Heraldry

Yet Another Way to Combine Arms of Office With Personal Arms

2026-08-13T02:00:00.000-05:00

Having seen in our last post two different ways of displaying the arms of the Archdiocese of Salzburg with the personal arms of the Archbishop, today we're going to see (1) more examples of the use of the arms of the archbishop with a chief of the archdiocese; and (2) three examples of the two coats of arms on separate shields.

All of these examples are from the Archbishop Guidobald von Thun and/or Archbishop Johann Ernst Graf von Thun und Hohenstein. (I did not find dates for any of these armorial displays, and so they could be for one or for the other, or a combination of each.)

Guidobald of Thun, 1616–1668, was Archbishop of Salzburg 1654-1668. He was also Bishop of Regensburg, and a Cardinal. (https://en.wikipedia.org/wiki/Guidobald_of_Thun)

Johann Ernst Graf von Thun und Hohenstein (1643–1709) was Bishop of Seckau from 1679 to 1687 and Prince-archbishop of Salzburg from 1687 until 1709. (https://en.wikipedia.org/wiki/Johann_Ernst_von_Thun_und_Hohenstein)

Here are the examples of the von Thun arms with a chief of the Archdiocese;

As always, please feel free to click on any of the images here to see the full-size photograph, where you can zoom in to see the arms in greater detail.

The von Thum arms are blazoned: Quarterly: 1 and 4, Azure a bend or; 2 and 3, Per pale: dexter, Argent an eagle displayed gules issuant from the line of division; sinister, Sable a fess argent; overall, an inescutcheon, Gules a fess argent (Austria). The chief is the arms of the Archdiocese of Salzburg: Per pale: dexter, Or a lion rampant sable; sinister, Gules a fess argent (Austria).

In the first image, the galero over the shield, with its twelve tassels (six on each side) marks his rank as Bishop, either of Regensburg (Guidobald), or Seckau (Johann).

And in these next three pictures, we see the von Thun arms displayed to the sinister (to the viewer's right) with the arms of the Archdiocese to dexter (to the viewer's left):

All in all, between this post and the last one, it's been a fascinating look at some of the different ways in which the arms of an office can be displayed with the personal arms of an office-holder. I hope that you have found it as interesting as I have!

Two Different Ways of Combining Arms of Office with Personal Arms Seen in Salzburg, Austria

2026-08-10T02:00:00.000-05:00

Over the years we have seen again and again how a person may combine the arms of an office they hold with their personal arms on a shield. This is usually done by impaling the arms of the office on the dexter side of the shield with the personal arms on the sinister side of the shield.

In Salzburg, however, we see two other methods of combining arms of office with personal arms.

The first (and we will see more examples of this in upcoming posts from Salzburg) is to add to the shield of the personal arms a chief of the arms of the office. In these instances, the chief is the arms of the Archdiocese of Salzburg (which are identical to the older arms of the municipality of Salzburg and also the arms of the District of Salzburg: Per pale: dexter, Or a lion rampant sable; sinister, Gules a fess argent (Austria).

These are the arms of Markus Sittikus von Hohenems, 1574-1619 (Archbishop of Salzburg 1612-1619) (https://en.wikipedia.org/wiki/Markus_Sittich_von_Hohenems): Azure a ram rampant or, with the chief of the Archdiocese.

The entire shield is surmounted with an archbishop’s galero, a wide-brimmed, flat, tasseled ecclesiastical hat. For archbishops, the galero is always green and features 20 tassels (10 on each side), visually distinguishing them from standard bishops (who have 12 tassels, six on each side).

Next, we have the personal arms of the von Kuenburg family, three of whose members were Archbishops of Salzburg: Michael von Kuenburg (Archbishop of Salzburg 1554–1560); Georg von Kuenburg (Archbishop of Salzburg 1580-1586); and Maximilian Gandolf von Kuenburg (Archbishop of Salzburg 1668-1687).

Please click on the image above to go to the full-sized photograph where you can zoom in to see the details of this shield.

The von Kuenburg arms are blazoned: Quarterly: 1 and 4, Per pale gules and argent a roundel counterchanged; 2 and 3, Per fess sable and argent a flat hinge counterchanged. The shield is surmounted by a noble’s coronet.

I would have thought the item in the second and third quarters was a millrind, a fairly common heraldic charge, but for the pretty clear knuckle, the raised, cylindrical portion in the center through which the pin passes to hold the two leaves together.

These arms could memorialize any of the three von Kuenburg archbishops, or to be honest, nearly any other member of this family.

However, this next memorial is definitely that of Michael von Kuenburg, mentioned by name and “von Gotes Genaden” (by the grace of God) Archbishop of Salzburg, dated 1559).

Here, the quarters of the arms of the von Kuenburgs are further quartered with the arms of the Archbishopric, instead of the more common usage of a chief of the Archbishopric. Quarterly: 1 and 4, the Archbishopric of Salzburg; 2, Per pale gules and argent a roundel counterchanged; and 3, Per fess sable and argent a flat hinge counterchanged.

I note that while the script gives his title as Archbishop, the galero surmounting the shield has only the twelve (six on each side) tassels of a Bishop.

I found it interesting to see these somewhat rarer forms of marshalling the arms of office with personal arms. But, as J.P. Brooke-Little put it so well in the introduction to his book An Heraldic Alphabet: "You can study heraldry until you are azure ... in the face but inevitably discover, from time to time, that you really are quite vert.... I have found this over and over again but, never forget, herein lies the fun and if heraldry ever ceases to be fun - chuck it."

Salzburg, Austria

2026-08-06T02:00:00.000-05:00

The next stop on my friend Katie's river cruise through Europe was in Salzburg, Austria.

Where she photographed the city's coat of arms. Well, the "new" one (shall we call it "Salzburg modern"?) that's been used since somewhere around 1600, though it was only officially granted on November 14, 1931.

An English blazon of this coat of arms would be: Gules a city wall with three church towers argent roofed or.

But she also photographed this coat of arms in the city:

Here, the identification of the arms becomes somewhat more of a trick.

They could be the earlier arms of the municipality of Salzburg ("Salzburg ancient" if you will), used through the late 16th century.

Or, they could be the arms of Salzburg District;

Or, they could be the arms of the Archbishopric of Salzburg.

Because all three of those entities use or used this coat of arms, which I would blazon as: Per pale: dexter, Or a lion rampant sable; sinister, Gules a fess argent (Austria).

All in all, given the lion supporter, I tend to favor the idea that the depiction here is the arms of Salzburg District, but I could be entirely off-base here.

It does get a bit confusing, though, when you have three different entities using the same coat of arms!

Be that as it may, we are going to see this heraldry again, though in situations that make it clear that it is the arms of the Archdiocese of Salzburg which are being depicted.

Our Final Heraldic Stop in Mondsee, Austria

2026-08-03T02:00:00.000-05:00

Our final coat of arms from Mondsee, Austria is this carved achievement of arms is located above the entrance of Schloss Mondsee (the former Mondsee Abbey).

This stone carving is the historic coat of arms belonging to the Princes of Wrede, a German princely family originating in Bavaria.

The blazon is: Or a chaplet of roses proper on a canton azure a sword erect proper. The motto on the belt encircling the shield reads: Virtuti pro patria (Power for the country).

As always, you can click on the image above to see the full-size photograph and its greater detail of this princely achievement of arms.

An Armorial Memorial to an Abbott

2026-07-30T02:00:00.000-05:00

Our next bit of heraldry from Katie's trip to Europe is a Late Baroque epitaph and memorial plaque dedicated to Abbot Maurus Schinnagl (Latinized as Mauritius), who served as the abbot of Mondsee Abbey from 1764 until his death in 1773.

The center of the monument features a relief of an open book and a chalice, symbolizing his theological scholarship and priestly duties. Below that, the Latin inscription begins with a standard funerary invocation, “VIATOR Circumspice” (Passenger/wayfarer, Look about you), followed by his religious name, Mauritius. At the very top sits a carved head wearing a mitre (the ceremonial headdress of an abbot), signifying his high ecclesiastical office, atop two coats of arms.

The arms on the left are, once again, those of Mondsee, Austria, which we have seen in the last two posts preceding this one.

The arms on the right are those of Abbot Schinnagl. These arms consist of a human figure in chief, and three difficult-to-make-out charges in base, although the dexter-most one is very reminiscent of a lion's face. I have, alas, been unable to find any record of this coat of arms which would allow us to determine more specifically the colors and charges on the shield.

The base features a stark memento mori element—a sculpted human skull serving as a traditional reminder of mortality and the fleeting nature of earthly life.

Abbot Maurus was a significant intellectual figure for the monastery during the 18th century, actively managing its extensive library and historical archives right up until the final decades before the abbey was permanently dissolved.

Two Coats of Arms: City and Abbey

2026-07-27T02:00:00.000-05:00

Here, on the exterior of Mondsee Abbey, we find two coats of arms side by side, the pair surmounted by a mitre:

On the left, we see the arms of Mondsee, Austria: Per fess: Azure a moon in her decriment or; and Argent three boats or each charged with three bendlets sable and rowed by a standing boatman proper habited gules hatted sable.

And on the right, the arms of the Benedictine Abbey of Mondsee: Per fess: in chief, Per pale or and sable, a two-headed eagle displayed sable issuant from the palar line, and a camel passant or; in base, Argent a circular lake surrounded by a ring of trees all proper. (A color depiction of these arms can be found on the website of Heraldry of the World, https://www.heraldry-wiki.com/wiki/Mondsee)

Mondsee Abbey (German: Kloster Mondsee) was a Benedictine monastery in Mondsee in Upper Austria. The region of the Mondseeland, in which Mondsee is located, was formerly part of Bavaria. Mondsee Abbey was founded in 748 by Odilo, Duke of Bavaria, on the ruins of a Roman settlement.

Do I know why the arms of Mondsee Abbey have a camel on them? No, I do not. It seems a most unusual charge for an establishment in Bavaria, later Austria. But then, I have found camels in the heraldry of a number of places where one would not expect them: for example, Ville de la Couronne, France; Le Poil, France; Plzn, Czech Republic; Timelkam, Austria; Tinajo, Spain; Tuineje, Spain; and the Zunft zum Kämbel ("Kämbel guild") of Zürich, Switzerland. This last is pretty clearly canting arms, but not the others.

I feel certain that there is a story in there somewhere about this coat of arms, but I have no idea what it might be.

The Unusual Arms of Mondsee, Austria

2026-07-23T02:00:00.000-05:00

For our next stop as we follow my friend Katie on her river cruise in Europe, we come to the city of Mondsee, Austria, and it's somewhat unusual coat of arms.

Heraldry of the World, https://www.heraldry-wiki.com/wiki/Mondsee, gives us the blazon of these arms in German: Geteilt; oben in Blau ein goldener, sicheljOrmig gesichteter Vollmond; unten in Silber drei goldene, zwei zu eins gestellte Zillen mit schwarzen, schrägrechten Brandstreifen, linkshin gerodert von je einem rot gekleideten, stehenden Schiffmann mit schwarzem Filzhut.

A literal English translation of that blazon would be: Per fess: Azure a moon in her decriment* or; and Argent three golden boats, two to one, black diagonal fire stripes, each flanked to the left by a red-clad, standing boatman with a black felt hat.

A perhaps more accurate English blazon: Per fess: Azure a moon in her decriment or; and Argent three boats or each charged with three bendlets sable and rowed by a standing boatman proper habited gules hatted sable.

These arms are, in fact, canting; that is, they are a pun on the name. Mondsee = Moon sea.

* “A face in profile [on the moon] may be depicted exterior to the concave edge. With the horns facing dexter she is (or should be) blazoned ‘[a moon] in her increment’, and with the horns to the sinister ‘[a moon] in decrement’; it must, however, be pointed out that on the numerous occasions of her being er[roneously] blazoned ‘[moon] increscent’ and ‘[moon] decrescent’ (and when ‘decriment’ is printed in place of ‘detriment’), no harm is done because the intention is quite clear.” (Franklyn and Tanner, An Encyclopaedic Dictionary of Heraldry, cf. “Moon”.

I will note for my own part that not every heraldic author agrees with Franklyn and Tanner on the definitions of these terms.

Heraldry in the News!

2026-07-20T02:00:00.000-05:00

So there I was, minding my own business, looking at some of the recent stories on-line, when I was caught by a headline:

"The Logo for Donald Trump International Airport Appears to Be AI Slop"

It turns out that recently, the Palm Beach International Airport in South Florida was renamed the President Donald J. Trump International Airport. And along with the new name, it's been given a new logo.

The story about this new name and logo was written by Frank Landymore, and posted on Fri, July 10, 2026 at 9:13 AM CDT. It can be found at hcttps://currently.att.yahoo.com/tech/ai/articles/logo-donald-trump-international-airport-141311663.html

Here's a close-up, pointing out the issues the Mr. Landymore discusses below:

"You'll notice some things that're a little off in the finer details. The talons are horribly deformed and shaped differently from each other. The entire legs are uneven, too, and the base of them are represented as a strange conglomeration of blobs, which are also inconsistent. In fact, the whole thing is slightly asymmetrical. The wings have an uneven number of feathers. The two olive branches — another error in itself, because the eagle is supposed to be clutching a bundle of arrows in its right-side talon — have differing numbers of leaves. And the shield only has eleven stripes, as opposed to the thirteen that the actual Great Seal is supposed to feature."

To all of which I would add another: there are no stars on the chief! The arms of the United States of America, the shield on the breast of the eagle, is blazoned Paly of thirteen argent and gules a chief azure. No stars anywhere.

Landymore goes on to ask if this is AI slop? "Eagle-eyed and outraged netizens didn't hesitate to make this diagnosis, with one Reddit thread calling out the Trump logo's incongruities going viral."

"'All the resources in the world and the logo for Trump Airport is AI generated,' the title lamented."

He goes on to say that, "maybe his new airport logo is kind of a perfect use case for AI. The displaying of the US Great Seal is highly restricted, so it's unlikely that an airport in Florida would be authorized to flaunt it as a logo, even if Trump himself wanted it to. But with AI, you can quickly spit out a cheap bastardization, uncanny in its likeness, but also not quite right."

Included below for comparison with the above is the Seal of the President of the United States, on a baseball-style cap that I purchased a the gift shop at the Ronald Reagan Washington National Airport when I was there a few years ago. It is pretty easy to spot the differences between a good embroidered reproduction of the seal and the "AI slop" on the signs for the new President Donald J. Trump International Airport.

As an aside, I have to admit I think my favorite part of this cap is the embroidered/embossed black-on-black eagle and shield on the brim.

Anyway, here's a full-color drawing of the full achievement of arms of the U.S. with even more detail that you can use to compare:

As someone said just a very few years ago, "I don't want artificial intelligence to write books and make art; I want artificial intelligence to do the dishes and and the laundry so I can write books and make art."

And the art on that airport sign is only one reason for wishing that.

Still Finding Heraldry Everywhere

2026-07-16T02:00:00.000-05:00

I am, indeed, still finding heraldry everywhere, and once again, "everywhere" includes my living room.

Once again, the HGTV show House Hunters International has come through for me. A recent episode had a family looking to rent a place in Valencia, Spain. And in the course of that, the camera panned to a building:

Which, as you can see quite plainly, has a coat of arms prominently displayed on its façade:

The arms are, obviously enough, those of the Province (formerly, Kingdom) of Valencia.

They are blazoned: Or four pallets gules. And yes, that is indeed A reremouse (bat) displayed sable atop a crown or as the crest.

Interestingly, there are several similar stories about how these arms came to be:

In the first, Prince Wifred (or Wilfred) the Hairy, having been grievously wounded in a battle against the Normans, received a visit from the Emperor Charles the Bald, who dipping his finger in the blood that trickled from the wound, drew four lines down the gilded shield of Wifred, saying, “Earl be these they armorial ensigns:” — four red stripes on a gold field, which became from that time the arms of Catalonia, and afterwards of Aragon.

The second story informs us that Wifred the Hairy lay injured in his tent after doing battle with the Normans (or in some versions, the Moors) when the Emperor Louis the Stammerer visited him. The king asked Wifred how he could reward him for his heroic deeds. When Wifred asked for an insignia to decorate his shield, the king wet his fingers with the Count’s blood and traced four vertical lines on the golden shield that stood by his bedside. Thus, the coat of arms became four red pallets on a golden background.

And finally, other versions of the legend combine the two stories by saying that the golden shield was first given to Wifred the Hairy by Charles the Bald and then the four pallets added by Louis the Stammerer.

How much of these origin stories is factual, and how much simply myth, or to put it less judgmentally, a "just-so story?"*

Well, given that Wifred the Hairy died in 897 A.D., and the first generally accepted use of a coat of arms (the shield given to Geoffrey Plantagenet by his father-in-law King Henry I of England, and which was later borne by Geoffrey's grandson, William Longspee) dates to no earlier than the mid-12th century, we are dealing with a time nearly 300 years before the advent of what we now call heraldry.

Then, we have to realize that we are looking at two (or three) different origin stories for the arms, which differ in important details. And some of those details lack good historical support. For example, Charles the Bald was Emperor for only two years, 875-877, though his domains did include Catalonia.

Louis the Stammerer, the son of Charles the Bald, was never emperor, and he was King of West Francia (which included Catalonia) for only two years, 877-879.

I have not found any evidence other than these stories that either Charles or Louis ever spent time in Catalonia. Their time and attention was generally taken up elsewhere in greater France. And Louis was physically weak, which makes him even less likely to travel to the edge of his realm.

Still, it's always fun to look at origin stories of coats of arms, even when - as here - they appear not to be historically accurate.

And sometimes, you can find a coat of arms which have one of these origin stories while sitting in your own living room watching a show on television.

* A "just-so story" is an often whimsical but untestable narrative that explains the origin of a biological trait, cultural practice, or physical feature. While the term originally refers to Rudyard Kipling’s classic 1902 children's book, it is often used in science and philosophy as a critique for unproven explanations.

Another Entry in the "You Can Find Heraldry Everywhere" Collection

2026-07-13T02:00:00.000-05:00

So there I was, just minding my own business, attending an exhibit of a Spanish painter I had not heard of before at the Meadows Museum on the campus of Southern Methodist University in Dallas, in the company of a friend and her mother. We were having a good time, seeing a lot of the paintings of Raimundo de Madrazo y Garreta (1841-1920), admiring his technique and subject matter.

Madrazo was clearly a very accomplished painter, reminding very much of earlier Spanish painters with whom I am famililar, Diego Velázquez and Francisco de Goya. Indeed, Madrazo's treatment of lace in one of his portraits called to mind Goya's very similar treatment of lace in his portrait the Señor Sabasa Garcia (one of my most favorite paintings, and one which I am grateful to have had the opportunity to see in person at the National Gallery in Washington, DC. Am I gushing? I think I am gushing. Okay, back to the topic at hand).

So, anyway, in one of the rooms was another portrait, painted in 1902 (a posthumous portrait, the sitter having died in 1901), of Carlos María Fitz-James Stuart y Palafox, 16th Duke of Alba, 9th Duke of Berwick (1849-1901). (Fortunately for you and me, the Meadows Museum allowed photographs, so I am able to share this with you.)

The 16th Duke has his own entry on Wikipedia at https://en.wikipedia.org/wiki/Carlos_Mar%C3%ADa_Fitz-James_Stuart,_16th_Duke_of_Alba. This page also has a couple of photographs of him, one taken at age 11 and another ten years later at 21. He has an interesting background, and I encourage you to visit that page to learn more about the man himself.

But, of course, almost immediately upon seeing this painting, I noticed -- as many of you probably already have -- a coat of arms in the upper left-hand corner.

As an aside, I immediately thought of an old quote by John E. Cussans in his The Handbook of Heraldry, where he says:

Many are the incidents but faintly written in the pages of history, which would have forever remained dark and illegible, but for the light flashed on them by the torch of Heraldry. A shield of Arms, a Badge, or a Rebus depicted on a glass window, painted on a wall, carved on a corbel or monument, will frequently indicate, with unerring precision, the date to which such relics are ascribed, and whose memory they are intended to perpetuate, when all verbal descriptions are wanting; and the identity of many an old portrait rests on no other authority than that of a coat of arms painted at the side.

Admittedly, here at the Meadows Museum, there was also a sign next to the painting identifying both the painter and the subject, but still ....

Anyway, here's a close-up of those arms:

Three of the four quarters of these arms should be pretty familiar to you: 1, England; 2, Scotland; and 3, Ireland. The fourth quarter is the arms of the Dukes of Alba of the House of Álvarez de Toledo, the predecessors of the de Silva and Fitz-James Stuart Dukes of Alba, respectively.

The whole shield is set with a border of alternating England (in this case, Gules a lion passant or) and France (here, Azure a fleur-de-lys or). The coronet above the shield is that of a Spanish duke, and the crest is An angel garbed in the arms of the Duke of Alba and maintaining a sword in its dexter hand and an orb in its sinister hand, all proper.

Anyway, I thought that I was just going to spend a little pleasant time looking at the paintings of a Spanish artist of whom I had no prior knowledge. And I came away with the confirmation that, once again, "You can find heraldry everywhere!"

Reel Heraldry: Anne of the Thousand Days, Final Part

2026-07-09T02:00:00.000-05:00

For this final post on the heraldry to be seen in the 1969 movie Anne of the Thousand Days, starring Richard Burton, Genevieve Bujold, Irene Pappas, and Anthony Quayle, the heraldry we are looking at today is a bit of a mixed bag. I'd give them an "A" for effort, but in the end my feeling is that of the statement, "Close, but no cigar."

Let me show you what I mean.

There are two pieces of heraldry to discuss in this still from the movie: a standard, and a banner.

The standard (in the center of the photo) appears to be that of King Henry VIII, although it lacks the cross of St. George in the hoist. See image from Wikipedia (immediately below) for comparison.

As you can see (you may want to click on the first image to see the full-size version for better - though not great - detail), the two standards look very much alike, but the one from the movie lacks the cross of St. George/arms of England in the hoist.

Next, the arms on the banner (as opposed to what it should be, a banner of the arms) look like a close variant of the arms of Howard, Duke of Norfolk: Quarterly: 1, Gules on a bend between six crosses crosslet fitchy argent an escutcheon or charged with a demi-lion rampant pierced through the mouth by an arrow within a double tressure flory counterflory gules (Howard); 2, Gules three lions passant guardant in pale or in chief a label of three points argent (Brotherton); 3, Checky or and azure (Warren); and 4, Gules a lion rampant or (Fitzalan).

The difference in the banner here (ignoring as much as I can the fact that the mantling issues from some kind of a coronet, which is NOT the coronet of a duke, or even that of an earl, instead of a helm) has something that doesn’t look quite like crosses crosslet fitchy in the first quarter, and the second quarter has an azure field instead of gules (I can’t make out the charge(s) on this quarter at all, whether they are lions or something else) and a label of five points.

It's almost like someone who didn't know the difference between a banner of a coat of arms, and a square flag with a blue field that has a sort-of achievement of arms on it (not terribly unlike many of the state flags of various U.S. states, now that I think about it!), wanted to put the arms of Thomas Howard, 3rd Duke of Norfolk (who was the uncle of both Anne Boleyn and Catherine Howard) on it, but either didn't want to, or didn't know enough to, copy them properly, and ended up with this "almost but not quite" depiction.

As I said, I'd give it an "A" for effort, because they did come "close, but no cigar" (for hitting the mark correctly.

The final coat of arms from the movie is the one on the chairback in this scene:

I have been unable to determine whose arms these are, even assuming that they are a real coat of arms and not something created from someone's imagination just for this scene in the movie.

They are somewhat difficult of blazon. There is a blue field, and three gold rampant lions, but then a small gold rose between two black, perhaps, birds? across the center of the shield.

I very much dislike in blazoning to follow the field immediately with the word "between,"* particularly when, as here, the surrounding charges seem to be of greater size (and importance) than the smaller charges in fess. So the best that I can come up with is: Azure three lions rampant, between them in fess a rose or between two [birds?] sable.

I am not truly content with that blazon, but since I have been unable to fnd these arms under this or any other blazon, I'm not sure that I need to worry much over it. Is it a "real" coat of arms? It may be. And if it is, it is also entirely possible that the colors of the field and/or the charges are incorrectly painted. But I'm not going to spend the time necessary tracking down all of the possible arms of "[field] three lions rampant, between them in fess a rose between two birds." Just sayin'.

Still and all, it's been an intersting romp through this particular old movie, looking at all the heraldry, seeing what they got right, what they got wrong, and what they almost got right. I hope that you have enjoyed this as much as I have. And if you ever get the chance to see this movie in the future (it's available on DVD, and shows up occasionally on Turner Classic Movies on cable), I hope you notice its many displays of heraldry!

* The general rule of blazon that I learned years and years (and years!) ago was to "blazon from the field up, and from the center out". That is to say, blazon the field first, then the charges lying on the field, then the charges lying on other charges; and also blazon from the center of the shield first, and then the outer or peripheral charge(s).

Reel Heraldry: Anne of the Thousand Days, Part 7

2026-07-06T02:00:00.000-05:00

Today I'm going to complain about another bit of heraldry that appeared in the 1969 movie Anne of the Thousand Days.

I am doing this not because the arms involved are incorrect, or because they are an anachronism (that is, something that is chronologically out of place).

No, the issue here is an anachorism, a geographical misplacement, the incorrect assignment of a person, event, or object to a location where it clearly does not belong.

Take a look at this screenshot and see if you can tell me what it is that is out of place:

You can click on the image above to see the larger photograph, but I expect that many of you will recognized the hangings in the background even from the small image here.

Yes, those are the Unicorn Tapestries, a series of late-15th-century tapestries, now housed at The Met Cloisters in New York City.

Woven in wool, silk, and metallic threads, they depict a sweeping, magical narrative rich in both secular romance and Christian symbolism:

The Story: The tapestries follow a party of noblemen and hunters as they stalk, capture, and resurrect a mythical unicorn.

The Climax: In The Unicorn in Captivity (the most famous of the series), the beast sits peacefully alive, chained to a pomegranate tree within an enchanted garden.

The tapestries were woven in the Southern Netherlands (likely Brussels) between 1495 and 1505.

That much for the background. Now for the anachorism:

The coats of arms on the tapestries are those of the Le Vistes, a French noble family from Lyon. Their arms are Gules on a bend azure three crescents argent.

So, the Unicorn Tapestries are perfectly in period for the time setting of this movie. They are not an anachronism.

However ... I can conceive of no way that these tapestries would have been hung in any palace, much less a royal one, in England at that time. Thus, they are shown in a place other than where they belong. They are an anachorism.

And anyone who has the least bit of familiarity with the Unicorn Tapestries, upon seeing them set here in a Royal palace in England, is going to be pulled right out of the movie and go, "Nuh uh! No way!"

As I was, and as I did.

So much heraldry in this movie. And so much really good heraldry in this movie. And then to be pulled right out of it with something like this.

Yes, I know that I am not really this movie's audience, and that most of the people who have seen it, or who might see it in the future, wouldn't know the difference. But that same argument could be used for every other bit of heraldry to be found there. "No, we don't need to use Anne Boleyn's (or Cardinal Wolsey's, or for that matter, even King Henry VIII's) real coat of arms. Most of the people watching this will never know the difference."

Phooey! They got a bunch of it right. It wouldn't have taken much more effort to get all of it right. Just sayin'.

Reel Heraldry: Anne of the Thousand Days, Part 6

2026-07-02T02:00:00.000-05:00

Well, we've just spent five entire posts talking about how (mostly) good the heraldry is in the 1969 movie Anne of the Thousand Days. Today (and next time) we're going to turn that around, and look at where the heraldry to be found in the movie is not up to par.

First up is a picture we saw last time, which showed the arms of Cardinal Thomas Wolsey (at the right) along with two other coats of arms.

The arms in the center are clearly identified as the arms of Pope Clement VII, as you can see from this close-up.

The arms displayed here are Azure six bezants three two and one. However, Pope Clement VII (pope from 1523-1534), born Giulio di Giuliano de' Medici, bore the Medici arms of Or six torteaux one two two and one, the uppermost replaced by a roundel azure charged with three fleurs-de-lis or.

Clement VII's arms can be found in the Insignia pontificum Romanorum et cardinalium II 1540 Cod.icon. 267, on the website of the Bavarian State Library (there is a link to this website under the heading "Some Good On-Line Armorials and Ordinaries" in the left-hand column of this blog. Look for the entry named "Münchener DigitalisierungsZentrum Digitale Biblithek"). The arms seen in this manuscript are clearly not those labeled as his in the movie!

The other coat of arms in the image above, are presumably supposed to be those of Cardinal Lorenzo Campeggio (1474-1539), the last cardinal protector of England. In 1528, Campeggio returned to England in order to hear the case for divorce between Henry VIII and Catherine of Aragon. Hence his inclusion in the scene from the movie above.

Due to the mental duress and his affliction with gout, this period of time was particularly unpleasant for Campeggio.

But the arms shown behind Cardinal Campeggio appear to be Azure a processional cross argent, overall a pallium and on a chief or three roundels(?) sable. However, the Campeggio arms are: Per pale or issuant from the line of division the dexter half of a double-headed eagle armed or; and Or, a hound rampant sable collared gules.

These arms can also be found in the Insignia pontificum Romanorum et cardinalium II:

It just seems a shame to me, that they could get so much of the heraldry in the movie correct for the characters, and then miss these two by so much!

Reel Heraldry: Anne of the Thousand Days, Part 5

2026-06-29T02:00:00.000-05:00

Today we come to the character in the movie whose arms appear more often than any other: Cardinal Wolsey.

Played in the movie by Anthony Quayle, Thomas Wolsey (1473-1530) was Lord Chancellor of England, as well as the King's almoner, a papal legate, and Archbishop of York. His appointment as a cardinal in 1515 by Pope Leo X gave him precedence over all other English clergy. Well, at least until Henry VIII broke from the Catholic church and established himself as the supreme head of the church in England.

Wolsey's arms are of the very busy style popular in Tudor times, consisting of two different types of charges on a cross, and two other different types of charges on a chief.

Be that as it may, we see Wolsey's coat of arms in a number of settings:

In Wolsey's rooms, carved and painted over the door (on the right) and embroidered under a gilded canopy (to the left):

Here are better views of the embroidered arms under the canopy in that room:

Painted onto the headboard of his bed:

And here they appear again behind Wolsey (on the right) during the hearing of the case for divorce between Henry VIII and Katherine of Aragon:

(We will be looking at this last photo again in a later post discussing the two other coats of arms which appear behind the two cardinals.)

And finally, we have a banner of the arms of the Archbishopric of York (Gules two keys in saltire wards to chief and outward argent in chief a crown or)* impaling Wolsey's personal arms (I have mirrored the images to show the shield in its proper orientation instead of the reverse side of the banner):

It was a bit of a thrill to see all of these different depictions of Cardinal Wolsey's arms. It was even more gratifying to see that these arms are correctly recreated in the movie! The arms are instantly recognizable as Wolsey's wherever they appear. (Something that does not always happen, as we will discuss in a later post on this same movie.)

* We have seen these arms before in this blog, from my 2022 trip to York.

Reel Heraldry: Anne of the Thousand Days, Part 4

2026-06-25T02:00:00.000-05:00

Continuing our look at the heraldry in the 1969 movie Anne of the Thousand Days, we come now to the arms of the Anne of the title, Anne Boleyn (or Bullen).*

There are two places where her arms appear (both times marshaled with those of King Henry VIII), and in these instances, it is easier to see than it was with the arms of Henry's first wife, Catherine of Aragon, that someone did their homework.

First, we get these two images (an establishing shot and a close-up) of these arms on a tapestry behind Henry:

As you can see in the second photo, the embroidered arms are very detailed, showing each of the six quarters (including quarter four, a grand quarter) of Anne's arms.

You can also see her male griffin supporter holding up the sinister side of the shield.

The other scene is one with Anne in bed showing the headboard with Henry's arms impaling hers.

Here, ther arms are fine, but the male griffin supporter has somehow become an heraldic tyger. How they got it correct for the one but not the other I cannot say.

In any event, and as in the previous post on the arms of Queen Katherine of Aragon, here from the Insignia Anglica armorial owned, digitized, and uploaded on-line by the Bavarian State Library, is the impaled arms of Henry and Anne for comparison:

If you compare the arms drawn in the Insignia Anglica and compare them to the two different depictions of the arms from the movie, you can see what a really good job they did. I admit to being very impressed, even with the issue of substituting a tyger for the male griffin supporter on the arms on the headboard of the bed.

* You have to remember that spelling was not regularized back then. While the surname is generally spelled today as Boleyn, you will note that it is also spelled as Bolleyn in the Insignia Anglica, and is often accepted as Bullen today. But even a hundred years after the setting of the movie, you find people spelling names however they heard them. In my own family tree, I have a number of Bigelow ancestors, and while the name is regularized as Bigelow today, I have found spelling variants running the gamut all the way from the very short Biglo all the way up to Biggalough.

And don't even get me started on my Scottish Forbes line! Farrabas to Forbush in just two generations before some descent lines came back to Forbes. To understand some of the variants, you have to remember that Forbes in Scotland is pronounced with two syllables, not one - For-bess - and then allow for my immigrant ancestor pronouncing it with a thick Scottish brogue. Today, here in the States at least, it is pronounce with only one syllable.

Reel Heraldry: Anne of the Thousand Days, Part 3

2026-06-22T02:00:00.000-05:00

For our bit of heraldry to be found in the 1969 movie Anne of the Thousand Days, we see the marshaled arms of King Henry VIII and his first wife, Catherine of Aragon, in a stained glass window in the background behind actress Irene Papas, who played Catherine in the movie.

As you will note, the windows also have the not terribly helpful "H" and "K" over the two coats of arms, for Henry and Katherine.

Alas, because it was in the background, the focus is not very good, and it is hard to make out Catherine's (or Henry's, for that matter) arms, even in a cropped and enlarged version.

At least with Henry's arms, you can visualize what you ought to be seeing here.

But on poor Catherine's, it is impossible to make out anything, much less identify what her arms are supposed to be.

Fortunately for us, we have a good, nearly contemporary version of her arms marshaled with Henry's, in a mid-16th century English armorial entitled Insignia Anglica, which can be found as item BBS-Hss Cod.Icon. 291 on the website of the Bavarian State Library in Munich, Germany.

Voilá!

So here we have the sorely needed clarity of Catherine's arms and her supporter falcon, of which this last is barely distinguishable in the window from the movie.

Does the window in the movie use Catherine of Aragon's actual arms? It is too indistinct to make out to be able to say either way.

Nonetheless, I will certainly give them an "A for effort" in this case. Because overall, the movie had a lot more good, that is to say, accurate, heraldry than not.

Reel Heraldry: Anne of the Thousand Days, Part 2

2026-06-18T02:00:00.000-05:00

Today, we're going to look at some of the Royal badges that can be seen in the movie Anne of the Thousand Days.

And unlike the line from a different movie, The Treasure of the Sierra Madre, which goes:

"Badges? We ain't got no badges. We don't need no badges! I don't have to show you any stinking badges!"

In Anne of the Thousand Days, we not only get shown badges, but they are (unlike the Royal arms on the tapestry from last time and in the first picture below) done correctly!

First off, if you look closely to the side of the right-hand page erecting the large tapestry we complained about last time, you will see the crowned portcullis badge, which King Henry VIII inherited from his grandmother, Lady Margaret Beaufort.

Other Royal badges appear in the movie as well. For example, the crowned Tudor rose of the Tudors and the crowned pomegranate, a Spanish badge introduced into England as a Royal badge when Katherine of Aragon married Prince Arthur, "much displayed under Henry VIII until the dissolution of his marriage with Catherine." (Heraldic Badges in England and Wales, II.1. Royal Badges, by Michael Powell Siddons, page 197.)

Here's a closer look at these two badges behind Richard Burton portraying King Henry VIII.

The badge of a crowned Tudor rose could take any one of several different forms. The most common is a red rose charged with a white rose, but as you can see on the breast of this guardsman, it could also take the form of A rose quarterly gules and argent seeded and crowned or.

Next time, more heraldry from this classic movie!

Reel Heraldry: Anne of the Thousand Days, Part 1

2026-06-15T02:00:00.000-05:00

As I have said before many times, and as recently as my last post before this one, "You can find heraldry everywhere!" And "everywhere" would include right in your own living room, sitting on your recliner, watching TV.

I recently had the opportunity to rewatch the old movie Anne of the Thousand Days, starring Richard Burton as King Henry VIII, Genevieve Bujold as Anne Boleyn, Irene Papas as Queen Katherine of Aragon, and Anthony Quayle as Cardinal Wolsey.

Unsurprisingly, at least to me, there was a lot of heraldry in the movie: some excellent, some okay, and some that made me go, "That's not right."

So today and through the next several posts here, we're going to look at a bunch of that heraldry and talk about, as they say, "the good, the bad, and the ugly."

To begin:

King Henry VIII's heraldry shows up a lot in the movie. As only a sampling:

But then we have this, well, I hesitate to call it an abomination, but it certainly isn't the arms of Henry VIII or any other English king. And this despite the fact that they give it pride of place early in the movie!

Admittedly, it's a very nice tapestry being hung by two pages, and they did get parts of the central coat of arms correct: those are the lion rampant guardant and dragon supporters (thought the dragon should be gules, or red, as you can see in the first and third photographs above); that is Dieu et mon droit [God and my will] on the motto scroll; and that is a Tudor crown above the achievement.

But whose arms are those? Quarterly: 1 and 4, Gules three fleurs-de-lys or; 2 and 3, Azure three lions passant guardant in pale or. They've reversed the tinctures of the quarters! The first and fourth quarters should be France, with a blue field; and the second and third quarters should be England, with a red field! It looks like a real tapestry, with even some Royal badges on it, so I'm guessing someone spent a lot of money to have it made. It's just a shame that they couldn't get the proper colors in the quarters of the shield.

Next time, some more Royal badges to be seen in the movie!

Once Again, Proof That You Can Find Heraldry Everywhere!

2026-06-11T02:00:00.000-05:00

So there I was, just sitting in my living room, watching one of my favorite reality TV shows, House Hunters International.* I like watching the show because I often get to see places I've not seen before, at least not in person, and occasionally I get to see someplace that I have visited before, and it's fun to for any buildings or streets that I have seen (or walked on) myself.

Anyway, I was sittiing there, just minding my own business, while a couple was looking for a place to live in Poggio Bustone in central Italy.

And as they were walking the streets of the town, a carved shield on a wall caught my eye. It only showed for a second or two, so of course I had to rewind to get a better look.

And here's an enlarged picture of the arms.

A quick search (I mean, there are a lot of clues on the shield, so it didn't take much research) determined that these are, as I - and no doubt you - suspected, the arms of the town of Poggio Bustone, Italia.

And here, from the Heraldry of the World website, is a color version of those arms:

Anyway, I thought that this was something kind of cool to run across while just sitting in my living room not looking for heraldry at all. And there it was! Proof positive once again demonstrating my old saying that, "You can find heraldry everywhere!"

* Yes, I am fully aware that the show is scripted. The people featured on it have already selected the place they want to live sometime before and are just going through the motions of having to choose between three different places. That's okay; as I said above, that's not why I watch the show.

It's June 10, International Heraldry Day!

2026-06-10T11:19:22.803-05:00

Today is June 10, and once again, it is International Heraldry Day!

Once again, it is International Heraldry Day, and this drawing remains one of my favorite depictions of my arms (along with that of my late wife Jo's), done by the late UN diplomat and heraldic artist Sunil Saigal.

Jo's arms are blazoned "Argent semy of sexfoils purpure." Why, you ask? Because, she said, she always wanted to have sex on her shield. Bah-dum-dum, cymbal crash. She had a weird sense of humor. It was just one of the things that helped us to get along so very well.

The Arms of a Bishop and Coadjutor Bishop

2026-06-08T02:00:00.000-05:00

For our next, and final, stop in Passau, Germany, we find this armorial display of four shields dated 1525. (As always, you can click on the image below to see the full-size photograph in greater detail.)

At the top we have what I bellieve to be the crest of Wiguleus Fröschl von Marzoll, Bishop of Passau 1500-1517, placed on a shield. Issuant from a coronet, a dexter cubit arm gules the hand closed around stone proper. However, other depictions of the crest I have seen do not have the coronet, so my identification here could be incorrect.

The shield on the left in the center is badly worn on the outside, but it looks like the arms of Ernst von Bayern, Coadjutor Bishop* of Passau, 1517, Administrator of Passau, 1517-1540, Administrator of Salzburg, 1540-1554. His arms are: Quarterly: 1 and 4, Argent a lion rampant gules; 2, Sable a lion rampant or crowned gules; and 4, Lozengy bendwise azure and argent. (At least one old armorial substitutes wolf from the arms of the City of Passau for the lions in the first and fouth quarters.)

The shield on the right in the center is very badly worn, to the point of unidentifiability, but might be the arms of the City of Passau, Argent a wolf rampant gules.

And finally, the shield at the bottom is the arms of Wiguleus Fröschl von Marzoll, Bishop of Passau. One old armorial colors these arms as: Quarterly: 1 and 4, Gules a lion with the face of a tusked man rampant argent (Pachhamer); 2 and 3, Or a frog tergiant vert (Fröschl von Marzoll).

The colors of the second and third quarters from that old armorial are incorrect. Rietstap's Armorial Général blazons the Fröschl von Marzoll arms (translated into English) as Sable a frog tergiant or.

The arms are canting. The family name is derived from "fröschl," which means "little frog" in Bavarian dialect.

Albeit somewhat worn, and even a little confusing in places, it is still an interesting display of heraldry!

* A coadjutor is a person appointed to assist another in their duties. The term is most commonly used in religious and historical contexts to refer to a bishop or archbishop appointed to assist a diocesan bishop with the right to automatically succeed them upon their retirement or death.

The Complex Armorial Displays of a Prince-Bishop

2026-06-04T02:00:00.000-05:00

At our next stop in Passau, Germany, we find two displays of a very complex armory: the arms of Johann Philipp von Lamberg (1651-1712), Prince-Bishop of Passau. (Wikipedia entry: https://en.wikipedia.org/wiki/Johann_Philipp_von_Lamberg). He was also a cardinal of the church, but the red galero of a cardinal does not appear in either of these displays.

First, we have this stone-carved rendition of his arms on a railing (as always, you should click on the image to go to the full-size photograph to see these arms in greater detail):

These arms appear in Rietstap's Armorial Général, blazoned:

Rietstap: Lamberg d’Amerang – Aut. (Comtes, 1636; princes, 1707). Ec: aux 1 et 4 parti: a. fascé d’ar. et d’azur de quatre pièces; b. de gu. plein (Lamberg); aux 2 et 3 d’or à un chien braque ramp. de sa., langue de gu., coll. et bouclé d’or (Pottwein ou Podwein). Sur le tout de gu. à deux lévriers affr. d’arg., coll. d’or, ramp. contre une echelle de quatre échelons d’or (de la Scala ou Scaliger).

They appear in Rolland and Rolland's Illustrations to the Armorial Général:

Here is my English translation of Rietstap of these arms, including the addition of another inescutcheon with the arms of the City of Passau: Lamberg of Amerang – Austria (Counts, 1636; princes, 1707) Quarterly: 1 and 4; Per pale, a, Barry of four pieces argent and azure; b, Gules plain (Lamberg); 2 and 3, Or a pointer dog rampant sable langued gules collared and buckled or (Pottwein or Podwein); overall two inescutcheons, (dexter) Argent a wolf rampant gules (the city of Passau); (sinister) Gules a ladder of four rungs or supported by two greyhounds rampant respectant argent collared or (de la Scala or Scaliger), the two inescutcheons surmounted by a bishop’s mitre proper.

These arms also appear in color over an altar:

You can decide for yourself how accurate my blazon is by comparing it with the detail of the arms over the altar immediately below:

In both displays, behind the shield is a bishop's crozier and the sword of a prince flanking a processional cross, surmounted by the crown of a prince.

All in all, I find these to be fascinating displays of what is really some very complex heraldry, identifying both the man and his offices.

It is, as Mel Brooks said in A History of the World, Part I, "good to be the king," but clearly, as demonstrated here, it is also good to be the Prince-Bishop!

The Arms of a Kingdom

2026-06-01T02:00:00.000-05:00

Following along on Katie's trip up the Danube, we come to the city of Passau, Germany, where she found the arms of the Kingdom of Bavaria.

The arms of the Kingdom of Bavaria are: Quarterly Pfalz (Sable a lion rampant crowned gules), Franken (Per fess indented gules and argent), Margraviate of Burgau (for Schwaben, the area of the Staufen family) (Bendy sinister argent and gules a pale or), and Veldenz (Argent a lion rampant [here, queue forchy] azure crowned or), an inescutcheon of the arms of Wittelsbach (the longtime ruling family in Bavaria) (Paly bendy [or Lozengy bendwise] argent and azure).

These were the Bavarian Kingdom coat of arms from 1835 until the end of the monarchy on November 12, 1918.

We have seen these arms before, on a sign in London, England, no less!

The sign is for "King Ludwig Wheat Beer. Beer of Royal Highness".

It was King Ludwig I (reigned 1825-1848) who adopted these arms in 1835. King Ludwig I is not nearly so well known as his grandson, King Ludwig II, "the Mad", also called "the Fairy Tale King", best known for building Neuschwanstein Castle.

The Complex Arms of Schwarzenberg

2026-05-28T02:00:00.000-05:00

In our last post, we saw the less complex arms of the Schwarzenberg lords of Český Krumlov, Czechia, consisting as they did of simple quartered arms. Today, we're going to look at the later, more complex Schwarzenberg arms, with four different quarters plus an inescutcheon divided per pale.

But first, who were these people? The Český Krumlov website informs us:

The House of Schwarzenberg is a prominent Bohemian and Franconian noble family whose influence has spanned Central Europe since the Middle Ages. The family became notable for its military service to the Habsburgs, extensive estates in Bohemia and Austria, and ongoing prominence in Czech and European history.

Origins and Rise

The Schwarzenbergs trace their lineage to Seinsheim in Franconia, first recorded in the 12th century. They rose to prominence in imperial service, acquiring the Schwarzenberg lands in the 15th century. Their Bohemian branch began after extensive estates were purchased and developed in southern Bohemia, particularly around Český Krumlov, following the defeat of the Ottomans and the consolidation of Habsburg power.

Political and Military Influence

Members of the family held significant military and diplomatic roles within the Habsburg monarchy. Karl Philipp, Prince of Schwarzenberg, gained fame as commander of the Allied forces that defeated Napoleon at Leipzig in 1813. Other family members served as governors, diplomats, and politicians in the Austro-Hungarian Empire and later in Czechoslovakia.

Cultural and Economic Legacy

The Schwarzenbergs became major landowners and patrons of art, architecture, and science in Central Europe. They oversaw the construction and preservation of notable residences such as Hluboká Castle and Orlík Castle, centers of cultural patronage. Their estates were nationalized under communist rule after 1948, though some properties have since been returned

With all that as background, let's take a look at their later coat of arms. (As always, I recommend clicking on the images below to go to the full-size photographs to be able to see the details more clearly.)

Returning to the city's website: The German noble family of Schwarzenbergs was originally called the Lords of Seinsheim and their proper emblem was a shield with silver and blue stripes. After the conquest of Raab, the Turkish fortress, the emblem was enlarged in 1599 by Adolf zu Schwarzenberg with head of a Turk, his eyes being pecked out by a raven. In 1688, there was another modification of the coat-of-arms which was improved by the symbols of other dominions. Three red spikes on a field symbolise the Schultz dominion which was annexed to the dominion by Ferdinand zu Schwarzenberg after the marriage with Marie Anna von Schultz. A burning twig (or "firebrand", making this quarter canting arms) symbolises the Brandis dominion. In the heart shield of the coat-of-arms there are emblems of the Schwarzenberg dominions - a tower on a black hill and Kleggau - three golden sheaves. The prince's crown above the coat-of-arms symbolises the prince's title.

Here's a color version of these arms that I found on the internet that will give you a better idea of what they looked like:

Quarterly: 1, Paly of eight argent and azure; 2, Per fess indented argent and gules; 3, Argent a firebrand bendwise sable flammant proper; and 4, Or a Turk's head [here, bendwise] couped being pecked by a raven proper; overall an inescutcheon Per pale Gules a tower argent atop a trimount issuant from base sable, and Azure three garbs of wheat or.

The motto Nil nisi rectum means Nothing but right.

You may note that in the second picture above, the third quarter has the Turk's head palewise.

In the second picture, and in the drawing of the arms immediately above, they are encircled by the collar of the Order of the Golden Fleece.

So, based on the earlier quartered arms, but with two additional coats in the quarters, plus an inescutcheon. Well, I did say that these would be a lot more complex!

A More Complex Eggenberg Coat of Arms, and a Less Complex Schwarzenberg One

2026-05-25T02:00:00.000-05:00

Last time, I told you that we would be seeing a more complex coat of arms of the Eggenberg lords of Český Krumlov, Czechia. That one, last time's, was simply Quarterly; this time's is Quarterly of six!

And next to it, on two different buildings in the city, is a simpler (Quarterly: 1 and 2; 3 and 4) version of the coat of arms of the Schwarzenberg lords of Český Krumlov. Next time, we'll see the more complex version (Quarterly: 1, 2, 3 and 4, and an inescutcheon) of those arms.

Now, on to today's armorial displays. (Be sure to click on the images to see the full-size versions with much greater detail.)

Here, on the right side of the building, we have, from left to right, the Eggenberg arms and the Schwarzenberg arms.

The Eggenberg arms are blazoned: Quarterly: 1, Argent five roses gules seeded or (Český Krumlov); 2, Per fess or and azure a cross moline issuant from a crescent (Gradiška); 3, Gules an eagle displayed argent armed and beaked or (Aquilea); 4, Per pale azure and gules an eagle displayed argent (Postojna); 5, Azure an anchor or (Ptuj); and 6, Or a wheel argent (Radgona/Radkersburg); overall an inescutcheon Argent in pall three crows or ravens displayed heads to center sable holding in their beaks a crown or (Eggenberg).

The Schwarzenberg arms (not the oldest, those being simply the first quarter of the arms here, as lords of Seinsheim), are blazoned: Quarterly: 1 and 4, Paly of eight argent and azure (Seinsheim); 2 and 3, Or the head of a Turk couped, his eyes being pecked out by a raven all proper (Raab). (The head of the Turk is found in different orientations in different depictions of the Schwarzenberg arms: fesswise, bendwise, and palewise. Because of that, I have elected not to blazon its orientation.)

These same two coats of arms are also found on the façade of the museum here, flanking the arms of Bohemia, which itself is centered above the arms of the city. (Again, click on the image below to see the full-size photograph):

Two families, commemorating a transition from one family to another as lords of Český Krumlov, Czechia. And, also, marking a transition from the more complex arms of the older family to the simpler arms of the newer one. But, of course, even those simpler arms will become more complex, as we will see next time!