ÆTHELMEARC
COLLEGE OF HERALDS - commentary archive
Letter of Intent #87 Myfanwy ferch Riannon
Feast of St. Procopius
8 July AS XL
Greeting from Myfanwy!
Herein pray find commentary on Æ #87. I tried to be relatively
thorough,
despite having only a few days to work on the LoI (I was out of town
for nearly
a week, and before that I was trying to get some external commentary
done and
sent off). Everything has been conflict checked in the O&A, and in
the
LoARs up through February 2005, (although I can believe I may have
missed some
things in the LoARs).
I remain your servant and the Society’s.
Lady Myfanwy ferch Rhiannon
Ruth Morrisson
myfanwy@nauticom.net
1. Aimeric de Miraval -- Azure, a viola, in chief three crosses clechy
Or.
I don’t have the source cited. However, doing Google searches got me to
websites that give information about the two troubadours cited. For
Raimon de
Miraval I found several sites; one of them [URL:
http://www.mosselabyrinth.co.uk/web.php?id=1307] says:
Raimon de Miraval was well known at the court of the Trencavel
[sic]
dynasty in Carcassonne. It was around the turn of the 13th century that
he
wrote: Pauc val qui non es enveios
E qui non desira-l plus car
E qui no s’entremet d’amar
Greu pot esser gaillartz ni pros
Que d’amor ven gaugz e ven bes
E per amor es hom cortes …
(He who does not love is worth little, for he who neglects love can be
neither
brave nor gallant. From love come good and joy. Love makes man courtly
…)
Another site [URL: http://www.bartleby.com/65/tr/troubado.html] cites
him as
amongst the most famous of the troubadours living between 1090 and
1292.
Information about Aimeric de Peguilhan can be found at [URL:
www.hoasm.org/
IIA/Almeric.html]; it said:
Almeric de Peguilhan
(c.1170-1230)
Troubadour. His first patron was Raimon V of Toulouse, and in the
course of a
wandering life he came to know all the greatest musical patrons of the
time. Of
his work there survive fifty-four poems and six melodies.
Note that other references I found (by means of a mistyping of the
name) got me
several hits for “Almeric de Peguilhan” (mostly for modern recordings
of his
work by such groups as Sequentia). I suspect that this is an alternate
spelling
of the same name.
Raimon and Aimeric appear to be contemporaries.
Good name!
While not particularly well drawn, these are, in fact, crosses clechy
[c.f., PIC-DIC,
fig. 165]. I’m not sure if the primary charge actually is a viola. It
seems
almost identical to the depiction of a “viol” [c.f., PIC-DC, fig. 779],
and may
get reblazoned as such.
Possible reblazon: Azure, a viol, in chief three crosses clechy Or.
clear of: Ciann Ua Neill (10/89 Atenveldt) -- Azure, a lute bendwise
sinister
Or between two moons in their complement argent.
There is at least one CD for significant changes to the secondaries;
there is
also one for changing the orientation of the primary charge.
clear of Rhiannon Christian (4/87 Atlantia) -- Azure, a lute palewise
affronty
between in chief two clarions argent.
clear of Elizabeth of Dendermond (12/83 Meridies) -- Azure, a viol
argent
between two endorses Or.
There is a CD for changing the tincture of the primary charge, and at
least one
for significant changes to the secondaries.
clear of: Annabella MacClure (7/97 Middle) -- Purpure, a viol between
in chief
a thistle bendwise and and a thistle bendwise sinister Or.
There is a CD for changing the field tincture, and one for type and
number of
secondaries.
clear of: Balian FitzGilbert (1/90 East) -- Azure, a two-headed lion
rampant
guardant to sinister, in chief three crosses potent Or.
There is complete change of primary charge. There is probably also a CD
for the
type of crosses.
2. Aislinn Fitzpatrick
The ÓC&M cite is as given [p. 21]. Usually, variant forms
(subsidiary
headers) can be roughly dated as to whether they are before or after
the colon
in the header. As this does not have any other forms, except in the
text (where
it says: “Aislinge [sic] occurs once as a male name in the early
literature.”),
I am unsure as to how to date this.
3. Annabella MacRae
The Talan cite is not quite as given [URL:
http://www.s-gabriel.org/names/talan/
scottishfem/scottishfemlate.html}. “Anabella” is the header form. The
submitted
spelling is not listed; dated citations are for “Anabelle”, dated to
1410, and
“Annabell”, dated to 1589. Additionally, I checked Effric’s article
“Early 16th
Century Scottish Lowland Names” [URL:
http://www.MedievalScotland.org/scotnames/lowland16/
womenalpha.shtml]; various spellings are listed, dated between 1501 and
1550,
but none of them have the final “-a”, and in fact most spellings end in
“-ll”.
According to Withycombe [p. 26, sn Annabel(la)], the submitted spelling
is a
latinized form (although no dated citations are given.
The Black cite is as given [p. 560].
4. Anastasie de Lamoure -- Azure, three thimbles, on a chief argent a
needle
azure.
I don’t have that Dauzat. Morlet [p. 578, sn Lamoure] seems to suggest
that the
name is a locative, but does not give any dated citations.
Artist’s note: the needle is faced this way because the SCA.default,
according
to the PIC-DIC [sn Needle, and c.f., fig. 522] is point to base; since
arrows
are pointed the same way, it made sense to rotate them fesswise in the
same
manner as arrows (i.e., the opposite way from swords, which would, when
fesswise, be point to dexter).
Possible reblazon: Azure, three thimbles, on a chief argent a needle
fesswise
azure.
clear of: Zomyw Chenad (2/05 Æthelmearc) -- Azure, the lowercase
letter lambda
and on a chief argent a carrot azure.
There is complete difference in primary charge group (i.e., from one
lambda to
three thimbles); note, however, that there may only be change of type
of
tertiary on the chief (I can’t tell from the blazon which direction the
carrot
is pointed).
5. Arkhelaia Vsevolozha -- Gules goutty, on a chief argent, a lightning
bolt
fesswise sable.
The name docs are as given [pp. 12 and 405, respectively]. Note that
there is a
temporal inconsistency in the name elements, but the submitter does not
appear
to request authenticity.
Technically, as per the blazon, these are goutty d’eau [c.f. Parker,
p.p.
290-92, sn Gouttes]. While this may not need to be specified, doing so
may help
some scribe less well versed in our jargon, to be able to follow the
blazon a
bit better.
Possible reblazon: Gules, goutty d’eau, on a chief argent, a lightning
bolt
fesswise sable.
no conflicts found
6. Barony of the Rhydderich Hael (badge) -- Per pale vert and sable, a
Celtic
hound passant, tail reflexed, collared, standing atop a longbow
fesswise,
string to chief, maintaining in its mouth an arrow fracted chevron-wise
[sic]
Or.
In the past nonstandard depictions such as Celtic-style critters have
been
returned. There is an Elsbeth Precedent continuing that ban [URL:
http://www.sca.org/heraldry/laurel/precedents/elsbeth/armory.html#STYLE]:
While the wolf was drawn in a style based on period artwork (the Book
of Kells
[sic]), it was not drawn in any style consistent with period heraldry
[sic], nor
even with any artwork used at the same time as period heraldry. The
College of
Arms has declined to register Celtic knotwork art, including beasts in
that
style,
for several years. [Conall in fáelchú mac Duibdarach,
06/01 (sic),
R-Meridies]
This will probably be reblazoned by Wreath as “a dog”, even if it isn’t
returned outright.
The arrow counts for nothing. I don’t believe the tail position will
count for
much either. It will be a Wreath judgment call as to whether the bow is
considered maintained or sustained, but I fear it may be the former
(and
therefore also counts for nothing).
probably clear of: Avice d’Aquitaine (8/99 Artemisia) -- Per bend sable
and Or
semy-de-lis sable, a talbot passant Or.
There is a CD for changing the field, and one for adding the semy.
clear of: Berthold Wolfer (2/99 Drachenwald) -- Per fess azure and
vert, a wolf
passant contourny Or.
There is a CD for changing the field, and one for the orientation of
the
critter.
possibly not clear of: Tristen Sexwulf (6/98 Æthelmearc) --
Quarterly gules and
sable, a wolf statant Or.
There is a CD for changing the field; there may not be one for the
change of posture
from passant to statant.
7. Béibhinn MacKynnay
The ÓC&M docs are as cited [pp. 29-30].
The Black cite is more or less as given [p. 525], except the “k” is not
capitalized: “Mackynnay”.
Checking the table of compatible language elements for names [URL;
http://www.ellipsis.cx/~liana/sca/weirdness_table.html], Gaelic (i.e.,
Irish)
and Scots elements together in a name are considered a “weirdness”
(that is,
not period practice), but are registrable.
8. Bjorn bunhauss Óláfsson -- Quarterly gules and argent,
a bear statant to
sinister, on a chief sable, three double-bitted axes argent.
All the name elements are as cited, with the possible exception of
“Bjorn” --
the actual cite in Geirr Bassi is “Bj[o,}rn” (i.e., with the little
tick mark
under the “o” that my computer won’t do, so I have to use Da'ud
notation).
probably clear of: Ysemay Sterlyng (11/04 East) -- Quarterly gules and
argent,
a cross counterchanged, on a chief sable and open book between a
feather
bendwise and another bendwise sinister argent.
There is complete difference of primary charge; there may or may not be
more
than change of type of tertiaries, however.
9. Collette de Paris -- Azure, a chevron embattled ermine, between two
crescents and a lion passant, a bordure argent.
The Aryanhwy cite is as given [except that the URL is
http://www.ellipsis.cx/~liana/
names/french/paris1423.html].
The Dauzat and Rostaing cite [p. 519, 2n Paris] actually does give some
dated
citations: Hugues Capet, comte de Paris, dated to 987, and (in the form
Petit-
[sic]Paris, to 1449 (as “de Pariziis” [sic]. Reaney and Wilson
[p. 338,
sn Paris], cites Geruase de Paris [sic], dated to 1158 and
William de
Paris [sic], dated to 1238.
clear of: Alix d’Amiens (10/85 East) -- Vert, a chevron engrailed
ermine
between two crescents and a leopard’s head caboshed argent.
There is a CD for changing the field tincture, and one for changing the
type of
complex line on the chevron; there may or may not be one, however, for
changing
the type of only one of the secondaries.
clear of: Degan of Coventry (11/01 Æthelmearc) -- Gules, a
chevron embattled
ermine between three crosses bottony and a bordure argent.
There is a CD for changing the field tincture, and one for changing the
type of
secondaries.
10. Edward Harbinger -- Gules, on a bend sinister argent, three wolves’
heads
couped sable, between two spiral hunting horns Or.
The Withycombe cite is as given [pp. 94-5]. The form “Edwardus” is
dated to
1187-1219.
The submitted spelling for the byname only appears to date to 1630.
This may
get changed to one of the earlier cited spellings, although I haven’t a
clue as
to which one is most appropriate. I was hoping that there would be some
version, actually used as a surname, in Reaney and Wilson, but I was
not able
to find one.
Reblazon: Gules, on a bend argent sinister between two spiral hunting
horns Or,
three wolves’ heads couped sable.
clear of: James of Salir (2/90 West) -- Azure, on a bend sinister
between two
hunting horns argent, a hunting horn azure.
There is a CD for changing the field tincture, and one for significant
changes
to the tertiaries.
possibly clear of: Ulfrik Haraldsson av Strömö (2/94
Atlantia) -- Gules, on a
bend sinister between two ram’s heads erased contourny argent, three
cross
crosslets fitchy palewise sable.
There is a CD for changing the type of secondaries; there is change of
type,
and possibly also of orientation (i.e., from palewise to following the
line of
the bend sinister) of the tertiaries.
11. Elisabeth Johanna von der Flossenburg (badge) -- (Fieldless) On a
tower per
pale sable and argent, a fleur-de-lys counterchanged.
“Fieldless” isn’t really a part of the blazon. It’s more like a
notational
reference, and I have corrected the blazon accordingly.
This is a case where “coloring” the sable parts has reduced
identifiability
somewhat. Perhaps if the windows weren’t drawn in -- or if they were
not
depicted as being in bend -- the fleur-de-lys could be made somewhat
larger,
thus helping with its identifiability. This probably doesn’t need a
redraw, but
an artist’s note may be in order.
no conflicts found
12. Esa Baird -- Per bend sinister fleury-counterfleury azure and
argent, two
roses counterchanged, barbed and seeded proper.
The depiction of the complex line seemed strange (as in, not really
looking
like fleurs-de-lys). A quick search of various armory references turned
up an
odd fact: I have not been able to find much reference to
“flory-counterflory”
being used as a line of division by itself, except in Fox-Davies [p.
92, fig.
47 l] and (as simple “flory”) in Brooke-Little, p. 159, fig. m];
rather, it is
mostly only in relation to complex lines on charges. Parker [p. 268, sn
Fleur-de-lis] has a depiction of the arms of Goldington: Or, a bend
fleury
counter fleury azure; in this case, the top and bottom of fleurs-de-lis
are
split in two and separated by the width of the bend. A similar example
is found
in Brault [p. 86, fig. 127] which shows the (Scottish) double tressure
flory-counterflory. Woodward [p. 176] says:
But in Scotland the tressure is always double, and almost always flory-
counter-flory [sic] of fleurs-de-lis, to the number of eight at lest.
In the
well
known case of the Royal Arms [sic] of Scotland the tressure is often
inaccurately
depicted, all the heads of the fleurs-de-lis being turned outwards in
spite of
(or
rather in ignorance of the meaning of) [sic] the blazon.
When properly drawn the fleurs-de-lis are cut horizon- [sic] tally into
two
parts; and the upper and lower portions project alternately from the
outer edge
of the outer tressure, and from the inner edge of the inner one. No
portion of
the fleur-de-lis now appears upon the thin strip of the field which is
shown
between the two tres- [sic] sures. (See Plates XXXVI., XXXVII.,
XXXVIII., etc.)
[sic]
In all of these examples, the parts of the fleurs are easily
identifiable as
such. The problem with the submission is that the few examples I found
of
“flory counter-flory” as a line of division by itself seem to have a
*plain*
line with the parts of fleurs-de-lis extending out from it (much in the
same
manner as for charges). This emblazon does not show this; nor are the
particularly identifiable as fleurs-de-lis.
clear of: Doireann O Fhloinn (5/93 Calontir) -- Per bend sinister azure
and argent,
a rose counterchanged.
There is a CD for changing the number of charges, and one for changing
to a
complex line of division.
13. Francis Martin -- Per bend sinister azure and sable, a cross of
Calvalry
[sic], on a chief argent, three ravens close sable.
The Withycombe docs are mostly as cited (there appears to be a typo --
the
actual name cited is Francis Calthorpe of Norwich).
The Reaney and Wilson docs are as cited.
Artist’s note: Honestly, guys, these ravens did look somewhat hairier
on the full
size emblazon.
It’s “Calvary”, not “Calvalry” [c.f., PIC-DIC, fig. 161].
clear of: Maddalena Salutati (1/91 East) -- Azure, on a Latin cross
fleury
argent a rose proper, a chief argent fretty vert.
There is a CD for changing half the field, and one for significant
changes to
the charges on the chief. There is probably also one for the type of
cross.
probably clear of: Constanzia Moralez y de Zamora 6/01 Lochac) --
Gules, a
cross of Saintiago, on a chief argent three crescents sable.
There is a CD for changing the field, and probably one for the type of
cross
[c.f. PIC-DIC, fig. 214]. Note, however, that there is only change of
type of
tertiaries.
clear of: William of Ashby de la Zouche (12/91 West) -- Quarterly azure
and
sable, a cross clechy and on a chief argent, five ermine spots sable.
There is a CD for changing the field, and one for significant changes
to the
tertiaries on the chief. There may also be one for the type of cross.
possibly not clear of: Raven of Drachensheim (1/03 West) -- Sable, a
Latin
cross crosslet and on a chief argent a fleur-de-lys between two ravens
regardant respectant sable.
There is a CD for changing half the field. There may or may not be one
for the
type of cross. There may or may not be change of type of at least half
the
tertiaries, depending on how much weight is given to changing the type
of only
one of them and the orientation of only one of them (but that may be a
judgment
call on Wreath’s part).
clear of: Godlefe Bury (12/04 East) -- Purpure, a cross crosslet
fitchy, on a
chief argent three mullets purpure.
There is a CD for changing the field and one for changing the type and
tincture
of tertiary charges; there may also be one for type of cross.
possibly clear of: Alainne d’Ancensis (2/05 Atlantia) -- Azure, a Latin
cross
of Toulouse and on a chief argent a fleur-de-lys azure between two
crescents
sable.
There is a CD for changing half the field. There may be one for the
type of
cross; there may or may not be one for the changes to the tertiaries
(change of
type, but only changing the tincture of one of them).
14. Gaston de Barre (badge resub) -- (Fieldless) A fleur-delys [sic]
per pale
counter-ermine [sic] and gules.
C.F. note on #11.
Nicely drawn!
clear of: Helena Janowska z Bedzina (badge, 2.97 East) -- (Fieldless) A
fleur-de-lys per pale argent and gules.
clear of: Helevisa de Horsmonden (badge, 3/01 An Tir) -- (Fieldless) A
fleur-de-lys per pale azure and gules.
clear of: Guenièvere de Monmarché and Girard le
Bourguignon (badge, 1/05
Atlantia) -- (Fieldless) -- A fleur-de-lys per pale argent and azure.
In each case, there is a CD for fieldless vs. fieldless, and one for
changing
at least half the tincture of the charge.
clear of: Helena Janowska z Bedzina (2/97 East) -- Per pale gules and
argent, a
fleur-de-lys counterchanged.
There is a CD for field vs. fieldless, and one for changing the
tincture of
half the charge.
15. Gilliane McGill de Verona -- Azure, a crescent, in chief three
fleurs-de-lys, an orle argent.
The docs for “Gillian/Giliane” appear to be as cited [URL:
http://www.s-gabriel.org/names/talan/reaney/reaney.cgi?Juliana] but I
don’t
really know if you can extrapolate “Gilliane” from them as a result.
Note that
this name is English: the closest Scottish given name I could find is
“Gillis”,
dated to 1548, with the variant “Gelis” dated to 1507; both appear to
be
variants of “Giles”, which I suspect may be a different name altogether
{URL:
http://www.
MedievalScotland.org/scotnames/lowland16/womenalpha.shtml].
The Reaney and Wilson cite is as given [p. 292]; note however, that the
cite
appears to originally be from Black [c.f., Black,, pp. 497-98, sn
Macgill].
The locative is *not* found in Aryanhwy’s article (not surprising,
since it is
specifically given names); however, it does appear to be in the source
material
either [URL: http://www.stg.brown.edu/projects/tratte/doc/ORIGIN.html],
although one has to root about a bit to find the place names.
This claims to be a Scots/Italian name, but the docs provided seem to
be
partially English, not Scots, especially with an Anglo-Norman
designator thrown
in (the correct designator for Italian placenames would be “da”).
Checking the
table [URL: http://
www.ellipsis.cx/~liana/sca/weirdness_table.html] one finds that:
1) English and Italian together is a weirdness;
2) Scots and Italian together is a weirdness;
3) While English and Scots together is fine, Scots with Anglo-Saxon/Old
English
is not registrable, nor is Italian with Anglo-Saxon/Old English;
4) Anglo-Saxon/Old English together with Middle English is a weirdness.
I suspect that the locative will probably have to be dropped because
otherwise
there are *three* languages/cultures, which may not be registrable.
Possible reblazon: Azure a crescent [and] in chief three fleurs-de-lys,
[all]
within an orle argent.
probably clear of: Alheydis von Körckhingen (badge, 11/04
Æthelmearc) -- Azure,
a decrescent argent within an orle Or.
There is a CD for adding the secondaries, and probably one for the
orientation
of the crescent.
16. Keran Roslin (badge) -- (Fieldless) A heart per pale azure and
gules.
C.F. note on #11.
Currently, Keran has a registered device, and at least two badges in
process
(from Æ #85). I believe that this submission will reach the limit
of what she
can register without having to start releasing armory. According to the
Administrative Handbook, in the section on registration limits [URL:
http://www.sca.org/heraldry/laurel/admin.
html#I_B]:
1.B. Individuals and other local groups - Individuals and other Society
branches may register no more than four names and four pieces of
armory. Any
submission by an individual or branch which would otherwise exceed this
limit
must be accompanied by a release of one or more items already
registered to
them to accommodate the new item[s].
clear of: Caoilfhionn Maire Caitlin O’Neill (3/90 Caid) -- Per pale
gules and
chequy sable and argent, a heart counterchanged.
There is a CD for field vs. fieldless, and one for changing half the
tincture
of the charge.
17. Leo Bertrand de Benton (badge) -- (Fieldless) A dragon sejant erect
purpure
Per. [sic]
I presume that “Per” is just some sort of typo.
C.F. note on #11.
clear of: Dragonsspine, Barony of (badge, 1091 Outlands) -- (Fieldless)
A
wingless dragon dormant purpure.
There is a CD for fieldless vs. fieldless, and one for the critter’s
posture.
clear of: Giovanna Luigia di Milano (badge, 2/04 Caid) -- (Fieldless) A
dragon
per bend purpure and gules.
There is a CD for fieldless vs. fieldless, and one for changing half
the tincture
of the charge. There is probably also one for posture.
18. Leofwin Bennett
The Withycombe docs are as cited [p. 193]. Note that he name of several
people
named “Leofwine” are found in the Anglo-Saxon Chronicle, including [p.
132]
Leofwine, the king’s ‘high-reeve,’ [sic], dated to 1001 and [pp
198-99].Leofwine (said to be the brother of King Harold, and killed at
Hastings), dated to 1066.
The docs for the byname are mostly as given [p. 39]; the submitted form
is a
subsidiary header.
19. Magdalena Bellini
The docs for the given name are as cited [URL:
http://www.s-gabriel.org/names/arval/venice14/venice14given.
html#table].
I don’t have de Felice. A Google search for “Bellini” yielded hits for
the
artist Giovanni Bellini. One of them [URL:
http://www.ibiblio.org/wm/paint/auth/bellini/]
says: Bellini, Giovanni [sic](1430?-1516). The founder of the
Venetian school
of
painting, Giovanni Bellini raised Venice to a center of Renaissance
[sic] art that
rivaled Florence and Rome. He brought to painting a new degree of
realism, a
new wealth of subject matter, and a new sensuousness in form and color.
Giovanni Bellini was born in Venice, Italy, in about 1430. Little is
known
about his family. His father, a painter, was a pupil of one of the
leading 15th-
[sic]
century Gothic revival artists. Giovanni and his brother probably began
their
careers as assistants in their father's workshop.
In his early pictures, Bellini worked with tempera, combining a severe
and
rigid style with a depth of religious feeling and gentle humanity. From
the
beginning he was a painter of natural light. In his earliest pictures
the sky
is often
reflected behind human figures in streaks of water that make horizontal
lines
in
narrow strips of landscape. The Agony in the Garden [sic] was
the first
of a series
of Venetian landscape scenes that continued to develop for the next
century.
Four triptychs (a triptych is a set of three panels used as an
altarpiece) in
the
Venice Accademia and two Pietas, both in Milan, are all from this early
period.
Bellini's St. Vincent Ferrer [sic] altarpiece, [sic]
which is
still in the church of Santi
Giovanni e Paolo in Venice, was painted in the mid-1470s.
In his later work Bellini achieved a unique religious and emotional
unity of
expression. His method of using oil paint brought not only a greater
maturity
but an individual style. He achieved a certain richness by layering
colors in
new
and varied ways.
20. Merewyn of Dragonship Haven
The docs for the given name [URL:
http://www.s-gabriel.org/names/marieke/anglosaxonfem/]
give the header form “Mer(e)wyn”, with the forms “Merewenne”
(apparently dated
to 967-975) and “Merwenna” (dated to 966). The dating system is a bit
weird, if
one reads the introduction: from what I understand, the “S-
<number>” is
some sort of tracking system, not necessarily the date for the cite
(the
<number> x <number> notation appears to be the original
charter
date, along with the date of a revised or amended charter).
21. Micheál mac Cogadháin
The ÓC&M docs are as given [p. 136]. Note, however, that
“modern” may be a
relative term: header forms after the colon means that that they are
post-1200
forms, but may still be period.
22. Ottiliae Bischof
23. Richard von Thanner -- Per pale vert and azure, a griffin and a
lion
combatant, on a chief argent, three towers sable.
I don’t have Bahlow. Does the cite specify that “Danner/Thanner” is a
placename? If so, is the grammar correct (my high school German is
extremely
rusty at this point). If not, then I’m not sure that “von” is
appropriate.
The complexity count is eight (four tinctures, four types of charges).
no conflicts found
24. Robert Peel of England (resub)
Not everyone seeing this letter would necessarily have ready access to
in-kingdom LoRs. It would be very helpful if the submission included
the reason
for the return (although I do remember calling a conflict with Sir
Robert Peel,
for whom British police officers are affectionately nicknamed
“bobbies”).
Certainly, the reason for the original return should be included if the
resubmission is accepted at Kingdom and forwarded to Laurel. Is the
locative
added to clear this conflict? While technically it does, it still makes
me
really twitch.
25. Sven Tyrvisson -- Vert, a hammer of Thor, Or.
I presume that this is a sufficiently long time since the previous
return for
this to be considered a “new” submission rather than a resub.
The Thor’s hammer is inverted [c.f., PIC-DIC, sn Hammer, and fig. 336
b]. Any
reason why it isn’t centered on the field?
Possible reblazon: Vert, a Thor’s hammer inverted Or.
Possible reblazon: Vert, in chief a Thor’s hammer inverted Or. [Note
that this
would probably imply that the hammer was considerably smaller, in order
to be
within the top third of the escutcheon.]
possibly clear of: Hrodr-Navar Hakonsson (badge, 4/96 Caid) --
(Fieldless) A
warhammer Or.
There is a CD for field vs. fieldless; there may be one for the type of
hammer
[c.f., PIC-DIC, figs. 336 b and and 337a and b for a comparison].
probably clear of: Elgar of Stonehaven (11/97 An Tir) -- Sable,
chaussé ployé
lozengy argent and gules, a Thor’s hammer Or.
There is a CD for changing the field, and there should be one for
changing the
orientation of the hammer.
clear of: Francis Boyd the Smith (7/71 ??) -- Sable, a dexter gauntlet
bendwise
sinister grasping a hammer bendwise Or.
There is a CD for changing the field. It isn’t clear without actually
see this,
but it sounds as if the gauntlet is the primary charge (X.2), with the
hammer
maintained (in which case the hammer is a tertiary charge and counts
for
nothing); if the hammer is a co-primary, then the second CD comes from
that.
possibly clear of: Randal of Kings Hammer (5/86 West) -- Vert, a
smith’s hammer
Or between two piles in point throughout argent.
There is a CD for adding the piles. There may be one for the type of
hammer
[c.f., PIC-DIC, figs. 336 b and and 335 a for a comparison].
possibly clear of: Ancel FitzCharles (badge, 11/91 Middle) -- Vert, a
stone
hammer within a bordure embattled Or.
There is a CD for adding the bordure; there may be one for adding the
complex
line to it. There may or may not be one for the type of hammer, given
that the
one in the submission is actually inverted [c.f., PIC-DIC, figs. 336 a
and b].
clear of: Styrbjörn Halte (8/94 Drachenwald) -- Vert, in pale a
crescent
inverted and a Thor’s hammer Or.
There is a CD for adding the crescent, and one for changing the
orientation of
the hammer.
26. {Th}óra Kettlinger
The given name docs are as cited. I could not find the byname, however:
what I
did find was the descriptive byname “kettlingr”, meaning “kitten”.
Geirr Bassi
[p. 18] says:
“A noun may be used as a nickname for either a man or a woman; the
gender of
the noun and that of the bear may or may not agree.”
Assuming that the grammar is correct (and I believe it is), the name
should be
changed to {Th}óra kettlingr.
27. Torfi Gunnarsson
The docs for “Torfi” are as given.
The patronymic appears to be formed from the name “Gunnarr”, found in
Geirr
Bassi [p. 10], and does appear to be the correct formation.
28. Viola Thornhaven (resub) -- Purpure, a pile argent, a semy of
violets
leaved proper, cotised argent.
C.F. note on #24.
Note that these don’t particularly look like violets, and they
certainly don’t appear
to have violet leaves attached to them; [c.f., URL:
http://www.agry.purdue.edu/turf/weeds/violet/violet%20leaf.jpg]. I
presume they
are purple, with green leaves.
"Semy" tend to imply more than six charges -- this could easily be
reblazoned as “six violets”.
Possible reblazon: Purpure, on a pile cotised argent, semy of violets
leaved
proper.
Possible reblazon: Purpure, on a pile cotised argent, six violets
leaved
proper.
clear of: Elewys Luscomb (8/00 Ansteorra) -- Purpure, on a pile argent
a boar
rampant purpure, a bordure Or.
There is a CD for changing the type and number of secondaries, and at
least one
for changing the argent cotises to a bordure Or.
clear of: Julian of the Purple Mist (3/02 West) -- Purpure, on a pile
argent
two sprigs of laurel in fess proper.
There is a CD for adding the cotises and one for significant changes to
the
tertiaries.
29. Wilhelm Smydele von Soelinge (resub) -- Argent, a griffin segreant
gules,
winged sable, haloed Or, maintaining a rapier, a bordure sable.
C.F. note on #24
Other than a slight change of wording, there appears to be no
difference
between this and the previous submission. Is this an appeal? Has it
been
redrawn as per Laurel’s request? Additionally, there appears to be a
conflict
with
Magdalena Binder (1/05 Æthelmearc) -- Argent, a gryphon segreant
gules winged
sable haloed Or, a bordure sable.
Other than the (negligible) maintained charge, these are identical.
possibly clear of: Pomerania (12/94 Laurel) -- Argent, a griffin
segreant gules
crowned Or. [important non-SCA arms]
There is a CD for adding the bordure; there may be one for changing the
tincture of the wings.
probably clear of: Richard Hatch of Devon (6/87 Atenveldt) -- Argent, a
griffin
segreant gules, maintaining a halberd sable, between three card piques
gules.
There is at least one CD for changing the type, number and tincture of
secondaries; there may also be one for changing the tincture of the
wings on
the griffin.
clear of: Eithne ni Chailein (5/96 Trimaris) -- Or, a griffin gules
maintaining
a sword sable between three wolf’s heads erased gules all within a
bordure
sable.
There is a CD for changing the field tincture and one for removing the
heads.
There may also be one for the tincture of the wings on the griffin.
Bibliography: Black, George F. The Surnames of Scotland: Their Origin,
Meaning, and
History.
Edinburgh: Birlinn Ltd., 1999, 2004 [copyright: The New York Public
Library,
1946].
Brault, Gerard J. EarlyBlazon: HeraldicTerminologyintheTwelfthandThirteenth CenturieswithSpecialReferencetoArthurianHeraldry, 2nd Ed. Woodbridge,
Suffolk, and Rochester, NY: The Boydell Press, 1972, 1997
Bruce Draconarius of Mistholme [Bruce Miller] and Akagawa Yoshio [Kevin
Munday]. APictorialDictionaryofHeraldryAsUsedinTheSocietyforCreativeAnachronism,
2nd Ed., 1992.
Dauzat, A. and Ch. Rostaing. DictionnaireétymologiquedesnomsdelieuxenFrance,
2nd. Ed. Paris: Librairie Guénégaud, 1963, 1978.
Fox-Davies, A. C. ACompleteGuidetoHeraldry.
New York: Bonanza Books, 1978.
Garmonsway, G. N. (trans.). TheAnglo-SaxonChronicle,
Rev. Ed. London: J. M. Dent
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