Explanation of the Arms of the Office of the Chief Herald of Arms of Malta

Total Page：16

File Type：pdf, Size：1020Kb

EXPLANATION OF THE ARMS OF THE OFFICE OF THE CHIEF HERALD OF ARMS OF MALTA The arms used by the Office of the Chief Herald of Arms of Malta were approved by the Malta Cabinet Office on 3rd June 2019. • The motto, ‘VIRTUTE ET CONSTANTIA’ is incorporated in the Arms of the Office of the Chief Herald in deference to Malta’s most senior order, the National Order of Merit. • The blue disc (in heraldry called a hurt), represents the Mediterranean Sea in the centre of which lie the Maltese islands.The golden edge of the Hurt represents Malta’s “imperial and royal history” as part of the Kingdom of Aragon and subsequently of Spain, the Principality of Malta at the time of the Order of St. John of Jerusalem and the Kingdom of the Two Sicilies, the British Empire and lastly the time when Malta was an independent monarchy from 1964 until 1974. • Malta derives its heraldic heritage from the three main royal authorities which once ruled the Maltese islands and the finials on the Maces represent two of those sources; The finial of one mace (the dexter or left, as you look at the Arms) represents Aragon. It bears the undifferenced Arms of that kingdom. The shield of Aragon is surmounted by the Cross of Aragon. The finial of the other mace (the sinister or right as you look at the Arms) represents the Principality and Fortress of Malta, the seat of the Order of St. John of Jerusalem which defended Malta. The mural crown represents Fortress Malta. • The Arms bear a Crest Coronet. This is a “simple” crest and not a Coronet of rank. The crest coronet of the Chief Herald of Arms of Malta is composed simply of 14 oak leaves, devoid of any royal trappings. • Naturally the eight-pointed cross – often commonly called the “Maltese Cross”- is very closely associated with Malta’s history. It also appears on the insignia of the Maltese National Order of Merit and is used in these Arms for its historical legacy and because the Order of Merit is Malta’s highest institution of honour. .

Copy Link

Recommended publications

Heraldry in the Republic of Macedonia (1991-2019)
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 1 September 2021 doi:10.20944/preprints202109.0027.v1 Article Heraldry in the Republic of Macedonia (1991-2019) Jovan Jonovski1, * 1 Macedonian Heraldic Society; [email protected] * Correspondence: [email protected]; Tel.: +38970252989 Abstract: Every country has some specific heraldry. In this paper, we will consider heraldry in the Republic of Macedonia, understood by the multitude of coats of arms, and armorial knowledge and art. The paper covers the period from independence until the name change (1991-2019). It co- vers the state coat of arms of the Republic of Macedonia especially the 2009 change. Special atten- tion is given to the development of the municipal heraldry, including the legal system covering the subject. Also personal heraldry developed in 21 century is considered. The paper covers the de- velopment of heraldry and the heraldic thought in the given period, including the role of the Macedonian Heraldic Society and its journal Macedonian Herald in development of theoretic and practical heraldry, as well as its Register of arms and the Macedonian Civic Heraldic System. Keywords: Heraldry in Macedonia; Macedonian civic heraldry; Republic of Macedonia. 1. Introduction The Republic of Macedonia became independent from the Socialist Federative Re- public of Yugoslavia with the Referendum of 8 September 1991. The Democratic Federal Macedonia was formed during the first session of the Anti-Fascist Assembly for the Na- tional Liberation of Macedonia (ASNOM) on 2 August 1944 (it later became the People’s Republic of Macedonia, a federal unit of the Federal People’s Republic of Yugoslavia).
[Show full text]
Graham Jones
Ni{ i Vizantija XIV 629 Graham Jones SEEDS OF SANCTITY: CONSTANTINE’S CITY AND CIVIC HONOURING OF HIS MOTHER HELENA Of cities and citizens in the Byzantine world, Constantinople and its people stand preeminent. A recent remark that the latter ‘strove in everything to be worthy of the Mother of God, to Whom the city was dedicated by St Constantine the Great in 330’ follows a deeply embedded pious narrative in which state and church intertwine in the city’s foundation as well as its subse- quent fortunes. Sadly, it perpetuates a flawed reading of the emperor’s place in the political and religious landscape. For a more nuanced and considered view we have only to turn to Vasiliki Limberis’ masterly account of politico-religious civic transformation from the reign of Constantine to that of Justinian. In the concluding passage of Divine Heiress: The Virgin Mary and the Creation of Christianity, Limberis reaffirms that ‘Constantinople had no strong sectarian Christian tradition. Christianity was new to the city, and it was introduced at the behest of the emperor.’ Not only did the civic ceremonies of the imperial cult remain ‘an integral part of life in the city, breaking up the monotony of everyday existence’. Hecate, Athena, Demeter and Persephone, and Isis had also enjoyed strong presences in the city, some of their duties and functions merging into those of two protector deities, Tyche Constantinopolis, tutelary guardian of the city and its fortune, and Rhea, Mother of the Gods. These two continued to be ‘deeply ingrained in the religious cultural fabric of Byzantium..
[Show full text]
Scanned Using Book Scancenter 5131
Roberto Breschi: Precursory Projects of the Regional Emblems in Italian Geopolitical Area Abstract: In 1927 emblems for all the Regions of the Italian geopolitical area - Kingdom of Italy and some geographically Italian territories across the border - were proposed. Some were quite new hut most of them were inspired by historical symbols. From the end of the Second World War to 1970 the Regions of the new Italian Republic, once simple traditional entities, became more or less autonomous administrative subjects, and they needed local symbols as coats of arms, gonfalons and flags. In some cases the 1927 proposal can be considered a bridge betw’een the earliest times and the today emblems. Caesar Augustus, the first emperor of Rome, had already arranged Italy in regions, and it is surprising how some of them quite exacdy coincide with modern ones 1^1. The boundaries of the various states that over the centuries had divided the peninsula marked even more the shape of the future regions. So in 1861, when the unity of the nation (1861) was going to be completed, the Italian regions had a well defined profile. Nevertheless, from the administrative point of view, they remained for several decades only assemblages of provinces, without any organ of local government. Just after the Second World War, when the republican constitution came into force in Italy (1948), the regions became autonomous bodies with their powers and assignments. A statute of special autonomy, at once effective, was provided for four regions (Sicily, Sardinia, Aosta Valley and Trentino-Alto Adige (in 1963, a fifth, Friuli-Venezia Giulia, was added).
[Show full text]
Marble Sculptures from the Imperial Palace in Sirmium
UDC 904:73"652"(497.113) DOI: 10.2298/STA0656153P 153 IVANA POPOVI] Institute of Archaeology, Belgrade MARBLE SCULPTURES FROM THE IMPERIAL PALACE IN SIRMIUM Abstract. – Few fragments of marble sculpture have been found in the course of the archaeological excavations conducted in Sirmium between 2003 and 2005 at site 85 which is believed to be part of the imperial palace complex. The most important are two almost completely preserved heads of deities. The head of a young person made of milky white, fine-grained marble of exceptionally fine texture from Pentelicon was found under the Late Roman floor in room 7 of the residential structure. The sculpture, of exceptional quality, is from the second half of the 1st century and represents a deity, most probably Venus or Apollo. Another head made of Carrara marble, from the 4th century, was found in a secondary position and on the basis of its mural crown is identified as the Tyche of Sirmium. Key words. – Roman sculpture, marble, Sirmium, deities, personifications. ew fragments of marble sculptures have been smooth surface of the face. It is parted in the middle, discovered in the course of systematic archae- framing the face in gentle waves modeled in relief and F ological excavations conducted in Sirmium with locks emphasized by incisions. On the back of the from 2003 to 2005 at site 85 which is almost certainly head the side locks combed over the ears are gathered the imperial palace complex1 (Fig. 1). The most im- portant are certainly two almost completely preserved heads of deities. * The author presented a brief account of these finds at the The head of a young person (C 109/2003) made of International Meeting Les ateliers de sculpture réginoaux: techni- milky white, fine-grained marble of exceptionally fine ques, styles et iconographie, Xe Colloque international sur l’art texture and originating from Pentelicon2 was discove- provincial romain, Arles et Aix-en-Provence, 21–23 mai 2007.
[Show full text]
Jerusalem of Gold — Revisited Shalom M
Shalom M. Paul Jerusalem of Gold — Revisited Shalom M. Paul Hebrew University of Jerusalem 25* Jerusalem of Gold — Revisited In an article published over thirty-five years ago,1 I discussed the meaning of the unique Sumerian phrase uru kù·gi which appeared in line 4 of an inventory list of the trousseau of Ahatmilku, queen of Ugarit (mid-fourteenth century BCE):2 1 uru kù·gi (= Akk. ālu hurāsuִ ) ki·lá·bi (= Akk. šuqultašu) 2 me’at 15, “one city of gold whose weight is 215 (sheqels).”3 Though Nougayrol provisionally translated this item as a “couronne murale,” he was unable to bring any additional epigraphic evidence for the identification of this piece of jewelry. He supported his assumption, however, by referring to iconographic representations that depict such a crown on the heads of female deities and queens. I, in turn, drew documentary support from rabbinic literature for such a mural crown worn by women, where the Hebrew interdialectical semantic and partially etymological cognate, כל תכשיטי נשים טמאים: עיר של :was well attested. Thus, in m. Kelim 11:8 it is stated ,עיר של זהב All women’s ornaments are susceptible to impurity (e.g.), a city of gold.” Compare“ ,זהב A woman may not go out (to the public domain“ ,לא תצא אשה...בעיר של זהב ,also m. Šabb. 6:1 on the Sabbath wearing)… a city of gold.”4 That this article of jewelry was worn only by ר' ,women of a high and wealthy status is shown by the following statements: b. Šabb. 59b Rabbi Elazar was of the opinion, ‘Who“ ,אלעזר סבר מאן דרכה למיפק בעיר של זהב? אשה חשובה is accustomed to go out (wearing) a city of gold? A women of high standing’”; y.
[Show full text]
9730 Ira.Ant. 12 Goldman
Iranica Antiqua, vol. XXXII, 1997 WOMEN’S ROBING IN THE SASANIAN ERA BY Bernard GOLDMAN This brief description is intended as an introduction to women’s dress in Sasanian times with comparanda that helps to place the Iranian styles within the general history of late antique dress in Western Asia. Unfortu- nately, the task is self-limiting, bringing to mind the platonic metaphor of dancing shadows on the cave wall. The habiliment of early Iranian women, like all other early Asian dress, has not survived except as a few bits and pieces of woven stuff1. Our knowledge, then, must derive from those shadowy costumes cast on a few rock reliefs, on some luxury table- ware, glyptics and coin types, and on less than a handful of painting and mosaic fragments. The fragility of this type of evidence accounts no doubt for the scant attention Sasanian costuming has received and, when it is remarked, too often the tendency is to accept these shadows as if they were the substance2. A further complication in any discussion results from the relatively small numbers of pictured women in the several art media, and most of these examples are not easily controlled as to date or place of origin. 1 For preserved Sasanian textiles, figural designs, patterns, Goldman 1993, n. 2; for textile patterns related to or derived from the Sasanian, von Falke 1951; Ierusalimskaia 1972, 11, 14. 2 Several factors pertain in discussing pictured dress and its usefulness in dating: a particular type of dress may assume a traditional role and be worn, copied, or portrayed long after it had dropped out of fashion; an outmoded style may enjoy a revival; official and religious portraits may be clothed in traditional forms that are not limited to any one period; a style may come into fashion later and persist longer in one region than in another; distinctive style details of different periods may overlap and equitably coexist for extended periods.
[Show full text]
Heraldry in Ireland
Heraldry in Ireland Celebrating 75 years of the Office of the Chief Herald at the NLI Sir John Ainsworth Shield Vert, a chevron between three battle-axes argent Crest A falcon rising proper, beaked, legged and belled gules Motto Surgo et resurgam Did you know? Sir John Ainsworth was the NLI's Surveyor of Records in Private Keeping in the 1940s and 1950s. Roderick More OFerrall Shield Quarterly: 1st, Vert, a lion rampant or (for O Ferrall); 2nd, Vert a lion rampant in chief three estoiles or (for O More); 3rd, Argent, upon a mount vert two lions rampant combatant gules supporting the trunk of an oak tree entwined with a serpent descending proper, (for O Reilly); 4th, Azure, a bend cotised or between six escallops argent (for Cruise) Crest On a ducal coronet or a greyhound springing sable; A dexter hand lying fess-ways proper cuffed or holding a sword in pale hilted of the second pierced through three gory heads of the first Motto Cú re bu; Spes mea Deus Did you know? This four designs on the shield represent four families. Heiress Leticia More of Balyna, county Kildare married Richard Ferrall in 1751. Their grandson Charles Edward More O'Ferrall married Susan O'Reilly in 1849. Susan was the daughter of Dominic O'Reilly of Kildangan Castle, county Kildare who had married heiress Susanna Cruise in 1818. Dublin Stock Exchange Shield Quarterly: 1st, Sable, a tower or; 2nd, Vert, three swords points upwards two and one proper pommelled and hilted or; 3rd, Vert, three anchors erect two and one argent; 4th, Chequy, sable and argent, on a chief argent an escroll proper, inscribed thereon the words Geo.
[Show full text]
Heraldry for Beginners
The Heraldry Society Educational Charity No: 241456 HERALDRY Beasts, Banners & Badges FOR BEGINNERS Heraldry is a noble science and a fascinating hobby – but essentially it is FUN! J. P. Brooke-Little, Richmond Herald, 1970 www.theheraldrysociety.com The Chairman and Council of the Heraldry Society are indebted to all those who have made this publication possible October 2016 About Us he Heraldry Society was founded in 1947 by John P. Brooke-Little, CVO, KStJ, FSA, FSH, the Tthen Bluemantle Pursuivant of Arms and ultimately, in 1995, Clarenceux King of Arms. In 1956 the Society was incorporated under the Companies Act (1948). By Letters Patent dated 10th August 1957 the Society was granted Armorial Bearings. e Society is both a registered non-prot making company and an educational charity. Our aims The To promote and encourage the study and knowledge of, and to foster and extend interest in, the Heraldry Society science of heraldry, armory, chivalry, precedence, ceremonial, genealogy, family history and all kindred subjects and disciplines. Our activities include Seasonal monthly meetings and lectures Organising a bookstall at all our meetings Publishing a popular newsletter, The Heraldry Gazette, and a more scholarly journal, The Coat of Arms In alternate years, oering a residential Congress with speakers and conducted visits Building and maintaining a heraldry archive Hosting an informative website Supporting regional Societies’ initiatives Our Membership Is inclusive and open to all A prior knowledge of heraldry is not a prerequisite to membership, John Brooke-Little nor is it necessary for members to possess their own arms. e Chairman and Council of the Heraldry Society The Society gratefully acknowledges the owners and holders of copyright in the graphics and images included in this publication which may be reproduced solely for educational purposes.
[Show full text]
Descriptive Catalogue of the Art Collections of Bowdoin College
Bowdoin College Bowdoin Digital Commons Museum of Art Miscellaneous Publications Museum of Art 1906 Descriptive Catalogue of the Art Collections of Bowdoin College Bowdoin College. Museum of Art Henry Johnson Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-miscellaneous- publications Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bowdoin College. Museum of Art and Johnson, Henry, "Descriptive Catalogue of the Art Collections of Bowdoin College" (1906). Museum of Art Miscellaneous Publications. 3. https://digitalcommons.bowdoin.edu/art-museum-miscellaneous-publications/3 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Miscellaneous Publications by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. BOWDOIN COLLEGE DL5CRIPTIVL CATALOGUE of the ART COLLLGTION3 which undervalue .he fine Instruction , do not e.ch town the public museum In Pictures *lve. But I think of this charge o own « d., relieve the private house :„ Te walls of the ", and see on the ,h.hritn* them. I go to Rome h, Raphael. recKoned the he Tr nsn.ura.ton. painted ::^.ean the grand the Slstlne Chapel . see Sctl^e in the world, or In ™";." ... >— ™.Obviously, " ~.y more. ^ ^ . „^ wouiawould bi«»"eladlyj con- .^t^t«»t «!utv. Every one of us the :r.rrht:"t .h:^ore .... the more considerable had become. institution
[Show full text]
Hwang Umd 0117E 15489.Pdf (965.1Kb)
ABSTRACT Title of Document: EMPOWERING IMAGES: NEGOTIATING THE IDENTITY OF AUTHORITY THROUGH MATERIAL CULTURE IN THE HELLENISTIC EAST, 140-38 BCE HyoSil Suzy Hwang, Doctor of Philosophy, 2014 Directed By: Professor Marjorie S. Venit, Department of Art History and Archaeology During the late-second to first century BCE, Tigranes II the Great of Armenia (140-55 BCE), Antiochos I Theos of Commagene (ca. 86-38 BCE), and Mithridates VI Eupator of Pontus (134-63 BCE) employed multivalent imagery to legitimize their positions and assert their authority amid the changing political landscape of the Hellenistic East. Each king’s visual program shaped and reflected the political dynamics of his reign, the mixed cultural identity of his population, and the threats posed by foreign powers. As the kings negotiated their positions within an environment rife with military conflict and in territories composed of multi-ethnic populations, they created nuanced visual programs that layered ties to multiple historic precedents and religious authorities. Each king’s program intended to communicate differently to diverse audiences – both foreign and domestic – while simultaneously asserting the king’s position as the ruler of a powerful and unified realm. This dissertation considers the rulers’ creation and dissemination of such imagery, revealing new dimensions of ruling ideologies and visual culture in the Late Hellenistic East. EMPOWERING IMAGES: NEGOTIATING THE IDENTITY OF AUTHORITY THROUGH MATERIAL CULTURE IN THE HELLENISTIC EAST, 140-38 BCE By HyoSil Suzy Hwang Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2014 Advisory Committee: Professor Marjorie S.
[Show full text]
192 Introduction
192 Introduction Antiquities are easily described in just a few simple words: ‘objects, buildings or works of art from ancient times’. This perhaps rather stark definition, although true, fails to capture the elusive magic that one can experience in the presence of something thousands of years old. Often whilst examining an antiquity, turning it about in our hands, it is not unusual to encounter a moment of illumination that brings it to life. This sudden revelation may be caused by a dribble of paint (the result of a too-full brush), the short parallel marks of the sculptor’s chisel on stone, or the thumbprint the potter left when the clay was still wet. At such instances something remarkable happens: the centuries roll away and we are next to the ancient artist or craftsman, someone just like ourselves in many respects but living in an utterly different world. This is a strangely moving experience, unnerving, direct and personal; more immediate than walking through archaeological sites, temples or tombs. Time contracts and we become part of a great continuum. It is akin to listening to music or seeing a great painting and one of the thrills of civilisation. Used as we are to seeing antiquities locked inside glass cabinets in museums, it is easy to forget that, whether part of the paraphernalia of funerary rites, votive offerings or luxury goods for a wealthy elite, they were familiar elements of daily life in the ancient world. It is naturally a privilege to possess these objects which have, through accident or good fortune, survived the ravages of age.
[Show full text]
YN4 Chapter 3.Indd
A TRANSITIONAL ISSUE FROM THE ROMAN MINT AT LONDON Hubert J. Cloke GALERIUS, as Augustus. May 1, 305 – May, 311 AD. Æ Follis (29.1 x 27.4 mm, 10.27 g; 7 h). Londinium (London) mint. Struck 305 AD. RIC VI 42 (var). OBV: IMP C MAXIMIANVS P F AVG. Laureate and cuirassed bust right REV: GENIO POPV-LI ROMANI. Genius standing left, wearing towered crown, holding patera and cornucopiae The recent appearance of a previously unknown Galerius type for London, an unmarked, unreduced follis on which the fi gure of Genius is draped across the lower body, and wears a mural or towered crown and military boots – rather than a bare footed fi gure, wearing a cape across the left shoulder, and the modius crown which is usual for this period – prompts a review of the use of this design on the coins of London. The new coin appears to be a variant of RIC VI 42 for London, a coin issued during the second tetrarchy, most likely dating from late in the unmarked series, an estimate based on reasons to be discussed below.1 This is not the fi rst appearance of this variety of Genius on an unreduced follis from one of the western mints of Trier, Lugdunum, or London. Sutherland in RIC VI2 docu- ments several uses at Trier and Lugdunum, but fails to note the earliest use of this type at London, an apparently unique follis of Diocletian in the British Museum, from the very 1 I am grateful to Richard Abdy, Edward Besly, Richard Bourne, Christian Cloke, and Richard Doty for their helpful responses to queries made during my research for this article.
[Show full text]