A New Shield and Motto for Glastonbury?

 

 

 

                                           An Evolving History

 

 

   Remembering Glastonbury, its History and Identity in the 21st Century

 

An inclusive project plan to facilitate a petition to the College of Arms for Civic Heraldry; the Right to Arms for Glastonbury Town Council; or the creation of a new ‘Civic Emblem’ for Glastonbury Town Council.

                   

                                                                     Introduction

Glastonbury is steeped in a wealth and abundance of history and tradition.

Our town is possibly one of  the most famous, celebrated, and – with our iconic Tor – instantly recognisable places in the world.

Throughout our history, Glastonbury has grown, changed, and evolved: from the legendary foundation of the ‘first church in Christendom’ to the glory of our mediaeval Abbey – a destination of pilgrimage so prominent, Glastonbury was known as the ‘Second Rome’.

From our distinguished reputation as a centre for industry – with brand names such as Draper and Morlands that remain symbols of classic design and quality, attractive to people all over the world – to our significance in contemporary art and culture, and our emergence at the heart of modern spirituality; a meeting place of diverse faiths, paths, and beliefs.

Through all, Glastonbury, our home, inspires an enduring sense of national significance – demonstrated most recently in the opening ceremony of the London Olympics; epitomised in Blake’s timeless verse: “And did those feet .

Throughout our history, we have chosen to represent ourselves with symbols and emblems that dignify and honour the values and beliefs of the changing times.

 At the beginning of our journey, the symbols of authority were the seals of the Abbots, and later of the Abbey itself.  At the height of the Abbey’s fame: a coat-of-arms was granted, reflecting the association of Glastonbury with Avalon, and with King Arthur!

After the Abbey, the seal of authority became that of St. John’s Church. In 1705 it changed once more to the arms of the Corporation of Glastonbury. All these changes representing the credible, evolving history of Glastonbury itself.

Today, Glastonbury Town Council carries on this eminent tradition of governance, seeking to represent and reflect our modern, diverse, and distinctive community.

The Heraldry Working Group has provided this report, and recommendations, for consideration by the Town Council.

The aim of the report is to:

 

• illustrate the evolving history of Glastonbury’s seals, heraldic devices, and emblems –with background information on heraldry, coats-of-arms, the College of Arms, etc.

 

• consider the appropriateness of the Town Council’s heraldic device and motto with regard to representation, legitimacy and lawfulness, and current legislation.

Triggered by genuine concern about the legalities, the Working Group has taken time to deliberate and contemplated deeply.

Their findings – investigating the creation of a viable, potentially wealth generating asset for the Town; including how funds could be raised so that the process does not cost the tax-payer

They consist of five points, three recommendations, and a detailed outline of how these could be implemented, if approved by the Council.

 

                                                            Background   of Heraldry

 

Flags have been in use from the earliest times, in battles or on ceremonial occasions, as symbols of nations and rulers.

Additionally, personal devices go back to the start of history, but their commonest use has not been in war, but as a ‘seal’ for the civil purposes of showing ownership of property or authenticating documents.

Many organisations adopt a badge or emblem for identification. They include the various branches of the Armed Forces, Police, Nurses, schools, associations, societies, and clubs – indeed, across the world, badges and emblems are connected with all kinds of cultural activities.

All such worldwide methods of distinguishing are associated with heraldry. This is not only a science and an art, but a living part of history – and it is governed by very definite and strict rules.In early warfare, before the use of distinctive colours and badges, it was extremely difficult to tell friend from foe. This must have led to great confusion and many disasters.

This confusion is easy to see in the Bayeux Tapestry:

At the Battle of Hastings, the Norman knights wore a type of armour similar to that of the Saxons, both are depicted with nose-pieces on their helmets and carried long, oval shaped shields...

Between 1135 and 1155 the images on the seals of secular lords across Europe begin to depict themselves as armed and mounted with clearly legible ‘devices’ upon their shields – this demonstrates the emergence of heraldry in England, France, Germany, Spain, and Italy.

This sudden appearance at one time over a wide region has been attributed to the first crusade. Bringing knights together from many lands may have made distinctive badges and colours needful. To distinguish themselves, knights began to wear a long, flowing coat or ‘surcoat’ decorated with their armorial bearings – this was known as a knight’s coat-of-arms, and is the origin of the term.

 

                                                Heralds

Since classical antiquity the function of a crier and messenger in war and on state occasions has existed.

In Ancient Greece they were used to proclaim the victors at the Olympic Games, and in Ancient Rome they made declarations of war.

From 1170s, in the Age of Chivalry, the heralds were in charge of the tournaments between knights. It was the herald’s duty to ‘blazon’ (describe) the ‘device’ (coat-of-arms) of each knight taking part.

In addition, at times of war, it became the duty of the heralds to ‘marshal’ the army in groups with their banners and coats-of-arms. This is the origin of the Chief Herald’s title Earl Marshal.

As time went on, it was found necessary to keep written records of the different coats-of-arms. Because the heralds had to deal with this matter, it became known as heraldry. Later, a College of Heralds, or College of Arms, was established in London during the reign of Richard III, the Earl Marshal as its Head.

The Heraldic Officers include Kings-of-Arms, Heralds, and Pursuivants – they are always present at royal or state ceremonies.

Today genuine lawful arms are granted by the authority of the officers of the College of Arms and are generally designed by them.

Ecclesiastical arms were originally assumed by the Church ‘motu proprio’ (by its own volition and authority) – however, the arms of the Church of England and of Anglican dioceses overseas are the subject of grants made by the Kings-of-Arms.

 

                                           A-Coat-of-Arms

The building-up of a coat-of-arms is a fairly complex process, as it must be an accurate pictorial record of what is represented. Sometimes details may have to be traced back for hundreds of years.

Special technical terms are used to describe the different features – indeed, heraldry has its own language, derived from Norman-French, Latin, German, and early English.

The background of a coat-of-arms is a shield or ‘escutcheon’, which may be one of various shapes. The surface of this shield is termed the ‘field’.

In the design, certain colours or ‘tinctures’, ‘metals’, and ‘furs’ are used.

There are five principal colours: red ‘gules’, blue ‘azure’, black ‘sable’, green ‘vert’, and purple ‘purpure’. The two metals are: gold (yellow) ‘or’ – and silver (white) ‘argent’.

The two most common furs are ‘ermine’ (a black and white pattern) and ‘vair’ (a silver/white and blue pattern – which represents the grey squirrel).

One of the rules of heraldry is that a metal shall not be placed on a metal, nor a colour on a colour, nor a fur on a fur. The reason for this is that a colour resting on a metal or fur stands out more clearly.

The top part of a shield is called the ‘chief’, the bottom is the ‘base’, the centre is the ‘fesse’, and the upper centre is the ‘honour point’.

The part of the shield which protects the right of the wearer is known as the ‘dexter’ side, whilst the part that protects the left side is called the ‘sinister’ side – from the Latin for left and right.

The surface or field of a shield may be ‘charged’ in different ways by bands or stripes known as ‘ordinaries’.

The field may be divided in a similar way with regular or irregular lines. Any such decoration is called a ‘charge’.

All kinds of figurative and symbolic charges may be used to decorate a shield, as Anthony Wager wrote in 1946: “Common charges may be anything in heaven, earth or wonderland” – flowers, leaves, buildings, birds, animals, and mythical creatures, such as the dragon, unicorn, and griffin.

The arrangement of more than one coat-of-arms on a shield is known as ‘marshalling’.

When the shield is divided into four parts, this is called ‘quartering’. Quarters are numbered, with the top dexter quarter being the first quarter, the top sinister being the second, the bottom dexter being the third, and bottom sinister the fourth. The first and fourth quarters are deemed more prestigious than the second and third. It is a rule that no quarter must be left blank.

To ‘blazon’ is to describe a shield in heraldic terms. The basic rules of blazon are: Describe the colour of the shield’s field (background).

Describe the principal charge placed directly on the field (usually on the honour point) and its colour. Describe the lesser charges on the field and their colour.

Describe any lesser charges placed on the principal charge, and their colour.

 

                                    Outer Decorations of a Coat-of-Arms

The ‘Crest’ is an object placed at the top of a coat-of-arms, an emblem originally worn on the knight’s helmet. It rests upon a ‘wreath’, ‘cap’, or ‘coronet’ (crown).

The wreath represents the twisted scarf binding the crest to the helmet.

The ‘Helmet’ shows the rank of the owner of the arms. A Sovereign’s helmet is gold and faces to the front; that of a peer is silver with gold bars facing sideways; a baronet’s or knight’s helmet is steel without bars, the visor raised and facing front; that of an untitled person is also steel, the visor closed and facing sideways.

The helmet of ecclesiastical arms is a bishop’s mitre.The ‘Mantling’ hanging from the helmet represents the cloth originally protecting the crusading knight from the sun.

The ‘Supporters’ are figures of animals or persons placed on either side of the shields of important personages or towns. They may have originally represented the knight’s pages.

Supporters can be life-like representations in natural colours that do not conform to heraldic rules. This type of natural representation is termed ‘proper’.

The surface on which Supporters stand is the ‘compartment’; typically a grassy knoll. Characteristically, ecclesiastical arms, in English custom and in the Anglican Churches, are supported by ‘croziers in saltire’ (pastoral staffs or crooks diagonally crossed).

The ‘Motto’ is usually a short sentence or phrase to serve as a rule and encouragement. It probably originates from the mediaeval knight’s war-cry.

A complete coat-of-arms including the shield and all these features above is called an ‘achievement’.

 

                                            Civic Heraldry

 

‘Civic heraldry’ is heraldry, which is connected with towns and cities.

The arms of many of them tell something of their history or activities.

This may refer to industry, the arts, prominent families, etc.

The crest may represent a prominent landmark or building which rests on a ‘mural crown’ (a brickwork crown that denotes Civic Arms) which in turn rests upon a wreath above the helmet (normally that of an untitled personage).

The supporters of civic arms represent the activities in industry and art of the town or city.

 

Information sources: ‘Heraldry’ by A.E. Priestley (1974, Loughborough), ‘Heraldry In England’ by Anthony Wagner (1946, London), ‘The Coat of Arms Quarterly’, Editor: J.B. Brooke-Little Vol. 7 No. 52, 53, 56 and Vol. 8 No. 58 (1962/3/5, London).

 

 

 

 

 

 

 

                                                                                                                                                                      Continued     link to page 2