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New York, NY 10017-3304 USA |
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Heraldry in the Movies: a talk by John McC. Shannon, President of the College of Arms Foundation  Douglas Kiddie and John Shannon The fall season was launched with a presentation on Heraldry in the Movies at the temporary headquarters of the New York Genealogical & Biographical Society on 22 September 2009. The speaker was John Shannon, president of the College of Arms Foundation and chairman of the Committee on Heraldry of the New York Genealogical & Biographical Society. Using almost 200 stills from ten films, Mr. Shannon showed clearly how each director chose to utilize heraldry. In only one movie - On Her Majesty's Secret Service - was heraldry integral to the plot. In all the others, it was used to create a sense of period or to decorate the film. Films chosen ranged from such British classics as Kind Hearts and Coronets and The Mouse That Roared to The Tudors (the one television series) and lady Jane to A Knight's Tale and Timeline. Each film was scored based on a subjective system created by the speaker for the occasion. The event was well-attended and, after the program, there was a convivial reception during which heraldists enjoyed talking about what they love most. See a fuller description of John Shannon's presentation here (MS Word format).  Consul General Geneive Brown Metzger of Jamaica with Mary Trager  Jim Trager, Jean Savage, Mary Trager and Geneive Brown Metzger  Andrew Cusack and David Skoblow  David L. Smisek with H. McKelden Smith, NYG&B Society President  Maria Dering, Curtis M. Estes, Lauren Silberman, Jorge L. Rivera III and Douglas Kiddie  Jorge L. Rivera III, Douglas Kiddie and John Shannon  Geneive Brown Metzger, Consul General of Jamaica, with Douglas Kiddie Heraldry at the Met: a treasure of historical objects  Armorial banners of knights of King Arthur’s Round Table The question was not whether there is heraldry on view at New York’s Metropolitan Museum of Art but where it was to be seen. Used to denote status or ownership, or both, heraldry is found on arms and armor, in religious art and portraits, and many other things, including sculptures, panels, tombs, tableware and tapestries in the Museum’s collections. It would be impossible to see it all in a day, let alone an hour, even if one knew where it all is so Maria Dering and John Shannon, the guides who led a tour of 25 heraldists on 15 May, selected some examples to point out. The aim was to spend an hour on the tour before enjoying a glass of wine at the Museum’s bar afterwards. John is the President of the College of Arms Foundation, Inc., and Chairman of the New York Genealogical & Biographical Society’s Committee on Heraldry. Maria is a licensed tour leader and a member of the Committee on Heraldry. He chose to focus on the Museum’s Hall of Arms and Armor, containing European (and some Japanese) banners, weapons and armors. Maria selected sculptures and some ceramics from the Lehman Collection. The Hall of Arms and Armory possesses a wonderful collection of both. The armory is the most visually striking, even exciting, as the pieces evoke popular notions of chivalry and combat. In fact the armor on view is relatively recent (post-1500), with metal plate covering the entire body, and represents the last stage of its development at the very end of the Middle Ages. Armor existed much earlier, going back to Roman times and beyond. The earliest representations of armor in England begin with the Bayeux Tapestry, which depicts the invasion by William the Conqueror in 1066. The combatants are shown wearing mail shirts with padded garments underneath; and plate conical helmets. They also carried spears and long narrow shields, some of which bear images or what could be charges; but while they may have been identifying marks they were not hereditary devices. In the ensuing centuries, armor evolved in response to advances in weaponry. Chain mail was still important but more and more of the body became covered with metal plate – starting with the joints (shoulders and elbows). A cloth garment was worn over the armor, on which was painted the owner’s heraldic device, called a “cote d’armure” which became “coat armor” and later “coat of arms” in English. By the late 1400s the system known as feudalism, whereby knights pledged military service to overlords in exchange for land, was supplanted by a new system in which sovereigns and their commanders amassed their own professional armies. At its height, feudalism cultivated the ideal of the valiant knight and virtuous suitor, who would display his prowess and earn the public’s admiration through the institution of the tournament. At a tournament, knights (all being necessarily of noble birth, attested to by heralds) challenged each other in jousts. This elaborate type of sport survived the Middle Ages and became a vehicle for a king to celebrate important occasions, like the birth of a prince or the conclusion of a peace treaty. Over the next century, they became less frequent because more and more costly (many people were involved, requiring abundant quantities of food, drink and entertainment) for the monarch, as well as for the combatants: the finest suits of armor, which came from Milan or Germany (and later England when Henry VIII established a workshop at Greenwich), were hugely expensive. The armor at the Museum exemplifies this type of superb and precious armor. By Henry VIII’s time, armor could be designed for use in battle and in tournament, with interchangeable parts appropriate to the occasion. The whole assemblage was called a “garniture.” The decoration of the pieces could be lavish, and reflected the owner’s tastes. Some contain elaborate heraldic details; while others instead proclaim allegiance and loyalty, for example to Queen Elizabeth I. Thus the armor of Henry Herbert, second Earl of Pembroke, made in Greenwich ca. 1580, is adorned with the shields of the Herberts and related families; while the Earl of Cumberland had his armor decorated with interlaced “E’s” and Tudor roses. The liveliest display of heraldry in the Hall of Arms and Armor is the banners hanging on the walls, purportedly bearing the arms of the Knights of King Arthur’s Round Table. And while they are wonderful examples of what heraldry should be – clear, bold, simple, and easily understandable – they are, in fact, totally imaginary. There was no heraldry in the time of the mythical King Arthur.  More armorial banners of knights of King Arthur’s Round Table In a brief aside, Paul Campbell spoke about examples of Japanese armor and the differences between heraldry and mon, the Japanese system of family emblems that resembles it. Maria Dering, a member of the G&B Committee on Heraldry, chose a miscellany of heraldic objects that are to be seen on the way to the Lehman Collection in a nearby part of the Museum. These included a double-headed Byzantine eagle in the Medieval Chapel. This particular type of eagle was adopted by the Holy Roman Empire and the Russian Emperors, and thus is a well-known heraldic emblem. In the Gallery featuring sculpture and decorative arts of the Italian 16th century, one noted stone panels with the arms of Pope Julius II (della Rovere) and Pius IV (dei Medici); a massive Renaissance-period carved stone table with the Farnese arms on the base; an enamel plate with the Minerbetti arms; a highly elaborate work in wood with the arms of a Venetian family. In the Lehman Collection, Maria focused on objects bearing the arms of four Italian families, the Orsini of Rome, the Altoviti and the Salviati of Florence, and the Baglioni of Perugia. The latter three families had migrated to Rome and been granted licenses by the Pope to operate a bank. The Orsini are one of the oldest noble families of Rome, with a history of supporting the papacy. (There have also been Orsini popes.) In the Renaissance, prominent or successful public figures were expected to live in a “noble” fashion: this entailed liberal hospitality, including meals and entertainment, for a great many; sponsoring artistic projects; and maintaining large households, with many servants. The owner’s arms would be naturally and prominently displayed: on furniture, in paintings, on liveries, on carriages, and on plates and ceramic objects, such as those selected by Maria. Because they are earthenware objects, rather than made of silver or metal, one surmises that they were used for everyday purposes by the less important members of the households. But they are nonetheless attractive objects, with attractive shapes and well-executed armorial designs.  Milanese suit of armor bearing the Barberini arms, made either for Carlo Barberini (1562-1630, brother of Pope Urban VIII) or his son, Taddeo (1603-1647)  Detail of the Earl of Pembroke’s helmet. His coat of arms surrounded by the Garter is incised in the crest  Detail of the Earl of Cumberland’s armor showing interlaced letters E and Tudor roses  A part of a funerary monument: a child or cherub holding the arms of the dukes of Saxony  Plate with the Orsini arms  Jug bearing with Altavitti arms  Ewer with the Salviati arms The Dering Roll: a talk by Maria Dering  Maria Dering with her husband, Sandy Sanford Maria Dering gave an engaging and informative presentation to a good-sized audience on the subject of “The Dering Roll” on 14 January 2009 in the Portrait Gallery of the New York Genealogical & Biographical Society (the G&B). The event was jointly sponsored by the College of Arms Foundation and The Committee on Heraldry of the G&B. This may have been the last heraldry-related event to take place on those premises due to the G&B’s impending departure to a new home. Ms. Dering, herself a member of the G&B Heraldry Committee, began by stating that she became interested in the roll because she and it share the same name: Dering. She was naturally curious to know if the owner after whom it was named was a relative of hers. The roll came to be in the news when it was sold at public auction in London at Sotheby’s in December of 2007 for £192,500. (Neither the seller’s nor the buyer’s identities were revealed.) Because the roll was considered to be a national treasure a ban was placed on its export and a campaign was launched to raise the amount of the purchase price to acquire the roll for the nation. In September of 2008, the British Library announced it had acquired the roll with funds provided by the National Heritage Lottery (£100,000), the Art Fund (£40,000), the Friends of the British Library (£20,000) and private donors. The Dering Roll is a decorated manuscript roll of arms on vellum. It is the oldest extant English roll of arms, dating from the time of Edward I (1272-1307), and thought to have been produced in or around 1280. It is an original roll, not a copy of another one. Several later copies of the Dering Roll were made, a number of which survive to this day in different collections and libraries. Parenthetically, Ms. Dering noted that other (approximately 17) early rolls, now lost, are known to have been made because copies of them exist. All were made at around the same time, that is to say circa 1280, during a high point of English medieval knighthood and chivalric literature. The Dering Roll, measuring 2.64 meters long by 21 centimeters (104 inches by 8 ¼wide, consists of four membranes containing 54 rows of shields (six per line) in one long column. The arms are depicted in color on a green background; and although the document has suffered over time, it is in remarkably good condition. The names are still readable and the colors recognizable. Many names of the owners of the 324 shields are identified in writing. The first row is now torn; but from other copies we know that it displayed the arms of two illegitimate sons of King John, Richard FitzRoy and William de say. An analysis of the arms reveals that 224 of the shields (lines one through 67) are those of knights on Kent. The shields on lines 68 to 143 are of Sussex knights; those of lines 144 to 294 are arms of sheriffs of Dover, including Henry de Cobham, John de Cobham and William de Hever. The last 30 to 35 lines of shields are of men from France and Flanders. The arms displayed represent a quarter of the English baronage and knightage of the time. Why was it made and who for? Ms. Dering explained that the arms appear to be of knights owing feudal service to Stephen of Penchester, Constable of Dover Castle (1269-1299), an important fortification defending a strategic port in the southeast of England. Stephen emerges in the historical record as one of Edward I's closest associates and most trusted aides. (His own arms are featured in the roll.) Thus it is believed that the roll was commissioned by or for him. The majority of the arms are therefore those of King Edward’s supporters although some date from the reign of his father, Henry III. In the 16th century to roll is thought to have been in the possession of Hugh FitzWilliam of Spotsborough, when copies were made. Later it was owned by Sir Edward Dering (1598-1644), first baronet and avid antiquary, who probably acquired during his years of service, from the late 1620s onwards, as lieutenant of Dover Castle, when he acquired a number of the treasures of the archive there. Along with the renowned antiquary and manuscript scholar Sir William Dugdale, Dering co-founded a society named Antiquitas Rediviva, dedicated to the collection and preservation of armorial manuscripts. Other men active in the society were the collectors Sir Christopher Hatton and Sir Thomas Shirley. Dering also inserted his own arms, attributed to a fictitious ancestor, in the roll by replacing those of another (position 61). Ms. Dering entertained her audience with information about Sir Edward, who was born in the Tower of London, was a student at Magdalene College, Oxford, married three times and died in poverty. The roll is known to have belonged later to Sir Thomas Phillipps (1792-1872), before ending up in the possession of Sir Anthony Wagner (1908-1995), Garter Principal King of Arms from 1961-78, who bought it on 6 February 1948. It is surmised that the roll was sold by his widow. There was a lively question and answer period. William Carr, step-son of Sir Anthony Myles Cholmeley Dering, 11th baronet, was among the audience with his wife Patricia, and told interesting anecdotes about his step-father. Ms. Dering was asked by an audience member whether she had discovered a relationship to Sir Edward. The answer was, not yet; although she surmised that it is possible. Wine and cheese were served after the presentation and Ms. Dering was asked more questions about the roll and her family.  Maria Dering with William and Patricia Carr  Melissa M. Gibbs with Ellsworth G. Stanton III, MBE  Floyd (Sandy) Sanford and Douglas Kidde  Allen Smith and Jorge L. Rivera III  Peter Kimber, Francis J. Sypher and Jan Maas  Rev. Dr. Richard Seagraves with Melissa M. Gibbs  John Mauk Hilliard with Thomas E. Bird  Gary Dycus and Owen C. Smith  Rev. Canon John G.B. Andrew, OBE, DD, with Jorge L. Rivera III and Hugh A.A. Williamson-Noble  Peter Kimber with Maria Dering  Randall L. Taylor with John Mauk Hilliard 2. Grants made by the Foundation The Foundation was delighted to receive a request from Christopher Mann of the College of Arms Trust for a grant toward the exhibit being organized by the College of Arms in honor of The Queen's Golden Jubilee in 2002: a display of the Garter Crests of Knights of the Garter who died during the reign. The Crests were specifically manufactured to be installed in St. George's Chapel at Windsor Castle over the knights' stalls. The exhibit was to be mounted in the Earl Marshal's Court and be open to the public free of charge. The Foundation voted a grant toward this project. |
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A view of the exhibit of Garter Crests set up in the Earl Marshal's Court at the College of Arms in 2002. The exhibit was mounted to celebrate the Golden Jubilee of HM The Queen and the Foundation supported it with a grant. |
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The different Garter Crests were mounted on columns and lighted individually. They are seen here from the same perspective as the public. Ellsworth G. Stanton III, Secretary of the College of Arms Foundation, stands in the foreground. |
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3. Meetings with the College of Arms John Shannon, President of the Foundation, and Ellsworth G. Stanton III, Secretary, met with Garter, Timothy Duke (Chester Herald) and Christopher Mann at the College of Arms in London on 24 June 2002 to discuss future cooperation. There is agreement that the most effective thing we can do to promote knowledge of English heraldry in America is to introduce heralds to US audiences. |
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Ellsworth G. Stanton III, Secretary of the College of Arms Foundation, Timothy Duke, Peter Gwynn-Jones, CVO, Garter King of Arms; and Christopher Mann of the College of Arms Trust, in Garter's office on 24 June 2002. |
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