French heraldry is the use of heraldic symbols in France. Although it had a considerable history, existing from the 12th century, such formality has largely died out in France, as far as regulated personal heraldry is concerned. Civic heraldry on the other hand remains a visible part of daily life.
The role of the herald (héraut) in France declined in the 17th century. Today the law recognises both assumed and inherited arms, considering them under law to be equivalent to a visual representation of a name, and given the same protections. However, there is no central registry of arms; in case of dispute, the individual who can prove the longest right to the blazon must be decided in court.
Many of the terms in international heraldry come from French.
Like the British system of heraldry, the French system follows the Rule of Tinctures. This states that there are two types of Tinctures (heraldic colors): the colors Sable (black), Gueules (red), Sinople (green) and Azur (blue) and metals Or (gold or yellow) and Argent (silver or white). For sake of visibility (the whole point of the system), no Charges of a color can be used on a field of a color and no Charges of a metal can be used on a field of a metal, nor can the divisions of the field be color-on-color or metal-on-metal. Arms that do not follow the Rule of Tinctures are referred to as Armes pour enquérir (a "Coat of Arms to be investigated").
French heraldry has a set system of crowns and coronets. [1] Supporters are not linked with any rank or title, unlike the coronets, and are far less common than in other forms of European heraldry, such as English heraldry. [1] Even the Royal Arms' angelic supporters are not shown in most depictions. Crests are rare in modern depictions, again in contrast to England. [1]
Along with a new system of titles of nobility, the First French Empire also introduced a new system of heraldry.
Napoleonic heraldry was based on traditional heraldry but was characterised by a stronger sense of hierarchy. It employed a rigid system of additional marks in the shield to indicate official functions and positions. Another notable difference from traditional heraldry was the toques, which replaced coronets. The toques were surmounted by ostrich feathers: dukes had 7, counts had 5, barons had 3, and knights had 1. The number of lambrequins was also regulated: 3, 2, 1 and none respectively. As many grantees were self-made men, and the arms often alluded to their life or specific actions, many new or unusual charges were also introduced. [2]
The most characteristic mark of Napoleonic heraldry was the additional marks in the shield to indicate official functions and positions. These came in the form of quarters in various colours, and would be differenced further by marks of the specific rank or function. In this system, the arms of knights had an ordinary gules, charged with the emblem of the Legion of Honour; Barons a quarter gules in chief sinister, charged with marks of the specific rank or function; counts a quarter azure in chief dexter, charged with marks of the specific rank or function; and dukes had a chief gules semé of stars argent. [2]
The said 'marks of the specific rank or function' as used by Barons and Counts depended on the rank or function held by the individual. Military barons and counts had a sword on their quarter, members of the Conseil d'Etat had a chequy, ministers had a lion's head, prefects had a wall beneath an oak branch, mayors had a wall, landowners had a wheat stalk, judges had a balance, members of Academies had a palm, etc. [2]
A decree of 3 March 1810 states: "The name, arms and livery shall pass from the father to all sons" although the distinctive marks of title could only pass to the son who inherited it. This provision applied only to the bearers of Napoleonic titles. [2]
The Napoleonic system of heraldry did not outlast the First French Empire. The Second French Empire (1852–1870) made no effort to revive it, although the official arms of France were again those of Napoleon I. [2]
The Commission nationale d'héraldique, an advisory body under the French Ministry of Culture, advises both public bodies and (since 2015) private individuals on heraldic issues.
Commune | Department Capital | Capital |
Baron | Vidame | Vicomte (Viscount) | Comte (Count) | Comte et Pair de France (Count and Peer of France) | Marquis | Marquis et Pair de France (Marquis and Peer of France) |
Duc (Duke) | Duc et Pair de France (Dukes and Peer of France) | Prince du Sang (nobles in the descendance of a former French king) | (Petit-) Fils de France (Royal Prince, children or grandchildren of the King) | Dauphin (heir apparent), (Dauphin de Viennois) | Roi (King) |
Diplomatic Emblem of France | |
---|---|
Armiger | The French Republic |
Shield | RF, standing for République française |
Other elements | Fasces, laurel branch, oak branch |
The current emblem of France has been a symbol of France since 1953, although it does not have any legal status as an official coat of arms. It appears on the cover of French passports and was originally adopted by the French Foreign Ministry as a symbol for use by diplomatic and consular missions in 1912 using a design drawn up by the sculptor Jules-Clément Chaplain.
In 1953, France received a request from the United Nations for a copy of the national coat of arms to be displayed alongside the coats of arms of other member states in its assembly chamber. An interministerial commission requested Robert Louis (1902–1965), heraldic artist, to produce a version of the Chaplain design. This did not, however, constitute an adoption of an official coat of arms by the Republic.
Technically speaking, it is an emblem rather than a coat of arms, since it does not respect heraldic rules—heraldry being seen as an aristocratic art, and therefore associated with the Ancien Régime. The emblem consists of:
The fleur-de-lys (or fleur-de-lis, plural: fleurs-de-lis; /ˌflɜːrdəˈliː/ , [ˌflœː(ʀ)dəˈlɪs] in Quebec French), translated from French as "lily flower") is a stylized design of either an iris or a lily that is now used purely decoratively as well as symbolically, or it may be "at one and the same time political, dynastic, artistic, emblematic and symbolic", [3] especially in heraldry.
While the fleur-de-lis has appeared on countless European coats of arms and flags over the centuries, it is particularly associated with the French monarchy on a historical context, and nowadays with the Spanish monarchy and the Grand Duchy of Luxembourg as the only remaining monarchs of the House of Bourbon.
It is an enduring symbol of France that appears on French postage stamps but has not been adopted officially by any of the French republics.
All cities within France have coats of arms; these are often intertwined with local traditions over history.
ParisThe coat of arms of the city of Paris, in its current form, dates back to 1358, when King Charles V officially installed it. [4] On the coat of arms, the represented vessel is the symbol of the powerful corporate body of the Marchands de l'eau, dating back to the Middle Ages. The city motto, "Fluctuat nec mergitur" ("It is beaten by the waves without being submerged") is equally a reference to this boat. MarseilleThe arms of Marseilles, passed in 1930, may be emblazoned as: Argent a cross azur. The motto of Marseille is: De grands fachs resplend la cioutat de Marseilles (Occitan), appears for the first time in 1257; La Ville de Marseille resplendit par ses hauts faits (French); Actibus immensis urbs fulget Massiliensis (Latin, used since 1691) or 'The City of Marseille shines by its deeds'. LyonThe arms of Lyon date back to the Middle Ages, when they were those of the Counts of Lyon. They constituted of a rampant (ready to pounce) argent (silver) lion on a red field, with a clearly identifiable tongue. It is around 1320 that the chief azure three fleurs de lys d'or, the upper band still present on the arms, was added to the lion symbolizing royal protection. In 1819, a sword was granted by the king in recognition of services to the king during the events of 1793. The July Monarchy of 1830 rejected the fleurs de lys and replaced them with stars that were intended to be neutral. In the early 20th century, the municipality decided to take the lion coat of arms without sword, with three fleurs de lys, the emblem of the city for six centuries. The shield reads not as a symbol, but as a riddle: the argent lion is canted: it is a pun on the city's name, "Lyon". | StrasbourgStrasbourg's arms are the colours of the shield of the Bishop of Strasbourg (a band of red on a white field, also considered an inversion of the arms of the diocese) at the end of a revolt of the burghers during the Middle Ages who took their independence from the teachings of the Bishop. It retains its power over the surrounding area. NiceThe arms of Nice first appear in 1430. [5] The Nice is symbolized by a red eagle on white background, on top of three mountains. The arms has undergone only minor changes: the eagle become more and more stylised, a crown of a count has been added, which symbolises his dominion over the County of Nice, and the three mountains on which is based is now surrounded by a stylised sea. [5] The presence of the eagle, imperial emblem, shows that these arms are linked to savoyard power. Throughout their symbolic structure, the arms of Nice are a sign of allegiance and fidelity to the House of Savoy. [5] The combination of white and red (argent and gules) is a resumption of the Cross of Savoy. [5] The three mountains symbolise a territorial honour, without concern for geographic realism. [5] GrenobleThe coat of arms of the city of Grenoble dates back to the 14th century. [6] The three roses are symbolic representation of the three authorities who governed the city in the Middle Ages. Grenoble was placed under the authority of two rival powers, that of the bishop and of the Dauphin. In the 14th century appears a third authority, consuls, elected by the people and defenders of freedoms and exemptions granted by the two co-lords. |
Each region of France has its own coat of arms, although usage varies:
Few départments have official arms. There may be substantial disagreements with this table.
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Heraldry is a discipline relating to the design, display and study of armorial bearings, as well as related disciplines, such as vexillology, together with the study of ceremony, rank and pedigree. Armory, the best-known branch of heraldry, concerns the design and transmission of the heraldic achievement. The achievement, or armorial bearings usually includes a coat of arms on a shield, helmet and crest, together with any accompanying devices, such as supporters, badges, heraldic banners and mottoes.
The fleur-de-lis, also spelled fleur-de-lys, is a common heraldic charge in the (stylized) shape of a lily. Most notably, the fleur-de-lis (⚜️) is depicted on the traditional coat of arms of France that was used from the High Middle Ages until the French Revolution in 1792, and then again in brief periods in the 19th century. This design still represents France and the House of Bourbon in the form of marshalling in the arms of Spain, Quebec, and Canada — for example.
In heraldry, tenné is a "stain", or non-standard tincture, of orange, light brown or orange-tawny colour.
Tinctures are the colours, metals, and furs used in heraldry. Nine tinctures are in common use: two metals, or and argent ; the colours gules (red), azure (blue), vert (green), sable (black), and purpure (purple); and the furs ermine, which represents the winter fur of a stoat, and vair, which represents the fur of a red squirrel. The use of other tinctures varies depending on the time period and heraldic tradition in question.
In heraldry, variations of the field are any of a number of ways that a field may be covered with a pattern, rather than a flat tincture or a simple division of the field.
In British heraldry, a coronet is any crown whose bearer is less than sovereign or royal in rank, irrespective of the crown's appearance. In other languages, this distinction is not made, and usually the same word for crown is used irrespective of rank In this use, the English coronet is a purely technical term for all heraldic images of crowns not used by a sovereign, and implies nothing about the actual shape of the crown depicted. A Coronet is another type of crown, but is reserved for the lower ranks of nobility like Marquesses and Marchionesses, Earls and Countesses, Barons and Baronesses, and some Lords and Ladies. The specific design and attributes of the crown or coronet signifies the hierarchy and ranking of its owner.
The first coat of arms of Montreal was designed by Jacques Viger, the first mayor of Montreal, and adopted in 1833 by the city councillors. Modifications were made some one hundred five years later and adopted on 21 March 1938, and again on 13 September 2017, resulting in the version currently in use. The coat of arms was the only city emblem representing Montreal until 1981, when a stylized logo was developed for common daily use, reserving the coat of arms for ceremonial occasions.
The rule of tincture is a design philosophy found in some heraldic traditions that states "metal should not be put on metal, nor colour on colour". Heraldic furs such as ermine and vair, and charges described as "proper", are generally exempt from the rule of tincture.
Portuguese heraldry encompasses the modern and historic traditions of heraldry in Portugal and the Portuguese Empire. Portuguese heraldry is part of the larger Iberian tradition of heraldry, one of the major schools of heraldic tradition, and grants coats of arms to individuals, cities, Portuguese colonies, and other institutions. Heraldry has been practiced in Portugal at least since the 12th century, however it only became standardized and popularized in the 16th century, during the reign of King Manuel I of Portugal, who created the first heraldic ordinances in the country. Like in other Iberian heraldic traditions, the use of quartering and augmentations of honor is highly representative of Portuguese heraldry, but unlike in any other Iberian traditions, the use of heraldic crests is highly popular.
Norwegian heraldry has roots in early medieval times, soon after the use of coats of arms first appeared in continental Europe. Some of the medieval coats of arms are rather simple of design, while others have more naturalistic charges. The king-granted coats of arms of later times were usually detailed and complex. Especially in the late 17th century and the 18th century, many ennobled persons and families received coats of arms with shields containing both two and four fields, and some even with an inescutcheon above these.
The rose is a common device in heraldry. It is often used both as a charge on a coat of arms and by itself as an heraldic badge. The heraldic rose has a stylized form consisting of five symmetrical lobes, five barbs, and a circular seed. The rose is one of the most common plant symbols in heraldry, together with the lily, which also has a stylistic representation in the fleur-de-lis.
A crown is often an emblem of a sovereign state, usually a monarchy, but also used by some republics.
In heraldry and heraldic vexillology, a blazon is a formal description of a coat of arms, flag or similar emblem, from which the reader can reconstruct the appropriate image. The verb to blazon means to create such a description. The visual depiction of a coat of arms or flag has traditionally had considerable latitude in design, but a verbal blazon specifies the essentially distinctive elements. A coat of arms or flag is therefore primarily defined not by a picture but rather by the wording of its blazon. Blazon is also the specialized language in which a blazon is written, and, as a verb, the act of writing such a description. Blazonry is the art, craft or practice of creating a blazon. The language employed in blazonry has its own vocabulary and syntax, which becomes essential for comprehension when blazoning a complex coat of arms.
Danish heraldry has its roots in medieval times when coats of arms first appeared in Europe. Danish heraldry is a branch of the German-Nordic heraldic tradition.
As Emperor of the French, Napoleon I created titles in a newly established noblesse impériale to institute a stable elite in the First French Empire, after the instability resulting from the French Revolution.
Finnish heraldry has a common past with Swedish heraldry until 1809 and it belongs to German heraldric tradition.
A number of cross symbols were developed for the purpose of the emerging system of heraldry, which appeared in Western Europe in about 1200. This tradition is partly in the use of the Christian cross an emblem from the 11th century, and increasingly during the age of the Crusades. Many cross variants were developed in the classical tradition of heraldry during the late medieval and early modern periods. Heraldic crosses are inherited in modern iconographic traditions and are used in numerous national flags.
Amalie Wilhelmine Henriette Ernestine Bianca von Forcade de Biaix was a daughter of Captain Friedrich Wilhelm Leopold Konstantin Quirin Freiherr von Forcade de Biaix, Lord of Schleibitz, Hamm, Groß-Naedlitz and Loslau, and Amalie Ernestine Wilhelmine Elisabeth von Poser und Groß-Naedlitz. She was a descendant of the noble family of Forcade.
The first instance of a figure of the lion as symbol of the Kingdom of León is found in minted coins of Alfonso VII, called the Emperor (1126–1157). Until then, the cross had a preponderant position on documents and coins of Leonese monarchs since that reign the cross was gradually displaced by the lion. The Spanish historian and heraldist Martín de Riquer explained that the lion was already used as heraldic emblem in 1148. At the end of the reign of Alfonso VII, the figure of this animal began to appear on royal documents as personal device of the monarch and became pervasive during reigns of Ferdinand II (1157-1188) and Alfonso IX (1188-1230).
The coat of arms of Lyon, the ancient capital of the Gauls, reflects the rich history of the city across different periods of its existence and the power that has exercised authority over the city. It was created in 1320, although the current version, which dates from 1859, reprises the form that it had before the end of the Ancien Régime after having undergone several temporary modifications.