co-authored Monasticon Anglicanum (1655–73) and (with an element of duplication) in his Antiquities of Warwickshire (1656). The patrons of these plates are for the most part not openly named, but can in certain cases be identified through their coats of arms: at least two (Thomas Yate and Miles Stapleton) were themselves Catholic, and another (Wingfield Bodenham) appears to have been sympathetic to Catholicism. [ABSTRACT FROM AUTHOR]

The altarpiece of the Passion of Christ preserved in the Evangelical church in Sibiu, created in 1519 by a skilful artist, Simon Pictor, using extensively the prints of Dürer and Altdorfer, represents one of the most spectacular surviving artworks of the Renaissance in Transylvania. Its subsequent transformation in 1545 and 1701 certainly enhanced its historical significance. The restoration of the artwork in the 1980s brought back to light very significant details: the dating of the original artwork (1519), two coats of arms hinting to the patronage, and a part of the genuine style of master simon. The identification of the sinister coat of arms, thus the one in the inferior heraldic position, as belonging to Johannes Lulay (royal judge and administrator of the royal mint of Sibiu) constituted the basis of extensive incursions in the patronage of this remarkable altarpiece. However, an important question remained unsolved: who could have been the other patron or commissioner of the altarpiece? As the preeminent position of the coat of arms (on the heraldic dextra) clearly indicates, this was an individual even higher in the hierarchy as Johannes Lulay himself. The assumption of the study is that this prominent patron was Paulus de Tomor/Tomori Pál. He remained in the Hungarian national consciousness as the heroical leader of the army in the „Mohácsi csata" of 29 August 1526, a critical turning point in the history of the state. This study contributes to the reveal of parts of his "Transylvanian biography," his allegiances and political network in situ before he left the region, his patronal endeavours, and last, but not least, it discloses his real (and tinctured) coat of arms. At the same time, the great altarpiece of the Passion in Sibiu recovered another piece of its complex content, by the identification of the main patron (or, rather, the more honourable patron) in the person of Paulus de Tomor. Last, but not least, this study asserts that three of the characters depicted in the scene of the Lamentation over the dead Christ on the predella are in fact crypto-portraits of Johannes Lulay, his wife Clara Thabiassy, and his partner and superior Paulus Tomori. [ABSTRACT FROM AUTHOR]

Mordred in La Mort le Roi Artu and the Stanzaic Morte Arthur displays positive and chivalric attributes in a surprising manner. This article proposes that these qualities stem from his genealogical status in the form of 'double kinship' as nephew and son to Arthur. (JB). [ABSTRACT FROM AUTHOR]

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Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Evidence is presented, from heraldic, linguistic and political–historical evidence, that the original author of the "Scotch Copy of a Poem on Heraldry" was not Adam Loutfut ca. 1494 but the earlier English writer John Lydgate, possibly drawing from French heraldic sources. A new transcription from the Harleian MS 6149 is given with a comparison to the text from a copy in Queen's MS. 161, plus a modern-language "translation" and critical commentary. [ABSTRACT FROM AUTHOR]

From the mid-twelfth century onward, armorial devices became almost ubiquitous in western Europe. Byzantium, however, is widely believed to have had no role in the development of heraldry, which is considered a foreign custom introduced to the empire only in the aftermath of the Fourth Crusade. The received narrative of heraldry's late adoption in Byzantium is called into question by the analysis of evidence predating the crusaders' conquest, particularly the striking depiction of two warrior saints in the church of St. Panteleimon at Nerezi, whose frescoes were commissioned by Alexios Angelos Komnenos in 1164. These holy figures, identifiable as Saints Demetrius and Theodore the Recruit, bear distinctively heraldic animals, a lion and a griffin, on their almond-shaped shields, reflecting closely the coeval development of the first coats of arms in northern France and England. I argue that the implications of this artistic choice are twofold. First, the heraldic charges are novel features that reinforce the political message conveyed by Nerezi's program as a whole, declaring the patron's allegiance to his relative, the emperor Manuel I Komnenos, who is evoked through the juxtaposition of the lion and the griffin, figures that were traditionally associated with imperial power, and the saints who acted as the emperor's personal protectors. More importantly, they allow us to observe up close a shift in the mentality of the Komnenian aristocracy, with its increased focus on values such as martial prowess—to be shown either in battle or on the tournament field—and noble descent. Thus, they provide us with an additional lens to understand the aesthetic preferences and shared aspirations of the high nobility at a pivotal moment in the (re)definition of aristocratic identity in Byzantium. [ABSTRACT FROM AUTHOR]

The coat of arms of Dragoș Vodă is not only the oldest but also the most widespread geographically. Bartolomeu Dragffy, a greatgrandson of Dragoș Vodă, who had a Hungarianized name, was the princeps of Transylvania from 1493 to 1499. He resided in Ardud, in a castle that he built himself. The family coat of arms is still preserved today in this castle, with the same basic heraldic elements as those of his ancestor Dragoș Vodă. The presence of the Drăgoșești family's coat of arms is not limited to Romania, as there were descendants of this family who studied at the famous Jagiellonian University in Krakow. The coat of arms of the Drăgoșești family is fixed as a stone relief in some niches specifically dug for this purpose in the walls of the University. The "rosette" of the Bogdănești family, a flower with five petals, also raises special interest as a heraldic symbol or of an esoteric nature. The shape of the Bogdăneși rosette is practically identical to the forget-me-not flower, as represented in the Masonic symbol (Blue Lodge) or the Rosicrucian "The Masonic Rose" corresponding to the 18th Degree of initiation, as a Knight of the Cross and the Rose, a rose also with five petals. Specialists in the science of heraldry state that the flower with five petals is a symbol of life. Similarly, this flower, in an identical form to the one on the coat of arms of Moldova, can be seen on the Tropaeum Traiani from Adamclisi. On each of the two faces of the statue, on the left side of the armour, next to the heart, a flower with five petals is carved, identical to the one in the coat of arms of Bogdan Vodă, and the one on the coat of arms of Moldova. Being placed next to the heart, it is plausible that this flower would have been an ancient symbol of life. [ABSTRACT FROM AUTHOR]

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Forma. Serie III, Historia Medieval is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The anniversary of one hundred and fifthy years since the passing of Saint Metropolitan Andrci Șaguna (28 hine 1873) is the right moment to reflect on his portrait in histonT. his theological legacy, and his positive role ill the historical evolution of the Romanians in Transylvania. Banat and Htingary iii the second half of the 19th centun'. The study approaches a topic less discussed in Romanian, uernian or English historiography and thcoic)gy, naincly: the coats of arms ot Andrci Saglina, by the mercy of God "archbishop and metropolitan of the Orthodox Romanians of Transylvania and Hungity" and by the grace of Franz Joseph, Emperor Of Austria, liaron of the Austrian Empire. Among all Transylvanian lit, inanian Orthodox hierarchs, Metropolitan Saguna is the only one who was raised by tile Austrian emperor to the noble rank of baron. The title was confut-red on him by Emperor Franz Joseph in 1852, being assunied by the hierarch both in his signature and in the official title used in his ecorrespondence with the civiL military and ecclesiastical authorities of the Habsburg Monarchy alld the Romanian Principalities. as well as on the title pages of books printed iii Sibiti. The royal titles and orders, the baronial coat of arms and the metropolitan emblem illustrate the historical ciligies and aristocratic stature of the complex personalin of Metropolitan Andrei Saguna and represent the new legal status and public dignity that the Romanian nation and the Transylvanian Orthodox Church acquired during his pastorate. [ABSTRACT FROM AUTHOR]

This study considers the practice of shared heraldry as an instrument of affirmation of late-medieval monarchies, examining the case study of King João I of Portugal. The study of how this sovereign’s heraldry was shared with those close to him illustrates how heraldry was understood as an instrument of propaganda for the cause of independence, in the context of the 1383-1385 dynastic crisis, and subsequently in building the imagery of the King and the dynasty he founded. The transposition of this heraldry to the Monastery of Batalha, erected to commemorate the victory at Aljubarrota and later a dynastic necropolis, established a privileged relationship with this monument’s architecture and iconography, expanding the same theme of shared heraldry (now in a dynastic context) as an expression of the royal power’s legitimacy.

The monograph uses the material of scientific and artistic discourses, lexicography and corpus linguistics to study metaphorical transfer and symbolization in language and culture, and also analyzes the verbal embodiment of the idea of sovereignty in the national heraldry of the former USSR states, Spanish-speaking Latin American countries, English-, French- and Portuguese-speaking countries.

The paper presents the results of research conducted with the aim of determining the contribution of textbooks on nature and society of the first cycle of education in the countries of the Western Balkans to the formation of the concept of national symbols and features. In the theoretical part of the paper, a description of the etymology of the official national symbols and features (flag, coat of arms and anthem) of the countries of the Western Balkan region is given. The theoretical analysis method and content analysis method were used. The units of analysis are sentences of the basic textbook content, visual content - pictures, photographs, drawings and questions and assignments in the domain of didactics and methodology instruments. The research included nature and society textbooks for younger elementary school students (N = 23). The results of the research showed that nature and society textbooks insufficiently affect the formation and strengthening of the concept of national symbols and signs, and that there is imbalance in their coverage and development, both as a whole and at the level of individual categories. It has been shown that there is an approximately equal representation of content that promotes national identity, but that the textbooks in the Republic of Croatia have, compared to the others, the most content dedicated to national symbols and signs, while in terms of the representation of basic textual content and their didactic-methodological interpretation, Slovenian textbooks lead the way. The textbooks used in the European Union member states have more content related to national symbols and signs within all analyzed categories. Foreign publishers have proven to be less sensitive to the national narratives of the countries to which they intend the textbook content.

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As part of the reorganisation of the Portuguese monarchy following the restoration of independence from Spain in 1640, the magistrate Cristóvão Alão de Morais devoted himself to compiling the first armorial whose sole subject was the coats of arms of all the Portuguese municipalities. His objective was clear : to provide the monarchy with a heraldic map of the institutions that, below the king, formed the base of the kingdom’s sociopolitical organisation. To do so, the author used the printed sources at his disposal, supplementing them with direct observation of armorial monuments and, in some cases, seals. This method proved possible insofar as he benefited from the itinerary determined by his postings as a judge and by the network of correspondents that they him to establish ; on the other hand, he was limited by these circumstances, hence the unevenness of the information in his work. The armorial is presented as an abstract representation of the territorial and institutional parcels that made up the Portuguese monarchy. Hence the importance of the dual reproduction, written and graphic, of the municipal coats of arms. Based on an inventory of municipal emblems, Alão de Morais’s armorial was intended to contribute to the political and symbolic cartography of a monarchy in the process of rebuilding its identity.

In 1699 François-Roger de Gaignières and Louis Boudan visited the canonesses’ chapel in Luynes, Touraine, which had been commissioned by Hardouin IX de Maillé in the late fifteenth century. Judging by the drawings they made on the spot, Gaignières’ interest in the building lay in its profusion of symbols: six of Louis Boudan’s ten drawings focused on the heraldry of the families who had left their mark on the place. In all, twelve shields, made up of fifteen different quarters, were copied by Gaignières and bear witness to the filiation, alliances and genealogy of the Maillé family. This article will examine the chapel’s heraldic programme, identifying the figures represented and studying the way in which their coats of arms occupy the space. Secondly, it will explore how digital humanities, and geodata in particular, allow us to gain a better understanding of the methods and logic underlying this emblematic marking. Gaignières, through his drawings of the Luynes chapel, provides an account of the mapping of families and lineages over a territory that goes beyond the boundaries of Touraine.

After Viceroy Don Luis de Velasco died in 1564, royal officials watched with trepidation as the conquistadores' descendants adopted heraldry, hereditary titles, and royal ceremony, supposedly in jest. Scholars have argued that the royal judges used these over-the-top fiestas to frame powerful settlers for sedition. This article instead argues that the royal judges' obsession with how wealthy settlers adopted royal pomp and circumstance, on the one hand, and refusal to recognize how they imprecisely imitated the Mexica nobility, on the other, helped to consolidate Spanish power—symbolic and literal—in New Spain. [ABSTRACT FROM AUTHOR]

A delftware dish, made in London between approximately 1670 and 1690, depicts the arms of the Worshipful Company of Tobacco Pipe Makers. The three Black women who gaze out from the dish can be viewed as representations of the enslaved women whose agricultural and reproductive labour enabled the transatlantic tobacco trade. The white, male Pipe Makers would have viewed the dish through the symbolic languages of heraldry and racialised and gendered Black and Indigenous figures who populated tobacco advertising and the English racial imagination. This essay examines the dish's entangled material and representational contexts in the late seventeenth century and asks: what do the women on the dish demand from their viewers? And how should twenty‐first‐century viewers meet their gaze? The coat of arms of the Tobacco Pipe Makers endures amidst present‐day struggles with the visual legacies of slavery. Yet this symbol – and the seventeenth‐century dish that bears its image – also offers possibilities of liberation. [ABSTRACT FROM AUTHOR]

The article presents, using faleristics, heraldry and sigillography, the "Star of Romania" Order in the ranks of Commander and Grand Cross conferred by Carol I, King of Romania, in 1913, to Rizo-Rangabè Alexandre, first secretary of legation and to Venizelos Elefterios, the president of the Council of Ministers, Minister of War of Greece, as well as the "Crown of Romania" Order in the Grand Cross degree which was awarded, also in 1913, to General Alexandru Soutzo, from the Greek army. [ABSTRACT FROM AUTHOR]

The semiosphere reflects universal and culturally determined characteristics. Heraldry is one of the most complex sign systems. Alive and flexible semiotics is urgent for studies. The aim of this paper is to mark the axiological character of Russian and British sovereign state armorials with an accent on animals. Based on both Russian and British research, this paper focuses on syntactics and pragmatics of arms analyzed in a synchronic and diachronic manner. A cross-cultural comparative approach to Russian and British armorial bearings can be viewed as a novel contribution. The paper embraces structural and semantic aspects, the temporal and pragmatics sphere and Jargon du blazon. English heraldry is relevant to the European tradition, and the Russian one has political value. For both countries, it is associated with foreign influence. The system of European coats of arms is coherent with the institution of property and war, and the Russian one with inheritance. For Britain, heraldry was one of the culture-forming components, and for Russia, it was just one of the elements of culture. [ABSTRACT FROM AUTHOR]

This article examines the involvement of Beatrice, dowager Baroness Roos (d. 1415) in the making of art. Her patronage of masons and tomb-makers, glaziers and seal-makers, is explored in detail, showing her to have commissioned works from two of the most prominent English artists of the late medieval period. Her interest in the inventive use of heraldry and her role in the creation of a major monument in St Paul's Cathedral is established. Her right to be acknowledged as the donor of the St William window in York Minster is reasserted, and her influence on its content and meaning is demonstrated. The gift of this window made Beatrice the single most important secular benefactor of York Minster, a fact that has not been acknowledged before in print, but was recorded by the medieval cathedral chapter in the glazing of the Minster's western choir clerestory. [ABSTRACT FROM AUTHOR]

Due to the religious restrictions on imagery introduced by the Reformation, depictions of the Black African incarnation of Saint Maurice were sharply reduced and transformed in the German-speaking lands after 1530. This essay looks in detail at developments in several Saxon cities and also in the Baltic cities of Tallinn (Reval) and Riga. In Magdeburg and Halle, the focus is on secularized images of Maurice, while in Halle a little-known but vast painting replaced the Black Maurice with other Black characters more closely tied to the Bible. In the Baltic cities, the Black Maurice was in a complicated relationship with the heraldry of the Black Heads merchant guilds; only in the last few centuries has a secular version of the Black Maurice fully reappeared. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study talks about the British-Danish relations in the context of heraldry and orders of chivalry, by analyzing the coats of arms of members of the House of Windsor found in the armorial of the Order of the Elephant, Denmark’s highest knightly order. Thus, it starts with a history of said chivalric order and its use as a diplomatic tool. Then, it briefly talks about the members of the British Royal Family who have been inducted into the Order of the Elephant, focusing on the armorial entries and stall plates of those who were or are part of the House of Windsor, the current ruling dynasty of the United Kingdom of Great Britain and Northern Ireland: Prince George (future King George V), Prince Edward Albert of Wales (future King Edward VIII), Prince Albert, Duke of York (future King George VI), Prince George (future Duke of Kent), Prince Henry (future Duke of Gloucester), Princess Elizabeth, Duchess of Edinburgh (future Queen Elizabeth II), Prince Philip, Duke of Edinburgh, and, finally, Prince Charles of Wales (the current King of Great Britain and Northern Ireland as Charles III). The presence of the heraldic achievements of the last five British monarchs in the Order’s armorial gives us a glimpse into the British-Danish diplomatic relations, as they became more and more cordial starting from the 19th century.

In 1960 Henri Frotier de la Messelière bequeathed 286 volumes of his notes and drawings on the monumental and heraldic heritage and the history of the department’s nobility to the Côtes-d’Armor archives. These include around fifteen maps showing the seats of the main seigneuries, together with the coats of arms of their holders. This “heraldic cartography” was a first, and we are delighted to offer a critical reading of it to highlight the potential of such a tool in the age of digital solutions.

Bindings with heraldic superlibros are characterised by the main decorative motif of the coat of arms of their former owners, making them one of the best examples of the potential of book bindings as a documentary source. To this value as a historical document must be added the enormous variety of decorative and constructive techniques, as well as materials, that make up these bindings and that make them authentic functional works of art. Heraldic bindings are a testimony of the lives of their owners and in them are observed the distinctions that are awarded, orders and decorations, in addition to observing the aesthetic tastes and techniques available at the time of their execution. They are, therefore, a historical, artistic and technological heritage. In this work we study the bindings with heraldic superbooks of members of French, Spanish and Italian episcopate.

Copyright of Proceedings of Matica Srpska for History / Zbornik Matice Srpske za Istoriju is the property of Matica srpska and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2022, by presidential decrees, the new coats of arms and flags of the following territorial units were registered in the General Armorial of the Republic of Moldova: the city of Taraclia (decree no. 346-IX of February 16); Găleşti village, Găleşti commune, Străseni district (no. 359-IX, March 7); Goteşti commune, Cantemir district (including the component villages of Goteşti and Constantineşti; no. 378-IX, March 15); Pleşeni commune, Cantemir district (including the component villages of Pleşeni, Hănăseni and Tătărăşeni; no. 427-IX, April 18); Vadul lui Isac village, Cahul district (no. 531-IX, July 8); Tvardita city, Taraclia district (no. 548-IX, July 18; the city's anthem was also recorded); the village of Cojuşna, Străseni district (no. 549-IX, July 18); Vatra city, Chişinău municipality (no. 633-IX, September 9); Donduşeni city (no. 684-IX, November 8); Putintei commune, Orhei district (including the component villages of Putintei, Dişcova and Vâprova; no. 686-IX, November 8); as well as the Talmaza village hymn, Stefan-Vodă district (no. 685-IX, November 8). The heraldic year 2022 was in line with previous years, with a comparable number of new insignia approved and registered and the introduction of other new elements into the national heraldic list. The heraldic movement was still more active in the center and south of the country. The main problem that continues from the previous years was the insufficient documentation of the history of localities and the unreliability of the historiography regarding our cities and villages. In addition, the elaborative process encounters obstacles due to the lack of an exhaustive corpus of particular historical heraldry and sigillography. The main authors and painters of symbols were the same (S. Andrieş-Tabac, Mariana Slapac, Andrei Gaydashenko and others), but their number is insufficient for the needs of the day. The methods of developing the symbols remained traditional, the process of the canting arms and the marking of natural, economic or cultural particularities prevailed. Three communes -- Goteşti, Pleşeni, Putintei -- chose the path of developing the entire set of coats of arms and flags for the commune and for all the component villages. The city of Tvardita simultaneously adopted its local coat of arms, flag and anthem. Among the first theoretical achievements for the Republic of Moldova, we mention the field of ermine on the coat of arms and the flag of the village of Cojuşna, the Roman eagle and the three closets in the symbols of the village of Vadul lui Isac, the construction of the flag of the village of Constantineşti, the supports of the coat of arms of the city of Tvardita. The continuity of the historical noble coats of arms was realized in the symbols of the village of Găleşti, of the commune of Putintei and its component villages. From an artistic point of view, the symbols of the city of Tvardita, those of the village of Vadul lui Isac, the coats of arms of the villages of Găleşti and Putintei, those of the cities of Vatra and Donduşeni, and the flag of the village of Goteşti stand out. An important achievement of the year in the field of territorial heraldry was the inclusion in the General Armorial of the Republic of Moldova, in the compartment of withdrawn insignia, of the 20 county coats of arms and flags that were developed and used in 1999-2003 (Decision of the National Committee for Heraldry no. 82-VI.01 of March 22). [ABSTRACT FROM AUTHOR]

This essay addresses an understudied drawing of a fictional coat of arms by the Swiss artist Niklaus Manuel, called Deutsch, suggesting that it gently subverts heraldic conventions, reflecting contemporaneous concerns about the instability of earthly insignia. By evoking iconographies of Fortuna and the homo viator, the drawing challenges the security of armorial prestige. Manuel – like Albrecht Dürer and Martin Schongauer before him – used the heraldic framework to probe pictorial conventions and to signal their artistic authority as arbiters of ornamental meaning. Produced on the eve of the Reformation, the drawing prefigures the intensified scrutiny of earthly and spiritual sign systems that would occur just a few years later. Art historians have tended to dismiss heraldry as a distinctly medieval and utilitarian category of image, too rule‐governed to nourish the imaginations of Renaissance artists. However, Manuel's drawing unlocks a window onto a world in which the heraldic provided a common point of reference for thinking about signification and identity during a period of transformative cultural change. [ABSTRACT FROM AUTHOR]

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This article examines the visual strategies employed in the early modern period by a dynasty ruling a smaller state, the Duchy of Lorraine, to survive in the face of expansion by larger neighbours (notably France). The central argument posits that in order to be treated as fully royal (and therefore with inherent rights to exist independently, as full members of the society of princes), princes like the dukes of Lorraine had to appear as royal in their visual representation. The article therefore looks at different examples of selfrepresentation produced by the dynasty over time, including genealogical treatises, coins, portraits, and printed material, in order to see how this was achieved and what symbols were used. What emerges is a sense that this strategy was more closely tied to dynasticism, not necessarily state-building, and while it can be said to have failed for the Duchy of Lorraine as a state, it proved successful, even beyond what had been imagined, for the dynasty itself. This idea repositions our conceptions of “sovereignty” in this period, to see it, at least in some cases, as a quality pertaining to dynasties rather than more rigidly to the states they governed. Their hereditary estates in Lorraine were lost in 1737 but the dynasty survived, as grand dukes of Tuscany, and was deemed worthy of transformation into a fully royal—even imperial—dynasty through marriage to the Habsburg heiress Maria Theresa and the election of Francis Stephen of Lorraine as Holy Roman Emperor in 1745.

Saint Martin is a very popular character in the Christian tradition. His life and deeds have had a considerable impact on successive generations of Christians, beginning with the Middle Ages and he is still present in the minds of believers. The popularity of this saint in Poland and Europe is reflected in many names of churches, parishes, chapels, altars as well as in art, names and heraldry. This paper presents selected local self-government coats of arms displaying an image of St. Martin or attributes associated with him. The full figure of St. Martin in Polish local self-government heraldry can be found on the coats of arms of five rural communes (the communes of Biskupice, Drużbice, Granowo, Mochowo and Wiśniowa), the coats of arms of two urban communes (the commune of Jawor, the town and commune of Pacanów) and the coat of arms of an urban quarter (Słocina – currently a quarter of Rzeszów, earlier – until 1954 – a commune). Only one of these, i.e. the coat of arms of the commune of Poświętne, refers to St. Martin by objects associated with him. Heraldic representations of Martin of Tours can be found, for example, in Germany, especially in Hesse, Bavaria, Rhineland-Palatinate, Mainz, but also in Czechia, Austria, Slovakia, Finland and Ukraine.

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While scholars of guilds and fraternities take great interest in the texts, objects, and performances that bound late medieval guilds together and created a sense of collective identity, the place of their corporate heraldry remains relatively underexplored. By analysing grants of arms obtained by London guilds between 1439 and 1530, this article argues that corporate heraldry was not just a convenient means of identification but was meant to be seen as a semantically dense visual communication of corporate identity. Grants, confirmations, and augmentations of arms presented the heraldic signs they conferred as official acknowledgments and visual representations of their recipients' symbolic capital of honour. The connection between heraldry, identity, and corporate honour also found its expression in the prominent display of corporate arms on central stages of corporate self-representation such as halls, churches, and rituals. This proud heraldic display of corporate identity, just like the pursuit of grants of arms, reflected a need for weapons in an intensifying battle for symbolic capital that the guilds of late medieval London faced, perhaps as a result of economic difficulties that marked the later fifteenth century. [ABSTRACT FROM AUTHOR]

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