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The Cross and Crown (a cross passing through a crown) is a Christian symbol used by various Christian denominations. It has also been used in heraldry . [ 1 ] [ 2 ] The emblem is often interpreted as symbolizing the reward in heaven (the crown) coming after the trials in this life (the cross) ( James 1:12).
A famous example of this is the greater arms of Sweden, which is "quartered by a cross Or..." [18] One division of the field (though it is sometimes described as a charge) is restricted to the chief: when the chief is divided by a bow-shaped line, this is called a chapournet or chaperonnet ("little hood"). [19]
Meanders are common decorative elements in Greek and Roman art. In ancient Greece they appear in many architectural friezes, and in bands on the pottery of ancient Greece from the Geometric period onward. The design is common to the present-day in classicizing architecture, and is adopted frequently as a decorative motif for borders for many ...
A cross is the decoration located at the highest level of a crown on top of the monde. [1] Its usage traditionally symbolised the Christian nature of the monarchy of that country, though not all crowns even in monarchies associated with Christianity used a cross as its top decoration, with some French crowns using other national symbols.
A line wavy (also called undy) [12] is a sine wave, often used to represent water; a line nebuly is similar but with more exaggerated meanders, representing clouds. There are confusing, ambiguous and non-standard uses of a wavy in the military heraldry of the United States to refer to irregularly wavy lines.
A cross recercely seems to be a cross moline parted or voided throughout—though it may be a cross moline very curly. [11] Cross moline (anchory) In a cross moline, the ends of the arms are bifurcated, split and curved back, also called a cross ancré or anchory. As a mark of cadency in English and Canadian heraldry, it marks an eighth son.
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The cross is an outstanding and moving example of the Crucifixion of Jesus, closely related to the slightly earlier life-size wooden Gero Cross in Cologne, which was a crucial work in developing the Western image of the dead crucified Christ, whose head is slumped to his shoulder, and whose sagging body forms a S shape, showing the marks of his ...