THE
MALTESE HERALD
JUNE 2015, VOL 1, ISSUE 1
June 2015 No. 1 Vol. 1
Araldika Malta (Malta Heraldry) is an organisation established in 2012 by a small number of individuals sharing a common interest in the subject of heraldry in Malta. Our team aims to provide interesting information on the coats of arms that surround and represent every one of us, and in so doing preserve the heraldry that is part of our vast national heritage. All the work released by Araldika Malta serves as an active contribution to increase public awareness of this art and science which has made its way into the very fibre of Maltese society throughout the ages.
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CONTENTS 5.
Editorial
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Weapons in Maltese Heraldry
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The Griffin in Maltese Heraldry
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Image: French Heraldic Prints
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Book Review: Stemmi delle Famiglie
Patrizie di Venezia 24.
Poster: Medici
The front page depicts an inlaid marble slab bearing the Borg coat of arms. The picture was taken in St Paul’s Shipwreck church in Valletta. The Borg family name is amongst the most common surnames in Malta, and different versions of this shield appear. Some display hills as a pun on the Maltese word borġ ġebel (a heap of stones), whilst other versions display a tower. However, sometimes the bull is displayed—a reference to the Borgia family which lived in nearby Sicily, which have a special connection to Birkirkara, Malta.
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EDITORIAL The bare shield is a canvas for the artist and a record for the historian. Heraldry is a language just like any other which survived centuries through the medium of art, genealogical lineage, institution and tradition. The vibrant colours, different shapes and objects spread in and around the shield have kept people’s eyes fixed in curious gaze at the armorial bearings which adorn the many private and public buildings in Malta and Gozo. The recent appointment of His Most Reverend Charles J. Scicluna as Archbishop of Malta on 25 February 2015, has stirred public interest in the design and significance of the new coat of arms which was to replace his predecessor’s and be fixed to the facade of every church on the Maltese islands. Word spread, wondering why the Scicluna coat of arms bears a rampant horse and crescent as its armorial representation, and what the addition of the rose as a new charge meant. However, lack of knowledge as to the rules of heraldry was clearly evident in the design of these shields, which served as a reminder of the need for the sharing of educative information on this subject.
out by Araldika Malta – the preservation of Maltese heritage. The many interesting articles which shall be published through the many future editions aim at shedding light on and give meaning to the many shields that adorn our architecture, art and texts. Contributions from local and foreign authors not forming part of the executive committee of Araldika Malta will also be featured within this publication in efforts to encourage the participation of interested persons. It is therefore with great pleasure and pride that Araldika Malta introduces the reader to ‘The Maltese Herald’. The reader is welcome to submit comments and suggestions to this newsletter in pursuance of its growth and improvement.
Dr. Marc Agius Fernandez LL.D.
Since its founding in 2012, Araldika Malta has slowly but surely already contributed a great deal towards the preservation of the art of heraldry which throughout the centuries has been ingrained in Maltese history and culture. This exercise was performed through the organisation of lectures and the public distribution of posters with familial and civic coats of arms which continue to provide explanations to questions which have riddled the Maltese population’s mind for years. ‘The Maltese Herald’ serves as yet another step towards the fulfilment of Araldika Malta’s ambition and objectives. This newsletter, which shall be released on a three month basis, shall contain selected articles, the nature of which will range from any topic of interest within the study of heraldry in Malta. Available to the public at no cost, the purpose of ‘The Maltese Herald’ is to provide a reliable source of information to all those who wish to learn more about this old and yet modern study. Furthermore, the main focus of this newsletter shall serve the same purpose as every other work carried
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Overleaf: Coat of arms of the Holy Roman Emperor in his right as Lord of Milan.
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Weapons and Heraldry Ivan Vassallo Warfare is at the origins of heraldry and thus representations of weapons can inevitably be found on various coats of arms of both families and institutions or towns. These would not only be represented on the main escutcheon, but also displayed as accompanying accessories. The use of the helm above the shield and weapons with armour as supporters are a common example of such accessories. In Malta, as abroad, a broad range of weapons appear on various coats of arms as a testament to the martial origins of heraldry. Coats of Arms of Maltese Nobility and families Maltese nobility seldom display weapons within their coats of arms. A particular exception is the Bonici or Bonnici coat of arms which is blazoned gules a sword argent. A description of this shield appears in Gian Frangisk Abela’s Della Descrittione di Malta where it is stated that it was the second coat of arms pertaining to this family, he first one being azure, a fleur-de-lys argent: “del secondo dopo il suddetto assedio, una spada ignuda col manico d’oro in campo vermiglio”1 The Bonnici coat of arms can be seen in various locations in Malta, such as upon Palazzo Bonici near the Manoel Theatre in Valletta, a magnificent palace which was commissioned by Rev. Filippo Bonici. Another landmark location where this particular shield may be observed is upon one of the large palaces in St. Paul’s square, beside the cathedral in Mdina. Other Maltese families also display weapons as their main charge on their coat of arms. The oddest of these is the armorial bearing of the Ventura family which shows a winged arrow. Other coat of arms which include the arrow are Saetta, Violante, Amore, Calafato, Castaldi, Barbara, Efner, Flamingo, Peralta. The arrow also appears in the co-Cathedral of St. John as in the case of the Knight Iacobo Rull from Spain, in the case of the surname Ballestero a whole crossbow is used as the main charge on the shield. Other weapons include axes, lances and maces such as in the case of Podesta,
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Lanzon, Azzilla, Depetri, Manara, Villeneuve and Mazzingo. An interesting example of the use of weaponry in Maltese heraldry may be found upon the shield of Monsignor Ignazio Panzavecchia, one of Malta’s political leaders in the early twentieth century. In this particular case a cannon is displayed, thus providing an unusual, but fine, piece of artillery in the heraldic sphere. , Families like those of Agius and Spiteri show the main charges, a Griffin and a lion Passant, holding a sword in their forepaws. Human figures holding weapons also appear in heraldry as in the case of the lance for the Debono coat of arms. Weapons and Civic Heraldry in Malta In Malta’s civic heraldry, weapons appear only in few instances, namely the coat of arms of Vittoriosa, Pembroke, St. Paul’s Bay, Marsalforn and Sannat. By far, the main and most common charge is the sword. The use of the sword has different implications and historical background. Whilst the use of the sword or swords in the Vittoriosa and Pembroke coat of arms, is connected to the military history of the towns and cities, those of St. Paul’s Bay and Marsalforn which have a snake around the sword have stronger connections with religion, more specifically with St.
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Paul as it was the instrument of his martyrdom. The same charge also appears in ecclesiastical heraldry on the arms of St. Paul’s Parish in Rabat (Malta) and the Valletta Collegiate chapter. The town of Iklin also shows the image of Saint Michael holding a sword with rosemary flowers surrounding the border of the shield, in a pun on the name “iklin” which the Maltese word for rosemary. Interestingly, with reference to the arms of Vittoriosa, 2 Gian Frangisk Abela harkens back to the origins of the shield, which is attributed to the aftermath of the Great Siege. On the other hand the crossed golden swords on a red field of Pembroke’s coat of arms are reminiscent of the ensigns used by the British Army which also use the crossed swords defaced with the British Royal Crest. On the other hand, the coat of arms of Sannat in Gozo, shows in chief two sickles. Despite the obvious connection with agriculture, the sickle may be considered to have a dual nature both beneficial in harvesting crops, but also a violent connection as a weapon. Similarly the coat of arms of the Sicilian town of Trapani and the Maltese family holding the same name also show a sickle on their respective coat of arms.
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Images Pg 8. Coat of Arms of Bonici, Barons of Qlejja. Note the upheld sword in the central shield. (Right Top) Coat of Arms of Canon Igniazio Panzavecchia (Right Below) Monument displaying the coat of arms of Vittoriosa
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Images (Top) Coat of Arms of Grand Master de Vilhena, Ta’ Giezu Church, Valletta (Centre) Regimental Colours of the Armed Forces of Malta (Bottom) Detail from a portal in Warsaw showing the Syrenka armed with a sword, the main charge of the Warsaw coat of arms.
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One particular coat of arms which displayed a weapon, was that of the town of Marsa prior to the introduction of the Local Councils. This coat of arms was blazoned as: azure an arrow or in bend, on a bend sinister gules three stars argent.3 The meaning of this coat of arms is obscure and scarce information is given in this respect. The Armed Forces under the British Empire and after independence Being a British Fortress colony, badges of the Maltese Regiments would inevitably be inspired and drawn in the British tradition and fashion. The most enduring symbol is by far the cannon on a carriage which belonged to the Royal Malta Artillery and which was inherited on the Regimental Colour and Cap Badges of the Armed Forces of Malta. The only significant difference was the removal of the St. Edward’s Crown following the declaration of the Republic and the Reorganisation of the Armed Forces of Malta. During the early twentieth century a number of airfields were devised for the fledging Royal Air Force in Malta, which would be of use during the Second World War. In this respect, the main charge would be birds and particularly eagles and phoenixes. However, there was one notable exception, that of the Ta’ Qali airfield which displayed an armoured knight holding a lance on a chequered background a reference to the Norman Hauteville family which conquered Malta in 1091 and the Knights Hospitallers. Following the rundown of the services and the closure of the airfield this badge is not in use anymore.
sword and shield for Warsaw whilst at the base of the coat of arms of Copenhagen there are various weapons and military musical instruments. In the East, particularly in Hungary and Ukraine, large array of weapons appear on coats of arms particularly as a testament to the resistance against the Ottoman Empire. Finally in Africa, partly in connection to the wars of independence and to ideological currents, many national and local coats of arms show machine guns, but also traditional weapons such as machetes and spears.
Conclusion Weapons and heraldry are inevitably related, particularly to its martial origins. As we have seen in this short study, weapons characterise an interesting part of heraldic charges which define the historical period (of the adoption of the coat of arms) and the message which the armiger wants to deliver. Sometimes however the weapon as a symbol has a different explanation than its direct martial meaning to other meanings connected to local beliefs and traditions. In Malta’s case, traditions from both the catholic symbology, south Italian and British heraldic traditions which have moulded a unique interpretation of the role of weapons in heraldry.
Nowadays there are also other companies within the Armed Forces of Malta which display a weapon on their coat of arms or badge such as the trident for the Maritime Squadron of the AFM and the Sword for the C Special Duties Company of the AFM.
Peculiarities in Foreign Heraldry Foreign Heraldry has also various instances which use weapons. In this respect, countries like the Netherlands and Norway show their respective lions holding a sword and arrows and an axe. In the east, countries also display weapons in their coat of arms as Romania and Moldova (which display an eagle holding a mace and sword) and Lithuania (which display a knight riding in battle armed with a sword). Principal European cities also show weapons such as the sword for London, the lance which is held by St. Michael who is trampling the devil for Brussels, a mermaid holding a
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Footnotes 1. “the second after this siege (the Great Siege), a naked sword with gold handle on a vermilion field “
Giovanni Francesco Abela, Della Descrittione di Malta, 464 2. ibid, 20 3. Charles Fiott, Towns and Villages in Malta and Gozo, Part I – The Twin Harbour Area, (Reliġjon u Ħajja, Malta 1994) 85
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The Griffin in Maltese Heraldry Marc Agius Fernandez Heraldry in Malta is filled with numerous creatures, ranging from household insects to mythical beasts. They make the shield aesthetically appeasing and we all welcome them with curious eyes. However, we always fall short of understanding what their significance really is. If one reads into the symbolism of a heraldic creature placed in the shield of coat of arms, one will discover a world of meaning which truly ‘completes’ the shield. In the Medieval ages, an era strictly dominated by religion, men converted animals into symbols of good and bad, a definitely anthropomorphic interpretation which redeemed certain creatures. It is therefore not surprising that heraldic beasts compose a very large number of medieval coats of arms. People resorted extensively to different animals known well to be part of their environment, or else known to them through stories brought to them by the Crusaders from Palestine. European bestiary (eg. wolves, bears, bulls, foxes, boars, bulls, dogs, snakes, eagles, hawks, crows, bees) was enriched by new animals, some real (eg. lions, panthers, elephants, leopards) and others mythical (eg. griffins, unicorns, dragons). All of them were turned into symbols of different virtues and passions. These creatures graphical design more often than not had very little resemblance to their natural shape, partially due to the fact that the artists themselves only heard of these animals. Their odd appearance on the shield however, also owes itself to the fact that heraldry is indeed a living art which bends the interpretation of reality into display of marvel and awe. Since many Maltese families came to these islands from mainland Europe and many coats of arms were adopted from these families, many of these beasts live on today in the heraldry found here in Malta. The griffin is one such creature which has adorned the shields of a small group of Maltese families for, as we shall discover, a considerable number of years.
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The Griffin (Gryphon) The word ‘griffin’ derives from the Greek word gryps, and the latin word gryphus, meaning 'hooked' or ‘grabbed’, which may refer to a beak or even a claw. A heraldic griffin, or gryphon, is depicted with the body and hind parts, including legs and tail, of a lion, while the upper parts, comprising the forelegs with claws, feathered neck, wings, and the head with beak and erect ears, of an eagle. When the griffin has two horns or very large ears, it is blazoned as a male griffin, since these monsters are generally all females. Unlike the female griffin, the male is said to have no wings and has golden spikes protruding from its joints. The Greek playwright Aeschylus compares the griffins to 'silent hounds with cruel, sharp beaks'. The griffin is described as the most beautiful chimerical creature in heraldry; a description which as the reader shall discover further on, is indeed very fitting. The griffin's amalgamation of the lion, king of beasts and the eagle, king of birds, united courage and boldness, creating a truly dominant and majestic creature. This beast serves as a sign of strength, virtue, vigilance, justice and swiftness, and has also been considered to be the king of all creatures. In Greek mythology, both the lion and eagle were associated and dedicated to the god Zeus. They considered this creature to guard and protect precious treasures, especially gold mines. Politician John Philipot (1588 –1645), officer of arms at the College of Arms in London, held that the griffin was a symbol of perspicacity and courage; its beak represented tenacity, its wings rapidity and its talons denoted fury. The immensity of the griffin is described by Sir John Mandeville in his book of travels; “In that country [Bacharia, somewhere near China] be many griffins, more plenty than in any other country. Some men say that they have the body upward as an eagle and beneath as a lion; and truly they say sooth, that they be of that shape. But one griffin hath the body more great and is more strong than eight lions, of such lions as be on this half, and more great and stronger than an hundred eagles such as we have amongst us. For one griffin there will bear, flying to his nest, a great horse, if he may find him at the point, or two oxen yoked together as they go at the plough. For he hath his talons so long and so large and great upon his feet, as though they were horns of great oxen or of bugles or of kine, so that men make cups of them to drink
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of. And of their ribs and of the pens of their wings, men make bows, full strong, to shoot with arrows and quarrels.” Gerard Leigh, an old herald of acknowledged learning, described this heraldic beast as having “great enmity to man and horse, and are themselves of such a marvelous strength, that though the man be armed and on horseback, yet they take the one with the other quite from the ground, and carry them clean away. I think they are of great hugeness, for I have a claw of one of their paws, which should show them to be as big as two lions.” One does not need to be well read in the study of heraldry to recognize the griffin. In the late fourteenth century, the Welsh scholar and herald, John de Bado Aureo wrote that 'A Griffin borne in arms signifies that the first to bear it was a strong pugnacious man, in whom were found two distinct natures and qualities, those of the Eagle and the Lion.' Very noble in both of its natures, the air and the earth, the Griffin is most commonly found in armes parlantes or canting arms for certain families such as the Griffa and Grifeo family in the Kingdom of Naples, Grifoni in Firenze and Griffon in Poitou, among many more. In other coats of arms, especially those of localities, the griffin regains its original significance, that of an incorruptible guardian. However, aside from appearing on the shields numerous personalities and families, the strong image and significance of the griffin may also be found displayed elsewhere. In the 15th Century, for example, the Order of the Griffin in Aragon used the griffin as a symbol of a higher power. The ears of the griffin are very important in the art of heraldry, as it is often the case when just its head is displayed on a shield, and without its particular ears it would be very hard or impossible to distinguish it from an eagle’s. Most commonly, heraldic griffins are depicted facing to the left, and standing on one hind leg whilst raising the other leg and its claws. This posture (attitude) would normally be described as rampant, but the term segreant was adopted and applied in the NormanFrench language of heraldry exclusively for griffins. Symbol of Christ As has already been described above, the griffin embodies the two natures of the eagle and the lion. It is also therefore thought to be one of the most
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Images (Top) Coat of Arms of the city of Perugia, Italy, displaying a crowned Griffin (Middle) Coat of Arms of Giovanna Agius, Addolorata Cemetery (Bottom) Griffin Supporters on the coat of arms of Governor Gaspard Le Marchand, Pembroke, Malta
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Images (Top) Coat of Arms of Pier Baptista Agius (Middle) Version of the Agius coat of arms in St. Paul’s Cathedral, Mdina
(Bottom) Coat of arms of Michele Hagius
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satisfying symbols of the double nature of Jesus Christ. “Aquila, Christus... Leo, Christus” is stated on the key of San Melitone di Sardi. The bust of the eagle represents the divinity of Jesus Christ, while the body of the lion, standing on the ground, represents His humanity. It is mostly by means of this symbolism that the Medieval ages managed to attach this figure to that of Jesus Christ, associating with the latter incredible strength. The Italian poet Dante Alighieri, recognized and accepted this connection between the griffin and Christ. He describes the beast of fantasy as “l’annimale della doppia natura”, and the “bestia biforme”. This sublime poet, a genius in his own right, salutes this beautiful beast by stating that it’s “ali si estendevano al di là della vista” . During the ninth century, it was asserted that griffins were strictly monogamous, and if a partner died, the other would not find another partner. The griffin thus became a very strong symbol with regards to the Church’s stand on marriage. Griffins in Heraldry in Malta The exact origins of the griffin in mythology are unknown, but they have existed in stories of legend for centuries. A depiction of this mythical beast appears in the Bronze Age throne room of the Palace of Knossos in ancient Crete and are said to have become the pharaoh’s companions at around 3000 BCE. The griffin was adopted by heraldry with great effect during the middle ages and has not budged from its position as one of the most attractive charges on a shield. However, it must be said that griffins do not feature greatly as a charge on the shield of many coats of arms in Malta. This monster is immediately associated with the coat of arms of the Agius, Castelletti and Bonavia families. The griffin was also displayed on the shield of the Crespi family which resided in Malta for a time. Agius The Agius family coat of arms remains one of the most captivating examples of heraldry in Malta. It is however, also considered to be one of the most altered shields belonging to a Maltese family. The many variations applied to this shield are incredibly outstanding when one considers that such changes are not an indication of the different branches of the Agius family but rather the product of reproducing inaccurate renditions of this shield.
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The standard Agius coat of arms, if there really exists one, would be that displayed in Charles Gauci’s book ‘An Illustrated Collection of Coats of Arms of Maltese Families’. In this book, Gauci reproduced in colour all those coats of arms found in the 19th century collection of Maltese family armorial bearings, ‘Stemmi Maltesi’, which is located in the National Library of Malta in Valletta. This new and improved collection may be regarded as Malta’s household dictionary to family shields and serves as the go-to book when one wishes to find ‘his/her’ coat of arms. The blazon (formal description of a coat of arms in heraldic terminology) of the Agius shield in this book is termed as such: Azure upon a mount of three Sable a griffin salient Argent crowned Or and holding in bend a sword of the third with cross piece and grip of the fourth and in chief dexter a mullet of five points Gules. Unfortunately, this beast is often confused with a dragon, a genuine mistake mainly due to the inaccurate and poor drawings of this family shield. Bringing the reader’s attention back to Charles Gauci’s book ‘An Illustrated Collection of Coats of Arms of Maltese Families’, I invite him to look up the Agius coat of arms. At first glance one would say that it is a dragon, but once one compares the different body parts of this strange creature, an eyebrow may admittedly be raised. The face is clearly not that of an eagle but rather that of a docile dragon, while the wings are distinctly those of an eagle and the tail is most surely that of a lion. The repercussions family coats of arms suffer due to this lack of detail are truly unfortunate, as they are continually reproduced unknowingly and without further research. A very clear example of the Agius griffin being transformed into a dragon may be observed on the coat of arms of Parochus Pier Baptista Agius found in the sacristy of the H’Attard parish Church (pictured on pg. 16). Another example of the Agius griffin being transformed into a dragon may be observed on one of the beautiful in-laid marble tombstones in St. Paul’s Cathedral, Mdina (pictured on pg.16). Notwithstanding this, there are many renditions of this coat of arms which although do not strictly abide by the tinctures indicated in the blazon, still display a griffin. An example of such renditions may be found on the grave of Giovanna Agius found in the Santa Maria Addolorata Cemetry, Marsa and numerous other Agius coats of arms found in the churches of St. Paul’s Shipwreck in
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Valletta and the Gozo Cathedral in Rabat. If the opportunity arises, I also suggest one visits the crypt beneath St. Paul’s Cathedral in Mdina where the marble tombstone of Michele Hagius lays. This tombstone’s faithful reproduction (pictured on pg.16) lies in its original place, however the original which is unfortunately severely damaged, may be found further inside the crypt opposite the tomb of the former Archbishop of Malta, Paul Alpheran de Bussan. Castelletti The other family name this mythical creature is associated with is the Castelletti family. Originating from Catalonia, Spain, evidence shows that this family shield existed since before the 15th century. However, the Castelletti’s are said to have moved to Malta from Palermo, Sicily and the heraldic traces this family left behind there are still evidenced in numerous publications on Sicilian family coats of arms. In V. Palizzolo Gravina’s book ‘Il Blasone in Sicilia’, this shield is presented to us under the family name of Castellet (pictured on pg.19). An argent (silver) griffin on an azure (blue) field is quartered with an or (gold) tower or castle on a gules (red) field. In a Spanish armorial, Armas de los Condes, Vescondes etc. de Cataluna, de Castilla, de Portugal, compiled sometime between the years 1440-1550, one may admire the fine artistry in the Castellet family shield. (pictured on pg. 20) Another Spanish armorial, compiled not long after the above mentioned publication, displays the Castellet family shield, displaying the red field in the second and third quarters and the blue field in the first and fourth quarters (pictured in pg.19). Although the clear change in tinctures may be the typical variations which shields are subject to due to error over time, it is very probable that these shields belonged to different branches of the Spanish Castellet family. Notwithstanding the slight changes in tinctures, the griffin has always remained an integral and indispensible charge on the shield. An attractive rendition of the shield belonging to the Maltese family may be found in St. Paul’s Cathedral, Mdina (pictured on pg.19).
wings belonging to an eagle and the body including the tail of a lion. This heraldic monster is displayed with two different tinctures, which are the only two metals in this particular art, gold on the body and head and silver on the beak and wings. When the wings are a large part of the beast, and are given a different colour, it is blazoned as pinioned or winged, followed by its tincture. It is also interesting to note that another version of this coat of arms exists, pertaining to a particular branch of this Maltese family. Evidence reveals that the mentioned alternative version displays the griffin in two different tinctures, black and gold. In this is particular instance the griffin is blazoned as per fess Sable and Or. The tincture of the swallowed tailed flag held by this monster, is also changed from Gules to Or. However, upon a marble tombstone found in the Kappella tal-Lunzjata in Gudja, a Bonavia coat of arms partitioned with the Galea shield shows a red flag. The griffin is also a charge used on the coat of arms of the Bonavia family from the region of Liguria in Italy. Griffins may also be admired in the fine works of the inlaid marble tombs of St. John’s Co-Cathedral in Valletta. The images below show how the griffin is used as a supporter to a coat shield. It should be noted that when used as supporters, griffins are frequently borne wingless, however, this is not always the case. Conclusion Therefore, it is easy to understand the importance of design when it comes to displaying this particular monster of fantasy. The reason behind such importance is because a misleading procedure may be created in the design of this creature, destroying the beauty of the charge and to a larger extent the art of heraldry. After a thorough understanding of the significance of the griffin on the shield, it is an undisputed fact that its display in an armorial bearing provides an air of pride and honour. Thus, the shield through the art and study of heraldry opens a door outside the realm of reality, whereby this fantastical creature of marvel may live among us through art and culture.
Bonavia The Bonavia family coat of arms is yet another example of the use of the griffin as a charge in heraldry in Malta. The image to the left, unlike the Agius drawing, clearly displays the head and
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Images (Top) Coat of Arms of the Castellet family (Libro de armas y blasones de diversos linjanes y retratos) (Bottom Left) Coat of Arms of the Castellet family (Il Blasone in Sicilia) (Bottom Right) Coat of arms of the Castelletti family (St. Paul’s Cathedral, Mdina)
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Footnotes 1. Stephen Thomas Aveling, Charles Boutell, Heraldry: ancient and modern. Including Boutell's Heraldry, ed. and revised, with additions (1873), p.156 2. H.Clark, An introduction to heraldry, p.152 3. J. Franklyn, Heraldry, Arco Publications, 1965, p. 85 4. J. Franklyn, Shield and crest; an account of the art and science of heraldry, Geneal. Pub. Co., 1971, p.154 5. A. Mayor, The First Fossil Hunters: Dinosaurs, Mammoths, and Myth in Greek and Roman Times (2011, Princeton University Press), 29. 6. M.A. Porny, The Elements Of Heraldry, p.312 7. Friar, Stephen. A New Dictionary of Heraldry. (1987, Alphabooks/A & C Black) 173. 8. H.Clark An introduction to heraldry, p.152 9. T. Breverton, Breverton's Phantasmagoria: A Compendium of Monsters, Myths and Legends 10. W. Newton, Display of Heraldry, p.126 11. Nigg, Joe. 1995. Wonder Beasts: Tales and Lore of the Phoenix, the Griffin, the Unicorn, and the Dragon. 12. Le Bestiaire Du Christ by Louis Charbonneau-Lassay 13. Divina Commedia, Purgatorio, XXIX Canto by Dante Alighieri 14. T. Breverton, Breverton's Phantasmagoria: A Compendium of Monsters, Myths and Legends 15. Castelletti (Armas de los Condes, Vescondes etc. de Cataluña, de Castilla, de Portugal - BSB Cod.icon. 290 [S.l.] Spanien um 1440-1550 p.37 16. This same coat of arms may be observed on the sarcophagus of a nobleman belonging to the house of Castellet-Altafulla and Cabrera-Cruilles found in the convent of Saint Francis in Vilafranca del Penedès. Barcelona. 17. C. A. Gauci, An Illustrated Collection of Coats of Arms of Maltese Families, (P.E.G. Ltd 1989) 27 18. <http://www.stjohnscocathedral.com/inlaid-marbletombs.html> accessed on 4 April 2015 19. Stephen Thomas Aveling, Charles Boutell, Heraldry: ancient and modern. Including Boutell's Heraldry, ed. and revised, with additions (1873), p.156
Images: Right: Inlaid marble slabs in St. John’s CoCathedral displaying Griffins as supporters.
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Book Review Stemmi delle Famiglie Patrizie di Venezia Publisher: Edizioni Orsini de Marzo Printed in 2008, Milan, Italy www.orsinidemarzo.com The book ‘Stemmi delle Famiglie Patrizie di Venezia’ is an interesting reprint of an armorial dating back from the first years of the 18th century. The shields reproduced are very simple, displaying only a shield with a scroll on which the surname of various illustrious Venetian families is written. Such families include those who occupied the role of Doge, the leader of the almost millennial Republic of Venice such as the Foscari, Dandolo, Tiepolo and Grimiani. The armorial displays a total of 792 coats of arms painted in tempera and served as a common “souvenir” to the various individuals who stopped in Venice during the Grand Tour. The coats of arms displayed in this armorial also include the pan-Italian and multi-ethnic origins of the city and republic. These surnames include Chigi, Cibo (also Cybo), Corner (who were also Kings of Cyprus), the Portuguese family Fonseca and the French Bourbon and Anjou families. The armorial also includes several shields which are related to families which settled in Malta. One particular family whose shield is included is that of the Barbaro family. In this respect there are eight variants, some of which display the red annulet (ring) and its counter-changed version. In other variants, a double-headed eagle is displayed on the field, whilst another displays three silver roses on an blue field. There is also the coat of arms of the Nani family with its distinctive green and white colours, but also appears in other colours and bearing different charges. Other surnames which also appear in Malta are included, such as the Lombardo, Spatafora, Mula and Pisani. These families’ shields appear in various versions denoting different families which only shared the same surnames. This armorial is certainly one of the most simple, but also beautiful in its simplicity. Its origins from an island state and the presence of a significant number of coats of arms connected to Maltese families should be amongst the main reasons to include this book in a Maltese heraldic library.
Ivan Vassallo June 2015 No. 1 Vol. 1
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June 2015 No. 1 Vol. 1
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