The two main devices (symbols) in the Lachnicki blazon are the crescent and arrow. The two main tinctures (colors) are gules and or.
Red in heraldry is given the name Gules, sometimes said to be the “martyr’s colour”1. The colour is also associated with Mars, the red planet, and the zodiacal sign Aries 2. Later heralds of a more poetical nature would sometimes refer to the colour as ruby, after the precious stone.3.
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” 4. 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 5. In drawings without colour it is usually represented by many small dots, or by the letter ‘O’ 6.
For easy recognition of the items on a coat of arms, and hence the quick identification of the owner, bold simple shapes are best. Hence, simple geometric shapes are often used for this purpose 7xz`, and the crescent Is a typical example of this, and can appear in any of the main heraldic tinctures. Some common is this device that there are special names for its appearance in various orientations – whilst it lies normally with points upward, the decrescent points to the sinister side, and the increscent to the dexter 8. The allusion, obviously is to the shape of the moon in the sky (indeed, the French have a version “figuré” which includes a face!) and has been said to signify both “honour by the sovereign” and “hope of greater glory” 9.
Given the martial nature of the origins of Heraldry, in the identification of knights and men-at-arms it can come as no surprise that mediaeval weaponry of all types are frequently to be found in a coat of arms 10. The regular prescence of the arrow, both singly and in groups is evidence of this. In British heraldry a lone arrow normally points downward, but in the French tradition it points upwards. 11. The presence of an arrow in a coat of arms is reckoned to indicate “martial readiness” by Wade. 12