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The Armorial Bearings of David Robert Wooten were Registered with The American College of Heraldry on 6 November 1992 under Number 1073.
Azure, fretty raguly Or. Above the Shield is placed a Helmet with a Mantling Azure doubled Or, and on a Wreath Or and Azure is set for Crest, a satyr Sanguine, wreathed with olive leaves Proper, with bat's wings to the sides Azure, and in an Escrol below the Shield this Motto: “Melior Nullo Nullus Melior” (I am better than no man, but no man is my better).
They were also received in a Certificacion de Armas from the Cronista Rey de Armas under Protocolo:3/1995; Folios:149-151, and Confirmed by the Ministerio de Justicia, Madrid, Kingdom of Spain.
Blazon: En campo de azur (azul), una celosía ecotada, de oro. Va timbrado el escudo de armas de un casco de acero bruñido, con bordura y grilletas de oro, claveteado de lo mismo, forrado de gules (rojo), sumado de un burelete trenzado de azur (azul) y oro del que salen lambrequines de los mismos esmaltes y sumado a su vez de una cabeza de satiro, sanguino, barbado al natural, orejado con alas de murciélago, de azur (azul) y sumado de una corona de hojas de olivo, de sinople (verde). Divisa: En cinta de plata con letras de sable (negro): "MELIOR NULLO NULLUS MELIOR".
Later the Arms were Registered by the St. Andrew Principal Herald Master of the Collegium Heraldicum Russiae under Number 167.
Всем и каждому чрез сию Гербовую Грамоту да будет известно и ведомо, что Русская Геральдическая
Коллегия внесла в свой Гербовый Матрикул сей герб, владельцем коего является
Кавалер Дэвид Роберт Вутен
А именно: В лазуревом щите золотая косая сучковатая решетка (фрет). Щит увенчан рыцарским
шлемом с лазуревым намётом, подбитым золотом. Клейнод: на ливрейном бурелете голова сатира с
оливковым венком и лазуревыми перепончатыми крыльями от висков. Девиз на ленте внизу:
Melior Nullo Nullus Melior - «Я не лучше других, но и никто не лучше меня».
Дано в Москве 9-го июля 1994 г. под номером 167.
Командор Кавалер
Валерий Павлович Егоров
Герольдмейстер Принципал
Св. Андрея Первозванного, РГК
Most recently, the Arms were registered with Burke's International Register of Arms, 29th January 2006. Registration No. 0009.
CLICK HERE TO VIEW THE "EVOLUTION" OF THESE ARMORIAL BEARINGS
MY deviantART SITE
As you might imagine, in my current position as Executive Director of The American College of Heraldry, I receive many requests from individuals on resources for ways to display their armorial bearings, whether it’s an artist to paint them, or an embroiderer to stitch them onto something, or, most often, where they can have their achievement engraved on a ring, cuff links, etc.
Some years ago I had my signet ring done by Carl Lemke (who I would NOT recommend, as he is no longer reliable - in fact, I have filed a complaint with the Better Business Bureau against him [along with others who have not received long overdue merchandise from him] - I can't emphasize this strongly enough - while his work may be good - though not better than Dexter Seal Engraving [see below], his unbelievably poor service and lack of communication outweigh any savings on the work done). I have always wanted something a bit more unique, and I felt that the ring I had did not exactly reflect the image I originally intended. So, I spent a great deal of time sourcing all possible heraldic engravers worldwide, providing them with the specifications of the ring size I wanted, as well as a drawing of EXACTLY what I wanted on the table of the ring. I can tell you that prices for such a project ranged anywhere from $1000 to well over $3000 – all for the same type and size of ring, and amount of gold.
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The company I landed upon, after numerous phone calls and emails – explaining in nauseously excruciating detail how precisely the final ring had to match my drawing – was Dexter Seal Engraving – www.familysealrings.com. The gentleman
I dealt with was Simon Wright, and he went above and beyond to explain their process, and gave me assurances (backed with a guarantee) that what they carved would be what I depicted, as exactly
as humanly possible. I jumped in with both feet, and entrusted my money and ring to his artisans’ capable hands.
I asked Simon to take some photographs of the process from start to finish, so I could see how they achieved the end result. You can see the results here:
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CLICK IMAGES TO ENLARGE
I am OVERWHELMINGLY pleased to advise that the pictures show a ring that PERFECTLY matches the drawing I sent, and thus may be the best 3-dimensional depiction of my crest I have yet seen. I provided them with a rather unique layout (I superimposed the crest of my achievement over the fretty raguly of the shield). I told the folks at Dexter that I wanted the final product to match my drawing EXACTLY - something that is very difficult to do when an artisan carves something by hand - especially with the geometric complexity of a fretty raguly "background."
Granted, my design is not intended to be a sealing ring – it was intended to be an “abstract” version of my arms, boiled down to the crest and shield. It may not be to your taste, but imagine that if they can do something “outside the box” like this for me, they would be eminently capable of handling a more traditional armorial achievement for you.
I’m not making anything off this extended “advertisement” – I just know that many of you have similar interest and concerns about getting a quality piece of jewelry to display your armorial bearings. And the good thing about Dexter is that they are at the lower, rather than the upper, end of the price range. Of course, each piece is different, and complexity = additional $$ (or £s), but they are more than fair, and in fact do a superior job for a fraction of what others would charge for the same work.
I would urge you to contact Simon Wright directly if you are interested in having this sort of work done. His direct contact information is shown below, along with their website, which I urge you to visit to see the wide variety of products they can produce. Tell him I sent you. Tell your friends about their services as well.
Simon Wright.
Dexter Seal Engraving, Dexters, Cherry Orchard, Tenterden, Kent. TN30 7LP. United Kingdom
Tel: +44 (0) 1580 765616 Tel # from the USA 011 44 1580 765616 Fax: +44 (0) 1580 765594
E-mail : dexter@sealengraving.com
Website: www.familysealrings.com
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The latest "incarnation" of my arms (these originally drawn by
Marco Foppoli) were custom etched into Rosewood Burl as covers for my iPhone by Carved, LLC.
Custom crafted from durable and sustainable woods, Carved currently offers Kindle Fire, iPhone, and iPad skins and cases, and are adding new items to their product line regularly. Through a unique laser-engraving technique, they can turn any photograph or logo that you have into an iPhone or iPad case or skin complete with amazing detail. All of their products are precision laser cut and engraved.
Woods available include Paldao, Padauk, English Sycamore, Redwood Burl, Olive Ash Burl, Purpleheart, and Natural Bamboo.
I can highly recommend the folks at Carved for both the quality of their product and the level of customer service they offer. They went above and beyond to work with me in creating a unique iPhone cover from the line art drawing I submitted. These products offer a new and unique way for armigers to display the armorial bearings.
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CLICK ON THE IMAGES TO VIEW ENLARGED VERSIONS | |||
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The top bookplate was designed and rendered by my good friend, the late Daniel de Bruin. I would recommend visiting his website for extensive examples of his work, as well as biographical information.
The Armorial Ex Libris shown above left was the first designed by the armiger, with the original arms rendered by Heraldic Artist Dennis Endean Ivall. Appearing at the top to the left and right of the arms, respectively, are the Badge of The Niadh Nask (Noble Confraternity of the Golden Chain) and the Badge of the Optime Merenti Niadh Nask.
The more recent Armorial Ex Libris shown in color at center was designed by the armiger, and incorporates the armiger's motto in Gaelic encircling the arms. On either side of the crest appear the Breast Stars of The Niadh Nask (Second Division) and the Optime Merenti Niadh Nask.
The most recent bookplate designed by the armiger incorporates a modified version of the original armorial bearings, in a more Gaelic style (as designed by Dennis Ivall), and surrounded by (clockwise from upper right): the badge of Optime Merenti Niadh Nask; the Donal IX Quatercentenary Medal; the Mountcashel Cross awarded to Officers of The Honourable Society of the Irish Brigade; the Arms of The Military & Hospitaller Order of Saint Lazarus of Jerusalem; and the Breast Star of The Niadh Nask (although not in color, which would indicate that of the Second Division). Below the armiger's name and title appears the logo of The Royal Eóghanacht Society.
The designs reflect organizations and titles "granted" from Terence Francis MacCarthy, who in fact was never the true MacCarthy Mór and thus did not have the right to make certain grants of titles. Thus the removal of the baronial coronet and the Niadh Nask Cross from behind the shield would be proper in all instances, as well as the removal of Niadh Nask insignia. Some of the previous versions, despite their relationship to the false MacCarthy Mór, are left in place to show both the artists' talents and the possible diversity of design.
The final design was produced again by Daniel de
Bruin, and illustrates the armiger's crest alone, sans any additional accoutrements. I wanted this to simplify my personal stationery, but also wanted to see how non-traditional a design the artist could produce - and he obviously came through with flying colors on this one. Mr. de Bruin does accept commissions, and his website (which may be seen by clicking
HERE) showcases a wide variety of his color and black & white work.
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CLICK ON THE CAPTION TO VIEW DETAILED INFORMATION ON EACH RENDERING. SOME OF THE IMAGES ARE LINKS TO ENLARGED VERSIONS OF THE SMALLER IMAGE. | |||
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** Those items marked with ** indicate where the armiger has modified the original artist's work either through addition of color, or computer enhancement |
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1. These armorial bearings were the armiger's first attempt at visualizing his own design. The shield recognizes the unrelated arms of the Broadhurst name (from the armiger's maternal line family name), and represents to me complexity-in-simplicity - a fairly "simple" geometric design "complicated" by the raguly nature of the fretted bars. The crest gives a nod to the Wooton line of Kent which died out in the late 1600's (those original unrelated arms featuring a cross engrailed with the Satyr's head as the crest - sometimes listed as a Saracen's head or Savage's head), which is unfortunately commonly used in illustrating the covers of some minor Wooten/Wootten/Wooton genealogies, when in fact they are entirely unrelated. The motto is of the armiger's own creation - "I am better than no man, but no man is my better," and is of course shown translated to the Latin.
2. These arms were rendered as part of the registration process for The American College of Heraldry by Richard McNamee Crossett. Mr. Crossett recently passed away, and unfortunately was perhaps America's only heraldic artist - hopefully someone will come along to fill the large void created by his absence.
3. On registration of the armiger's armorial bearings with the Collegium Heraldicum Russiae, this rendering was created for that document. You will note that this rendering includes the baronial coronet of a Lord of Munster, as granted by The MacCarthy Mór, Prince of Desmond (see below) . This organization, headed by His Excellency Commander Chevalier Baron Valery Yegorov, Saint Andrew Principal Herald Master, now has a beautifully redone website which may be seen HERE.
4. The arms have also been registered with the Cronista Rey de Armas in the Kingdom of Spain. However, the rendering produced for such grants are commonly of simpler design and thus not meant for "framing" or artistic quality. They are usually meant only for reference to the Grant of Arms itself. The full translated text of the Grant is seen at right.
5. To my mind, Dennis Endean Ivall was perhaps the preeminent heraldicartist of his time, being a Bard of the Cornish Gorsedd. His work is unparalleled in style and expertise. His work on Cornish Heraldry and Symbolism is the textbook on the subject.
6. John Ferguson, ARCA, FRSA, SHA, RHS is perhaps best known to students of heraldry as a chief illustrator for Stephen Friar's work, A Dictionary of Heraldry, as well as his collaborative effort with that same author, Basic Heraldry. A graduate of the Royal College of Art, and a founder member of the Society of Heraldic Arts, he has been commissioned for local-government work, corporate bodies and individual patrons both in the UK and abroad. His work shows a flair which elevates him above most heraldic artists operating today, giving each piece its own unique character. Having seen his style in numerous publications and on stationery, I commissioned him to produce this illustration for my own stationery. He may be reached by writing: 46 Reigate Road, Reigate, Surrey RH2 0QN, UNITED KINGDOM.
7. Daniel de Bruin was one of the least known (at least in the States) but most creative and unique heraldic craftsman of this century. Based in Holland, Mr. de Bruin's work may be seen in Von Volborth's The Art of Heraldry, which is where I first encountered his work. In fact, I had attempted for months through numerous contacts to locate him for a commission, and only came into contact with him when he contacted me with regard to our mutual membership in The Bookplate Society. We then happily struck up a mutual postal (and later email) correspondence, and I commissioned him to initially produce a simple black & white rendering of my arms, which may be seen hereabove. However, his main expertise lies in creating one-of-a-kind color bookplates (among other things) in a style which is instantly recognizable as his own. Mr. de Bruin passed away in late 2010, and his website (which may be seen by clicking HERE) showcases a wide variety of his color and black & white work.
8. One option for Niadh Nask would be the neck decoration known as the "Lesser Collar" which may be worn by all Companions, and may be depicted encircling the arms of Second and Third Division Companions. It consists of a red riband entwined with a Golden Chain, from which depends The Niadh Nask Cross as described above. Another option would be to surmount the arms atop The Niadh Nask Cross (the central symbol of all Niadh Nask insignia is a cross pommé Argent, fimbriated Or, [a white cross with enlarged circular ends on each arm, bordered in gold] with an inset Greek cross which is either Red, Green, or Blue, depending upon the Companion’s Division within the Noble Confraternity (First, Second, or Third, respectively). I therefore commissioned Dennis Endean Ivall to once again render my arms, here shown in Black & White with hatching for the Azure and Blue elements in the Shield and the Vert Greek cross (the Green indicating Niadh Nask of the Second Division [noble before 1596]). At his recommendation, I opted for a more "Celtic" design, incorporating an historical helmet of that theme. The illustrations include the coronet of a baronial Lord of Munster as well.
9. Taking a cue from the heraldic bookplate of Captain Thomas Paul Westgaard, Lord of Kileughterco, NN, KLJ, FSA (Scot), GCrLJ, BGS, as illustrated by Dennis Endean Ivall, I redesigned an older bookplate (also appearing in the aforementioned book as Plate 25) to incorporate a circular design rather than the more traditional square/rectangular form. The ex libris still shows the 2 breast stars of Niadh Nask† 2nd Division (left) and Optime Merenti Niadh Nask (right). The background is that of the enlarged shield of the armiger, surmounted by the crest and the baronial coronet of a Lord of Munster.
10. This design reflects modifications made to previous renditions based on the new evidence presented against Terence Francis McCarthy (The designs reflect organizations and titles "granted" from Terence Francis MacCarthy, who in fact was never the true MacCarthy Mór and thus did not have the right to make certain grants of titles. Thus the removal of the baronial coronet and the Niadh Nask Cross from behind the shield would be proper in all instances, as well as the removal of Niadh Nask insignia. Some of the previous versions, despite their relationship to the false MacCarthy Mór, are left in place to show both the artists' talents and the possible diversity of design). Thus the removal of the baronial coronet and the Niadh Nask Cross from behind the shield.
11. This design was produced by the aforementioned Daniel de Bruin, and illustrates the armiger's crest alone, sans any additional accoutrements. I wanted this to simplify my personal stationery, but also wanted to see how non-traditional a design the artist could produce - and he obviously came through with flying colors on this one. His website (which may be seen by clicking HERE) showcases a wide variety of his color and black & white work.
12. Coming full circle, I found the need for a re-rendering of my original "traditional" armorial bearings, in the "classic" style, for use in "Established Families News," the bi-annual publication of Established Families in America (now The Ermine Society). Once again I turned to the most reliable and versatile heraldic artist I knew, Dennis Endean Ivall, who was able to produce this version.
13. For a similar purpose, John Ferguson was once again commissioned to produce a "sans coronet version" of my armorial bearings, for use in those publications requiring a "traditional" rendering of arms (as opposed to the somewhat more contemporary/abstract version as produced by Daniel de Bruin).
14. On the recommendation of several acquaintances, as well as some glowing reviews, I contacted the late Don Smith of Heraldic Graphics about rendering his own version of my armorial bearings. His artistic expertise was self-evident, and in concert with an excellent grasp of computer graphics, his work easily transitioned into the 21st century realm of heraldry. His pricing was a mere £28 for the work seen at left, and was MORE than worth the price - this is not merely some "canned" computer program into which stock graphics are pasted - it is quality artwork. His original website may be seen at http://www.heraldicgraphics.demon.co.uk/.
15. I commissioned Andrew Stewart Jamieson to produce a rendering of my arms. Born in 1961, Andrew studied Heraldry, Calligraphy and Manuscript Illumination for three years under one of the great heraldic artists of the 20th century, Anthony Wood. In 1983 Andrew graduated with a First with Honours. Since that time he has worked as a freelance heraldic artist and designer accepting commissions from the College of Arms, The Catholic Church, the Order of Malta, the Military, the City of London, the House of Lords and many corporate and private clients. His work has been published in many books and he also wrote and illustrated the very successful Pitkin Guide, Coats of Arms. As well as producing the traditional work for which he is best known Andrew has been experimenting with more contemporary styles which although look to the mediaeval period for inspiration are also more in tune with 21st Century tastes. In heraldic art as in any art, Andrew believes that the artist should explore and extend the boundaries of their work to avoid rigidity, self repetition and stagnation.
16. This version is a computer-enhanced version of the original John Ferguson artwork appearing immediately above it in the table. Through the use of Corel PhotoPaint, the original black & white image was colored, and then bevel and chrome effects were added.
17. This is a 100% computer-generated version of my arms, though not quite in the standard manner expected. While the computer/art skill is quite significant, the crest was rendered affronté, which would usually not be done unless so blazoned. Regardless of this minor issue, their work is quick, quality and reasonable.
18. Susi Galloway is an extremely talented artist of many disciplines, one of which happens to be heraldic paintings. Fascinated by ancient arts she chose a Heraldry Master Painter to teach her the skills of the trade over a period of 4 years. She produces heraldic work in black & white line art, line drawing in flat colors (digital or on paper), line drawing in color, shaded (digital or on paper), and hand painted in oil, acrylics or water colors (on paper or canvas). She also produces handpainted genealogical trees. Her website may be seen HERE.
19. Dudley Bateman began painting armorial achievements in 1981 following his retirement at the age of 51 from the Royal Air Force after nearly 35 years service. Unable to find suitable employment due mainly to few if any jobs and rampant ageism rife at that time, he was obliged to put to use his natural artistic abilities in order to supplement his meager service pension. An interest in history coupled with an eye for line and colour set him on the road to painting armorial bearings following a visit to Norwich Cathedral with its wealth of armorial achievements. From small beginnings working in a spare bedroom, Dudley now works from home in a custom built studio from where he sends his work all over the world. He is well known in heraldic circles, especially in East Anglia where he resides with his wife Margaret, and carries out work for local councils, university colleges, businesses, clubs etc, as well as for individuals. His work has been featured on three different television stations as well as local and regional newspapers. His website may be seen HERE.
20. Andrew Stewart Jamieson had already produced a black and white line art version of my arms (#15), but when I received his full color painting of roughly the same drawing, I was overwhelmed. This points out the obvious difference between a simple line art drawing and a painting done by one of the world's premier heraldic artists.
21. Marco Foppoli is an Italian heraldist whose works stand out as unique in contemporary heraldry. His passion for Graphics and an inborn interest for Historical matters mix up perfectly in Heraldry, becoming soon a relevant part of his job of Graphic Designer and Illustrator. Through an attentive study of ancient codexes and Medieval rolls of arms, his style finds out and revisits the formal beauty as well as the graphic elegance of the Gothic and Renaissance heraldry. His extensive website may be seen HERE.
22. I embellished Marco Foppoli's work along the style of those done by my Heraldry Embellished company.
23. I have admired Baz Manning's work for years, being fellow members of The Society of Heraldic Arts. Some years back I offered to update his website, which may be seen HERE. His artistic formats include Shield Maker, Heraldic Arts, Heraldic Researcher, Recording, and Photography. The initial talent - that of Shield Maker - separates him from the bulk of heraldists working today, as he is one of only a tiny handful worldwide who have mastered the art of working with, and painting on, wood and other media. Quite by surprise, Baz rewarded me with a tabletop shield of my own armorial achievement, the shield painted on the obverse, the crest on the reverse. The shield itself is 3.75" wide and 4.5" tall, standing on a brass post mounted to a wooden base, the overall height being 9". I included herewith Baz's explanation of the logic behind the unique rendering of the crest: "I am a great one for literal interpretation of blazons. I would normally apply accuracy first and foremost but your crest has taken me on a voyage of discovery which altered my attitude this time. I was taught at college that the blazon should always be referred to so as to avoid mistakes that can grow over the years like Chinese whispers. But I was also told by the late John Brooke-Little that he considered this at great length during his career as a herald and came to the conclusion that the painting on the patent is as relevant and will sometimes be what the herald had intended if the blazon is ambiguous. In your case, of course, I had to substitute your various on-line images for a patent but the blazon was still quite specific: your crest is blazoned as a satyr, not just a satyr's head as everyone depicts it. This is why Daniel drew a full satyr on your bookplate; he was not giving you a token supporter but simply placing your crest as blazoned to the side of the achievement. However, there is the consideration to be made that the depictions you use all show a head and not the full body. This has to be what was intended or you would have changed it long ago. So for once I went with common usage and fell into line with your other artists, so started thinking about a head. "The colouring was a problem for me. I was not comfortable with the red of sanguine and wonder even now why so few of your artists have got it right? I could have discussed all this with you and you will remember that I did approach you for your definition of sanguine, which made me think deeply about it again, but now maybe you can tell me your thoughts about the satyr - full body or head? Anyway, the final issue was bats wings which means just that to me: bats, not dragons' wings. "My studies and thoughts led me to the conclusion that I should revert to the origins of heraldry on the battlefield and create a monster to strike terror into the hearts of your enemies. A satyr is not a tame friendly creature but a spirit which could once have been human, altered by its own innate corruption and dwelling in the lower energies of lust and base desire, unpurified by love. Whether once human or the spawn of the devil its purpose is to corrupt the lives of those around it. He has a certain magnetic appeal which stimulates the earthy, baser side of human nature and if we are drawn into his sphere we will be in serious trouble. Bunyon said that the road to hell is easily travelled but the road back long and arduous. The satyr may be one of the first creatures to tempt souls onto this path but his true nature will only become apparent when they are lost. The laurel wreath signifies to me his connection with the earth while the bat's wings make it a creature of the night, which is why I painted them with a dark blue, as well as for the colour balance this achieved. My interpretation of sanguine is darker than maybe it should be as I saw his complexion burned from his time in the fiery pits of hell. His red eyes are inhuman and show he can seek you out in the darkest of nights. This is one unpleasant dude, a fearsome creature which, like all good heraldic beasts, is best avoided!" I strongly encourage armigers to visit Baz's website and commission their own tabletop shield while he is still accepting commissions.
24. A unique and brilliant interpretation of my coat of arms by Russian heraldic artist Michael Yurievich Medvedev. Michael states: "The raguly of your arms (actually I would call it counter-raguly) was interpreted differently by different artists; structurally, my version is closer to that chosen by Andy [Jamieson]. "There was a problem with the bat's wings as only the Spanish blazon - they are indicated as a replacement for the ears; the basic English blazon implied that the ears - be they visible or not - are on their places, and this was the way Marco [Foppoli] interpreted that. This was also the solution preferred by myself. My main point was to represent a satyr closer to the ancient Greek images, and to play with the fragments of the field Azure as quasi-charges. I dare to hope that you will enjoy it all at least to some extent; I confess I enjoyed it immensely." Michael's website may be seen HERE.
25. Australian heraldist Barrie Burr is known internationally for his skillful renditions (emblazons) of armorial bearings using digital technology. He has developed this art to a high level while continually expanding his knowledge of heraldry. He is an active contributor to various international forums and a member of international heraldic bodies, including acting as Principal Heraldic Artist for the Royal College of Heraldry of the Principality of Hutt-River (near Perth, Western Australia). Mr. Burr's methods parallel my own work with Heraldry Embellished (www.neoheraldry.com), utilizing both existing armorial clipart along with self-created elements/augmentations to produce "homogenous" digital renderings of achievements.
26. Ljubodrag Grujic, an heraldic artist based in Pancevo, Serbia, uses primarily modern electronic vector techniques to create his artwork, but pays special attention to producing high quality works that do not fall behind more traditional heraldic techniques. The bulk of his work so far consists of several hundred private commissions worldwide, but the most influential pieces in his portfolio were the new states arms and flag for his country, commissioned by the government of Serbia, as well as the new dynastic arms of the Royal House of Karageorgevich of Serbia and Yugoslavia. In January 2011 he defended the MA thesis “Influence of the English language as the source and intermediary language on the basic Serbian heraldic terminology.” He collaborates with several heraldic associations and is a firm believer in bringing heraldry into the 21st century as a living, breathing art form. In addition to drawing heraldry he also writes scientific texts on heraldic terminology and history. Regarding my own achievement, Ljubodrag relates: “Since you already possess numerous renditions, I took some liberty at combining very strict blazonic notions with liberal designer solutions. The biggest concern for me with the bulk of your already existing heraldic works is that they have counter-raguly line of division. As it has been already mentioned and probably debated at some length, there is always a question of sticking strictly to the blazon come hell or high water. There is always, but always, a fine line between following the blazon to the best of one’s understanding and what the armiger really wanted, the former being logically more sound. There’s also a question whether the notion behind “raguly” is that the protruding geometrical lines (that only partially resemble branches, since “raguly” is in a different category than “ragged”) could only be placed around the subordinary in a zig-zag manner or could the protruding lines be placed parallel one to another? Analogy with other lines of partition says that only a zig-zag manner of placement is truly “raguly” and that the other one is “counter-raguly”. The other logical view, though, could be that the cross raguly or chevron raguly are depicted in the Anglo-French heraldries as essentially symmetrical ordinaries, but it could also be argued that they are ordinaries and thus follow different logic or, even better, that there are continental examples where cross raguly dutifully follows the zig-zag manner of placing the “raguly” bits. Long story short, the choice for this kind of raguly solution seemed firmer which in no way implies that other heraldic artist where dead wrong. "Another question with the “fretty raguly” is the width of the “fretty” charge. The earlier historic examples have really thin “bendlets” placed widely apart which would go well along with the additional raguly division. If you take into account that the raguly division should be relatively wide itself, my choice also seemed the only logical one, at least to my frame of mind. "The last consideration with fretty raguly is its 3D shading. Although Anglo-French heraldries are very strict concerning 3D depiction of basic shield division and ordinaries, my approach is a very modern one, which is even more warranted if one takes into account that fretty is not any of those.” His website may be seen HERE.
27. A "Standing Knight" version of my achievement as rendered by Andrew Stewart Jamieson.
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After many years of agonizing over a final design for a signet
ring, deciding between a full achievement of arms, shield alone, crest and
shield, crest alone, etc., I finally decided upon a simple but appealing design.
With the aid of 