Martos García, Juan Carlos

Party per fess: 1 Gules, five Swords Argent, erect, in fess; Vairy or and gules gules and or.

Escudo cortado: 1^o de gules, cinco espadas de plata, alzadas, en faja; 2^o verado de oro y gules.

Symbology

There are 6 swords raised to defend the truth, symbolised by the vairy fur, and no matter how much time passes, they will be proud and erect until the truth triumphs.

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Blazon keywords: Party per fess, Gules, Or, Argent, Five, Sword, Vairy, Point upwards and In fess.

Style keywords: Pointed, Illuminated, Outlined in sable and Watercolor.

Classification: Created, Personal and Coat of arms.

Bearer: Martos García, Juan Carlos.

Based on the stechhelm of John the Constant (Saxony, ca. 1500). The stechhelm is a kind of helm primarily used by mounted knights for tournaments, since 1400 to 1525.

The music is «Hot Swing» by Kevin MacLeod.

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Credits: Kevin MacLeod es el autor de la música.

Blazon keywords: Helm.

Classification: Video.

Bearer: Martos García, Juan Carlos.

Index of the bearers of the coats of arms ordered alphabetically by name of the bearer:

~ A ~

• Adrian V
• Alborán, Sea of
• Alcantara, Cavalry Regiment
• Alea Capital
• Alphonse X of Castile
• Anderson of Erbury
• Appleton, David B.
• Araneta, lineage
• Aras Quirce, Manuel Maria
• Argudo of Guipuzcoa, lineage
• Arjona Berrocal, Rubén
• Artillery Combat School of the Swedish Army
• Aspe, Julio Hector
• Asuncion and de la Asuncion, lineages

~ B ~

• Balchin, Robert George Alexander
• Baldovino from Venecia, lineage
• Bedgood, Alvin J.
• Bella, Giovanni de
• Bendel, Nathaniel
• Benedict XII
• Benedict XIV
• Beninger, Manuel
• Berry, Austin Charles
• Bessières, Jean-Baptiste
• Blanchefort, Bertrand de
• Bosnia and Herzegovina
• Boteler of Warrington
• BPAC II
• Breu, Stephan Urs
• Brim-DeForest, Brady
• Bunyoro-Kitara
• Byrne, Margaret

~ C ~

• Castile and Leon
• Categories of heraldry
• Central Military Region
• Cerda, Carlos de la
• Ceuta
• Charles Dunne, Chas
• Clement V
• Clement XII
• Club Ecuestre Val'Quirico
• Colebrand, William de
• Congregación del Oratorio de San Felipe Neri de Alcalá de Henares
• Correa, Lorena
• Coulot, Fabian
• Craon, Robert de
• Crepsi
• Csernely

~ D ~

• Dubai Office of the European Chamber of Digital Commerce
• Dukat, family of Milos

~ E ~

• España Herranz, Angel
• Espinosa, Diego
• Eugene IV

~ F ~

• Fernández-Cortés y Fonseca, Javier
• Francisca Aras Quirce

~ G ~

• García Martínez, Daniel
• Garcia-Bosch-de Morales-de Sola née Adriaensen, Heidi
• Georgia
• Giaimo di Prizzi, Carmen
• Gifra, Vittorio
• Globe, Richard
• Gómez Morillo, Antonio José
• González Lara, Rubén
• González López, Manel
• Granada, Soberana y Muy Noble Orden de la
• Gräupl, Edwin
• Gregory X
• Grenville, Thomas
• Grzeszkowiak, Tomasz Arkadiusz
• Gummersbach, Peter Ferdinand
• Gutiérrez Benítez, Jose Manuel

~ H ~

• Haguenau
• Hartemink, Ralf
• Harten, von
• Hérail, Gilbert
• Herndon, family of Paul and Kari
• House of Hohenzollern
• Hradec Králové Region

~ I ~

• Ifrah, Yishay
• Innocent IV
• Ireland
• Israel

~ J ~

• Jamilena
• John XXI
• Juchter van Bergen Quast, Rudolph Andries Ulrich

~ K ~

• Kane, Kathleen
• Kasparek, Rick
• Kingdom of Jerusalem
• Knox, Kelly Kathleen
• Kupang, Royal House of

~ L ~

• Lanzagorta Escutia, Miguel Francisco
• Lanzagorta Ochoa, Ixai
• Lanzagorta Vallín, Juan
• Lasuncion Patus, Francisco Javier
• Lauria, Roger de
• Laydin, lineage
• Lazaro of Aragon, lineage
• Lincoln's Inn, The Honourable Society of
• Liu-Lecomble, Laurent
• Lloscós y Soldevilla, Guilaberto
• Lucca de Anaya, Nilda Ernestina
• Lucius III

~ M ~

• Manning, Baz
• Martos García, Juan Carlos
• McCarthy, Eugene
• McCartney, Michael
• Mediterranean, Sea of the
• Milian, family
• Molay, Jacques de
• Montbard, André de
• Montesa, Cavalry Regiment
• Mortés, Jean

~ N ~

• Nelson, Matthew

~ O ~

• Odysseus of Ithaca
• Ormazabal of the Basque Country, lineage
• Ormazabal-Lazaro, family
• Oschoven of the Rhin
• Oyervides Ochoa, Luis Gerardo

~ P ~

• Patus, lineage
• Peraza of Cantabria, lineage
• Pérez de Bartolome, Ignacio
• Peñafort, Universidad
• Pius V
• Pons Paneque, Jonathan
• Portugal
• Power, Guy Harold
• Pujol, Ignasi

~ Q ~

• Quesada Valles, Bartolomé

~ R ~

• Rage from Discord
• Rawson, Lineage
• Rehberger, Alena
• Reyes, Elijah
• Rica II, Nick Allen
• Ricardo de Mandeville
• Richard, Richard
• Rodelo lineage from Galicia
• Romanet, Catherine de
• Romero, Reynaldo
• Ruiz Porras, Antonio

~ S ~

• Sales, Robert Edward
• Sánchez de Perella, Alfonso
• Scotland
• Shorey, David Ryan
• Sky, Laird
• Sosa-Garcia, Rodolfo
• Spanò, Diego Pantaleone
• Sparkles, Marie Unicorn
• Stauffenberg, Claus von
• Stowe, Richard Allen

~ T ~

• Trading Pro School
• Tremelay, Bernard de
• Triana, Hacienda de
• Trujillo Jiménez, Hermanos

~ U ~

• Ukraine
• Urban IV
• Urban V
• Urban VI

~ V ~

• Vallín de Lanzagorta, María Concepción
• Vaz, Rui J.
• Vega Lanzagorta, Sister Esperanza
• Vernoy, French family of Fr. Marc
• Vichiers, Renaud de
• Vidriales García y Bustamante, Carlos
• Vidriales, C. M.
• Vidriales, M. P.
• Villauriz Álvarez, José Manuel

~ W ~

• Walker, Peter Edward
• Wilkins, Tim
• Wright, Charles F. M.

~ Y ~

• Yñigo-Genio, Elias
• Yñigo-Genio, Noelia
• Yñigo-Genio, Rolando

Robert John Parsons, heraldic painter at the College of Arms, «The Herald Painter», is an article derived from the lecture given by R. J. Parsons at The Heraldry Society on January 18, 1989, at the premises of «The Society of Antiquaries» at Burlington House, London, and later published in Coat of Arms, COA, An Heraldic Quarterly Magazine, issue 146, The Heraldry Society, Baldock, Hertfordshire, summer of 1989.

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This article presents a historical review of the heraldic painters at the «College of Arms» and analyzes the creation of coats of arms and other objects like badges, flags, stained glass, seals, etc. It is especially interesting for its view of the current stage of heraldic art and, even more, the description of the author's own working method.

I highly recommend reading this article and, here, I present some of the ideas that I highlighted while studying this text by R. J. Parsons, who is «herald painter to Her Majesty's College of Arms».

Tradition and innovation in heraldic art

Creativity, innovation, and achieving a unique style are fundamental characteristics of any self-respecting artist, but when artists enter the realm of heraldry and, especially when working for institutions like the College of Arms, the weight of the norms and rules of heraldry, its long historical tradition, the reverential respect towards it, the language of blazon, the need for a long initiation process, etc. can cause artists to curb their natural impulses, become intimidated, and adhere strictly to rules to avoid criticism, which hinders the introduction of new proposals, ideas, and styles, risking making heraldry a static and time-bound field.

R. J. Parsons' working method

Robert Parsons explains that the first phase of his method is to create the complete drawing of the coat of arms and its ornamentation on tracing paper, starting with the coat of arms and then outlining all the external ornamentation.

He does this considering that the main problem he must solve is reconciling the two-dimensionality of the coat of arms with the three-dimensionality of the external ornamental elements, such as the supporters, mantling, crest, etc. which must be designed as if enveloping the coat of arms. The extent to which this is achieved provides an idea of each artist's skill.

Silhouettes, expressiveness, and balance

R. J. Parsons believes that the silhouettes of the figures probably characterize each artist and their designs the most. For him, each silhouette must be bold and express emotions, and the silhouettes must maintain proportions that give balance to the whole, as there are no rules that guarantee a good aesthetic result.

To achieve boldness and expressiveness in the figures, especially in natural ones, the artist must emphasize certain features and stylize others, resulting in, for example, in beasts and birds, representations that diverge from natural reality.

Shape of the coat of arms and space

All delineation must be done within the chosen mouth shape for the coat of arms. These shapes have evolved over time, and the artist must consider that some shapes facilitate the internal composition of the coat of arms more than others. For example, he highlights the difficulty of fitting the pieces and figures within lozenge-shaped shields, traditionally carried by unmarried women.

Regardless of the chosen shape, pieces and figures must be arranged to use the entire internal space correctly, neither too small to leave space nor too large to make the whole crowded.

External ornamentation

Robert J. Parsons observes that nowadays the protocol rules that used to govern external ornamentation have been greatly relaxed, for example, regarding the shapes, positions, and orientations of the helmets depending on who would be the holder of the coat of arms, and this relaxation has favored art, aesthetics, and the balance of the whole coat of arms.

He states that of all the external ornamentation, and many heraldic artists will agree with him, the most complex to create are the supporters and tenants, and of the three, the tenants, i.e., human figures, are the most difficult.

Human figures do not have a proper heraldic characterization as lions, unicorns, boars, etc., do. The characterization of women and men in heraldry is done through their attire and the objects they carry or accompany them, with ancient attire and objects being the easiest to characterize, while the more modern and, even more so, the more naked they are, the more difficult and challenging it becomes to create heraldically attractive tenants.

As a general rule, Parsons advises that the visual weight of supporters, tenants, and tenants be similar to that of the coat of arms, so that they neither draw all the observer's attention due to their excessive size nor look ridiculous and incapable of performing their function, which is to support the visual weight of the coat of arms.

Tinctures, shadows, edges, and highlights

When he finishes the drawing phase, R. J. Parsons explains how he transfers it to a new paper support and, then:

• he starts by applying the tinctures for the metals,
• the first he applies is gold using gold powder, although it is known that other artists use gold leaf,
• then the metal silver is left as the white of the paper,
• then he proceeds with the colors, using gouache, an opaque watercolor, following the order from light to dark,
• so the first color he applies is gules, which he tends to make somewhat translucent,
• then the mid-tones, azure and vert.
• ending with sable, which he makes warmer with a touch of burnt sienna,
• after applying the tinctures, he adds shadows to suggest forms, noting that some schools say everything should be in flat inks, without shadows or highlights, and even without delineated edges as can be seen, for example, in Norsk Heraldisk Forening,
• then he delineates the silhouettes and
• finishes by adding highlights to bring the composition to life.

The motto or slogan is the last element with which Robert John Parsons completes the creation of a coat of arms.

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Bibliographical reference of century XX.

The author is Parsons, Robert John.

External link:

• The Heraldry Society.

Internal resources: ParsonsRJ1989.TheHeraldPainter.docx.

Rafael Nieto y Cortadellas, «La Generala Santander y sus parientes habaneros los Pontón», 35 pages, 25 centimeters, about the family Sáenz del Pontón, National Archive of Cuba, reprinted edition by the National Archive Bulletin, volume LVI, 1957.

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Bibliographical reference of century XX.

Classification: Castilian language.

The author is Nieto y Cortadellas, Rafael.

The following article cites this bibliographic reference:

• Anonymous; 1800a

External links:

• Bibliographic reference in Google.
• Bibliographic reference in Hathi Trust.

William Cecil Wade, «The symbolisms of heraldry or A treatise on the meanings and derivations of armorial bearings», 186 pages, 95 black and white pictures, Robert Holmes Collection, published by George Redway, London, 1898.

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Although Romanticism sought the symbolism of the heraldic elements, I believe that the meaning of the elements of the coat of arms, if they have it, is provided by its creator or first bearer. In any case, the content of this symbolic book is the following:

• The origin of armorial bearings; page 11.
• The symbolic side of heraldry; page 13.
• Heraldic colors and metals; page 35.
• The furs of heraldry; page 38.
• The meaning of heraldic lines; page 40.
• The symbolisms of the ordinaries; page 43.
• The division lines of the shield; page 55.
• The colors of the common charges not symbolical, chapter with 2 paragraphs only; page 57.
• Symbolisms of the common charges; page 59.
• Crowns, mitres, episcopal hats, etc.; page 138.
• Examples of symbolisms of colors and armorial bearings; page 149.
• Cadency and differencing; page 154.
• Alphabetic index; page 162.

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Bibliographical reference of century XIX.

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

The author is Wade, William Cecil.

Bibliographical reference mentioned in the following article:

• Owl beaked and armed, process

External link:

• Book in PDF format.

Internal resources: WadeWC1898.SymbolismsHeraldry.pdf.

Baron of Valdeolivos Emblematic Chair, of the Fernando el Catolico Institution, of the Centre of Scientific Research (C. S. I. C.) and of the Government of Zaragoza, «Emblemata», Volume 8^th, Emblemata Aragonese Magazine about Emblems (E. R. A. E.), 454 pages, 58 pictures, ISSN 1137-1056, Legal deposit Z.3.937 1996, printed by the Cooperativa de Artes Gráficas Librería General, Zaragoza, 2002.

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Bibliographical reference of century XXI.

Classification: Magazine and Castilian language.

Author: Cátedra de Emblemática Barón de Valdeolivos.

External links:

• Abstract in the Fernando el Catolico Institution.
• Index in the Fernando el Catolico Institution.

Internal resources: Emblemata2002.Volumen08.pdf.

Sigue por: Artistic technique in Heraldry.