Heraldic flags include banners, standards, pennons and their variants, gonfalons, guidons, and pinsels. Specifications governing heraldic flags vary from country to country, and have varied over time.
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Medieval flags
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Medieval and Renaissance flags and banners to study from extant examples in museums, as well as links to articles discussing extant flags and banners. Not so much about banners as depicted in period artwork; other webpages, like these links on heraldic banners and flags, do a good survey of that sort of thing.
The oldest described flag of a medieval Serbian kingdomis the one which was the part of the treasury of KingStefan Vladislav I (reigned 1234-1243). The treasurywas kept in the city of Dubrovnik, Croatia (which was an independent city-state at that time and much like a"Switzerland of the Balkans", in the financial terms).As reported by Samardžić [szd83]), the description of this treasury, dated 1281,is kept in the archives of the Republic of Dubrovnikand lists as an item vexillum unum de zendato rubeoet blavo - "a flag of red and blue fabric" (zendato- čenda of medieval Serbian manuscripts - was atype of light, silky fabric).
As no detailed descriptions of this flag exist, itsmodern reconstructions, seen sometimes in TV-reportsfrom the events commemorating 13th-century history ofSerbia, show a simple horizontal red-blue bicolour,the colour shades usually being those of the modernflag of Serbia. This flag also seems to have recentlyprovided inspiration for some subnational andpolitical flags in Serbia.
One of the oldest historical sources for flags is constituted bymaps.In the monography of the Historical Institute inBelgrade Monumenta CartographicaJugoslaviae II, (Narodna Knjiga, Belgrade, 1979), Gordana Tomovićcompares different 14th century naval maps of Balkan peninsula. Shenotices flags above some place names on a map preserved inBibliothèque Nationale (National Library) in Paris(Département des Cartes et Plans), made on pergament byAngelino Dulcert (1339) [drt39]:
In Hilandar (Chilandariou), the Serbian Orthodox monastery on Mount Athos, two flags (Wikipedia) of medieval origin are kept which are traditionally attributed to Emperor Uroš IV Dušan (reigned 1331-1355).The flags were studied in detail by Nikola Giljen (Srpske srednjovekovne zastave [Serbian medieval flags]. Belgrade: Fond "Princeza Olivera", 2014).
The first to write about them was the Serbian painter and writer Dimitrije Avramović (1815-1855), who saw them during his visit to Mount Athos in 1846. However, he thought that only one of these flags was dating from the Middle Ages and somehow managed to confuse their descriptions into a single erroneous one, applied to both flags. That description wasrepeatedly quoted until 1938, when Pera (Petar) J. Popović(1873-1945), architect and heraldist from Belgrade, published hisdescription of one flag in "Contributions for Literature, Language,History and Folklore" (Prilozi za književnost, jezik, istoriju ifolklor), a yearly publication by the Faculty of Philology, Universityof Belgrade. Although Popović had quite correctly described what hesaw, the original erroneous description has been still repeatedly quotedfor years and the other flag has remained largely neglected until 1983,when a correct description, based on data gathered by theHistorical Museum of Serbia, Belgrade was published by Samardžić [szd83],together with a black and white photo; the 1938 description of thefirst flag was repeated there as well.
Both flags have remained underexplored, though, so their exact datingis yet to be determined - they might really originate as believed, andeven have been brought to the monastery by Emperor Dušan himself, for he did stay in the monastery in 1347-1348 while avoiding the epidemic of plague, but may as well originate from earlier or later times, or eventwo different periods of time. Their original use is also unclear:while they are generally supposed to have been used as the militarycolors, or maybe (based on their attribution) as the imperialstandards, their design may suggest a military use, but as some kindof signal flags. What is known is that they have been regularly used inthe monastery as procession banners for centuries, well into the19th century, until (some time after their 1846 sighitng) they weretoo damaged by age, use and inadequate storage, something that is yetto be repaired as much as possible, as well as to determine how muchof the current flag looks was original, and how much was the result ofpossible repairings throughout the time of their use.
The flag that was described in 1938 is now kept in a display case (incomplete view). Popović's rendition (photo, with colours added subsequently) shows the flag' shape as a right-angled triangle, 2.40 m high and 2.75 m long. The length of the third side, 3.70 m, looks erroneous at first sight - the hypotenuse of the triangle should be 3.65 m; however, the photo shows that the edge is visibly curvy, possibly deformed by age and other causes,so its length might have been correctly measured, after all. The flagis made of six pieces of silk sewn together, orange at the top, yellowat the bottom, while the other pieces are green. Another error in the sketch is the inconsistency between the total flag's width and the width of the individual fields, the sum of which is 239 cm; this was probably done while drawing the sketch. The images presented here combine the overall flag width and the widths of orange and yellow fields. An appliqué in shape of Eastern Orthodox cross, made of a single piece of golden fabric, is sewn onto the second topmost green piece. The cross is in a less used shape, with the topmost cross-bar attached to the very top of thepole; this shape is known to have been used in medieval Serbia,though. A large photo of this detail was published by Samardžić, which was used in making of the presented images. The fringes along the top and fly edges were originally described as green to green-yellow, but the latter color, as the photo clearly reveals, is simply yellow. There seems to be no rule in their distribution; the fringes in two colors may have been originally combined if no sufficient quantity of one color was available, or those in one colormay have been used to replace those in the original color when theywere damaged. For this reason, as well as the fact that theirdistribution is not completely visible, they were omitted from thepresented images. Last but not least, along the bottom edge of orangefield, remnants of yellow silk are noticed in a shade close to the oneof bottom field. For this reason, it is supposed that the orange fieldwas added later, as the replacement of an original yellow one when itwas deemed too damaged.
This article is the second in a series covering the various types of heraldic flags found in the Middle Ages, providing enough of an overview to their use to inspire the reader to design and paint their own. Each article will describe the distinguishing features of the flag type, including their typical use in period, using examples from period art where available. At the end of the article, I will guide the reader through the process of designing a new flag using armory appropriate both to the SCA and history. This article covers the most prestigious and persevering heraldic flag: The banner.
In most manuscripts, however, banners appear to be rigid, as if made of wood or metal. Even in action-based images that show other flags curling and waving in the breeze, banners look more like placards than flags.
HOIST THE BLACK FLAG12 famous Pirate flag designs by Kevin Dallimore. Also includes a Bit of History about the Jolly Roger. Includes these Pirates' flags: Edward Low, Stede Bonnet, Edward Teach "Black Beard", Edward England, Christopher Condent, Henry Every, Bartholomew Roberts, Jack Rackam, Christopher Moody, Carriere, Emanuel Wynne and Robert Culliford.
Among the booty retrieved from the field at Grunwald were fifty-six flags of the Teutonic Order or cities affiliated with the Teutonic Order. The flags were brought to Kraków and hung in the cathedral to commemorate the victory. Those, or reproductions of them, hang today in Wawel Castle. It survives as a rich source for turn-of-the-15th-century Central Europe heraldic style. TYPOART reviews the main heraldry of the Battle of Grunwald. The collection is in progress, from time to time is inriched with new items. Changes are possible, as drawings and details are adjusted with historical sources. 2ff7e9595c
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