Crest, mantling and motto of the Milian family Milian

Tierced per bend: 1 vairy Or and Azure; 2 Azure, two ships in full sail, in bend Argent; 3 Or, four bars wavy Azure. Crest: Upon a helm, with a wreath Argent and Azure, a demi-red fox proper, grasping dexter four wheat spikes Or. Mantling: Azure doubled Argent. Motto: «Ignis Aurum Probat».

Arms devised by me, highlighted with lights and shadows, contoured in Sable, with a semi-circular outer contour and with a rough finish.

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Blazon keywords: Or, Azure, Argent, One, Two, Four, Crest, Tierced per bend, Vairy, Ship, Full sail, Bend, Bar, Wavy, Crest and mantling, Upon (wreath), Helm, Wreath, Demi, Fox, Rampant, Proper, Grasping, Dexter, Wheat spike, Wheat, Mantling and Motto.

Style keywords: Outlined in sable, Illuminated, Semi-circular and Rough.

Classification: Personal, Created, Boa and Coat of arms.

Bearer: Milian, family.

Fernando del Arco y García, «Método de blasonar», 75 pages, Perseverant Burgundy Collection, edited by Ateneist Group of Vexilological, Heraldic and Genealogical Studies, printed by Gráficas Joma, Legal deposit M. M-5240, ISBN 84-606-2768-3, Madrid, 1996.

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Bibliographical reference of century XX.

Classification: De bibliotheca, In black and white and Castilian language.

Author: Arco y García, Fernando del.

Bibliographical reference mentioned in the following article:

• Grimaldi, François

Internal resources: Physical book on paper.

D. J. Conway, «Magickal, Mystical Creatures: Invite Their Powers into Your Life», 272 pages, published by Llewellyn Publications, Woodbury, 2018.

Index of fabulous beasts

• Unicorns, page 15, including Ki-Rin, Sin-You, Karkadann, Goat-Unicorns, Winged Sea-Unicorns;
• Flying Horses, page 29, including Pegasus, Winged Sea-Pegasus, Arabian-Burak, Sleipnir, Alsvidr, Arvakr;
• Centaurs, page 39;
• Satyrs and Fauns, page 51, including Jack in the Green, Pan, Urisk;
• Gigantic Birds, in the page 63 the part I begins and in the page 71 the part II begins;
• Human-Birds, page 79, including Garuda, Tengu, Egyptian Ba;
• Griffins, page 89, including Griffin-Demons, Hippogriff, Senmurv, Simurgh;
• Mystical Bulls and Bull-Men, page 99;
• Fabulous Lions, page 105;
• Magical Serpents, page 115;
• Riddling Sphinx, page 131;
• Mad Dogs and Hell Hounds, page 137;
• Water-Folk, page 153;
• Creatures of the Stony Stare, page 183;
• Gargoyles, page 189;
• Other Magical, Mythical Creatures, page 197.

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Bibliographical reference of century XXI.

Classification: Symbolism, In black and white and English language.

Author: Conway, Deanna D. J..

External link:

• Google Books.

Gyronny Azure and Argent, a Sun in splendour between three Ancient coronets Or.

Illuminated and metal finishing.

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Blazon keywords: Gyronny, Azure, Argent, Sun in splendour, Between, Three, Ancient coronet, Crown and Or.

Style keywords: Metal beaten, Outlined in sable and Illuminated.

Classification: Personal, Interpreted and Coat of arms.

Bearer: Bedgood, Alvin J..

Aix-en-Provence, «Délibérations municipales d'Aix-en-Provence», Archives Municipales; key BB 28, 1351

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Bibliographical reference of century XIV.

Classification: Manuscript and Latin language.

The author is Aix-en-Provence.

Bibliographical reference mentioned in the following article:

• James I of Aragon

External link:

• Aix-en-Provence, Archives Municipales.

Ackhurst lineage.

Argent, on a Bend Sable three Acorns Or.

Illuminated and freehand finishing.

The coat of arms of Ackhurst lineage emblazoned by me and extracted from [Burke, B.; 1989].

Unless the blazon specifies another direction, the charges in a bend follow the direction of their bend, as the acorns do in this case.

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Blazon keywords: Argent, Bend, Sable, Three, Acorn, Or and Bendwise.

Style keywords: Freehand, Outlined in sable and Illuminated.

Classification: Interpreted.

António Godinho, «Livro da nobreza e da perfeição das armas dos reis cristãos e nobres linhagens dos reinos e senhorios de Portugal» ~ «Book of Nobility and Perfection of the Arms of Christian Kings and Noble Lineages of the Kingdoms and Lordships of Portugal», 1 book, parchment, 66 pages, 4 coats of arms per page, 43 x 32 centimeters, ca. 1521.

António Godinho was a clerk of the Chamber of King John III, but the codex was started during the time of King Manuel (ca. 13 December 1521). I use the year 1521 only for the purpose of creating the book key.

I think the book contains 263 illuminated coats of arms, including those of the King of Portugal, the King of Castile, the King of Aragon, and others. It was restored and returned to the archive on the 21^st of June, 1904.

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Bibliographical reference of century XVI.

Classification: Manuscript and Armorial roll.

The author is Godinho, António.

Guilaberto Lloscós y Soldevilla was grand prior of the Order of Saint John from 1449 to 1460.

Argent, a bull salient Gules within a bordure gyronny Argent and Sable.

Escudo de plata, un toro saltande de gules; bordura jironada de plata y sable.

Illuminated and parchment finishing.

He also known as Guilaberto Loscós y Soldevilla, and his coat of arms can be consulted at [García Carraffa, A.; García Carraffa, A.; 1968; volume II, page 407], who does not depict this bull with its tongue out.

The Lloscós lineage resided on the island of Mallorca and succeeded in the position of royal procurator of the island. Lázaro Lloscós was the procurator of the island in 1332, his son Mateo Lloscós was in 1392 and his grandson Mateo Lloscós was too. Mateo Lloscós helped King Alonso V of Aragon, the Magnanimous, with the expenses of the Naples campaign in 1435 and, therefore, the king donated the town of Bañalbufar and the title of baron. Mateo Lloscós was the father of Guilaberto Lloscós y Soldevilla grand prior of the Order of Saint John.

Bordure gyronny and bordure compony

This bordure presents a dual characteristic. It could be considered a bordure compony because it is composed of a series of segments, in this case, eight. However, since the sides of these segments are not perpendicular to the bordure, but are angled in such a way that all their extended lines would converge at the exact center of the coat of arms, it structurally resembles the division known as gyronny. It is for this reason that, despite its compony appearance, I specifically designate it as a bordure gyronny.

The tongue out

This is a reflection on the tongue out in animals in heraldry. I will rely on the representations found in [Fox-Davies, A. C.; 1909], as it contains numerous representations of animals in the most diverse heraldic attitudes.

In heraldry, tigers [Fox-Davies, A. C.; 1909; figures 322-325], lions, wolves, the bear, etc., are usually represented with the tongue out; they are heraldic beasts and they are carnivores.

However, the fox in [Fox-Davies, A. C.; 1909; figures 343-345] is not painted with the tongue out. It is classified as a heraldic beast and, moreover, it is carnivorous.

The boar is omnivorous, it is a heraldic beast and it is painted with the tongue out, as is done in [Fox-Davies, A. C.; 1909; figures 353-358].

From the above, there is no uniform association between the tongue out and being a heraldic beast or a carnivore.

On the other hand, [Fox-Davies, A. C.; 1909; figures 446-449] classifies eagles as birds, not as beasts; they are carnivorous and are represented with the tongue out. And the dolphin is a fish, it is carnivorous and is also represented with the tongue out [Fox-Davies, A. C.; 1909; figures 479-480].

There are heraldists who say that herbivores are not painted with the tongue out.

But donkeys, mules, and especially the horse are herbivores and they can be seen represented with the tongue out. For example, [Fox-Davies, A. C.; 1909; figures 360 and 362] paints the horse with the tongue out, and in figure 361, with the horse running, he does not paint the tongue out. In no case does he classify it as a heraldic beast.

[Fox-Davies, A. C.; 1909; figures 368 and 370] paints the talbot, the mythical dog of heraldry, with the tongue out rampant and passant; but in more restful attitudes, such as standing and seated, he does not paint it with the tongue out. This could indicate that, when it is calm, it does not put the tongue out. But in the previous paragraph we have seen that he does not paint the horse running with the tongue out, and a horse running is not calm.

The bull [Fox-Davies, A. C.; 1909; figures 375-376] is not painted with the tongue out. However, I paint the bull with the tongue out and, although herbivorous, I claim the fighting bull as one of the most beastly figures of heraldry.

The stag does not carry the tongue out in any of its attitudes in [Fox-Davies, A. C.; 1909; figures 379-386], and other cervids [Fox-Davies, A. C.; 1909; figures 387-390] do not either.

Rams, sheep, lambs, goats [Fox-Davies, A. C.; 1909; figures 395-403] also do not carry the tongue out.

The badger is carnivorous [Fox-Davies, A. C.; 1909; figure 409]; as with the fox, it is carnivorous and does not carry the tongue out.

Therefore, in general, the tongue out cannot be fully associated either with heraldic beasts or with carnivores, just as not carrying the tongue out cannot be associated with herbivores or with calm attitudes. For example, the lion always carries the tongue out, even in its calmest attitudes [Fox-Davies, A. C.; 1909; figures 304-309].

The conclusion is that it is left to the discretion of the heraldic artist to paint or not to paint the tongue out, depending on what he wishes to express. For example, greater aggressiveness, greater movement, or liveliness could be associated with the tongue out.

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Blazon keywords: Argent, One, Bull, Salient, Gules, Bordure, Gyronny and Sable.

Style keywords: Parchment, Outlined in sable and Illuminated.

Classification: Personal and Interpreted.

Bearer: Lloscós y Soldevilla, Guilaberto.

Continue with: García Carraffa, A.; García Carraffa, A.; 1968.