Hambey Coat of Arms
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Which coat of arms or "family crest" is mine?
Choose the design you like best, just your ancestors did when they painted these symbols on the shields they carried into battle and displayed in their homes. These coats of arms are real, historical works of art/culture dating back as far as 1100AD. Most of these designs were compiled and documented by genealogists and heraldists in large books published in the nineteenth century. These arms were owned by individuals who bore your surname, and were passed down through the generations from father to son, earning the monicker "family crest".
Origin, Meaning, Family History and Hambey Coat of Arms and Family Crest
Origins of Hambey:
The ancestor of the Hambey was a person who resided among the old Anglo-Saxon culture. The name acquires from when they resided in Chiddingley, Sussex, where they took their name from Hamley Bridge. Undoubtedly the original bearer of the name resided next to the bridge, and it is possible that the support and upkeep of the bridge were his responsibility. Before English spelling regulated a few hundred years ago, spelling variations of names were a common occurrence. Components of Latin, French and other languages became organised into English through the Middle Ages, and name spellings changed even among the educated. The variations of the surname Hambey include Hambley, Hambly, Hamley, Hamby and much more.
More common variations are: Hamby, Hambe, Hamm-Bey, Hiamabey, Humbey, Hamabe, Hambeh, Haimbe, Hamaby, Hambye.
The surname Hambey first appeared in Hertfordshire where they held a family seat from very ancient times. Some say well before the Norman Invasion and the arrival of Duke William at Hastings in 1066 A.D.
Some of the individuals with the surname Hambey who landed in New-Zealand in the 19th century included Eliza Hambey arrived in Auckland, New Zealand aboard the ship “City of Auckland” in the year 1870.
Hambey Coat of Arms Meaning
The four main devices (symbols) in the Hambey blazon are the esquire’s helmet, mullett, cross engrailed and cross crosslet. The three main tinctures (colors) are sable, argent and or .
Sable, the deep black so often found in Heraldry is believed to named from an animal of the marten family know in the middle ages as a Sabellinœ and noted for its very black fur 1A Glossary of Terms used in British Heraldry, J.H. Parker, Oxford, 1894, Entry:Sable. In engravings, when colors cannot be shown it is represented as closely spaced horizontal and vertical lines, and appropriately is thus the darkest form of hatching, as this method is known 2Boutell’s Heraldry, J.P. Brooke-Little, Warne, (revised Edition) London 1970, P 26. Although it may seem a sombre tone, and does indeed sometimes denote grief, it is more commonly said to represent Constancy 3The Symbolisms of Heraldry, W. Cecil Wade, George Redway, London, 1898 P35.
Argent is the heraldic metal Silver and is usually shown as very pure white. It is also known more poetically as pearl, moon (or luna) 4Understanding Signs & Symbols – Heraldry, S. Oliver & G. Croton, Quantum, London, 2013, P53. In a sketch or drawing it is represented by plain, unmarked paper 5A Glossary of Terms used in British Heraldry, J.H. Parker, Oxford, 1847, P11.
Or is the heraldic metal Gold, often shown as a bold, bright yellow colour. It is said to show “Generosity and elevation of the mind” 6The Symbolisms of Heraldry, W. Cecil Wade, George Redway, London, 1898 P35. Later heralds, of a more poetic nature liked to refer to it as Topaz, after the gemstone, and, for obvious reasons associated it with the Sun 7Understanding Signs & Symbols – Heraldry, S. Oliver & G. Croton, Quantum, London, 2013, P53. In drawings without colour it is usually represented by many small dots, or by the letter ‘O’ 8A Complete Guide to Heraldry, A.C. Fox-Davies, Bonanza (re-print of 1909 Edition), New York, 1978, P76-77.
We should not be surprised to find items of armour depicted on shields, and perhaps to the wearer none is more important that the helmet. Wade suggests that its presence denotes “Wisdom and surety in defence”. 9The Symbolisms of Heraldry, W. Cecil Wade, George Redway, London, 1898 P139 There are many variations of helmet described, now almost indistinguishable to modern eyes, and not having any particular significance – perhaps because of some play on words with the family name. There are complex heraldic rules and guidelines for the depictions of helmets belonging to various grades of nobility, lack of space prevents us from listing them all here!10A Glossary of Terms used in British Heraldry, J.H. Parker, Oxford, 1894, Entry:helmet
The heraldic mullet, not to be confused with the fish of that name, is shown as a regular, five pointed star. This was originally, not an astronomical object, but represented the spur on a horseman’s boot, especially when peirced, with a small circular hole in the centre it represents a type of spur known as a “rowel” 11Boutell’s Heraldry, J.P. Brooke-Little, Warne, (revised Edition) London 1970, P 97. A clear example can be found in the arms of Harpendene, argent, a mullet pierced gules. The ancient writer Guillim associated such spurs in gold as belonging to the Knight, and the silver to their esquires 12A Display of Heraldry, J. Guillim, Blome, London, 1679, P107. In later years, Wade linked this five pointed star with the true celestial object, the estoile and termed it a “falling star”, symbolising a “divine quality bestowed from above” 13The Symbolisms of Heraldry, W. Cecil Wade, George Redway, London, 1898 P105.
No other symbol appearing in heraldry is subject to as much variation as the cross 14Boutell’s Heraldry, J.P. Brooke-Little, Warne, (revised Edition) London 1970, P 47. Mediaeval Europe was a deeply religious and Christian and many of the nobility wanted to show their devotion by adopting the symbol of the cross as part of the arms. Since no two arms could be identical there arose many variants of the cross, typically involving patterning along the edges 15Understanding Signs & Symbols – Heraldry, S. Oliver & G. Croton, Quantum, London, 2013, P67. The pattern engrailed is a series of scalloped indentations with the points facing outwards – and should not be confused with invected, which has the points facing inwards! Wade believes that both of these indented forms represent “earth or land”, and one perhaps can indeed see the furrowed earth embodied in them.