On Change Among Heralds

It can be a curious pleasure to look back at 30 year old correspondence between the heralds of the SCA, and marvel at how things have changed. Most of the time, it can feel like the College of Heralds changes nothing it isn't forced to, preferring their hidebound tested methods... And then there comes a big change, before it settles down again, and people become convinced we never change anything.

Some of the biggest changes that I've seen, looking back on records older than I am, are mostly around communication. In the early days, when rocks were soft, all of the heraldic correspondence was done in hardcopy, through the mail, meaning that discussions which would take days in the modern email-heavy world would take months. This is possibly the cause of the single greatest improvement to the speed of heraldic submissions - down to six months in many cases, from over two years.

The online version of the Ordinary and Armorial, the combined record of all names, devices, badges, and so forth which are registered in the SCA. I have held a twenty-years-outdated copy of the O and A, and it was three heavy folders worth. Every submission would need to be conflict checked manually using this monster example of slain forestry. And this is with the database as it was 20 years ago. It has approximately tripled in size since then, if my maths holds true - nine or ten hefty folders... would prevent a lot of convenient quick conflict checks.



In Lochac, we've just experienced another of these moments of change (three, in fact, but they came in such rapid succession that I consider them as part of the same revolution).

The first part of this change is the variance in the number of submission forms required - from six copies of the form, down to only two, in cases of device or badge submission, and from three copies down to one, in cases of name submissions. A significant decrease in the amount of work required to prepare a submission, especially when combined with the next point.

The second part of the change is that heraldic submissions can be prepared using colour printer, rather than the hand-colouring with approved textas (markers, for the continental audience). Instead of hours spent designing, followed by hours spent pains-takingly illuminating the submission forms, the design of the arms and preparation of the forms can be combined into one process - for those who wish it. The hand-coloured option remains for those whose artistic abilities are more manual than electronic.

The third part, and I think the most exciting, is that the minimum number of submission forms printed on lovingly prepared slices of dead tree... is now zero. Lochac has officially implemented electronic submissions. The process is still in the careful, experimental stages, but with the provision of a correctly formatted file (the format is enforced by the Society-wide submissions system), you can make your name, device and badge submissions with no postage, no printing. I took advantage of the system myself, with some recent submissions.

For more information, please see the Submissions page on the new Lochac College of Heralds website.



These changes have been a long time coming. People have often asked - why did they take so long?

Part of the reason is the scale of the problem. As mentioned previously, there are many existing registrations. Approximately one hundred thousand entries, if I calculated right. Any changes to heraldry processes need to be compatible with the existing work, or the existing work made compatible with the new.

A great example here is that all of Lochac's heraldry records are now kept digitally: the old paper files have been scanned and transferred to disk. As to the fate of the now redundant paper records, I shan't speculate. I'm told that the Society-wide records are making progress towards this goal, but it's a massive task for a volunteer organisation.

Another part, I think, is the permanence of decisions in heraldry. There has been, from the earliest days of registration, a guarantee that items registered would be protected from conflict and presumption in perpetuity. This has been argued (convincingly enough that I shan't try to affect it otherwise) that this constitutes a legal obligation, especially considering that money changes hands for registrations.

A submission in the latest Letter of Acceptance and Returns had to be returned for conflict with a badge which was registered in 1979. Not too bad on its own, however the badge was Tinctureless, devoid of colour. This means that that same charge, in any tincture, would conflict with this badge. Tinctureless designs are now all but banned (except for Principal Heralds' Seals, one per Kingdom), but these registrations from before that sensible decision remain in force, bearing down on the clients of today with clumsy wrath.

Future decisions made by the College of Arms may have such an effect on the state of Society Heraldry, unless done after a lot of study and analysis of the problem, and so the decisions are made with rightful caution.

On Steps From Period Practice

Please excuse another rant on a submissions-related topic.

In SCA heraldry, there exists fascinating gray area called the "Step From Period Practice", often abbreviated to SFPP in general conversation among heralds. In short, an SFPP is something in heraldic practice which is flatly known not to be period, but which is considered a minor enough inconvenience, and is popular enough among submitters, to be allowed, though no more than one per device.

Some examples of an SFPP are the valknut, the wolf ululant (sitting down and howling at the moon), pawprints,  and the "phases of the moon" motif (a roundel between an increscent and a decrescent). Note that this last one is possibly going to be leaving the list, as documentation might have been found. Things can also move off the list in the other direction, if they're found to be so unperiod that they're flat unregisterable.

There is something of an attitude that crops up occasionally that, since you can get away with having one of them, they must be perfectly fine. I believe this attitude to be not only wrong, but harmful.

One of the goals of the SCA is to re-create period art and practice. The Step From Period Practice allowance is a step backwards in this goal. It causes the design of things which can be excessively obtrusively modern. Even if they don't pass the registration process, the glimmer of hope for submitters who see the SFPP allowance means that many are disappointed by an apparently legal design being rejected, and those who aren't, degrade the state of heraldry by a small step.

It makes me long for the days when heralds would create arms and assign them to the deserving...

On the Inheritance of Real World Arms

A subject that comes up with infuriating and disheartening frequency at the consultation table is the question "Can I just use my family coat of arms?"

There are... numerous problems with this. I shall try to address some of the largest of them here.

First, we shall look at the problem from the perspective of assuming the claim to the coat of arms to be true (more on why that's a bad assumption later). We come to a point much the same as if the submitter wished to register their own legal name, exactly as it is. To quote the Administrative Handbook, section III.B.7:

Armory Used by the Submitter Outside the Society - No armory will be registered to a submitter if it is identical to an insignia used by the submitter for purposes of identification outside of a Society context. This includes armory, trademarks, and other items registered with mundane authorities that serve to identify an individual or group. This restriction is intended to help preserve a distinction between a submitter's identity within the Society and the submitter's identity outside of the Society. Any change that causes a blazonable difference between mundane and Society armory is sufficient to allow registration by Laurel. Further, submitters may register either a name or armory which is a close variant of a name or insignia they use outside the Society, but not both.

This provides both the fact that it is forbidden, and also the reason for this prohibition: In the SCA, we are not our modern selves, and our names and heraldry ought reflect this. You, as a person, could not have existed within period (we are, after all, each a product of the sum of our experiences). There may be some philosophical debate around how to define various parts of this, but the rules are as they are.



Next, we come to the much more weighty problem. The "family coat of arms".

There is no such thing. Anyone who says differently is selling something.

In most heraldic cultures, arms are the property of the individual, not the family. Yes, his son will inherit, or his daughter if he has no sons, but only the first son inherits the coat. There may be modified versions handed down through the various family lines, but the plain coat is owned by one person, and one alone. The idea that they're owned by a family, or even worse, by a surname, is painfully wrong.

I know, there are many companies willing to sell you a plaque with your "family coat of arms" on it. Don't know it? Why, they have a handy-dandy book of surnames, each with their own coat of arms! I can think of two possibilities. Either they honestly don't know that this is heraldically poor practice, in which case they are willfully ignorant, given how easy this information is to come by, or they do know how poor it is, in which case they're maliciously fraudulent. I choose to hope for the former.



Note that I said *most* heraldic cultures. There are some notable exceptions to this, especially the Polish heraldic practices. But, these also present a great problem.

In the Polish tradition, each coat of arms has a name - what essentially boils down to a clan name. Each person in that group may have a different surname, but will include the clan name in their name as well, for some double-barrelled fun. Every person with the same clan name bears the same arms.

I can already hear the plans being drawn up by people clamoring to register some Polish heraldry that they have some claim to, or some other rare family-based example... Ahh, but therein lies the problem. Every member of that clan has the same rights to the same coat of arms. If you register it within the SCA, then you and you alone have the rights to its use. Unless you're willing to allow every other member of the SCA with some claim on those arms to use them, you've just taken something that they have as much claim to as you, just by virtue of being first.

No, much better to avoid the subject entirely.

On Unusual Charges - Part II: Harpies Displayed

The Field is Azure, an Harpey displaied, Crined, Crowned, and Armed, Or. These are the Armes of the noble City of Norenberga, which according to some Authors is sitituate in the very Center of the vast and spacious Country of Germany. The Harpey (saith Upton) should be given to such persons as have committed manslaughter, to the end that by the often view of their Ensignes they might be moved to bewaile the foulnesse of their offence.

This is rather a good entry in the competition for 'charges which should never be shown displayed' by John Guillim in his 1611 Display of Heraldrie.

On Unusual Charges - Part I: The Fiber

R. beareth Verte, a Fiber, Argent. This beaste, Animal est emphibion, because he can live bothe on the lande and in the water, and maketh houses or dennes, arraied with wonderfull crafte, in the brinckes of Rivers, and waters, as Plinie saithe. He is also named Castor, à castrando. For he geldeth him selfe, when he perceiveth that he is persued of the hunter, and bitinge of his stones, which are marveilously good in medicines, layeth them in the sighte of the hunter, knowinge by nature, that he is hunted for the same, and so he escapeth deathe. The whiche Cicero in Scauriana affirmeth: sayinge, that he ransometh him with that parte of his bodyfor whiche he is moste pursued. Juvenall also saithe, that he geldeth him selfe, for the desire he hath to escape. This beast in shape is wonderfull, for his tayle onely is fishe, and all the other deale of his body hathe the fourme of a litle hounde. His hynder feete be as it were feete of an hounde, wherewith especially he goeth on the lande : and his twoo forefeete bene as it were the feet of a Goose, and therewith he chiefely swimmeth in the water. In runninge his is very slowe, Ob ventrem tumidum, & ad terram dendentem. His skinne is full pretious, and properly white.

Are you glad you're not a beaver in period? John Bossewell doesn't have a good life ahead for you...

On Augmentations in Period - Part IV: Simplified Upon The Chief

Another interesting variation on the augmentation of arms seen in A Display of Heraldrie is that of using a chief (which is fairly standard), but with a simplified version of the royal arms.

The Fieldis Topaze, two Barres Saphire, a Chiefe quarterly, Iupiter and Mars on the first two Flowre de Lices, Sol : the second Charged with one Lion passant gardantof the last, the third as the second, the fourth as the first. This Coat belongeth to the right Honorable the Earle of Rutland, Lord Rose of Hamlake, Trusbut and Beluoire, which was giuen in augmentation to this Family, they being descended of the blood Roiall from King Edward the fourth. This also is a forme of bearing of a part in a part : for heere is abated one Flowre de Lice of the Armes of France and two Lions of the Armes of England, and borne on the Chiefe part of the Escocheon.

This provides a fascinating model for augmentations in the SCA, where a Kingdom may have a complicated coat of arms (Much as Quarterly France and England doesn't fit a narrow band well), and a populace badge which doesn't quite fit the arms properly, and thus it may be desirable to bear a reduced form such as this,

On the Importance of Looking at Period Heraldry

In the new versions of the rules which govern heraldic registrations in the SCA - SENA (the Standards for the Evaluation of Names and Armory) replacing the RfS (Rules for Submissions) - there is a greatly increased focus on matching period style in new arms. As this topic will be one of the foci in the class I've been asked to give at an event in a few weeks' time, I thought it might be useful to explore the issue of why this matters at all, as much to get my thoughts in order as to illuminate the respected reader.

So, why is it important that our coats of arms are a faithful reproduction of the style of arms which would be found in period? Leaving aside the obvious matters of the fact that the rules encourage and require it.

Firstly, as much as people may like to debate the importance of authenticity, if you accept any part of the importance of authenticity in our game (which I emphatically do), then having arms which are authentic in style to period should be a goal. It will (hopefully) end up on banners, tabards, furniture, feasting gear, stationery, and every good thing, and having a modern design on otherwise lovely period-style items rather spoils the effect.

Also, one of the major emphases of period heraldry (with a couple of notable exceptions) was to focus on simplicity of design. A simple design is more visually striking, and allows for more artistic variation over one where the elements are so layered and crammed that they seem to fight for space. Also, the simpler the design, the more likely you are to put your arms on something, which in turn increases the amount of heraldry on display - my device, as shown above, can in fact be tablet woven, and I have plans for armour straps and fittings in full heraldic style.

There also advantages to looking at period examples of heraldry, and a range of types of sources available.

When looking at period heraldic treatises, such as I make frequent reference to, you can get an understanding about how heraldry was thought about in period, including the meanings of charges, interesting colour theory, and some fanciful and unusual arrangements which aren't seen in more modern (read: Victorian) works and treatises.

Period rolls of arms show the great variety of period heraldry, and can be a wonderful source of ideas when trying to design something. They can also be a wealth of examples of arms which don't match the "Core Style" of SCA heraldry - and one of the advantages of the new rule set is that there are specific and somewhat simpler requirements when documenting exceptions to the standard rules, where before it was left as a judgement call every time, resulting in inconsistent and difficult results.

On Augmentations in Period - Part III: A Badge Upon The Canton

The next in the set of augmentations shown in the 1611 Display of Heraldrie is of the form accepted in the SCA as standard, being a charged canton, but in this case, a canton charged with a badge of the Sovereign, rather than the royal arms.

He beareth Azure, the Wheele of a Watermill Or. This was the Coat-armour of that worthy Gentleman, Nicolas de Moline, a noble Senator of the Magnificent State of Venice, who being imployed by the most Noble Duke and the State in Abassage to the sacred Maiesty of our dread Soveraigne, King Iames, upon acceptable service by him performed both to his Maiestie and to the said State, it pleased his Highnesse not only graciously to remunerate him with the dignity of Knighthood in an honourable assembly of many noble Peeres, Ladies, Knights, and Gentlemen ; but also for a further honour by his Highnesse Letters Patents under his great Seale of England, to ennoblish the Coat-armour of the said Nicolas de Moline, by way of augmentation, with a Canton Argent, the Charge whereof doth participate of the Royall Badges of the severall Kingdomes of England and Scotland, viz. of the Red Rose of England, and Thistle of Scotland, conioined Palewaies

Also quite interesting is the fact that this augmentation was granted by the King of England to a foreigner under his employ, not just to a subject.

The use of the royal badge of England and Scotland here gives good credence to the prospect of using the populace badge of a Kingdom of the Society, as they follow most closely in that practice.

On Augmentations in Period - Part II: The Fess

Returning to the subject of bearing the Sovereign's arms in augmentation, and again to John Guillim's Display of Heraldrie of 1611, we next find the fess used to bear the augmentation, in this particular case while surrounded by a bordure on the fess.

The Field is Topaze a Fesse of the Soueraigne Ensignes within a Bordure Gobonated Pearle and Saphire. This Coat-armourappertaineth to that most noble and truly Honourable, Edward Earle of Worcester, one of the Lords of the most honourable priuy Counsell, Master of his Maiesties Horse, Knight of the most Honourable Order of the Garter, and one of his Hignesse Commissioners for the Office of the Earle Marshall of England, a noble Peere, whose great vertues are euery way correspondent to the greatnesse of his place and honour.
Recalling the various fanciful systems of naming tinctures occasionally used in these treatises, we see a field Or, with a bordure gobonated argent and azure.

This form of augmentation would adapt marvellously to most Kingdom's arms, but perhaps not so well to the arms underneath: in most cases, applying a large and well-endowed fess over other arms would obscure the arms beneath in many cases. Nevertheless, a fascinating option for those who wish it.

On Some Interesting Finds in The Blazon of Gentrie

When reading a heraldic treatise, one can often find some interesting heraldic motifs, designs, or elsewise which are not found in SCA heraldry. While reading the 1586 treatise The Blazon of Gentrie, by John Ferne, I found the following interesting snippets that I thought I should share.

p.184 - "The feeld is Gewles, three Barrulets, the first in chiefe, the second in fesse, and the third in bast Or."

This one is interesting to me as it presents a different arrangement of three like horizontal charges than is normally found, where the usual would be to have them evenly spaced or grouped together in the middle of the field.

p.190 - "He beareth Or mouchette de Gules, a plaine crosse, in baste, sable."

This one is interesting as it shows an ordinary, which would usually be throughout the field, or else fully coupled, taking up less than half of the field and simply squashed and cut off. The field treatment is also interesting, and not one I have seen before. Of this mouchette, the author says this:

"The charge of the fielde, the french call mouchette, that is to saye peeces of fleshe torne of, as a hauke doth in her feeding when she tyreth upon her pray, it were more fit for a Faukner, as it seemeth by the french Armoristes."

The spots, which seem almost to be inverted ermine spots with a bloody past, are not one I can recall ever having seen in SCA heraldry.

p.191 - "Azure, a staffe reguled truncked, in bend Argent : in chief two Cantones dexter and sinister : the firste Or, semie de graines de blede froment G. the seconde, is of the foure Beanes verte."

This coat features both the unusual feature of two charged cantons on one device, and also a gules canton on an azure field (The "G." in the blazon refers to gules, as may be seen in the illustration with a small "G" inside the sinister canton).

p.196 - "The field is Or : on a chefe Gules, a right arme extended purpure, portant un fanon Ermynes, brochant sur le toute"

This coat is interesting for its use of purpure, and for the cloth hanging from the arm extending from the chief and onto the field.

p.235 - "This Sheld is Azure three Trowts brased in triangle Argent, borne by the name of Trowtbeck."

I simply love this trout-quetra motif, and the delicious cant.

On Augmentations in Period - Part I: The Bordure

The incorporation of the sovereign's arms into one's own heraldry was used in period, and is still used in the Society, as a display of great honour bestowed on an individual. The most common forms are by placing it on either a canton, a small square or rectangle in the dexter chief corner of the shield, or an inestucheon, a smaller shield placed somewhere on the shield.

However, in Display of Heraldrie (1611), Guillim gives an example of another method: the bordure.

He beareth Argent a bordure quarterly, as followeth: The first, Gules enury of three Lioncels passant guardant, Or. The second, azure, verdoy, of as many Flowers de Lices, Or. The third as the second : The fourth as the first. Such a Bordure did Henry Courtney Earle of Devon, and Marquesse of Exceter, beare, (who lived in the time of King Henrie the Eighth) environing the Royall Armes of England, which he received as an augmentation of honour.

 

This form of augmentation would adapt well to some SCA kingdoms. For example, the populace badge of Lochac would fit quite well, being quarterly with a cross, and four charges on the cross. Caid, on the other hand is very well-suited to a canton, being a single charge on a coloured field (however, a bordure semy of the Caidan cross would be quite good).

On Selecting a Name

The process for selecting a name in the Society is one of the first encounters with book heraldry that most people have (along with designing a coat of arms), and thus is one of the areas where there can be the greatest confusion. To be registered with the College of Heralds, the name must be documented as being a plausible name to be borne by a real person in period.

Why register your name? Firstly, to have a coat of arms registered, you need a registered name to go with it. Secondly, when your name is registered, it is yours, and uniquely yours, forever. A side-effect of this is that if you don't register your name, and then someone else (maybe on the other side of the Known World) registers the same name, then it's theirs, and uniquely theirs, forever.

Essentially, there are two ways that selecting a name is usually undertaken, of which... one is more problematic.

The problematic method is to create a name, and then try to document it. The problems with this are, largely, that it's an unreliable and difficult way of coming up with things. Some names simply didn't exist in period, including ones from so-called medieval fiction, and some elements aren't compatible with each other (for example, those too far separated by time or by culture, or by gender). Some modern given names were surnames, and some modern girl's names were male. For many names, this process can work. It can be more problematic, and certainly trickier to research. But, it can work. I'd not recommend it, however.

The better method is to first, pick a time and a place. This is, when it comes down to it, the first part of developing a persona. Once you've selected that, it's time to start researching what names were found in that culture. For most of the cultures in the SCA's period and geography, you can find many great sources on the College of Heralds site and the Academy of St Gabriel. These sources are largely articles on name constructions, and lists of names garnered from period sources. Other websites, and also many books are also acceptable, but care must be taken that they've not modernised the spellings (which will present an obstacle to documenting names accurately).

When reading through lists of names, you can find some great names that have died out, or been modified beyond recognition, in the passage of time, from Lettice to Lancelot (both 16th century English). There are opportunities for amusing names, like Ralph de Pukehole, too (though be careful - if you pick a funny name, you still have to live with it).

By looking at what names were actually used, and then crafting something with a good personal significance from there, you'll end up with both a more medieval, and also more human, name than you would otherwise have found.

On Tinctures in Period - Part VIII: Tenne and Sanguine

Going beyond the regular Tinctures, there are those strange creatures of tawny or orange, and of blood red, known in Blazon as Tenne and Sanguine respectively.

Dame Juliana Berners - Boke of Saint Albans (1486)

St Albans gives the tinctures of termed "brusk" and "sinamer or sanguine"

Tercius lapis

And this stone is calde brusk colore in armys

The thirde stone is calde an Ametisce a dusketli stone brusk hit is calde in armys. The vertue ther of is : that he the wich berith in his Cotearmur that stone. fortunable of victori in his kinges batayll shall be. the wich stone is reserved to the virtutys crowne that was fortunable and victoriows in his kyngs batail of heven whan they faught with Lucifer.


Quintus lapis

A loys is calde sinamer or sanguine in armys

The . v . stone is calde a Loys . a sanguine stone or sinamer hit is calde in armys. The vertue therof is : the gentilman thatt in his Cotearmure this stone berith myghtifull of power in his kyngys batayll shall be . the wich stone was reserved in domina cionys crowne that was myghtifull of powere in his kyngys bataill of hevyn whan thei faught with Lucifer.

It is interesting that these tinctures are given positions three and five, of the nine (with Purpure between them).

John Bossewell - Workes of Armorie (1572)

Orenge Tawney, termed Tenne, is compared to the Dragons Head, and to the Jacinthe.

The Jacinth is taken to be medecinable, and to give vigor or strength to the Lyms, to encrease the Synewes, and to provoke quite & sound sleape.

Murrey, termed Sanguine, is compared to the Dragons Tail, and to the Sardonix.

The Sardonix saieth Isidore also is three coloured, black about the botom, white in the middest, and redd at the toppe. [...] The Lapidarie sayeth , it is bredd & borne of the Sardye, which is father to him, & Onyx. [...] In workyng it maketh a man lowlye, & shamefaste in his doinges.

In the second table of tinctures, Tenne and Sanguine are excluded from mention (indeed, Purpure only just barely scrapes a mention).

Of the 9. diverse coulours, planettes, and precious stones before rehearced, which be assigned for the fielde of Cote armoure. There be moste usually used in the blazon of oure English ensignes, but 6.

John Ferne - The Blazon of Gentrie (1586)

In the table of diverse systems of blazon, Ferne has omitted Tenne and Sanguine, by good cause. However, they are given place in the table of tinctures to angels (as there are nine orders of angels, so a rounded nine tinctures may be of use here.)

It is even so, you shall know that Purple was called Plumby : Tawney was named Bruske : and Sanguine was blazonned by the name of Synamer.

Bruske, alias Tawny, is compared to the Powers, fortunate of victory. Synamer, alias Sanguyne, is compared to the Denominations, mighty of power.

Edmund Bolton - The Elements of Armories (1610)

I have found no mention of Tenne or Sanguine in Bolton's writing, who only barely admits to the possibility of Purpure in arms.

John Guillim - Display of Heraldrie (1611)

Tawney (saith Leigh) is a Colour of worship, and of some Heralds it is called Bruske, and is most commonly borne of French Gentlemen, but very few doe beare it in England. In Blazonit is knowen by the name of Tenne. It is (saith he) the surest colour that is (of so bright a hew being compounded) for it is made of two bright colours, which are Red and Yellow : neither shall you have any Colour so made among all that may be devised ; and not to be stainand.

The last of the seven mixed colors, we doe commonly call Murrey, but in Blazon, Sanguine, and is (as most truly saith Leigh) a Princely Colour, being indeed one of the colors appertaining of ancient time to the Prince of Wales. It is a colour of great estimation, and very stately, and is of use in certained roabes of the Knights of the Bath. Some Heralds of approved judgement do hardly admit these two last mentioned for Colours of Fields, in regard they are reckoned Staynand Colours. Yet some Coats of Armes there are, and those of reverend antiquitie, whose Fields are of those Colours, for which respect they have beene allowed for Colours of Fields, as Sir John Ferne in his Glorie of Generositie noteth. THis kinde of bearing, Leigh doth instance in two English Gentlemen of ancient Houses, that have of long time borne Tawney in their Armes: the one of them he nameth Hounzaker, and the other Finers.

This is a much higher estimation of these two tinctures than may be found in any of the other sources save St Albans.

In his table of the names used for the tinctures and their order, Guillim gives Tennè the eigth place, the stone of Iacynthe, and the planet of Dragons head, and gives Sanguinethe ninth place, the stone of Sardonyx, and the planet of Dragons taile.

On the Importance of Heraldry

Some days, it can seem as though heraldry is almost everywhere in the Society, between the various forms of book and voice heraldry. But why, exactly, should it be so ubiquitous? I believe (as may be deduced from most of the other posts here) that heraldry is important, though the reasons vary between the various forms of heraldry.

Let us begin with the obvious, that of arms as seen in the banners, pennons, standards, and other flags which are flown at events, and the shields and tabards of fighters and heralds, and painted on any number of diverse items. This side of heraldry is important to the Society partially because it was so important in period. A great many tourney scenes and feasting halls may be seen hung with a great many banners, and the inclusion of such things can quickly add a good period feel to an otherwise dull (or even unattractively modern) venue. Arms also still fulfill their original purpose, of identifying the bearer (either individually, or their affiliations in the case of group arms). And thirdly, the decorating of various objects with coat-armour is a relatively easy (or potentially greatly complex) way to make an object unique to the individual, and also make it uniquely theirs.

Continuing with the other side of book heraldry, being the creation of period-accurate (or at least period-plausible) names, I feel the importance here is again largely in changing the feel of our society, including by encouraging people to explore other cultures than the medieval equivalent of their native culture, and by encouraging the development of a separate persona that may be used as an escape from the modern world. While not everyone will go further into persona development than selecting a name, most will complete at least this basic step.

As for voice heraldry, the most commonly visible role is that of the field or tourney herald. Their value lies largely in adding flair and pageantry, and in communicating to both the participants and the audience what is actually happening, and what is about to happen. By calling the names of the fighters, and leading the salutes, the audience is more able to be involved in what can be, for those not actually involved or specifically following a fighter, a rather repetitive if noisy event. Also, by making sure that the participants know who's fighting who, and in what order, without having to come and directly check with the list keeper, the tourney is made to flow more smoothly.

The next form of voice heraldry is court heraldry, which is valuable in that it allows the ruling nobles, be they Baron and Baroness or King and Queen, to take the centre of attention without straining their voice, thanks to the court herald taking the role of loudpseaker system, or having to be constantly fiddling with or hiding behind paper, thanks to the court herald having the full schedule and guiding the court through it, and having the text of the various ceremonies easily to hand.

Finally, there is duty heraldry, making the announcements at an event. The value here is simply as a mobile public address system, making sure that the announcements are made and heard, whenever needed. This is perhaps the least exciting form, and is usually best kept the least fanciful, but it is a necessary task for the smooth running of the other excitements.

On Tinctures in Period - Part VII: Purpure

The seventh and final of the Tinctures found in period treatises and allowed in the SCA is Purple or Violet, known in Blazon as Purpure.

Dame Juliana Berners - Boke of Saint Albans (1486)

St Albans gives a "plumby" colour, which I have placed with Purpure because of Ferne's explanations given below.

Quartus lapis

And this stone is calde plumby in armys

The . iiii . stone is calde a Margarete a clowdy stone Plumby hit is calde in armys . The vertue ther of is . what gentilman that in his Cotearmure that stone berith grete govenawnce of chivalrie in his kyngys batayll he shall have . the wich stone is repued in the potestatis crowne that was chevalrius of govenaunce in his kyngys batayll of hevyn whan thay faught with Lucifer.

John Bossewell - Workes of Armorie (1572)

Violet, termed Purpure, is compared to Mercurie, and to the Amatiste.

The Amatiste his force or vertue avayleth agaynst dronkennesse, it keepeth a man wakyng, and dryveth awaye ill thoughtes, and sharpeneth the understanding also.

In the second table of tinctures, purpure is not included in the list of four colours, with the following note:

Purpure, may bee addedd to make the 5.coloure, but it is rare in use with us.

John Ferne - The Blazon of Gentrie (1586)

The last of the 7 tinctures detailed by Ferne.

The 7. cullor is composed of white, blew, & red, and is called purpre, it signifieth in

1 - Planets. - Mercury.
2 - Precious stones. - Amethist, Opall, and Hyacinth.
3 - Vertues. - Temperancie and prudence.
4 - Celestiall signes. - Sagittarius and Pisces.
5 - Months. - November and February.
6 - Days of the week. - Wednesday.
7 - Ages of Man. - The age of gray heares, called canasenectus.
8 - Flowres. - The Violet.
9 - Elements. - Water and earth.
10- Sesons of the yeer - Winter.
11 - Complexions. - Flegmatique with some choller.
12 - Numbers. - 7. 12.
13 - Mettailes. - Tinne.

Purpure is the only tincture to be given a complexion of a combination of two, rather than a single humour on its own.

In the angelic system given later in the book, Purple is given to Vertues, with the virtue Knightly of governement. In the leadup to the angelic system, Ferne gives the following:

It is even so, you shall know that Purple was called Plumby : Tawney was named Bruske : and Sanguine was blazonned by the name of Synamer.

Edmund Bolton - The Elements of Armories (1610)

The rankings of tinctures given by Bolton hold Purpure as one of the lowest, with Upton placing it fifth, after Gules, Leigh and Scohier relegating it to seventh and last, after Vert or Sable respectively, and Bolton's own throne of colours placing it last, sharing the fourth tier with Vert.

There may also be found this conversation on why purpure has sunk from honour in our estimation:

A. I affect not the maintenance of forced paradoxes in matter concerning them , neverthelesse before I entered farther I would gladly that purple were restored to the owne place.

E. Indeed I marvayle seeing the best , and most ancient Authors speake of purple,as of an Imperial, and most reserved colour , peculiar to the Ceasars , and other Soveraigne Princes, how it hath lost the præcedence ?


A. You may wel say it was peculiar indeed, when in the phrase of Iustinians Code , the shel-fish wherein it grew is called sacer murex , and the crime of using it in cloak, or other garment by an imperiall edict dated at Constantinople equalled to treason, and the appropriation thereof to them of the bloud only, is honored therin with no meaner, nor lesse holy a word as the Dedication, which yet is but according to the Analogie of the whole use, if the colour were sacred, nay; if I forget not greatly, the State therein grew so precise, that to use but guards, laces, or strings dipt with that die wascapitall, though the great and glorious Emperour Iustinian remitted the rigour of those Edicts made by his prædecessors.

The reason why it hath loswt præcedence is because he have lost the colour it-selfe, since (as som thing) he Turks have come into possession of the fishings at Tyre, and other places where the Welks or Shel-fish grew in which purple was found, or beacause though the fish bee not extinguished, yet the Art it selfe of drawing, and keeping it is utterly perisht: For it is not (God knowes) that bastard die which is in Grocers turnsol, a mixture of vermillion, and blew-byße, or cynaber, or the colour in violets, but a most pretious, bright and admirable; which (saith Pancerollus) is now to bee onely ghest at in the Italian ielliflower, & seemes not in some judgements to bee that of the Amethist, but that of the Rubie, Pyropus or Carbuncle, or (as saith Bartolus) of Elementall fire, or rather of the Empyræan heaven it selfe.

If the true, and Tyrian purple were not lost, I perceive you would not feare to advance it in dictitie above white and yellow, that is above the metals in Armories, goldand silver.

A. I durst certainly. But forsomuch as those colours are in the Court of honour exempt from the name, and nature of colours, beeing the vegetative soules of Armories, and so reputed, wee put them apart as agreed uppon for the purpose of Armorie.

John Guillim - Display of Heraldrie (1611)

Purpure is a Colour that consisteth of much Red, and of a small quantitie of Blacke [...] Cassaneus having formerly handled those former six Colours, viz. White, Blacke, Red, Yellow, Greene, and Blew, saith, that of them all (being compunded and mixed together according to proportion), this Purpure Colour is raised. This Colour usually hath no other name in Blazon.

In his table of the names used for the tinctures and their order, Guillim gives Purpure the seventh place, as Purpure. Amethyst. Mercury.

On Tinctures in Period - Part VI: Vert

The sixth of the Tinctures to be viewed in period treatises is Green, known in Blazon as Vert.

Dame Juliana Berners - Boke of Saint Albans (1486)

Secundus lapis

The secunde stone is cald Smaragdus a gravely stone signifiying vert in armys.

The secunde stone is calde Smaragdus a graveli stone. & vert it is calde in armys. The vertu ther of is : that the gentylman the wich in his cote armure it berith kene and hardy in his kyngs batell shall be. the wiche stone is reserved in tharchangelles crowne that was kene and hardy in his kyngis bataile of heven whan thei faught with lucifer.

John Bossewell - Workes of Armorie (1572)

Greene, termed Vert, is compared to Venus, and to the Emeraude or Smaradge.

The Smaradge passeth both the leave and boughe of anye tree or plante, his colour is so freshe and greene, and in this poynite triumpheth all alone, neyther ys the Sunne by his sunne Beames any left or hynderance to this his shewe. There is no greater refection to the eyes, than the sight of this excellent Gemme.

John Ferne - The Blazon of Gentrie (1586)

The sixt cullor is greene, and is called Vert, it signifieth in

1 - Planets. - Venus.
2 - Precious stones. - Smaragd or Emeraud.
3 - Vertues. - Loyalty in love, curtesy & affabilitie.
4 - Celestiall signes. - Gemini and Virgo
5 - Months. - May and August.
6 - Days of the week. - Friday.
7 - Ages of Man. - Lusty green youth from 20. till 30. yeeres.
8 - Flowres. - All maner of verdures or green things.
9 - Elements. - Water.
10- Sesons of the yeer - Spring time.
11 - Complexions. - Flegmatique.
12 - Numbers. - 6.
13 - Mettailes. - Quicksilver.

In the angelic system given later in the book, Vert is given to Archangels, with the virtue Keene & hardy in battaile.

Edmund Bolton - The Elements of Armories (1610)

Upton and Leigh place Vert sixth on their orderings of tinctures, after Purpure or Sable respectively, while Scohier places it fifth, after Azure. In his own throne of colours, Bolton places it sixth, sharing the fourth and lowest tier with Purpure.

John Guillim - Display of Heraldrie (1611)

This Colour is Greene, which consisteth of more Blacke, and of lesse Red [...] This color is blazoned Vert, and is called in Latine Viridis, à vigore, in regard of the strength, freshnesse and livelinesse thereof; and therefore best resembleth youth, in that most vegitables, so long as they flourish, are beautified with this verdure, and is a colour most wholsome and pleasant to the eie, except it be in a young Gentlewomans face.

What a lovely image Guillim presents us with, a young woman with green in her face...

In his table of the names used for the tinctures and their order, Guillim gives Vert the sixth place, as Vert. Emerald. Venus.

On Tinctures in Period - Part V: Sable

The fifth in the series of Tinctures in period treatises bring us to Black, known in Blazon as Sable.

Dame Juliana Berners - Boke of Saint Albans (1486)

Octavus lapis

This stone is blake and it is called Sabull

The . viii . stonn is a Dyamond a blake stone . Sable it is calde in armys . The vertue therof is . what gentilman that in his Cotearmure thatt stone berith : durabull & unfaynt in his kyngys batayll he shall be . The wich stone was reserved in the cherubyns crowne that was durable & unfaynt in his kyngys batayll of heven . whan thay faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Blacke, termed Sable, is compared to Saturne, and to the Diamonde.

Diascorides sayth, that it is called the Stone of reconciliacion and love: for (sayth he) That woman that hath withdrawne her love from her husbande, by this, is brought to love him anewe: yea it goeth further: for it is saide to give proofe, whether she be chaste or no. For if she be say they, she shall whilest she is in sleape embrace her husbande, through the workyng of this Stone, yf not, she shall flye, and go backe from him. Sir Thomas Eliot in his Dictionarie, saith, that Adamas is the Diomonde, and that Magnes the lode Stone, that hath vertue to drawe Iron unto hym, is of some unproperlye called the Adamant.

John Ferne - The Blazon of Gentrie (1586)

Ferne continues on form with his table of the significance of colours.

The 5. cullor is black called Sable, & signifieth in

1 - Planets. - Saturne.
2 - Precious stones. - Diamond, Agate, or Chelydoin.
3 - Vertues. - Prudence, Constancie.
4 - Celestiall signes. - Capricornus and Aquarius.
5 - Months. - December, January.
6 - Days of the week. - Saturday.
7 - Ages of Man. - Decrepit or crooked old age.
8 - Flowres. - The Aubifaine.
9 - Elements. - Earth.
10- Sesons of the yeer - Winter.
11 - Complexions. - Melancholic.
12 - Numbers. - 5. 8.
13 - Mettailes. - Iron and leade.

In the angelic system given later in the book, Sable is given to Cherubins, with the virtue Unfaint and durable.

Edmund Bolton - The Elements of Armories (1610)

There is quite a range of rankings for Sable in the orderings of tinctures: Upton places it last of all, while Leigh has it fifth, after Azure, and Scohier places it sixth, superior only to Purpure. Bolton's own throne of colours considers Sable much higher, being placed third, sharing the second tier of the throne with Argent.

John Guillim - Display of Heraldrie (1611)

Guillim considers black as being one of the two Simple colours, opposing white and making the creation of all other colours

Blacke is a color contrary to White, having little participation of light [...] Whereby it is apparent that blacke is of lesse perfection then white. This colour is called in blazon Sable of the latine word Sabulum, which signifieth , gross, sand or gravell, in respect of the heavy and earthy substance, wherein it aboundeth above all others. And this colour is reputed farre inferior in dignity to white, and is likened to darkeness [...] Note that the rest of those speciall colours before mentioned, besides white and blacke, are called Colres medii, that they have their primary Essence from these, either by an equall or unevenfor concorporation or mixture of these two together: and in regard of these two extremes from which they have their being, cannot properly be called Colores, nifi per participationem.

In his table of the names used for the tinctures and their order, Guillim gives Sable the fifth place, as Sable. Diamond. Saturne.

On Tinctures in Period - Part IV: Azure

In the fourth entry in the series on the description of Tinctures in period treatises comes Blue, known in Blazon as Azure.

Dame Juliana Berners - Boke of Saint Albans (1486)

Septimus lapis

A blue stone it is & it is cald asure in armys

The . vii . stone is calde a Saphyre a blew stone Asure hit is calde in armys . The vertue therof is . the gentilman that in his Cotearmure berith that stone : wyse and vertues in his werkyng in his kyngs batayll shall be . the wich is reserved to tronus crowne that was wyse and vertues in his kyngys batayll of hevyn whan they faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Blue, termed Azure, is compared to Jupiter, and to the Saphire.

The Saphire, is a Gemme skye coloured or Blewe, like to the Skye in the most faire wether. Amongest all the kyndes of Gemmes, it is one of the noblest and most royall, and therefore mete to be morne onely upon Kynges and Princes fyngers. Nothing in the worlde doth more recreate or delight the eyes then the Smaradge, & Saphire doe. It is mervelous effectuous agaynste all venyme. Wherefore, yf thou put a Spider into a Bore, it beyng shutt, & upon the mouth thereof thou layest the true Saphire, and do kepe the Spider within the same but a very short type, the Spider beyng vanquished and overcome by the vertue thereof, dyeth sodenly. [...] The Saphire for his soveraignetie, is called of the Lapidarie, the Gemme of Gemmes. In olde tyme in was consecrated onely to Apollo.

John Ferne - The Blazon of Gentrie (1586)

Once more, Ferne provides a listing of all those things which Azure can be compared unto.

The 4. cullor is lighte blew, called Azur, and signifieth in

1 - Planets. - Jupiter.
2 - Precious stones. - Saphyre.
3 - Vertues. - Justice and loyalty.
4 - Celestiall signes. - Taurus and Libra.
5 - Months. - Aprill and September.
6 - Days of the week. - Thurseday.
7 - Ages of Man. - Puerillitye or childishe yeers, (from 7. til 14. yeeres.)
8 - Flowres. - Blew Lilly.
9 - Elements. - Ayer.
10- Sesons of the yeer - Spring time.
11 - Complexions. - Sanguine
12 - Numbers. - 4. 9.
13 - Mettailes. - Copper.

Yet again, a tincture is compared to the Sanguine humour, the name of the attempted murrey coloured stain.

In the angelic system given later in the book, Azure is given to Thrones, and the virtue Wise & vertuous in working.

Edmund Bolton - The Elements of Armories (1610)

In the ordering of tinctures given by Upton, Azure ranks third, below the metals, while in the orders of Leigh and Scohier, it ranks fourth, below Gules. On his own 'throne of colours', he places it fifth, standing on the third tier of the throne together with Gules.

John Guillim - Display of Heraldrie (1611)

In Guillim's estimation, blue is a colour mostly composed of red with some white, where modern colour theory would consider that to be the combination to create a light red or even pink.

Blew is a Colour which consisteth of much Red, and of little White, and doth represent the colour of the Skie in a cleere Sunne-shining day. This in Blazon is termed Azure.

In his table of the names used for the tinctures and their order, Guillim gives Azure the fourth place, as Azure. Saphire. Iupiter.

On Tinctures in Period - Part III: Gules

In the third in the series on Tincutres as described in period treatises, we see
Red, known in Blazon as Gules.

Dame Juliana Berners - Boke of Saint Albans (1486)

Sextus lapis

And thys stone is calde gowlys in armys

The . vi . stone is calde a Ruby a redly stone . gowlys it is calde in armys . the vertue therof is . the gentylman that in his Cotearmure that stone berith hote and full of corage in his gyngys batayll shall be . the wich stone is reserved in the principatis crowne that was hote brinnyng as fire in his kyngys batayll of hevyn whan thay faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Red, termed Gules, is compared to Mars, and to the Rubye or Carbuncle.

The Carbuncle, so warreth with the eye sight, that it sheweth manyfolde reflexions. It is founde in Libia.

John Ferne - The Blazon of Gentrie (1586)

Yet again, we are given a great range of comparisons for the tincture of Gules, along with a diversion into the metal known as Latten, which is a catch-all term for copper alloys including brass.

The 3. cullor is vermillion (called Gewls) and signifieth in

1 - Planets. - Mars.
2 - Precious stones. - Carbuncle, Ruby, and Corall.
3 - Vertues. - Charity and magnanimity.
4 - Celestiall signes. - Aries & Cancer.
5 - Months. - March, June, July.
6 - Days of the week. - Tuesday.
7 - Ages of Man. - Virillity or mans age, (From thirtie yeeres, til 40.)
8 - Flowres. - Gillofer and red rose.
9 - Elements. - Fier.
10- Sesons of the yeer - Sommer, and Harvest.
11 - Complexions. - Choler.
12 - Numbers. - 3. 10.
13 - Mettailes. - Latten.

This mettaile of Latten was of such estimation with the old Romaines, before they had found the use of gold and silver (as it is still with the barbarous and unnurtured people of Ameryca, which weare the same in Earerings & Bracelets) that the Romaines did also make rings of it, which were put on the fingers of their valiant souldiours, as some marke and reward of their valoir. By the commaundement of the old lawes of Armes, none might use this cullor of vermillion (representing in robes Scarlet) except he had beene prince, or thereunto licensed by the Soveraigne.

In the angelic system given later in the book, Gewles is given to the Principallities, with the vertue Hote of courage.

Edmund Bolton - The Elements of Armories (1610)

In the ordering of tinctures given by Upton, Gules ranks fourth, below Azure, while in the orders of Leigh and Scohier, it ranks third, subordinate only to the honoured metals of Or and Argent. On his own 'throne of colours', he places it fourth, after Sable, standing on the third tier with Azure.

John Guillim - Display of Heraldrie (1611)

Guillim gives red as the colour of an exact mix of the two simple colours, black and white.

That Colour which is said to bee exactly compounded, doth participate of the two Simples indifferently, in a just proportion, as Red ; which Scribonius thus defineth : Rubedo est color æquali simul Albedinis & nigredinis combinatione constans. This colour representeth Fire, which is the chiefest of the Elements, and the lightsomest and cleerest, and in blazoning is termed Gules.

In his table of the names used for the tinctures and their order, Guillim gives Gules the third place, as Gules. Ruby. Mars.

On Tinctures in Period - Part II: Argent

In the second of the series on Tinctures in period treatises, we look at Silver or White, known in Blazon as Argent.

Dame Juliana Berners - Boke of Saint Albans (1486)

ixus lapis

A shinyng stonn and is calde Silver in armys

The . ix . stone is calde Carbuncle a shynyng stone . Silver hit is calde in armys . The vertue therof is : what gentilman that in his Cotearmure this stone berith . full dowghti glorious & shynyng in his kyngys batayll he shall be The wich stone was reserved in the Serophyns crowne : that was full doughti glorius & shining in his kings batayll of hevyn whan thei faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Silver, termed Argent, is compared to The Moone, and to The Pearle.

Pearles, were the onely meate, wherewith the Jewes lived long, havinge nothing els to eate, when the Citie of Jerusalem was besieged by Tytus, as witnesseth Josephus.

John Ferne - The Blazon of Gentrie (1586)

As with Or, Ferne treats the reader to a thorough treatment of the varied meanings.

The 2. cullor is white, & signifieth in

1 - Planets. - The Moone.
2 - Precious stones. - Margeuerit or pearle.
3 - Vertues. - Hope & innocency.
4 - Celestiall signes. - Scorpio and Pisces.
5 - Months. - October & November
6 - Days of the week. - Monday.
7 - Ages of Man. - Infancy. (The first 7. yeeres.)
8 - Flowres. - Lily and white rose.
9 - Elements. - Water.
10- Sesons of the yeer - Autumne.
11 - Complexions. - Flegmatique.
12 - Numbers. - 10. 11.
13 - Mettailes. - Silver.

In the angelic system given later in the book, Argent is given to Seraphins, with the virtue Full doughty & glorious.

Edmund Bolton - The Elements of Armories (1610)

In all three orders of tinctures, by Upton, Leigh and Scohier, silver Argent ranks second, subordinate only to golden Or, while Bolton concedes that as colours, white is superior to yellow, being the purer of the two. On his own 'throne of colours', Argent ranks second, standing on the second tier alongside Sable.

John Guillim - Display of Heraldrie (1611)

Guillim considers white to be one of the two Simple colours, "to which black is contrary".

The colour white is resembled to the light, and the dignity thereof reckned more worthy then the blacke, by how much the light and the day is of more esteeme then darknesse and the night, whereunto blacke is likened. Furthermore white is accounted more worthy then blacke, in respect of the more worthy use thereof. For men in ancient time were accustomed to note things well and laudably performed (and esteemed worthy to be kept in memorie) with white, and contrarywise whatsoever was holden reprochful or dishonourable, was noted with blacke.

In his table of the names used for the tinctures and their order, Guillim gives Argent the second place, as Argent. Pearle. Luna.