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Blazons & Genealogy Notes

(co. Devon). Per fesse indented or and sa. three martlets counterchanged. Crest—A dexter arm embowed per pale sa. and or, holding in the hand ppr. a plume of feathers, two sa. one or.

Origin, Meaning, Family History and Midwinter Coat of Arms and Family Crest

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Midwinter Coat of Arms Meaning

The two main devices (symbols) in the Midwinter blazon are the martlet and per fesse indented. The two main tinctures (colors) are sable 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 1. 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 2. Although it may seem a sombre tone, and does indeed sometimes denote grief, it is more commonly said to represent Constancy 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.

The martlett is by far the most common bird to appear in British Heraldry, perhaps only equalled by the eagle, however it is not a species ever to be found in an ornithologists handbook! The word itself is though to have come from the French word merlette, the female blackbird and itself a similar type of charge used in French Heraldry. 7. Over time the image has become quite stylised, without visible legs or distinctive feathers. Wade suggests that this representation arises from “the appearance of the bird of paradise to ancient travellers” 8. Other bird species may be named in coats of arms (cornish chough is a frequent example) but in actual execution their appearance is often indistinguishable from the martlet.

The background of the shield can be divided into two potrtions in a variety of ways, and each portion coloured in a different fashion. In European Heraldry there is a tendency to use these areas to combine two different coats of arms, but in British and Scottish heraldry the preference is to treat the divided field as a single decorative element with other features placed as normal. Whatever tradition is followed, one of the most common divisions is per fesse, a simple separation along a horizontal line. 9. Visually rather striking, it became popular and artists added decorative effects to the partition line to distinguish otherwise very similar coats of arms. 10 A line drawn indented, i.e. in a saw-tooth pattern might be taken for dancettee, but in this case the individual “teeth” are much smaller. An early author, Guilllim seeks to associate this decoration with fire 11, and one can see the resemblance to flames. The visual effect is quite striking, an good example being the arms of DUNHAM (Lincolnshire), which are Azure, a chief indented or.

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References

  • 1 A Glossary of Terms used in British Heraldry, J.H. Parker, Oxford, 1894, Entry:Sable
  • 2 Boutell’s Heraldry, J.P. Brooke-Little, Warne, (revised Edition) London 1970, P 26
  • 3 The Symbolisms of Heraldry, W. Cecil Wade, George Redway, London, 1898 P35
  • 4 The Symbolisms of Heraldry, W. Cecil Wade, George Redway, London, 1898 P35
  • 5 Understanding Signs & Symbols – Heraldry, S. Oliver & G. Croton, Quantum, London, 2013, P53
  • 6 A Complete Guide to Heraldry, A.C. Fox-Davies, Bonanza (re-print of 1909 Edition), New York, 1978, P76-77
  • 7 A Glossary of Terms used in British Heraldry, J.H. Parker, Oxford, 1894, Entry:Martlet
  • 8 The Symbolisms of Heraldry, W. Cecil Wade, George Redway, London, 1898 P79
  • 9 Understanding Signs & Symbols – Heraldry, S. Oliver & G. Croton, Quantum, London, 2013, P63
  • 10 A Glossary of Terms used in British Heraldry, J.H. Parker, Oxford, 1894, Entry:Party
  • 11 A Display of Heraldry, J. Guillim, Blome, London, 1679, P39
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