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A coat of arms, more properly called an armorial achievement, armorial bearings or often just arms for short, in European tradition, is a design belonging to a particular person (or group of people) and used by them in a wide variety of ways. Historically, they were used by knights to identify them apart from enemy soldiers. In Continental Europe, commoners were able to adopt burgher arms. Unlike seals and emblems, coats of arms have a formal description that is expressed as a blazon. In the 21st century, coats of arms are still in use by a variety of institutions and individuals (for example several universities have guidelines on how their coats of arms may be used and protect their use).
The art of designing, displaying, describing and recording arms is called heraldry. The use of coats of arms by countries, states, provinces, towns and villages is called civic heraldry.
In the heraldic traditions of England and Scotland an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son; wives and daughters could also bear arms modified to indicate their relation to the current holder of the arms. Undifferenced arms are used only by one person at any given time. Other descendants of the original bearer could bear the ancestral arms only with some difference: usually a color change or the addition of a distinguishing charge. One such charge is the label, which in British usage (outside the Royal Family) is now always the mark of an heir apparent.
Because of their importance in identification, particularly in seals on legal documents, the use of arms was strictly regulated; few countries continue in this today. This has been carried out by heralds and the study of coats of arms is therefore called "heraldry". Some other traditions (e.g., Polish heraldry) are less restrictive — allowing, for example, all members of a dynastic house or family to use the same arms, although one or more elements may be reserved to the head of the house.
In time, the use of coat of arms spread from military entities to educational institutes, and other establishments. According to a design institute article, "The modern logo and corporate livery have evolved from the battle standard and military uniform of medieval times".
In his book, The Visual Culture of Violence in the Late Middle Ages, Valentin Groebner argues that the images composed on coats of arms are in many cases designed to convey a feeling of power and strength, often in military terms. The author Helen Stuart argues that some coat of arms were a form of corporate logo. Museums on medieval coat of arms also point out that as emblems they may be viewed as a pre-cursors to the corporate logos of modern society, used for group identity formation.
The American Great Seal is often said to be the coat of arms of the United States. The blazon ("Paleways of 13 pieces, argent and gules; a chief, azure") is intentionally improper to preserve the symbolic number 13.
Most American states generally have seals, which fill the role of a coat of arms. However, the state of Vermont (founded as the independent Vermont Republic) follows the American convention of assigning use of a seal for authenticating official state documents and also has its own separate coat of arms.
Many American social fraternities and sororities, especially college organizations, use coats of arms in their symbolism. These arms vary widely in their level of adherence to European heraldic tradition. Organizations formed outside the United States with U.S. membership also may have a coat of arms. Roman Catholic dioceses and cathedrals have a coat of arms.
Note that not all personal or corporate insignia are heraldic, though they may share many features. For example, flags are used to identify ships (where they are called ensigns), embassies and such, and they use the same colors and designs found in heraldry, but they are not usually considered to be heraldic. A country may have both a national flag and a national coat of arms, and the two may not look alike at all. For example, the flag of Scotland (St Andrew's Cross) has a white saltire on a blue field, but the royal arms of Scotland has a red lion within a double tressure on a gold (or) field.
The Vatican has its own coat of arms. As the Papacy is not hereditary, its occupants display their personal arms combined with those of their office.
Some Popes came from armigerous (noble) families; others adopted coats of arms during their career in the church. The latter typically allude to their ideal of life, or to specific Pontifical programmes. A well known and widely displayed example in recent times was Pope John Paul II's coat of arms. His selection of a large letter M (for Mary) on his coat of arms was intended to express the message of his strong Marian devotion.
Roman Catholic Dioceses also are assigned a coat of arms. A Basilica, or papal church also gets a coat of arms, which is usually displayed on the building. These may be used in countries which otherwise do not use heraldic devices.
In Scotland, the Lord Lyon King of Arms has criminal jurisdiction to enforce the laws of arms. In England, Northern Ireland and Wales the use of arms is a matter of civil law and regulated from the College of Arms.
In reference to a dispute over the exercise of authority over the Officers of Arms, Arthur Annesley, 1st Earl of Anglesey, Lord Privy Seal, declared on 16 June 1673 that the powers of the Earl Marshal were "to order, judge, and determine all matters touching arms, ensigns of nobility, honour, and chivalry; to make laws, ordinances, and statutes for the good government of the Officers of Arms; to nominate Officers to fill vacancies in the College of Arms; to punish and correct Officers of Arms for misbehaviour in the execution of their places". It was further declared that no patents of arms or any ensigns of nobility should be granted and no augmentation, alteration, or addition should be made to arms without the consent of the Earl Marshal.
Today, the term "coat of arms" is frequently applied in two different ways. In some uses, it may indicate a full achievement of arms or heraldic achievement, which includes a variety of elements — usually a crest sitting atop a helmet, itself sitting on a shield; other common elements include supporters holding up the shield and a motto (beneath in England, above in Scotland). Some people wrongly use "coat of arms" or "arms" to refer to the escutcheon (i.e., the shield itself), or to one of several designs that may be combined in one shield. (Note that the crest is one specific part of a heraldic achievement and that "crest of arms" is a misnomer.) The "coat of arms" frequently are adorned with a device - a motto, emblem, or other mark used to distinguish the bearer from others. If a motto is a part of the achievement, it sometimes has some punning allusion to the owner's name. A device differs from a badge or cognizance primarily because it is a personal distinction, and not a badge borne by members of the same house successively.
Heraldry is the profession, study, or art of devising, granting, and blazoning arms and ruling on questions of rank or protocol, as exercised by an officer of arms. Heraldry comes from Anglo-Norman herald, from the Germanic compound *harja-waldaz, "army commander". The word, in its most general sense, encompasses all matters relating to the duties and responsibilities of officers of arms. To most, though, heraldry is the practice of designing, displaying, describing, and recording coats of arms and badges. Historically, it has been variously described as "the shorthand of history" and "the floral border in the garden of history."The origins of heraldry lie in the need to distinguish participants in combat when their faces were hidden by iron and steel helmets. Eventually a formal system of rules developed into ever more complex forms of heraldry.
The system of blazoning arms that is used in English-speaking countries today was developed by the officers of arms in the Middle Ages. This includes a stylized description of the escutcheon (shield), the crest, and, if present, supporters, mottoes, and other insignia. Certain rules apply, such as the Rule of tincture, and a thorough understanding of these rules is a key to the art of heraldry. The rules and terminology do differ from country to country, indeed several national styles had developed by the end of the Middle Ages, but there are some aspects that carry over internationally.
Though heraldry is nearly 900 years old, it is still very much in use. Many cities and towns in Europe and around the world still make use of arms. Personal heraldry, both legally protected and lawfully assumed, has continued to be used around the world. Heraldic societies exist to promote education and understanding about the subject.
Latvia (en-us-Latvia.ogg /ˈlætviə/ (help·info); Latvian: Latvija), officially the Republic of Latvia (Latvian: Latvijas Republika) is a country in the Baltic region of Northern Europe. It is bordered to the north by Estonia (343 km), to the south by Lithuania (588 km), to the east by the Russian Federation (276 km), and to the southeast by Belarus (141 km). Across the Baltic Sea to the west lies Sweden. The territory of Latvia covers 64,589 km2 (24,938 sq mi) and it has a temperate seasonal climate.
The Latvians are Baltic people culturally related to the Estonians and Lithuanians, with the Latvian language having many similarities with Lithuanian, but not with the Estonian language. Today the Latvian and Lithuanian languages are the only surviving members of the Baltic languages of the Indo-European family. The modern name of Latvia is thought to originate from the ancient Latvian name Latvji, which, like the name of Lithuania, may have originated from the river named Latuva.
Latvia is a unitary parliamentary republic and is divided into 118 municipalities (109 novadi and 9 cities). The capital and largest city is Riga. Latvia has been a member of the United Nations since September 17, 1991; of the European Union since May 1, 2004 and of the NATO since March 29, 2004.
The territory of Latvia has been populated since 9000 BC, after the Ice Age glaciers retreated. Around the beginning of the third millennium BC (3000 BC) the proto-Baltic ancestors of the Latvian people settled on the eastern coast of the Baltic Sea. The Balts established trade routes to Rome and Byzantium, trading local amber for precious metals. By 900 AD, four distinct Baltic tribes inhabited Latvia: Couronians, Latgallians, Selonians, Semigallians (in Latvian: kurši, latgaļi, sēļi and zemgaļi), as well as the Livonians (lībieši) speaking a Finno-Ugric language.
Traditional Latvian folklore, especially folk songs are dating back well over a thousand years. More than 1.2 million texts and 30,000 melodies of folk songs have been identified.
Between the thirteenth and nineteenth century, Baltic Germans, many of whom were originally of non-German ancestry but had been assimilated into German culture, formed the upper class. They developed a distinct cultural heritage, characterised by both Latvian and German influences. It has survived in German Baltic families to this day, in spite of their dispersal to Germany, the USA, Canada and other countries in the early 20th century. However, most indigenous Latvians did not participate in this particular cultural life. Thus, the mostly peasant local pagan heritage was preserved, partly merging with Christian traditions, for example in one of the most popular celebrations today which is Jāņi, a pagan celebration of the summer solstice, celebrated on the feast day of St. John the Baptist.
Caraway cheese is traditionally served on the Latvian festival Jāņi.
In the nineteenth century Latvian nationalist movements emerged promoting Latvian culture and encouraging Latvians to take part in cultural activities. The nineteenth century and beginning of the twentieth century is often regarded as a classical era of Latvian culture. Posters show the influence of other European cultures, for example, works of artists such as the Baltic-German artist Bernhard Borchert and the French Raoul Dufy. With the onset of World War II, many Latvian artists and other members of the cultural elite fled the country yet continued to produce their work, largely for a Latvian émigré audience.
After incorporation into the USSR, Latvian artists and writers were forced to follow the Socialist realism style of art. During the Soviet era, music became increasingly popular, with the most popular being songs from the 1980s. At this time, songs often made fun of the characteristics of Soviet life and were concerned about preserving Latvian identity. This aroused popular protests against the USSR and also gave rise to an increasing popularity of poetry. Since independence, theatre, scenography, choir music and classical music have become the most notable branches of Latvian culture.