I am very fortunate to call Windsor my home – twenty
one miles from central London, the historic town in Royal Berkshire is famed by
its castle and its royal residents throughout the centuries, of which the
current Royal House adopted its namesake during a First World War rebrand –
unsurprisingly Saxe-Coburg-Gotha didn't quite have the right ring to it. The town is pseudo-country; formed around the private and public
crown estate of Windsor Great Park, one can instantly be lost in an ocean of
forest or fields when exploring off the tourist ant-trail, only to discover
there is much more history beyond the castle walls. Down the Long Walk - arguably
the most impressive approach to a residence in the Land - and beyond the Copper
Horse, lays a community of duty and heritage. While accessible only by foot or
by bicycle to the public, The Great Park is my home turf and my runs around
this five thousand acre estate over the years have still not taken me to its
every corner. A few weekends ago I stepped back in time – the twelfth century
to be precise – to visit the exhibition A Pageant of Heraldry organised by The
College of Arms and Cumberland Lodge.
Cumberland Lodge is a residence within The
Great Park dating from the middle of the seventeenth century. Since its
formation as a charitable foundation in 1947, it provides an
informal centre for academic exchange – it’s panelled rooms proved one of the
most interesting exhibiting pop-up spaces I had been to for a while.
During
my time with the Royal Collection at Windsor Castle a few years ago, I could
not resist growing a fascination with heraldry. Besides the fact that there is
symbolism carved onto every chair, table, pane of glass and slab of stone
around the castle apartments, as an artist the visual language that these
symbols created were truly mystifying and formed one of the first concepts of a brand through visual recognition in history. Whether it is the sea of shields across
the ceiling of St George’s Hall or the sacred decoration that is at the heart
of the foundations of St George’s Chapel, it is easy to be enchanted by the genealogical
history of characters past and present.
Heraldry derives from the word Herald
and was first mentioned in Western Europe about the time of the First Crusade
(c. 1100). Acting as messengers, diplomats and army staff officers, Heralds
were attached to household rulers and magnates around the country where they
used their expertise in identifying army commanders by their coat armour -
markings painted on their banners and shields – since helmets denied facial
recognition during war. This was a valued skill and precise identification in
battle was paramount. Their experience led to taking responsibility of ceremonial
duties at court and they were acknowledged as members of the Royal Household
under Henry V in 1415 as ‘King of Arms’.
Their device of indexes, rules and
terminology around the insignia of arms form the basis of heraldic law and
language that continues to provide a service today by the office of the
Earl Marshal – itself a hereditary position through the Dukes of Norfolk since
1672 - who represent the Sovereign in the authorisation of all arms and grants.
The exhibition illustrates the importance of heraldry as a mark of
identification and charts the importance of heraldic seals as a means of
authenticating documents in the late Middle Ages to the interest of institutions
and public bodies from the beginning of the eighteenth century of which
interest maintains in contemporary society and continues to be presented with
an ornate Grant of Arms document approved with a Great Seal.
Tabard of King of Arms, bearing the Royal Arms on velvet
Tabard of Pursuivant of Arms, bearing the Royal Arms on silk
Highlights from
the exhibit include tabards of King of Arms and Pursuivants of Arms beautifully
embroidered on velvet and silk respectively, as well as The late Queen
Mother’s personal banner which is uniquely on display.
While it is assumed
that coats of arms are only reserved for royalty and nobility, with the
emergence of a celebrity class towards the end of the last century within
Britain’s inherent class system, a slice of noble decoration can in fact be
purchased by anyone, at a price. With the trend ignited by rock royalty such as
Sir Elton John and Sir Paul McCartney, celebrity culture in Britain aspired for
heraldic heritage – this was notably documented in the press when David Beckham
and then-to-be wife, Victoria Adams commissioned a coat of arms inspired by the
British Premier League Football trophy in 1999. Reports came out that the
couple wished for the swan - that is incorporated in the design - to face a
specific direction and that it had been suggested the swan should face the opposite
direction since the great heraldic lexicon dictated the original direction
would have implied the male bearer’s sexual preference to men. Most recently
however, the coat of arms of a certain Kate Middleton received global attention
on the announcement of her engagement to Prince William. Royal protocol
requires both parties of the royal couple to provide arms – the Middleton
family commissioned a coat of arms with the help of Garter Principal King of
Arms, Thomas Woodcock, resulting in a personal design
that symbolised the family’s association with West Berkshire and their interest
in outdoor pursuits, while representing all five members of the Middleton
family through colour and composition.
Printed onto the official souvenir
programme on the day of the Royal Wedding earlier this year (Something Old Something New, April 2011) it is undoubtedly the most recognisable coat of arms in 2011, if not this
century. However once Kate Middleton officially married into the Royal family
to assume her title of Catherine, Duchess of Cambridge, her coat of arms
instantly ‘combined’ with that of Prince William. Where protocol necessitates
this new design will be used to represent the Duchess and also gives the
opportunity to watering holes around the country to fashion themselves after
the newly appointed royal – the first pub in the country to be named after the
Duchess was in fact registered in Windsor where the coat of arms can be seen
above the entrance.
The importance of heritage in
contemporary society is no more evident than in the new advertising campaign
that was launched by British Airways in late September. While companies invest
millions into rebranding their product with a new direction, the airline looked
to their past and reintroduced a brand element from their 'Landor' livery that was used between 1984-1997. Perhaps a clever marketing strategy on the eve of the
British Monarch’s Golden Jubilee as well as the hosting nation of the Olympic
Games next year, the airline has chosen to reintroduce a newly stylised version
of their coat of arms and motto, To Fly. To Serve - granted to them by the
College of Arms in 1975 - on their aircraft, uniforms and all other aspects of
brand BA. Profiting from the ‘made in Britain’ trend that is proving to be a
currency worth investing in across all market sectors, the expression of
genuine heritage is an element of branding money cannot buy. The majestic
nature of a coat of arms supersedes any fancy, modernist design, embodying a
sense of seniority, quality and even timelessness that will no doubt charm
customers aboard the nation’s flag carrier.
A series of crests - including a chrysanthemum of the Emperor of Japan (centre)
While contemporary events of
public interest shine the media spotlight onto the heritage of the
College of Arms today, it is the annual event of the Most Noble Order of the
Garter within the walls of Windsor Castle at St George’s Chapel - heraldry’s
spiritual home since the Order’s foundation in 1348 by Edward III – that
emphasises the historical importance and splendour of a service that is so intrinsic
in this country’s very own brand identity that will last for another eight
hundred years.
A Pageant of Heraldry may still be viewed at Cumberland
Lodge on Wednesday 26th November – click here for visitor information.
For further details on heraldic history and lineage, enquiries may be made to
the Officer in Waiting at the Collage of Arms, which is open on weekdays
throughout the year. Access to St George’s Hall and St George’s Chapel at
Windsor Castle is open daily – the wardens are well versed in the castle’s
history and are more than happy to help with any questions – ticket information
can be obtained at The Royal Collection.
The College of Arms
Queen Victoria Street
London EC4
.
Cumberland Lodge
The Great Park
Windsor, Berkshire
SL4 2HP
