Heralds 
 
 By £. K D 
 
3>£ 
 
Edited by the 
 REV. PERCY DEARMER, D.D. 
 
Cf)e arts of tf)e (Biuret) 
 
 Edited by the 
 REV. PERCY DEARMER, D.D. 
 i6mo. Profusely Illustrated. Cloth, 1/6 net. 
 
 1. THE ORNAMENTS OF THE 
 
 MINISTERS. By the Rev. Percy 
 Dearmer, D.D. 
 
 2. CHURCH BELLS. By H. B. 
 
 Walters, M.A., F.S.A. 
 
 3. THE ARCHITECTURAL HIS= 
 
 TORY OF THE CHRISTIAN 
 CHURCH. By A. G. Hill, M.A., 
 F.S.A. 
 
 4. CHURCH MUSIC. By the Rev. 
 
 Maurice F. Bell, M.A. 
 
 5. GOTHIC ARCHITECTURE IN 
 
 ENGLAND. By the Rev. E. Her- 
 mitage Day, D.D., F.S.A. 
 
 6. RENAISSANCE ARCHITECTURE 
 
 IN ENGLAND. By the Rev. E. 
 Hermitage Day, D.D., F.S.A. 
 
 7. SYMBOLISM OF THE SAINTS. 
 
 By the Rev. P. H. Ditchfield, 
 M.A., F.S.A. 
 
 8. THE CHANCEL AND THE ALTAR. 
 
 By Harold C. King, M.A. 
 
 9. CHURCH EMBROIDERY. By 
 
 Alice Dryden. 
 10. HERALDRY OF THE CHURCH. 
 
 By the Rev. E. E. Dorling, M.A., 
 F.S.A. 
 
 OTHERS TO FOLLOW 
 
W&t arts of tfjc ©Ijurclj 
 
 HERALDRY OF 
 THE CHURCH 
 
 A HANDBOOK FOR DECORATORS 
 
 BY THE 
 
 Rev. E. E. DORLING, M.A., F.S.A. 
 WITH EIGHTT-TH%EE ILLUST7{JTI03^S 
 
 A. R. MOWBRAY & CO. Ltd. 
 London : 28 Margaret Street, Oxford Circus, W. 
 Oxford : 9 High Street 
 
First printed, 191 1 
 
EDITOR'S NOTE 
 
 THE little volumes in the Arts of 
 the Church series are intended 
 to provide information in an interesting 
 as well as an accurate form about the 
 various arts which have clustered round 
 the public worship of God in the Church 
 of Christ. Though few have the oppor- 
 tunity of knowing much about them, 
 there are many who would like to possess 
 the main outlines about those arts whose 
 productions are so familiar to the Chris- 
 tian, and so dear. The authors will write 
 for the average intelligent man who has 
 not had the time to study all these matters 
 for himself ; and they will therefore avoid 
 technicalities, while endeavouring at the 
 same time to present the facts with a 
 fidelity which will not, it is hoped, be 
 unacceptable to the specialist. 
 
CONTENTS 
 
 PAGE 
 
 Arms of Sees in the Province of Canterbury 15 
 
 Arms of Sees in the Province of York - 71 
 
 Shields specially associated with the Holy 
 
 Name - - - - - 93 
 
 The Four Evangelists - - - 105 
 
 Arms assigned to Saints - - - 115 
 
 Arms suggested for Saints - - - 157 
 
 Index - 193 
 
&rts of tlje (ttijurdj 
 
 Heraldry of the Church 
 
 A Handbook for Decorators 
 
 INTRODUCTION 
 
 THIS little book is intended, as its 
 sub-title implies, for the use of 
 church decorators. It has been written, 
 and illustrated by the writer, in the hope 
 of inducing Church people of to-day to 
 take a little more pains with the heraldry 
 that is placed by them in painted windows 
 and on carven stones, and of telling some- 
 thing of what is implied by the use of 
 heraldic ornament. 
 
 With this aim, examples of the shields 
 of arms that are most likely to be used 
 
 B 
 
2 
 
 Heraldry of the Church 
 
 in the decoration of churches are here 
 described in simple intelligible terms. The 
 first part of the book is occupied with the 
 arms of the dioceses of the Church of 
 England ; the remainder of it comprises 
 the shields, some devised in mediaeval 
 times to typify certain of the saints, some 
 designed by the writer to serve the same 
 purpose for those saints whom the armorial 
 writers of the middle ages omitted from 
 their lists. 
 
 It is hoped that this selection will be 
 found useful and reasonably comprehen- 
 sive. Though exigencies of space forbid 
 the inclusion of all coats of arms that have 
 been assigned to saints, there is here a 
 shield for each saint in whose honour 
 twenty churches and upwards have been 
 dedicated in England. Of these by far 
 the largest number, considerably over 
 2,000, have the Blessed Virgin as their 
 patron saint. All Saints is the next most 
 favoured dedication, more than 1,200 
 churches having this title. Then follow 
 
Introduction 
 
 3 
 
 S. Peter with over 900 ; and S. Andrew 
 and S. Michael with more than 700 
 churches. Holy Trinity is the invocation 
 of between 600 and 700 ; S. James, S. John 
 the Evangelist and S. John Baptist give 
 their names to over 500 churches. S. Ni- 
 cholas follows with close on 400 ; Christ 
 Church and S. Paul are the titles of 
 nearly as many. S. Laurence, S. Mar- 
 garet and S. Mary Magdalene respectively 
 are the patron saints of over 200 churches, 
 and between 100 and 200 are dedicated 
 in honour of S. Bartholomew, S. George, 
 S. Giles, S. Helen, S. Leonard, S. Luke, 
 S. Mark, S. Martin, S. Matthew, S. Stephen 
 and S. Thomas the Apostle. Holy Cross 
 is the name of close on 100 churches ; 
 S. Catherine, S. Cuthbert, and S. Saviour 
 of nearly as many. Between 50 and 80 
 have the names of S. Augustine, S. Clement, 
 S. Botolph, S. Oswald, S. Barnabas, 
 S. Thomas of Canterbury and S. Anne. 
 Ranging between 40 and 70 are the dedica- 
 tions of churches in honour of Emmanuel, 
 
4 
 
 Heraldry of the Church 
 
 S. Chad, S. Philip, and S. Wilfrid ; while 
 from 20 to 40 churches have the titles 
 of S. Bridget (or S. Bride), S. David, 
 S. Faith, S. Gregory, S. Hilda, S. Alban, 
 S. Denys and S. Jude. 
 
 This book makes no claim to be a 
 manual of heraldry. The mysterious 
 jargon of the science is, as far as possible, 
 replaced by straightforward English which 
 may be easily understood by readers 
 ignorant of heraldic technicalities. It has 
 been, of course, impossible entirely to 
 avoid the use of technical terms ; but 
 these will explain themselves when the 
 descriptions in which they occur are com- 
 pared with the drawings placed opposite 
 to them. 
 
 Heraldry is a matter which enters, and 
 always has entered, very largely into the 
 decoration of churches. Carvers in wood 
 and stone, workers in metal and glass, 
 painters, embroiderers and illuminators 
 have all enriched our stores of heraldic 
 art. But the heraldic art of the middle 
 
Introduction 
 
 5 
 
 ages is a very different thing from that of 
 the last three hundred years. Even when 
 to modern eyes the old examples seem 
 crude and harsh it is impossible to deny 
 their vigour and power ; when, as is most 
 often the case, they attain to beauty their 
 beauty is of a quality that must appeal to 
 the modern craftsman who is trying to 
 import into his own work something of 
 the dignity and charm that distinguish 
 the old. 
 
 But for the most part the modern 
 craftsman is trying to do nothing of the 
 kind. Oblivious to what almost every 
 old church has to teach him, he is content 
 to reproduce the mistakes and the feeble- 
 ness of other moderns as ignorant as 
 himself. If he can be persuaded to study 
 the old examples he copies and traces and 
 measures them, not because he is too 
 humble to try to work as the men of old 
 time worked, trusting to a keen eye and a 
 sure hand to give life and proportion and 
 stateliness to his work, but because he is 
 
6 
 
 Heraldry of the Church 
 
 too idle to find out for himself the ways 
 by which they reached to the success that 
 is theirs. 
 
 Let it be understood that I am speaking 
 of heraldic work, and of that only. For 
 the decorators of to-day can produce work 
 that is every whit as fine in execution as 
 that of the middle ages. It is their 
 design that sadly needs improvement ; 
 and the pity of it is that their patrons are 
 satisfied with the poor stuff that issues 
 every day from the workshops. When, 
 as sometimes happens, the modern worker 
 is neither humble nor idle, but merely a 
 conceited and ignorant fellow who trusts 
 to his own unaided genius to produce 
 heraldic ornament, the result is usually 
 ludicrous, and if it were not so fatuous 
 would be distressing. 
 
 What this little book aims at is to teach 
 the decorator who is willing to learn that 
 heraldry may be as beautiful to-day as 
 ever it was ; that it may have distinction 
 and grace and fitness akin to that of the 
 
Introduction 
 
 7 
 
 Middle Ages ; that if his work is to 
 possess those qualities he must first study 
 the armorial glass and the seals, the monu- 
 ments and the illuminations of the olden 
 time. If he will not do that, let him at 
 least be guided by those who have gone 
 for their inspiration to the work of the 
 great periods. 
 
 The question arises then — What are 
 the elements of the beauty of ancient 
 heraldic design ? I think they are three ; 
 first, cleanness and firmness of line ; 
 secondly, balance and proportion ; and 
 lastly, splendour of colour. If modern 
 work is to have the same beauty it must 
 conform to the same rules. 
 
 Let all your lines, then, be clean and 
 firm and expressive. There must be no 
 haziness or sketchiness of outline. You 
 must get your effects with a strong sure 
 stroke in which each touch of pen or 
 chisel, needle or brush means something 
 definite. Look at the leopards in the 
 shield of Lincoln, page 43, or the cinqfoils 
 
8 
 
 Heraldry of the Church 
 
 in the arms of S. Davids, page 59. In the 
 one case the simple drawing of the beasts 
 attempts to show how roundness and 
 strength and " go " may be expressed 
 with economy of line ; in the other the 
 cinqfoils placed on the cross seem, with- 
 out being exactly formal and regular, to 
 have their due value in the little scheme 
 of decoration. Everyday experience shows 
 only too plainly how qualities of that 
 kind, which are the essence of ancient 
 heraldic art, are lacking in most of the 
 heraldry of to-day. 
 
 The mediaeval armorists attained in an 
 apparently instinctive and effortless manner 
 to a quality of proportion which we can 
 only reach after long and careful study of 
 their draughtsmanship. Their secret ap- 
 pears to be this ; that they made the 
 amount of space covered by the charges 
 rather less than the area of the field left 
 visible. We, on the other hand, are apt 
 either to make our charges far too small, 
 when the shield looks poor and weak, or 
 
Introduction 
 
 9 
 
 too big, when it has a crowded and over- 
 weighted appearance. Look at the Chester 
 mitres, page 79, or at the birds in the 
 shield of S. Thomas, page 153. In both 
 instances there is some sort of balance 
 between the charges and the field, and it 
 may perhaps be claimed for each that the 
 effect is lively and agreeable. 
 
 The same sort of caution is necessary 
 when dealing with large charges which have 
 smaller objects upon them. S. George's 
 cross, page 135, satisfies the eye, but it is 
 considerably narrower than that of Carlisle, 
 page 77, which must needs be wide be- 
 cause of the mitre which it carries. Again, 
 when a large charge is between smaller 
 objects the same care must be exercised. 
 Compare S. George's cross with that of 
 Durham, page 75, and see how the latter 
 is narrow to allow room for the four 
 lions. Yet all three crosses are of sound 
 heraldic type, the Carlisle cross being 
 wide to allow the mitre to have its due 
 effect in the scheme, that of Durham 
 
IO 
 
 Heraldry of the Church 
 
 being narrow to let the four lions do 
 their share. 
 
 Or compare the fesse in the arms of 
 Oxford, page 49, with that of S. Barnabas, 
 page 163. Each is a good fesse ; but the 
 one is narrow because it has other charges 
 above and below it, the other is wide 
 because it has charges upon it. 
 
 Beware of what are called "art colours. " 
 If a thing is red, paint it red, a clear, 
 bright, splendid scarlet. Do not use pink, 
 or crimson, or terra-cotta. Hues such as 
 those must be banished absolutely from 
 the palette of the heraldic painter. For 
 a blue thing use a clean and cool colour 
 like Prussian blue. A hot, purply blue 
 should be avoided. A vivid green of the 
 colour of young spring grass is, in the 
 same way, preferable to olive or emerald 
 or bottle-green. 
 
 The love of the mediaeval armorists for 
 blue is noteworthy. The celestial colour 
 is what we naturally expect to find in 
 shields that typify the Blessed Virgin, 
 
Introduction 
 
 such as the arms of Salisbury, of Lincoln, 
 and the shield of Our Lady itself. But 
 it appears also in the arms assigned to 
 martyrs, such as S. Andrew, S. Clement, 
 and S. Edmund ; in that of Edward the 
 Confessor, of Hilda the abbess, of Guthlac 
 the hermit. This fondness for blue is 
 possibly a reflection of the devotion of the 
 English Church for the Blessed Virgin, 
 a devotion which is further exemplified in 
 the enormous number of churches that 
 are dedicated in honour of the Mother of 
 our Lord. 
 
 It remains to give some hints as to 
 the drawing and placing of heraldic 
 charges, and to explain a few technical 
 terms. 
 
 Swords should be so drawn as to look 
 like real weapons, not like theatrical 
 properties. 
 
 Keys, when there is a pair of them 
 (see Winchester, page 21) have a better 
 appearance if their wards, which are always 
 upwards, are of different patterns. When 
 
1 2 Heraldry of the Church 
 
 they are crossed that which is placed 
 diagonally from top left to bottom right 
 should be above the other. (See Glou- 
 cester, page 37, and compare the croziers 
 of LlandafF, page 45.) 
 
 "Leopards" are lions walking and full- 
 faced; "lions" are sidefaced and rampant. 
 (See Lincoln, page 43, and Durham, 
 page 75.) ^ 
 
 The chief is the upper part of the 
 shield. A chief is that same part cut 
 off" by a horizontal line. 
 
 The saltire is a difficult charge to draw 
 satisfactorily, and it is well to get the four 
 arms as nearly as possible of equal length 
 and its upper and lower angles slightly 
 less than right angles. 
 
 Make your mitres of the simple early 
 shape. Do not be lured into drawing the 
 ugly bulbous objects which did duty for 
 mitres in the seventeenth and eighteenth 
 centuries. 
 
 Keep the angles of chevrons (see 
 S. Botolph, page 165) somewhat acute. 
 
Introduction 
 
 13 
 
 A chevron with an obtuse angle is not 
 a beautiful thing. 
 
 All drapery should be expressed by 
 simple lines. Shading by cross-hatching 
 should not be attempted. (See Sodor and 
 Man, page 89, and S. Matthew, page 107.) 
 
 When a shield contains only three 
 similar charges arranged two and one, the 
 lowest of the three may be very slightly 
 larger than the other two. (See S. Nicholas, 
 page 1 83.) 
 
 It is perhaps hardly necessary to explain 
 that "gules " means red, " azure" is blue, 
 " sable " stands for black, and " vert " is 
 the heraldic name for green. 
 
 It remains for me to express my great 
 indebtedness to the monumental Ecclesias- 
 tical Heraldry of the late Dr. Woodward, 
 to Dr. Husenbeth's Emblems of Saints, to 
 Mrs. Jameson's valuable works, Sacred 
 and Legendary Art and their companions, 
 Legends of the Monastic Orders and Legends 
 of the Madonna, to the great Catalogue of 
 Seals in the British Museum compiled by 
 
14 Heraldry of the Church 
 
 Dr. Walter de Gray Birch, and last but 
 not least to Frances Arnold -Forster's 
 Studies in Church Dedications. Without 
 the aid which these writers have afforded 
 me I could hardly have produced this 
 little piece of work. If those who use it 
 find it of any value and interest I shall 
 be more than happy. 
 
 E. E. D. 
 
ARMS OF SEES IN THE 
 PROVINCE OF CANTERBURY 
 
1 6 Heraldry of the Church 
 
 Canterbury 
 
 Azure an archbishop's crozier with its 
 staff silver and its cross gold surmounted by a 
 pall in its proper colours. 
 
 Simon Islip (1349-66) was the first 
 Archbishop of Canterbury who had these 
 arms engraved upon his seal ; all his 
 successors have employed them as the 
 arms of the metropolitan see of England. 
 
 The pall is white, edged and fringed 
 with gold, and the four crosses upon it, 
 which must have the shape drawn in the 
 illustration opposite, are black. The 
 arms of the See of Armagh are the same 
 as those of Canterbury ; those of the 
 Archbishopric of Dublin have five crosses 
 on the pall, otherwise they are like those 
 of Canterbury and Armagh. 
 
1 8 Heraldry of the Church 
 
 London 
 
 Gules two swords gold of S. Paul crossed 
 saltirewise with their points upwards. 
 
 Ralph Stratford (1340-54) seems to 
 have been the first Bishop of London to 
 display these arms as those of the see, 
 although several of his predecessors had 
 introduced into their seals a figure of 
 S. Paul, the patron saint of the cathedral 
 and city, with his emblems of sword and 
 book. After Bishop Stratford's time the 
 use of the arms by Bishops of London 
 became almost universal. 
 
 The mediaeval heralds gave to S. Paul 
 himself the same shield but with the 
 swords silver. 
 
The Trovince of Canterbury 19 
 
20 
 
 Heraldry of the Church 
 
 Winchester 
 
 Gules S. Peter s keys gold and stiver with 
 S. Paul's sword thrust between them saltire- 
 wise and having its blade silver and its hilt 
 gold. 
 
 This is the most usual form of these 
 ancient arms, borne in memory of the 
 saints in whose honour the cathedral is 
 dedicated. The manner in which the 
 charges are arranged has varied from time 
 to time ; but the field is consistently 
 coloured red ; the keys set back to back 
 with their bows interlinked are always 
 gold and silver ; and it is always the 
 golden key which lies over the blade of 
 the sword. 
 
The Trovince of Canterbury 
 
 21 
 
22 
 
 Heraldry of the Church 
 
 Bangor 
 
 Gules a bend gold sprinkled with drops 
 sable between two pierced molets silver. 
 
 These are the colours used at present. 
 In former days the bend was silver ; 
 sometimes the drops were coloured 
 blue. The red of the field is seen 
 through the piercing of the molets. It 
 is impossible to say what is the origin 
 of these beautiful arms, or if they have 
 any reference to the dedication of the 
 cathedral or to a bishop of olden times. 
 The seal of Bishop Roland Merrick 
 (1559-66) is the earliest in the collection 
 at the British Museum to show these 
 arms impaling his own personal coat. 
 
The Trovince of Canterbury 23 
 
 BANGOR 
 
2 4 
 
 Heraldry of the Church 
 
 Bath and Wells 
 
 Azure a saltire quartered saltiremse gold 
 and silver. 
 
 The arms are those of Wells, the seat 
 of the bishop, the saltire being S. Andrew's 
 cross in allusion to the dedication of the 
 cathedral. The arms of Bath are not 
 now used. 
 
 The field is blue. Each arm of the 
 saltire is divided lengthways into equal 
 alternate strips of gold and silver, begin- 
 ning with gold in the top left-hand corner. 
 The gold is consequently above the divid- 
 ing-line on the dexter side (that is the 
 spectator's left), and below it on the 
 sinister side of the saltire. 
 
\ 
 
 The Trovince of Canterbury 
 
 25 
 
26 
 
 Heraldry of the Church 
 
 Birmingham 
 
 Party indented gold and gules jive roundels 
 with two crosses formy in the chief all counter- 
 coloured. 
 
 The field of these arms, divided by the 
 zigzag line into two halves (that to the 
 spectator's left being gold and the other 
 side red), is derived from the ancient 
 shield of the Berminghams, a powerful 
 feudal family holding in the Middle Ages 
 broad domains where the city now stands. 
 The two crosses and the five roundels are 
 added in memory of S. Philip in whose 
 honour the cathedral church is dedicated. 
 As the blazon indicates, these charges are 
 countercoloured, that is those that are on 
 the gold are red, and vice versa, the 
 roundel in the foot of the shield where 
 the zigzag line passes through it being 
 itself partly red and partly gold. 
 
 The meaning of these charges is ex- 
 plained later under S. Philip, page 184. 
 
The Trovince of Canterbury 27 
 
28 Heraldry of the Church 
 
 Bristol 
 
 Sable three crowns palewise gold. 
 
 An early example of these arms has the 
 field azure, and that is probably its 
 original colour. When the field was blue 
 there was a good reason for setting the 
 crowns one under the other, for thereby 
 this shield was distinguished from one of 
 the many shields assigned to S. Edmund 
 in which the golden crowns were arranged 
 two and one. The date of the change of 
 the colour of the field from blue to black 
 is lost. It has been suggested that the 
 three crowns refer to the dedication of the 
 cathedral in honour of the Holy Trinity. 
 
The Trovince of Canterbury 29 
 
30 Heraldry of the Church 
 
 Chichester 
 Azure our LORD clad in white with a 
 golden girdle seated upon a throne gold and 
 having a sword coming out of His mouth with 
 its blade silver and its hilt gold. 
 
 This design, evidently suggested by S. 
 John's vision of our Lord in glory, appears 
 in the seals of Sigefrid who ruled the see 
 from 1 1 80 to 1204, and of Richard de la 
 Wich and John Chipping,thirteenth-century 
 Bishops of Chichester. In these seals, how- 
 ever, the sword is omitted, and the figure is 
 set between two candlesticks. The fifteenth- 
 century seal of the dean and chapter omits 
 the candlesticks, but has the sword. John 
 Arundel, bishop from 1459 to 1477 was 
 the first bishop to place the figure upon 
 a shield as the arms of the see. 
 
 The face of our Lord should be painted 
 in its natural colours ; so should the hands 
 and feet which show the wounds. The 
 halo is gold with a red cross upon it. The 
 throne may have a red cushion, and the 
 footstool may be of the same colour. 
 
CHICHESTER 
 
32 Heraldry of the Church 
 
 Ely 
 
 Gules three crowns gold. 
 
 Bishop William de Luda is found using 
 these arms as early as 1290. They are 
 those assigned to S. Etheldreda, Queen of 
 Northumbria and founder of the Abbey of 
 Ely, in whose honour the cathedral church 
 is dedicated. The reverse, Gold three 
 crowns gules^ are the arms of S. Osyth, 
 Queen of the East Saxons and founder of 
 a nunnery at Chick in Essex, who was 
 murdered by the Danes about the year 676. 
 
The Province of Canterbury 
 
 ELY 
 
34 Heraldry of the Church 
 
 Exeter 
 
 Gules a sword silver with its hilt gold sur- 
 mounted by two keys gold crossed saltirewise. 
 
 These arms assumed their present form 
 in the episcopate of John Bopthe, Bishop 
 of Exeter from 1465 to 1478. Edmund 
 Lacy (1420-55) took two keys and a 
 sword in saltire for the ai;ms of the see. 
 Edmund Stafford, his predecessor, used 
 two keys. The charges are borne in 
 allusion to the ancient dedication of the 
 cathedral to S. Peter and S. Paul. 
 
The Province of Canterbury 35 
 
36 Heraldry of the Church 
 
 Gloucester 
 Azure two keys gold crossed saltiremse. 
 
 The Abbey of Gloucester was under the 
 protection of S. Peter, and the keys of the 
 Apostle naturally appear in the blue shields 
 of the monastic house and the see. When 
 in later years the name of S. Paul was 
 added to the dedication, S. Paul's sword 
 was borne upright along with the keys, 
 and is so engraved in the fifteenth-century 
 seal of the abbey. The sword has, how- 
 ever, been disused for a long time. 
 
 The shield that the armorists of the 
 Middle Ages assigned to S. Peter himself 
 was Gules two crossed keys silver. 
 
The Province of Canterbury 37 
 
38 
 
 Heraldry of the Church 
 
 Hereford 
 
 Gules three fleurs-de-lis coming out of 
 leopards heads gold. 
 
 This is the coat-armour of the powerful 
 house of Cantilupe from which came 
 Thomas de Cantilupe, Bishop of Hereford 
 from 1275 to 1282. Adam Orlton, the 
 next bishop but one after him, had two 
 such fleurs-de-lis engraved in his seal, 
 and after his time these arms came to be 
 regarded as the arms of the see. 
 
 The leopards' heads are usually drawn 
 reversed, as in the illustration opposite, 
 but there is good reason for believing that 
 they are nothing more than a decorative 
 elaboration of the ball or knop from which 
 the leaves of the flowers spring. The 
 earliest examples of the arms of Cantilupe 
 show three golden fleurs-de-lis on red, 
 and the seal of a fifteenth-century Bishop 
 of Hereford gives them in the shield of 
 the see with very large plain knops. But 
 usage has decided that the knops shall be 
 leopards' heads reversed, and it is as well, 
 no doubt, to conform to the usual practice. 
 
The Province of Canterbury 
 
 HEREFORD 
 
4 o 
 
 Heraldry of the Church 
 
 Lichfield 
 
 Party gules and silver a cross quadrate 
 and potent between four crosses formy all 
 counter coloured. 
 
 No satisfactory explanation is known of 
 these ancient and remarkable arms, which 
 in the Middle Ages were devised for 
 S. Chad, Bishop of Mercia, and patron 
 of the cathedral. 
 
 The shield is equally divided by the 
 perpendicular line and coloured red and 
 silver, the red being on the spectator's 
 left hand. The large cross, similarly 
 divided, is coloured red where it rests 
 on the silver, and silver in its other half. 
 The four small crosses are treated in the 
 same way, those in the red half being 
 silver while the two in the silver are red. 
 The central cross is of unusual form. Its 
 arms issue from a square and end in 
 crutch-shaped pieces, whence its name 
 " potent," from the French potence = a 
 crutch. 
 
The Province of Canterbury 
 
 4i 
 
 LICHFIELD 
 
42 Heraldry of the Church 
 
 Lincoln 
 
 Gules two leopards gold and a chief azure 
 with Our Lady enthroned with the Child all 
 gold therein. 
 
 These arms first appear in the seal of 
 William Smith, Bishop of Lincoln from 
 1495 to 1 5 14. The lower part of the 
 shield contains the traditional arms of the 
 Dukes of Normandy in memory, it seems 
 probable, of William the Conqueror, who 
 in 1085 transferred the seat of the bishop 
 of that vast diocese from Dorchester on 
 the Thames to Lincoln. The figures in 
 the chief refer to the dedication of the 
 cathedral in honour of the Blessed Virgin. 
 
The Province of Canterbury 
 
 LINCOLN 
 
44 
 
 Heraldry of the Church 
 
 Llandaff 
 
 Sable two croziers crossed sajtirewise, the 
 one gold, the other silver^ and a chief azure 
 with three mitres gold therein. 
 
 The golden crozier, laid diagonally with 
 its head in the top left-hand corner of the 
 black field, should pass over the other, 
 which is all of silver. The three golden 
 mitres in the blue chief shpuld be so 
 arranged that with their pendent labels 
 they occupy about half of the area of that 
 upper part. This is not an easy shield 
 to draw so that it presents a quite satis- 
 factory appearance. The croziers especially 
 require very careful treatment. They 
 must be drawn boldly, even at the ex- 
 pense of proportion, otherwise they will 
 look very thin and make no show on their 
 black background. The charges them- 
 selves seem to have no special reference 
 to the history of the see or to the dedica- 
 tion of the cathedral. 
 
The Province of Canterbury 
 
46 Heraldry of the Church 
 
 Norwich 
 
 Azure three mitres with their labels gold. 
 
 These arms are found as early as 1 3 5 1 
 in the second seal of William Bateman, 
 Bishop of Norwich from 1344 to 1355. 
 Dr. Woodward {Ecclesiastical Heraldry \ :J 
 p. 327) suggests that the" three mitres 
 " may possibly refer to the union in the 
 See of Norwich of the Bishoprics of 
 Thetford, Dunwich, and Elmham." 
 
The Province of Canterbury 
 
 NORWICH 
 
48 Heraldry of the Church 
 
 Oxford 
 
 Sable a /esse silver between three ladies 
 heads in the chief with their clothing silver 
 and their crowns gold and an ox silver passing 
 a ford in the foot. 
 
 The lower portion of the shield contains 
 the canting arms of the city ; the ford 
 being represented by waved bars alter- 
 nately silver and blue. The ladies' heads 
 above the fess perhaps refer to S. Frides- 
 wide, Abbess of Oxford and her two patron 
 saints, S. Cecilia and S. Catherine. Dr. 
 Woodward put forward the suggestion 
 that the heads may be those of kings, 
 referring to the tradition of the royal 
 foundation of the University. 
 
The Province of Canterbury 
 
 OXFORD 
 
5<o Heraldry of the Church 
 
 Peterborough 
 
 Gules S. Peter s keys crossed saltiremse 
 between four crosslets fitchy gold. 
 
 Both the keys are gold in spite of the 
 convention that one of S. Peter's keys 
 should be silver. The arms are those 
 of the Abbey of Peterborough (in which 
 only the keys appeared), differenced by 
 the addition of four golden crosslets, 
 having their lower arms ending in spikes. 
 The other arms of the crosslets are made 
 in the fashion of the Middle Ages with 
 trefoil ends. 
 
The Province of Canterbury 
 
 5 1 
 
 PETERBOROUGH 
 
5 2 
 
 Heraldry of the Church 
 
 Rochester 
 
 Silver a saltire gules with a scallop gold 
 thereon. 
 
 The earliest Rochester seal in the 
 British Museum collection that displays 
 these arms is that of John Scory, bishop 
 from 1 55 1 to 1554. 
 
 The red saltire is in allusion to S. An- 
 drew in whose honour the cathedral was 
 originally dedicated. The reason for the 
 golden scallop is lost. 
 
ROCHESTER 
 
54 
 
 Heraldry of the Church 
 
 St. Albans 
 
 Azure a saltire gold and over all a sword 
 set upright vpith its blade silver and its hilt 
 gold and haVing ol^er its point a celestial 
 crown gold. 
 
 Here the ancient arms of the abbey, 
 which bore S. Alban's golden saltire on 
 blue, are differenced by the martyr's sword 
 and crown to form the arms of the see. 
 
ST. ALBANS 
 
56 
 
 Heraldry of the Church 
 
 St. Asaph 
 
 Sable two keys silver crossed saltirewise. 
 
 This is the usual form of these arms, 
 and they are so engraved in the seal of 
 Robert Lancaster, Bishop of S. Asaph 
 from 141 1 to 1433. But in one earlier 
 and some later examples a crozier appears 
 instead of one of the keys. There is no 
 obvious reason for the reference of the 
 keys to this saint or to the see that bears 
 his name. 
 
The Province of Canterbury 
 
 57 
 
 ST. ASAPH 
 
58 
 
 Heraldry of the Church 
 
 St. Davids 
 
 Sable a cross gold with five cinqfoils sable 
 thereon. 
 
 These arms have the appearance of a 
 personal coat. It is impossible to say how 
 or when they came to be assigned to the 
 see. In our drawing the cinqfoils are 
 pierced in accordance with ancient prac- 
 tice. The gold of the cross shows through 
 the holes. 
 
The Province of Canterbury 59 
 
 ST. DAVIDS 
 
6o 
 
 Heraldry of the Church 
 
 Salisbury 
 
 Azure the Blessed Virgin Mary with the 
 Child gold. 
 
 The arms of the see are suggested by 
 the dedication of the cathedral church in 
 honour of Our Lady. In all examples of 
 these arms the Child is carried on the 
 right arm of His Mother, who is standing. 
 Both before and since the Reformation 
 the almost universal practice has been to 
 represent the Virgin crowned and holding 
 a sceptre in her left hand. 
 
SALISBURY 
 
62 
 
 Heraldry of the Church 
 
 SOUTHWARK 
 
 Silver a cross indented gules with a mitre 
 gules in the quarter. 
 
 These arms are a differenced version of 
 the armorial bearings of the Priory of 
 S. Mary Overie in Southwark whose 
 church is now the cathedral of the dio- 
 cese. The shield of the priory was silver 
 with the same red cross of lozenges and a 
 lozenge gules in the quarter. The modern 
 substitution of the mitre for the old lozenge 
 is a very happy and expressive example of 
 heraldic differencing. 
 
 Great care is needed in the drawing of 
 this cross. It is easy to make this beautiful 
 charge quite ugly and ridiculous ; but there 
 is no need to do so. 
 
The Province of Cante 
 
 SOUTHWARK 
 
64 Heraldry of the Church 
 
 Southwell 
 
 Sable three fountains and a chief gold with 
 a pale azure between a deer in its proper 
 colours lying down and two ragged stages ^ert 
 crossed with Our Lady and the Qhild gold in 
 the pale. 
 
 The " fountains," which are coloured 
 with six waved bars alternately blue and 
 silver to represent water, refer to the 
 second syllable of the name. The deer 
 which is part of the arms of the town of 
 Derby, and the green cross which appears 
 in those of Nottingham, refer to the two 
 counties which comprise the diocese ; while 
 the blue pale with its golden figures is a 
 reminder of the See of Lincoln of which 
 the County of Nottingham was formerly a 
 part. There is no reference to the See of 
 Lichfield to which Derbyshire used to 
 belong. 
 
The Province of Canterbury 
 
 SOUTHWELL 
 
66 Heraldry of the Church 
 
 Truro 
 
 Silver a saltire gules with a fleur-de-lis 
 sable in the foot and upon the saltire a key 
 gold surmounted by a sword gold having its 
 hilt upward all within a border sable charged 
 with fifteen bezants. 
 
 Dr. Woodward {Ecclesiastical Heraldry, 
 p. 189) explains these arms as follows : — 
 The red saltire, the cross of S. Patrick, is 
 taken as the heraldic symbol (in modern 
 times only) of the ancient Celtic Church. 
 The sword and key in saltire are taken 
 from a shield in the Church of S. Germans, 
 the old Episcopal seat. The fleur-de-lis is 
 assumed to denote the transference of the 
 see to the Church of S. Mary at Truro. 
 The bordure is composed from the arms 
 of the Duchy of Cornwall. 
 
The Province of Canterbury 
 
 6 7 
 
 TRURO 
 
68 Heraldry of the Church 
 
 Worcester 
 Silver ten roundels gules. 
 
 These arms are not, as is sometimes 
 said, those of Godfrey Giffard, Bishop of 
 Worcester from 1268 to 1302 ; the charges 
 in his paternal coat were three passant 
 lions. This shield with the red roundels 
 is found in a fourteenth-century seal of 
 the Hospital of S. Wulstan at Worcester. 
 He was made Bishop of Worcester in the 
 time of Edward the Confessor and lived 
 into the reign of William Rufus. In the 
 Middle Ages his name is found among 
 those of the saints in whose honour the 
 cathedral was dedicated, and the memory 
 of this great-hearted and patriotic bishop 
 was greatly cherished there. The shield 
 was perhaps devised to commemorate some 
 forgotten deed of his. 
 
 Thomas Peverell (1407-19) is the first 
 Bishop of Worcester whose seal is known 
 to have contained these arms as represent- 
 ing the see. 
 
ARMS OF SEES IN 
 THE PROVINCE OF YORK 
 
72 
 
 Heraldry of the Church 
 
 York 
 
 Gules the keys silver of S. Teter crossed 
 saltirewise and in the chief a crown gold 
 baling a tall cap rising out of it. 
 
 The drawing is from the seal of Arch- 
 bishop Robert Waldby (1397-98) who 
 appears to have been the first prelate to 
 assume these arms. In modern times the 
 crown is made like the crown of the King 
 of England, but from its form as Arch- 
 bishop Waldby assumed it it is evidently, 
 when taken in conjunction with the crossed 
 keys, intended to represent S. Peter's tiara. 
 More anciently still the archbishops used 
 as their official arms a shield identical with 
 that of the See of Canterbury. 
 
The Province of Tork 
 
 73 
 
74 
 
 Heraldry of the Church 
 
 Durham 
 
 Azure a cross gold between four lions silver. 
 
 This magnificent coat of arms appears 
 first on the seal of Robert Nevill, Bishop 
 of Durham from 1438 to 1457. The lions 
 are possibly derived from the arms of the 
 great Thomas Hatfield, bishop from 1345 
 to 1381, whose seal contains his arms, a 
 cheveron between three lions. 
 
 This shield, with the field red and the 
 cross and lions silver, has been found, it 
 is said, as the ensign of S. Denys, bishop 
 and martyr. 
 
 It is worthy of note that the Bishop of 
 Durham is the only prelate in England 
 who should use a mitre having a coronet 
 about its rim. This distinction belongs to 
 him, and to him alone, a sign of the 
 palatinate authority which until 1835 was 
 exercised by the occupants of the see. 
 
The Province of Tork 
 
 75 
 
 DURHAM 
 
J 6 Heraldry of the Church 
 
 Carlisle 
 
 Stiver a cross sable with a mitre gola 
 thereon. 
 
 It is difficult to trace any special heraldic 
 significance in these arms which as late as 
 the reign of Edward VI had not definitely 
 assumed their present form. The cathedral 
 is dedicated to the Holy Trinity. 
 
The Province of York 77 
 
78 
 
 Heraldry of the Church 
 
 Chester 
 
 Gules three mitres with their labels gold. 
 
 It is said that these are the arms of the 
 abbey of Benedictine nuns which was sup- 
 pressed in Henry VIIl's time, when the 
 church of the nunnery became the cathedral 
 of the new see. 
 
The Province of Tork 
 
 CHESTER 
 
8o Heraldry of the Church 
 
 Liverpool 
 
 Silver the eagle of S. John the Evangelist 
 holding an inkhorn sable and a chief parted 
 azure and gules with an open book gold in the 
 azure having on its leaves the words " Thy 
 word is Truth " and in the gules a three-masted 
 ship gold. 
 
 The eagle is taken from the ancient seal 
 of the borough ; the book with its legend 
 was placed in the chief at the request of 
 John Charles Ryle, first bishop (1880- 
 1 900) of Liverpool, and the ship refers to 
 the port and commerce of the city. 
 
The Province of York 
 
 LIVERPOOL 
 
82 
 
 Heraldry of the Church 
 
 Manchester 
 
 Or a pale engrailed gules with three mitres 
 or thereon and a quarter gules with three bends 
 or therein. 
 
 Dr. Woodward [Ecclesiastical Heraldry^ 
 p. 195) suggests that the engrailure of the 
 pale is in allusion to the name of the 
 Grelleys, feudal barons of Manchester." 
 The red quarter with its three golden 
 bends contains the arms of Grelley, which 
 also appear in the shield of the city. The 
 bends should be drawn as in the illustra- 
 tion, not equally disposed in the quarter 
 but with all three in its upper part, in 
 accordance with the custom which in 
 heraldic language blazons them as " en- 
 hanced." 
 
The Province of York 83 
 
 MANCHESTER 
 
84 Heraldry of the Church 
 
 Newcastle 
 
 Gules three castles silver and a chief azure 
 with the golden cross of S. Cuthbert therein. 
 
 These arms are composed of the arms 
 of the City of Newcastle, red with three 
 silver castles, differenced by the blue chief 
 with its golden cross. This representation 
 of the cross found in S. Cuthbert's grave 
 at Durham is a reminder that the juris- 
 diction of the bishop extends over territory 
 which was formerly part of the palatinate. 
 
The Province of York 
 
 NEWCASTLE 
 
86 
 
 Heraldry of the Church 
 
 RlPON 
 
 Silver a saltire gules with two crossed keys 
 thereon and a \ chief gules with a holy lamb 
 therein in its proper colours. 
 
 The cathedral, formerly the church of 
 the College of S. Wilfrid, is dedicated in 
 honour of that saint and S. Peter, which 
 facts are happily indicated in the arms of 
 the see. The keys upon the red saltire 
 plainly refer to S. Peter, while the white 
 lamb with his silver flag having a red cross 
 upon it, and his golden cruciform nimbus, 
 seems to have been taken from the twelfth- 
 century seal of the College of S. Wilfrid. 
 
The Province of York 
 
 RIPON 
 
88 
 
 Heraldry of the Church 
 
 Sodor and Man 
 
 Gules a crowned lady with a halo holding a 
 church all in their proper colours and standing 
 with outstretched arms between two pillars silver 
 and in the foot of the shield three bent legs in 
 steel armour coming from a common point. 
 
 The figure between the pillars is in 
 modern times described as the Blessed 
 Virgin ; but there can be no doubt that 
 originally it was a representation of S. Ger- 
 man, the Bishop of Auxerre in France, 
 who, coming to this land in a time of 
 trouble, wrought against the heresy of 
 Pelagius and was a chief supporter of the 
 British Church. The pillars have all the 
 appearance of having been once part of an 
 architectural canopy such as is commonly 
 found in mediaeval seals. The whole coat 
 in fact has a seal-like appearance. 
 
 Below the figure are set the three steel- 
 clad legs which are the armorial bearings 
 of the island, and gave rise to the old 
 jest that " the arms of Man are legs." 
 
The Province of York 
 
 SODOR AND MAN 
 
9° 
 
 Heraldry of the Church 
 
 Wakefield 
 
 Gold a fleur-de-lis azure and a chief azure 
 with three celestial crowns gold therein. 
 
 The lower part of these arms is suggested 
 by the arms of the City of Wakefield which 
 are the reverse, a gold fleur-de-lis on blue. 
 The golden crowns in the blue chief speak 
 of the dedication of the cathedral in honour 
 of All Saints. 
 
The Province of York 9 1 
 
SHIELDS SPECIALLY 
 ASSOCIATED WITH THE 
 HOLY NAME 
 
 93 
 
94 Heraldry of the Church 
 
 Christ Church 
 
 Azure a cross gold charged with the sacred 
 monogram x sable. 
 
 So many churches are dedicated to our 
 Blessed Lord under this name that a 
 special coat of arms may well be appro- 
 priated to them. This shield is designed 
 on the model of that of the great Benedic- 
 tine Priory of Christ Church at Canterbury, 
 whose armorial bearings were identical with 
 these but with different colours, the Can- 
 terbury shield being silver, with the cross 
 sable and the monogram gold. 
 
Shields associated with the Holy Name 95 
 
96 Heraldry of the Church 
 
 Holy Cross or Holy Rood 
 September 14 
 
 Azure our Lord upon the Cross gold. 
 
 Churches of this dedication have a clear 
 right to this shield. The arms of the 
 cross may extend to the edge of the shield 
 or banner, if it is preferred. The figure 
 of the Crucified might well be represented 
 crowned, and clothed to the feet, with His 
 arms laid horizontally along the beam of 
 the cross, and with eyes open, in the 
 ancient fashion which regarded Him as 
 "reigning from the tree." 
 
Shields associated with the Holy Name 97 
 
98 
 
 Heraldry of the Church 
 
 Emmanuel 
 
 Silver the jive wounds of our Lord repre- 
 sented by two hands, a heart and two feet in 
 their proper colours all pierced and bleeding. 
 
 This ancient device is proposed as a 
 suitable shield for churches of this dedica- 
 tion. The shield here drawn shows these 
 arms in their most usual form. There is a 
 shield of old stained-glass in the vestry of 
 S. Nicholas' Church at Sidmouth in Devon 
 in which a little golden crown is placed 
 above each of the five wounds, with these 
 inscriptions — under the hands " Wei of 
 wisdom " and " Wei of mercy"; under 
 the heart "Wei of everlasting life" ; under 
 the feet " Wei of grace " and " Wei of 
 gostly cofort." 
 
Shields associated with the Holy Name 99 
 
 EMMANUEL 
 
ioo Heraldry of the Church 
 
 S. Saviour 
 
 Stiver three Passion-nails sable in a crown 
 of thorns l?ert. 
 
 The shield of the Passion, as it was 
 called in mediaeval England, may perhaps 
 be regarded as appropriate to churches 
 having this dedication. It seems some- 
 how reminiscent of the prayer beginning 
 " O Saviour of the world " in the office 
 of the Visitation of the Sick, 
 
Shields associated with the Holy Name 
 
 101 
 
102 Heraldry of the Church 
 
 Holy Trinity 
 
 Gules the emblem of the Trinity silver with 
 the legends sable. 
 
 The ingenuity of the old armorists never 
 devised anything happier than this famous 
 emblem, and none is better fitted to be 
 borne on shield or banner by churches 
 of this dedication. Its complete heraldic 
 blazon is too long for the pages of a book 
 which avoids technicalities, but a glance at 
 the device will show how completely and 
 happily it expresses the great dogma of 
 the Godhead of the Three Persons of the 
 Blessed Trinity, " neither confounding the 
 Persons nor dividing the substance. " 
 
 Azure a Trinity gold are the arms assigned 
 to S. Faith, virgin and martyr. 
 
Shields associated with the Holy Name 
 
 HOLY TRINITY 
 
THE FOUR EVANGELISTS 
 
 105 
 
io6 
 
 Heraldry of the Church 
 
 S. Matthew. September 21 
 
 Gules an angel standing gold. 
 
 i ■ - 
 
 ■ 
 
 The' familiar emblem of the Divine 
 Man, appropriated to S. Matthew since 
 very early times because in his Gospel 
 the human nature of our Lord is the 
 burden of his teaching, is here placed 
 upon a red shield in token of the martyr- 
 dom of the evangelist. 
 
The Four Evangelists 
 
 MATTHEW, APOSTLE, EVANGELIST, 
 AND MARTYR 
 
io8 Heraldry of the Church 
 
 S. Mark. April 25 
 
 Gules a ringed lion standing voith his 
 nimbus gold. 
 
 A winged lion is S. Mark's ancient 
 symbol, because his Gospel sets forth the 
 royal dignity of Christ. Placed upon a 
 red shield it will serve as the heraldic 
 emblem of the evangelist and martyr. 
 
1 1 o Heraldry of the Church 
 
 S. Luke. October 18 
 
 Gules a winged ox with a nimbus gold. 
 
 The ox, the emblem assigned to S. 
 Luke, whose Gospel dwells on the sacri- 
 ficial aspect of the life of our Blessed 
 Lord, is here placed on red to serve as 
 arms for churches dedicated in honour of 
 the evangelist and martyr. 
 
The Four Evangelists 1 1 1 
 
1 1 2 Heraldry of the Church 
 
 S. John. December 27 
 
 Gules an eagle rising with a nimbus gold. 
 
 The ancient symbol of the eagle, assigned 
 from very early days to S. John because 
 his gaze pierced further into the mysteries 
 of heaven than that of any man, is here 
 placed all gold on a red field as the most 
 appropriate heraldic emblem for the son 
 of thunder. 
 
The Four Evangelists 1 1 3 
 
ARMS ASSIGNED TO SAINTS 
 
 0 
 
 us 
 
n6 
 
 Heraldry of the Church 
 
 S. Andrew. November 30 
 
 Azure a saltire sifoer. 
 
 The saltire is from time immemorial the 
 symbol of S. Andrew in memory of the 
 cross on which he suffered martyrdom. 
 
 This shield with the field silver and the 
 saltire gules is that of S. Patrick, patron 
 of Ireland, and, as is well known, these two 
 saltires quarterly quartered on S. Andrew's 
 blue field form the ground of the Union 
 Jack. 
 
 A black saltire on gold is traditionally 
 assigned to S. Osmund, Bishop of Salis- 
 bury. Azure a saltire gold are the arms of 
 S. Alban, the first martyr of Britain, and 
 of the great abbey in Hertfordshire dedi- 
 cated in honour of him. 
 
Arms assigned to Saints 1 1 7 
 
 S. ANDREW, APOSTLE AND MARTYR, 
 PATRON OF SCOTLAND 
 
1 1 8 Heraldry of the Church 
 
 S. Augustine. May 26 
 
 Sable a cross silver with the cross of an 
 archbishop surmounted by a pall gold in the 
 first quarter and a lily with its leaves silver in 
 the second quarter. 
 
 In this ancient shield, attributed in 
 mediaeval days to the Apostle of the 
 English, the black field perhaps suggests 
 the Benedictine order of which S. Augus- 
 tine was a monk. The cross and the pall 
 commemorate his archiepiscopal rank. A 
 reason for the inclusion of the lily is less 
 obvious ; but he died in the month of 
 Mary, and perhaps the flower of Madonna 
 may have been placed there in memory of 
 May 26th, the day of his death. 
 
Arms assigned to Saints 
 
 S. AUGUSTINE 
 ARCHBISHOP OF CANTERBURY 
 
i2o Heraldry of the Church 
 
 S. Bartholomew. August 24 
 
 Gules three flaying-knives silver with their 
 handles gold. 
 
 A large knife, which is the emblem of 
 S. Bartholomew, refers to the legend that 
 he suffered death by being flayed alive 
 and then crucified. But three objects 
 make a better pattern in a shield than 
 one, wherefore three knives are placed 
 here. (Compare S. Thomas, page 190.) 
 
Arms assigned to Saints 121 
 
 S. BARTHOLOMEW, APOSTLE AND 
 
 MARTYR 
 
122 Heraldry of the Church 
 
 S. Catherine of Alexandria 
 November 25 
 
 Azure a spiked wheel stiver. 
 
 This favourite saint, who is said to have 
 been the only child of a King of Egypt, 
 was, after S. Mary Magdalene, the most 
 highly venerated of all women saints. She 
 was universally reverenced as the patroness 
 of learning and as the noblest type of 
 chastity. According to the well-known 
 legend her persecutors strove to put her 
 to death by breaking her upon a wheel set 
 with spikes, which by divine interposition 
 was broken. In Christian art the wheel 
 of S. Catherine is thus commonly repre- 
 sented as broken ; in the shield of arms 
 devised for her it is invariably shown 
 whole. 
 
Arms assigned to Saints 
 
 123 
 
 S. CATHERINE OF ALEXANDRIA 
 
124 Heraldry of the Church 
 
 S. Clement. November 23 
 
 Azure an anchor gold set upright. 
 
 The blue shield is charged with the very 
 ancient symbol of this eminent Bishop of 
 Rome, which was assigned to him in 
 memory of the legend that during Trajan's 
 persecution he was bound to an anchor 
 and cast into the sea. 
 
Arms assigned to Saints 
 
 125 
 
126 Heraldry of the Church 
 
 S. Cuthbert. March 20 
 
 Azure a cross paty gold between four lions 
 silver. 
 
 It is not easy to imagine what was in 
 the minds of the heralds of the Middle 
 Ages who gave this beautiful shield to 
 the Hermit-Bishop of Lindisfarne, unless 
 we may suppose that it was suggested by 
 the somewhat similar arms of the See of 
 Durham, in whose cathedral the saint's 
 body rests. It will be observed that the 
 cross in this shield is of different form 
 from that of Durham, and that the colours 
 of the charges are reversed. 
 
Arms assigned to Saints 127 
 
 S. CUTHBERT 
 
1 2 8 Heraldry of the Church 
 
 S. Dunstan. May 19 
 
 zAzure a cohered cup gold. 
 
 Dunstan, the great Archbishop of Can- 
 terbury, artist and musician, scholar and 
 reformer, statesman and preacher, was an 
 expert worker in metals. He was rever- 
 enced as the patron saint of goldsmiths, 
 and the golden cup in the arms devised 
 for him is a symbol of one side of his 
 complex personality. 
 
DUNSTAN, ARCHBISHOP OF 
 
 CANTERBURY 
 
130 Heraldry of the Church 
 
 S. Edmund, King and Martyr 
 November 20 
 
 Azure a crown gold with two arrows gold 
 passed through it saltirewise. 
 
 Edmund, the last King of East Anglia, 
 was murdered by the heathen Danes in 
 the year 870, who scourged him and shot 
 him to death with arrows when at a parley 
 with the invaders, he refused to share his 
 kingdom with their chief. 
 
 The charges in the arms, which are blue 
 and gold like those of other Saxon kings, 
 refer to his kingship and his martyrdom. 
 The great abbey at Bury which grew up 
 round S. Edmund's shrine had for its arms 
 three like crowns and pairs of arrows on 
 a blue field. 
 
Arms assigned to Saints 1 3 1 
 
132 Heraldry of the Church 
 
 S. Edward the Confessor 
 October 1 3 
 
 Azure a cross paty between five martlets 
 gold. 
 
 There is scarcely a shield in English 
 armory more famous and better known 
 than this of the saint who founded West- 
 minster Abbey and shared with S. George 
 and S. Thomas of Canterbury the devotion 
 of the English folk. Not, of course, that 
 King Edward himself ever displayed these 
 arms which were invented for him long 
 after his death. It is thought by some 
 that the martlets in these arms were sug- 
 gested by the birds which King Edward 
 placed on his coins, and that these were 
 doves like that which stood at the top of 
 his sceptre, 
 
Arms assigned to Saints 
 
134 Heraldry of the Church 
 
 S. George. April 23 
 
 Silver a cross gules. 
 
 These famous arms have been a part of 
 the armory of England for many centuries. 
 The red cross of the warrior-saint was the 
 badge of English fighting men throughout 
 the Middle Ages ; and it was blazoned on 
 the standards of all English kings and 
 nobles. S. George's shield are the arms 
 of the order of the Garter, the most 
 ancient and eminent order of knighthood 
 in the world, and his cross is to-day, as it 
 has been for centuries, the most prominent 
 device in the national flag. 
 
 This shield, with its field of the imperial 
 purple and its plain cross gold, is suggested 
 as arms for S. Helen, the mother of the 
 Emperor Constantine, who, as tradition 
 relates, was the discoverer of the Cross of 
 our Lord. 
 
Arms assigned to Saints 
 
136 Heraldry oj the Church 
 
 S. Gregory. March 12 
 
 Gold three bends gules and a chief gold 
 with a roundel ^ules therein having the Holy 
 Name inscribed upon it and supported by two 
 lions gules. 
 
 The red roundel with the Holy Name in 
 gold is a representation of the host, placed 
 here in memory of the legend of S. Gre- 
 gory's mass. It is said that on a day 
 when he was celebrating the Sacrament a 
 vision of the crucified Lord descending 
 upon the altar was revealed, in answer to 
 the prayer of the bishop, to one who 
 doubted the Real Presence. 
 
Arms assigned to Saints 
 
138 Heraldry of the Church 
 
 S. Hilda. November 17 
 
 Azure three serpents coiled gold. 
 
 Hilda, the great-niece of King Edwin 
 of Northumbria, was abbess first of Hartle- 
 pool and afterwards of the famous house 
 at Whitby which she herself founded. 
 " She taught," says Bede, " the strict 
 observance of justice, piety, chastity, and 
 other virtues, and especially peace and 
 charity . . . and so great was her pru- 
 dence that not only all common folk but 
 sometimes even kings and princes sought 
 counsel of her and found it." It is related 
 that the people adored her, and certain 
 stones which are found there having the 
 form of snakes coiled up were commonly 
 believed to be venomous reptiles, thus 
 changed by the prayers of S. Hilda. It is 
 this tradition that is commemorated by 
 the golden charges in her blue shield. 
 
Arms assigned to Saints 
 
 HILDA, ABBESS OF WHITBY 
 
140 Heraldry of the Church 
 
 S. James. July 25 
 
 zAzure three scallops gold. 
 
 The scallop shell, the ancient emblem 
 of S. James, seems to have been assigned 
 to him by the Spaniards who reverenced 
 him as their patron and protector. A 
 scallop was worn as a sign by all pilgrims 
 who had been to Compostela in Galicia 
 where the shrine of the saint was. The 
 Spanish knightly order of S. James was 
 founded in memory of the battle of Clavijo, 
 where, it is said, the patron of Spain 
 appeared, sword in hand, to fight against 
 the Moors with the trappers of his war- 
 horse powdered with scallops. The badge 
 of that famous order is a red sword with a 
 silver scallop upon the hilt. It is thought 
 that the scallop may have been chosen as 
 S. James's emblem in memory of his 
 having been a fisherman. 
 
S. JAMES, APOSTLE AND MARTYR 
 
142 Heraldry of the Church 
 
 S. Laurence. August 10 
 
 Silver a gridiron sable. 
 
 Laurence, the deacon of Rome, who 
 suffered for the Faith during Valerian's 
 persecution in the year 258 was so highly 
 honoured in this, as in every other country 
 of Christendom, that churches dedicated in 
 his honour are to be found in all but four 
 counties in England. His emblem, the 
 instrument of his martyrdom, is the charge 
 in the silver shield that the piety of me- 
 diaeval armorists devised for him. 
 
Arms assigned to Saints 143 
 
i 4 4 
 
 Heraldry of the Church 
 
 S. Margaret of Antioch 
 July 20 
 
 Azure a dragon s head torn off at the neck 
 and pierced with a cross gold. 
 
 These arms are suggested by the legend 
 that when S. Margaret, the noble virgin- 
 martyr of Antioch, was imprisoned by 
 her persecutors Satan in the form of a 
 dragon appeared and devoured her. But 
 the power of the cross which she wore 
 grew in the mouth of the dragon and tore 
 him in pieces, so that Margaret came forth 
 unhurt. 
 
Arms assigned to Saints 
 
 S. MARGARET OF ANTIOCH 
 
146 Heraldry of the Church 
 
 S. Martin. November 1 1 
 
 Azure a charbocle gold. 
 
 It is not easy to see why this device 
 should have been attributed to S. Martin. 
 The charbocle or escarbuncle is a heraldic 
 figure which originated in the central boss 
 with its radiating ribs, used in ancient 
 times to strengthen the knightly shield. 
 
 These arms were borne by the family 
 of St. Martial of Auvergne in France, and 
 it is possible that English armorists may 
 have been misled by the similarity of the 
 name into assigning them to the famous 
 French bishop whose memory was so 
 greatly revered in our own country. 
 
Arms assigned to Saints 147 
 
148 Heraldry of the Church 
 
 The Blessed Virgin Mary 
 
 Azure a heart in its proper colour haYtng 
 wings gold and pierced by a sword silver with 
 its hilt gold. 
 
 This very ancient shield for Our Lady 
 is a reference to Simeon's words, " Yea, a 
 sword shall pass through thine own soul 
 also." Its blue field is the Virgin's colour, 
 and the charges are suggestive of Mater 
 dolorosa. Another shield frequently found, 
 which symbolizes the Virgin of the An- 
 nunciation, is Silver a group of lilies in their 
 proper colours standing in a golden vase. 
 
Arms assigned to Saints 
 
 THE BLESSED VIRGIN MARY 
 
1 50 Heraldry of the Church 
 
 S. Michael the Archangel 
 September 29 
 
 Silver a cross pommy gules. 
 
 The reason is lost for the choice of a 
 red cross of this peculiar form, with its 
 arms ending in balls or apples, as the 
 emblem of the Archangel Michael, but it 
 is so assigned in Harl. MS. 5852 in the 
 British Museum. Sometimes the cross is 
 found with trefoiled ends. 
 
Arms assigned to Saints 151 
 
152 Heraldry of the Church 
 
 S. Thomas of Canterbury 
 December 29 
 
 Silver three Cornish choughs in their proper 
 colours. 
 
 The birds are black with red legs and 
 beaks. The arms of the city, three choughs 
 and a chief with a leopard of England, are 
 engraved in its fifteenth-century seal. It 
 is hardly likely that Archbishop Thomas 
 himself actually bore arms ; but the 
 choughs, as Mr. W. H. St. John Hope 
 has remarked, were certainly regarded as 
 S. Thomas's birds in the Middle Ages. 
 If there is any legend to account for this 
 it is no longer remembered. 
 
Arms assigned to Saints 
 
 S. THOMAS OF CANTERBURY 
 
154 Heraldry of the Church 
 
 S. Wilfrid. October 12 
 
 Gold seven voided lozenges gules. 
 
 This shield has been regarded as S. Wil- 
 frid's since the fifteenth century at least. 
 It is not easy to say why it was assigned 
 to him, or wherein is its appropriateness. 
 Perhaps, however, it is more than fancy 
 which sees in this reticulated charge some 
 suggestion of a fishing-net. For Wilfrid 
 was not only a great fisher of men. The 
 tale of how in the days of his banishment 
 he showed the starving Sussex folk the 
 plenteous store of food that the sea held 
 for them is well known. Perhaps too in 
 the seven sharp summits of the lozenges 
 of his shield there may be a hint of Wil- 
 frid's devotion to the See of Rome, as if 
 those points referred to the seven hills of 
 the eternal city. 
 
Arms assigned to Saints 
 
 !55 
 
 S. WILFRID, BISHOP OF YORK 
 
i 
 
 ARMS SUGGESTED FOR SAINTS 
 
 •57 
 
158 Heraldry of the Church 
 
 All Saints. November 1 
 
 Party silver and sable a crown gold between 
 three scrolls gold having the word " Sanctus " 
 gules upon each. 
 
 This shield is offered as a heraldic 
 emblem for churches dedicated in honour 
 of All Saints. 
 
 The field divided perpendicularly into 
 two equal halves, silver to the dexter, 
 sable to the sinister, is intended to sym- 
 bolize the brightness and the trials of the 
 heavenly and the earthly life. A gold 
 crown has ever been the emblem of sanc- 
 tity ; and the scrolls with their red words 
 are suggested as typifying the hymn of 
 the redeemed. 
 
ALL SAINTS 
 
1 60 Heraldry of the Church 
 
 S. Anne. July 26 
 
 cAzure a lily stiver grooving within a border 
 stiver masoned sable. 
 
 The blue field with the silver lily grow- 
 ing in it is intended to represent the 
 girlhood of the Blessed Virgin ; the 
 masoned border is for the protecting care 
 of the mother of Our Lady. 
 
Arms suggested for Saints 
 
 S. ANNE 
 
1 62 Heraldry of the Church 
 
 S. Barnabas. June 1 1 
 
 Qules a /esse silver and six roses counter- 
 coloured. 
 
 So little is told of this saint in history 
 and in legend that it is not easy to devise 
 a coat of arms containing any allusion to 
 his personality. But his festival falls in 
 June, the month of roses, and, in default 
 of a better, perhaps the shield illustrated 
 opposite will serve as a heraldic design 
 suitable for churches with this designation. 
 
 If the silver fesse is drawn so that it 
 occupies about a third of the shield the 
 roses (four of them silver on the red of 
 the field, the other two red upon the silver 
 fesse) can be disposed in a regular and 
 agreeable pattern somewhat after the man- 
 ner of a wreath. The shield then serves 
 to remind us of a pretty custom that ob- 
 tained in old days in at least one parish, 
 where on S. Barnabas' day the clerks and 
 singing boys were wont to crown them- 
 selves with wreaths of roses. 
 
Arms suggested for Saints 
 
 S. BARNABAS 
 
1 64 Heraldry of the Church 
 
 S. Botolph. June 17 
 
 Barry wavy silver and azure a chevron 
 sable with its point ending in a cross. 
 
 Botolph, the hermit-abbot of the fen 
 country, is famous as the pioneer of the 
 Benedictine order in England. At some 
 time in the seventh century he, with the 
 goodwill of the king of the East Angles, 
 founded a monastery on a lonely piece of 
 land surrounded by water. This shield 
 with its six waved divisions of white and 
 blue may be taken to represent the water 
 that was about his dwelling, and the 
 chevron is the old heraldic charge by 
 which the mediaeval armorists symbolized 
 a builder. The cross at the top of the 
 chevron is introduced to indicate that 
 S. Botolph's building was sacred. 
 
Arms suggested for Saints 
 
 S. BOTOLPH 
 
1 66 Heraldry of the Church 
 
 S. Bridget. February i 
 
 Sifoer a lamp gules aflame in a wreath of 
 oak vert. 
 
 The white field may be regarded as 
 symbolical of the virgin Abbess of Kildare, 
 " the Mary of the Irish," and suggests the 
 white garments which she always wore. 
 The oak wreath is emblematical of Kildare, 
 the greatest of her foundations, whose 
 name means " the cell of the oak," while 
 the red lamp with its flame is a reminder 
 of the sacred fire which the nuns of Kildare 
 kept ever burning in memory of her. 
 
Arms suggested for Saints 167 
 
 S. BRIDGET 
 
1 68 Heraldry of the Church 
 
 S. David. March i 
 
 Silver a mount l?ert and a pile azure with 
 a holy dove in his proper colours descending 
 therein. 
 
 It is told of S. David, the chief of the 
 builders of the Church in Wales, that 
 when he was a young bishop and known 
 for a very eloquent preacher men besought 
 him to speak to a great multitude when 
 other speakers had tried in vain to make 
 themselves heard. Whereupon the ground 
 rose as a high mount under his feet, says 
 the legend, so that David was clearly heard 
 by all, both far and near, while a white 
 dove sat upon his shoulder and stayed so 
 long as he was speaking. 
 
 It is this legend which the shield here 
 devised for him records in heraldic lan- 
 
 guage. 
 
Arms suggested for Saints 
 
 S. DAVID, PATRON OF WALES 
 
1 70 Heraldry of the Church 
 
 S. Giles. September 1 
 
 Vert a leaping hind gold shot through with 
 an arrow silver. 
 
 This shield is designed in reference to 
 the favourite legend of the hermit-saint 
 who is said to have lived in a forest by the 
 Rhone. There he was discovered, so it is 
 related, by the King of France while hunt- 
 ing, who having tracked a wounded hind 
 found that she had taken refuge in the 
 hermit's cell. 
 
 S. Giles is the patron saint of the wood- 
 land, hence the shield is coloured green. 
 
Arms suggested for Saints 
 
172 
 
 Heraldry of the Church 
 
 S. John Baptist. June 24 
 
 Gules a cross silver with eight points. 
 
 There is no need to seek far for a 
 heraldic symbol of S. John Baptist when 
 we have the beautiful cross which, under 
 its name of the Maltese cross, was the 
 badge of the famous military order of the 
 Knights Hospitallers. The order was 
 instituted early in the eleventh century 
 under the patronage of this saint for the 
 protection and support of pilgrims going 
 to the sepulchre of our Lord. After the 
 loss of the Holy Land the order had 
 its home at Rhodes, but being driven 
 from thence it was transferred to Malta 
 whence the cross gained its familiar name. 
 
Arms suggested for Saints 173 
 
174 Heraldry of the Church 
 
 S. Jude. October 28 
 
 Gules a ship gold vpitb its sails and cordage 
 silver. 
 
 Of the several emblems appropriated 
 to S. Jude the ship, as that which appears 
 most often in English representations of 
 him, has been chosen as the charge for a 
 shield of arms to symbolize him. The 
 field is gules in reference to the legend 
 that he suffered a martyr's death. 
 
Arms suggested for Saints 
 
 S. JUDE, APOSTLE AND MARTYR 
 
176 Heraldry of the Church 
 
 S. Leonard. November 6 
 
 Sable a saltire of chains gold ending in 
 broken fetters. 
 
 Leonard, the patron saint of prisoners 
 and slaves, was a hermit of France who 
 lived in the sixth century. He founded 
 an abbey near Limoges and spent his long 
 life in works of pity, being specially tender 
 towards those who had lost their liberty. 
 The Benedictines claimed him as one of 
 their order, and the black field of these 
 arms is a reminder of the colour of their 
 habit. The golden chain with its broken 
 fetters is intended to typify the freeing of 
 captives which was S. Leonard's dearest 
 form of charity. 
 
Arms suggested for Saints 
 
 S. LEONARD 
 
178 Heraldry of the Church 
 
 S. Mary Magdalene. July 22 
 
 Party purple and sable strewn with drops 
 silver an alabaster ointment-pot in its proper 
 colours embellished with gold. 
 
 The field is divided perpendicularly and 
 coloured purple and black, the colours of 
 penitence and mourning. The principal 
 charge is the symbol of the saint, and 
 the silver drops with which the field is 
 bestrewn may be taken to represent 
 S. Mary's tears. 
 
Arms suggested for Saints 179 
 
180 Heraldry of the Church 
 
 S. Matthias. February 24 
 
 Six pieces gules and gold with three dice in 
 their proper colours in the gules. 
 
 This shield is intended to symbolize by 
 its charges him who was chosen by lot into 
 the number of the Apostles, and by its 
 colours his martyrdom and renown. It is 
 suggested as an alternative to the usual 
 method of representing a saint by the 
 emblem which is used to distinguish him 
 in Christian art. A precedent for intro- 
 ducing dice into a shield is to be found in 
 the arms of the English family of Mathias 
 who bore Gules three dice silver, as well as 
 in mediaeval shields in Winchester Cathe- 
 dral and elsewhere in which they are 
 pictured among the instruments of our 
 Lord's Passion. 
 
MATTHIAS, 
 
 APOSTLE 
 
 AND MARTYR 
 
1 8 2 Heraldry of the Church 
 
 S. Nicholas. December 6 
 
 Azure three bezants. 
 
 Nicholas, Bishop of Myra, the patron 
 saint of children, has as his emblem three 
 golden balls in reference to the legend 
 which tells how he saved three sisters 
 from poverty and shame by throwing 
 secretly three purses of gold into their 
 house. These gifts are represented heral- 
 dically by golden roundels in the shield 
 opposite, where the blue field may be 
 allowed to typify the sea, for S. Nicholas 
 is the patron too of seafaring men. 
 
 The arms of the Kentish family of 
 St. Nicholas who bore Ermine a chief 
 quarterly gold and gules are sometimes 
 improperly ascribed to the Bishop of 
 Myra. 
 
Arms suggested for Saints 
 
 S. NICHOLAS, BISHOP OF MYRA 
 
184 Heraldry of the Church 
 
 S. Philip. May 1 
 
 Gules a staff set upright having a cross at 
 its head between two fishes lying fessewise with 
 two roundels in the chief and three in the foot 
 all gold. 
 
 The red field is symbolical of martyr- 
 dom ; the golden fishes and the five 
 roundels are for a reminder of the miracle 
 of the feeding of the five thousand ; the 
 long cross is that which is seen in so 
 many devotional pictures of S. Philip. 
 
S. PHILIP, APOSTLE AND MARTYR 
 
1 86 Heraldry of the Church 
 
 S. Stephen. December 26 
 
 Gules a palm-branch gold set upright 
 between three flint-stones silver. 
 
 These are the arms of the Abbey of 
 S. Stephen at Dijon in France. English 
 heraldry seems to have failed to devise a 
 shield for the first martyr, and English 
 churches of this dedication would find it 
 hard to design anything better than these 
 expressive arms of the emblems of his 
 martyrdom. 
 
Arms suggested for Saints 
 
 S. STEPHEN THE FIRST MARTYR 
 
1 8 8 Heraldry of the Church 
 
 S. Swithun. July 15 
 
 Silver three apples with their leases ^ert 
 and a chief azure sprinkled with drops silver. 
 
 The charges in the shield are suggested 
 by the popular weather legend regarding 
 the festival of the translation of the famous 
 bishop. The silver drops in the blue chief 
 refer to the rain which so often falls against 
 our hopes on S. Swithun's day, while the 
 green apples allude to the old legend that 
 if S. Swithun wets the orchards there will 
 be a plentiful harvest. 
 
Arms suggested for Saints i 
 
 hhhh h \ 
 
 SWITHUN, BISHOP OF WINCHESTER 
 
190 Heraldry of the Church 
 
 S. Thomas. December 21 
 
 Gules three spears in their proper colours. 
 
 The field is red, the martyr's colour ; a 
 spear is his well-known emblem in allusion 
 to the instrument of his martyrdom. Three 
 spears are placed in this shield, in accord- 
 ance with mediaeval heraldic practice, for 
 artistic reasons ; for three charges have a 
 better appearance than one. A single 
 spear would occupy too small a space to 
 make an effective design. 
 
Arms suggested for Saints 
 
 S. THOMAS, APOSTLE AND MARTYR 
 
INDEX 
 
 Alban, S., 116. 
 All Saints, 158. 
 Andrew, S., 116. 
 Anne, S. , 160. 
 Armagh, 16. 
 Augustine, S., 118. 
 
 Bangor, 22. 
 Barnabas, S., 162. 
 Bartholomew, S., 120. 
 Bath and Wells, 24. 
 Birmingham, 26. 
 Botolph, S., 164. 
 Bridget, S., 166. 
 Bristol, 28. 
 
 Canterbury, 16. 
 Carlisle, 76. 
 Catherine, S., 122. 
 Chad, S., 40. 
 Chester, 78. 
 Chichester, 30. 
 Christ Church, 94. 
 Clement, S., 124. 
 Cross, Holy, 96. 
 Cuthbert, S., 126. 
 
 David, S., 168. 
 
 Denys, S., 74. 
 Dublin, 16. 
 Dunstan, S., 128. 
 Durham, 74. 
 
 Edmund, S., 130. 
 Edward the Confessor, 132. 
 Ely, 32. 
 Emmanuel, 98. 
 Etheldreda, S., 32. 
 Exeter, 34. 
 
 Faith, S., 102. 
 
 Five Wounds, The, 98. 
 
 George, S., 134. 
 Giles, S., 170. 
 Gloucester, 36. 
 Gregory, S., 136. 
 
 Helen, S., 134. 
 Hereford, 38. 
 Hilda, S./138. 
 
 James, S., 140. 
 John Baptist, S., 172. 
 John the Evangelist, S. , 112. 
 Jude, S., 174. 
 
i 9 4 
 
 Index 
 
 Laurence, S., 142. 
 Leonard, S., 176. 
 Lichfield, 40. 
 Lincoln, 42. 
 Liverpool, 80. 
 Llandaff, 44. 
 London, 18. 
 Luke, S. , 1 10. 
 
 Manchester, 82. 
 Margaret, S., 144. 
 Mark, S., 108. 
 Martin, S., 146. 
 Mary Magdalene, S., 178. 
 Mary, the Blessed Virgin, 
 148. 
 
 Matthew, S., 106. 
 Matthias, S., 180. 
 Michael, S., 150. 
 
 Newcastle, 84. 
 Nicholas, S., 182. 
 Norwich, 46. 
 
 Osmund, S. , 1 16. 
 Osyth, S„ 32. 
 Oxford, 48. 
 
 Patrick, S., 116. 
 Paul, S., 18. 
 
 Peter, S., 36. 
 Peterborough, 50. 
 Philip, S., 184. 
 
 Ripon, 86^ 
 Rochester, 52. 
 
 St. Albans, 54. 
 St. Asaph, 56. 
 St. Davids, 58. 
 Salisbury, 60. 
 Saviour, S., 100. 
 Sodor and Man, 88. 
 Southwark, 62. 
 Southwell, 64. 
 Stephen, S., 186. 
 Swithun, S., 188. 
 
 Thomas, S., 190. 
 Thomas of Canterbur 
 152. 
 
 Trinity, Holy, 102. 
 Truro, 66. 
 
 Wakefield, 90. 
 Wilfrid, S. , 1 54. 
 Winchester, 20. 
 Worcester, 68. 
 
 York, 72. 
 
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