MILANO
Visconti and Sforza
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Liguria
was a late Roman province in Italy in the 4th–6th centuries. Despite its
name, it encompassed most of the modern Italian region of Piedmont and parts
of Lombardy, but not the medieval and modern region of Liguria, which was
included in the province of Alpes Cottiae. The province's capital was Milan (Mediolanum), and it was
governed by an official of consularis rank. Administratively, it was subject
to the Diocese of Annonarian Italy and to the praetorian prefecture of Italy. Early
heraldic devices in relation to Milan can be found in the Sant’Ambrogio
Basilica in Milan.The most impressive are two sea-monsters (ketos/cetus) on the so-called
Sarcophagus of Stilicho (*359-…408), probably dating from 385,
together with an achievement of a christogram supporterd by two birds, most
resembling grouses (tetrao urugallus)
the emblem of the staff of a high-ranking warrior.
Ketos respecting and Christogram achievement Sant’Ambrogio Sarcophagus. The achievement is of an Emperor’s staff for which the couple represented
on the front might be Gratian (ass. Lyon, …383) and his spouse Flavia Maxima Constantia
(…383). For this statememt the tomb
from the St. Irénée church in Lyon
pleads, decorated with an achievement also of a christogram supported
with grouses. This may have served as a temporary tomb for Gratian. [1]
Foto Sailko Clipeus of Gratian and Flavia Sant’Ambrogio Sarcophagus The symbol of the governor must have been an eagle, badge of
rank of a consul, depicted in a
relief in the forecourt of the anti-arian S. Ambrogio in Milan, (consec.
379-386) supported by two Paschal Lambs, the symbols of Christ. This
“achievement” thus literally represents “the commander of Christ” and that may have been, for
example, the King of Italy. For these the arian kings Odoacar (476-493) as
well as Theodoric (493-526) qualify.
Foto H.d.V. 2000 Eagle and paschal lambs relief Forecourt S. Ambrogio
Basilica, |
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The Cross of Milan In the
ninth and tenth centuries, Milan and the surrounding area was actually ruled
by archbishops with the help of a military aristocracy they created. In later
times the relationship between military and spiritual authority focused on a
rivalry between the king and the archbishop, and still later between the king
in the person of the emperor and the pope as the representative of the
spiritual authority. The Pope had a red cross on a white field as a symbol. In the
early eleventh century, the clergy was at the height of his secular power,
enabling Archbishop Aribert (1018-'45) to unite the population of the city in
the years 1037-39 against the attacks of the Roman emperor. However, the
rapid economic development of the city tested the good relations between the
archbishop and the bourgeoisie. The result of this was a popular uprising
against the corrupt higher clergy of the city. The rebels were supported by
reformist ecclesiastical circles in Rome. In this context, their leader,
Erembald, was given a special blessed banner by Pope Alexander II (1061-73): "In publico consistorio vexillum S.
Petri Herembaldo dedit eumque Romanæ et Universæ Ecclesiæ vexilliferum
fecit". [2] In a letter from the Milanese to
the citizens of Tortona dated 1155, he is described as “Album vexillum cum cruce D.N.J.C. rubeum colorem habens ”. [3] [The city was conquered by Frederick
Barbarossa in 1157 and razed to the ground. An eagle was placed on top of the
facade of the cathedral as a sign that the city was in imperial (= royal)
hands [4]] The same
Otto Morena informs us (Res Laudenses, in SS. xviii, 625/26), that the Milanese hat a cart “carozulum, supra quod maximum vexillum
album cum cruce rubea in medio deferebatur” in the year 1160 which
Frederick I captured et boves ipsius
carozoli accidit, ipsumque carozulum incidit et crucem deauratam, quae super
perticam carozoli erat, atque vexillum ibi impositum, abstulit...” [5]
Warriors on the Porta RomanaMilan Showing
the ensign-bearer in the front foloowed by the commander (Guido da Landriano)
with a shield with a cross moline and another commander with a shield charged
with a bull (Torino?)
In the
thirteenth century, the city council was confronted with a party that aimed
to restore the archiepiscopal power. The city army however was defeated by
archbishop Ottone Visconti at the Battle of Desio in January 1277. Ottone
became lord of the city, which meant the end of independence (of the people's
representation). The Visconti family remained in power with a brief hiatus
until it died out in 1477. In 1294 Matthew Visconti became Imperial Vicar, an
office also held by his successor. In 1349, the lordship became hereditary to
the family, and in 1395 the reigning monarchs were conferred the ducal title.
The coat of arms of the genus Visconti is, on a white field, a blue snake
with a dragon head that devours a man. It first appears under Matthew
(1295-1322), Ottone's second cousin and successor. It can be found in the
funerary chapel of the Visconti built in 1297 by Matthew in St. Eustorgio
Church in Milan. In the mausoleum of Azzo (1328-’39) in the St. Gotthard
Church it is depicted together with the city coat of arms with the cross. In
this way, the royal authority that had now been reduced to a minimum was
replaced by the authority of the Visconti and the eagle by the serpent. On the
orders of Matthew, the writers at his court had to write the history and legends
of the family and, in particular, invent the illustrious acts of his
ancestors. [7] According
to one of these writers, a certain Fiamma, the coat of arms was adopted by
the founder of the Visconti family, Ottone. Legend has it that Ottone took
part in the first Crusade and the conquest of Jerusalem in 1099. In a duel he
killed a Saracen with a man-eating snake on his shield or, according to other
sources, as a crest. Ottone took the armor as a trophy and from then on used
the snake as a personal emblem. The same
Fiamma says that when Ottone went on a crusade, he received a flag from the
archbishop, as captain of the Milanese contingent, with the bronze serpent of
Mozes on it. In the
legend Fiamma tells, two things are confused: the biblical snake seen in the
Basilica of St. Ambrogio and a tradition that was disappearing at that time:
the blue snake, the emblem and totem animal of the Lombards. In Lombard
mythology, the snake was the symbol of the highest military power. He is also
known from the legend of Desiderio, king of the Lombards who was entwined by
the serpent without being injured, and from the legend of Uberto, lord of
Angera who killed a dragon at the beginning of the fifth century was from
Milan and surroundings. The Visconti included both their ancestors, making
the Lombardian totem animal the expression of the ambitions and power of the family . [Mogelijk is de slang een uit de romeinse tijd stammend veldteken (i.e. vlgs Vegetius xiii het veldteken van de cohorten (= 555 + 66 man): “Draconius etiam per singulas cohortes a draconariis feruntur ad proelium.” De draak, toendertijd nog zonder vleugels en poten afgebeeld, was het veldteken bij uitstek van de infanterie) dat van het symbool van de stadsmilitie werd tot het symbool van de stad en, in brons, een plaats kreeg in de belangrijkste kerk van de stad, de nog door Ambrosius, bisschop van Milaan in de ive eeuw gestichte basiliek. Deze basiliek werd in de xi - xiie eeuw herbouwd waarbij de bronzen slang kan zijn geplaatst.[8]) Ongetwijfeld werd de slang in de xiiie eeuw het symbool van de bisschoppelijke partij waarvan Ottone Visconti (de naam betekent “Burggraaf” ) de protagonist was. Het gebruik van de slang als wapen en/of veldteken hield in feite een inpassing in de rijksorde en een mandaat dan wel van Rijkswege, dan wel van een volksvertegenwoordiging in. De legendes proberen dit feit te verdoezelen door te stellen dat de familie het symbool op eigen titel heeft verworven. De uitgeoefende macht hoeft zodoende ook niet meer van (rijks-) overheidswege gesanctioneerd te worden.]
Later Developments In 1395
Gian Galeazzo married Isabella of Valois and on this occasion King Charles VI
of France granted him the right on January 29 to quarter his coat of arms
with the French lilies with a red and white bordure. As a counterbalance to
French influence in Milan, Gian Galeazzo was awarded the Ducal title by Roman
King Wenceslas in the same year. Two years later, by decision in Prague of 30
March, he was given the right by the king to quarter his coat of arms with
the German (royal) eagle [10]. In a Milanese manuscript, the coat
of arms is crested with the serpent of the arms on its helmet. [11] Next to it is the personal emblem
of Gian Galeazzo: a gnarled branch burning at the base with fire buckets
hanging from it, an allegory of boldness tempered by prudence. In other
versions, the coat of arms is crowned with a ducal crown. With the
death of Gian Galeazzo's son, Filippo Maria in 1447, the Visconti family died
out. The same year, the bourgeois party restored self-government and
proclaimed a republic known as the Ambrosian Republic, after the patron saint
of Milan, St. Ambrosius. The flag of the republic features the figure of the
saint on a medallion in the center, surrounded by a frame with the official
name of the Republic: COMVNITAS MEDIOLANI. The edge of the banner is decorated with
the crowned city coat of arms and the city's 'impresa': the crowned word LIBERTAS. [12] The Ambrosian Republic was short-lived.
In 1450 the administrative system of the Viscontis was restored by Francesco
Sforza who was married to Bianca Maria, the daughter of Filippo Maria. As a
sign of his legitimate claims to the duchy, Francesco also took over the
quartered coat of arms in addition to the name Visconti. His impresa was a greyhound seated under a
pine tree, leashed by a hand with the motto NEMO ME IMPUNE LACESSET (Nobody challenges me with
impunity). Another impresa of
Francesco is a high wave symbolizing the eventful life of the condottiere and
a cloud in a halo. His successors also used an impresa.
After the
marriage of the daughter of Gian Galeazzo, Valentina, with Louis of France,
Duke of Orleans, the House of Orleans also had, after 1447, a claim on the
duchy. The Ducal title was borne first by Louis's eldest son, Charles, and
then by the second son and his descendants who were Count of Angoulême. They
quartered their innate coat of arms, respectively Orleans and Angoulême with
the coat of arms of the Visconti. [13] In 1495 Louis of Orleans
succeeded in claiming Milan. When he succeeded in France in 1498, he handed
over both ducal titles (from Orleans and Milan) to Francis of Angoulême, who
also took over the use of the arms. Until his accession to the throne as
successor to Louis XII in France, he bore a arms quarterly of Orleans and
Visconti, then placed the arms of France in the first and fourth quarters. In
1500 Louis XII conquered Milan from Ludovico il Moro (Louis de Moor) but
after his death in 1511 the duchy was recaptured in 1512 by his son and
successor with the help of the Swiss. Three years later, the Duchy was again
in the hands of the French, but they were finally expelled in 1521. |
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The Sant’Ambrogio serpent Next to
the third pillar and positioned on a Roman column with Corinthian capital made
of Elba granite, inside the Basilica of Sant'Ambrogio there is a
black bronze serpent in a semi-erect position. The
sculpture is said to have been created during the reign of Hezekiah (King of
Juda 795-696 BC) which condemned the depictions and icons, but this statue
managed to survive. It is said that this serpent was forged by Moses during
his crossing of the desert to defend himself from the attack of snakes (that
is the troops of the Egyptian Farao) in his camp. To save himself from a
bite of a serpent it was enough to look at its sculpture. The
statue was brought to Milan in the year 1000 by Archbishop Arnolfo
da Arsago (998-1018). during the reign of Otto III (Emperor 696-1002). Probably
the serpent was given to Arnolfo by the Byzantine Emperor whom he visited to
take a Byzantine princess as the future wife and empress for Otto III. A pastoral
staff with serpents is used as a
badge of rank of orthodox Christian bishops. In particular a single serpent
is on an Armenian pastoral staff, the Armenian chuch being considered to be
subordinated to Byzantium. See: Serpent Therefore
the serpent in Sant’Ambrogio may be considered to be the badge of rank of
Archbishop Arnolfo da Arsago himself. At about the same time the shepards
crook was replaced by the modern crozier. See: Crozier
The
origin of the Visconti serpent as a badge of rank of an archbishop is
confirmed by this citation: “Ugone Visconti who seems to be the one who sold
it to the Republic, carried an emblem in the flag of his company: it is
proved by the Pastoral staff adorned
with Vipers of Ardengo Visconti Cellerario of the Monastery of S.
Ambrogio which stood beside him buried with the corpse 1226. [14] Once
arrived in Milan in the Basilica of Sant'Ambrogio
it became a symbol of Judaism, islamism and paganism in general. In that
time a dragon, fomerly the symbol of the Old Testament, became usually killed
by St. George, patron of the Holy See. On the other hand the Milanese people
began to interprete the serpent as the attribute of Asclepios having
thaumaturgical properties, thinking that it was enough to touch it for healing.
In fact it was thought that it could heal mainly intestinal diseases reason why many women brought
their children with them, in the hope of a quick recovery. It is
also said that the bronze snake, on the day of Judgment, would have gone to
the place where Moses created it, after being animated and whistled for. The cult
of the Bronze Serpent was forbidden in the time of rising protestantism by
Carlo Borromeo in 1566, because he considered it superstition.
Foto H.d.V. 01.2000 Bearded man standing on winged two-tailed dragon,
end of 12th century. The dragon symbol of the
Empire. From the Porta Romana, Milan. Museo Sforzesca, Milano. Inv. n° 776. Probably
one of the first podestas is represented for which Uberto Visconti (1186) is
a candidate. His counterpart was
archbishop Uberto Crivelli, (1185-1187) the later pope Urban III (1185-1187)
and opponent of Fredrick Barbarossa. Therefore the dragon may represent
Frederick Barbarossa. |
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House of Visconti |
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Ottone
Visconti |
Archbishop of Milan
1262-1295 Lord of Milan
1277-1295 |
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Matteo
I, the Great |
Commander of the people 1287-1302 1311 - Lord 1313 - 1322 |
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Supported by the Ghibelline Party In the Sant’ Eustorgio in Milan a chapel was built
in 1297 by Matteo I Visconti. On the oldest frescoes are the arms of Visconti in color: Argent a
serpent Azure eating a man proper.
Foto H.d.V. I.2000 Stone with crowned man-eating serpen. Probably
a boundary stone. Museo Sforzesco, Milan. No
date and explanation.
Foto H.d.V. 2000 Arms supported by Matteo I San Eustorgio Milano (before restoration) Heraldic
stone on the wall of the sepulchral chapel
of the Visconti of the Sant’Eustorgio in MIlan. Arms:
Man-eating serpent. Inside
the church is the arms painted in colour. It is white, the serpent blue and
the man red.
La
“parlera” (balcone) da cui venivano annunciate, fra l’altro, le condanne a morte.
Le immagini simmetriche del biscione inquadrano l’Aquila della giustizia. La
chiusura a cerchio della seconda spira indica che ci troviamo in presenza del
ramo principale della casata. Le
bâtiment a été construit en 1321 sur ordre de Mathieu
Ier Visconti, qui
désirait faire construire une série de portiques à proximité du Palazzo
della Ragione pour
y abriter les activités judiciaires et notariales de la cité. Son nom
provient de la famille des Osii, qui possédait quelques palais dans les
environs avant la construction de la structure actuelle. Les
peines et edits étaient prononcés par les juges milanais depuis le balcon de
la Loggia (connu comme le parlera). Ce balcon est par ailleurs orné d'un
aigle portant une proie, symbole de justice. |
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Galeazzo
I |
1322-1327 |
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1327-1329 |
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Azzone |
1329-1339 |
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Foto
H.d.V. jan. 2002 De andere fresco's
zijn uit ca. 1330 en later. Links staat de triomf van St. Thomas door Giovanni
di Milano (1373) en rechts de legende van
St. Joris (1375).
1339. 04.
24. Wax seal with arms Visconti. ASMantova, A.G., b. 387. Arms: Man-eating
serpent. L.: ?
Arms of Azzone Mausoleum
of Azzone Visconti in Saint Gotthard church Milan |
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Luchino |
1339-1354 |
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Seal of Luchino Viscontii, 06.08.1341. Arms: Man eating serpent. Crest: The
serpent from the arms between two wings. Caption: luchini vicecomitis dni mediolani etc . Æ 60 mm. Sella, P.: N° 1103; AA Arm. I-XVIII 6189 (2). 6190 Atti varii. |
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Giovanni |
1339-1354 |
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Foto Giovanni Dall'Orto,
15.01. 2007. Coat of arms of the House of Visconti, on
the Archbishops' palace in Piazza Duomo, in Milan, Italy. The coat
of arms bears the initials IO.(HANNES) of the name of
archbishop Giovanni Visconti (1342-1354) |
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Stefano Visconti |
~ 1287-04.07.1327 |
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Foto
HdV 2002 Fresco of
bull painted over with Arms of Visconti and of the Empire Sant’
Eustorgio Milano |
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Stefano
Visconti and his sons Matteo
II, Galeazzo I and Bernabó Sant’Eustorgio
Milano |
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Matteo
II |
ì1354-1355 |
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Galeazzo
II |
í1354-1378 |
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Sant’Eustorgio, Wall painting ~1375 The arms of Visconti and
St. George slaying the dragon
Foto H.d.V. I.2000 Heraldic stone in the Museo Sforzesco in Milan. Second half of the 14th
century In
the center a shield with a ball. On both sides the arms of members of the
Visconti family, the dexter crested with a ball and the siniser with the
Visconti-serpent. On
the dexter of both arms the letter ‘G’. Perhaps
the arms of Galeazzo II and his son Gian Galeazzo are represented which would
explain the two ‘G’s. |
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Bernabò |
î1354-1385 |
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From Armorial
Bellenville |
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Gian
Galeazzo |
1378-1395 |
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Grant of arms to Gian Galeazzo Visconti by King
Charles VI of France, dd. 29 januari 1395. (Paris Arch. Nat.s, Registre
Original J.J. 147, fol. 68) (Meurgey, J. In: Nouvelle
Revue Heraldique, oct. 1934). Arms: ¼: 1 & 4: France ancient with bordure
parted Gules and Argent; 2 & 3: Visconti
Seal of Gian Galeazzo
Visconti, 1400 Arms: As
before Caption:
SIGILLUM * IO [HANNIS ... DUX ] * MEDIOLANI [V]
ICECOMITIS * V[IRT] UTUM ASV,
Miscellanea atti diplomatici e privati, b. 30, n. 891 |
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Gian
Galeazzo |
1395-1402 Duke 1395-1402 |
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1 Grosso, 1395-1402 X • GALEAZ • VICECOES • D • MEDIOLANI • 3 C • G /
Ʒ Grant of arms to Gian Galeazzo Visconti by Roman
King Wenceslas, dd. 30 March 1397. "Cupientes insuper tibi, tuisque Descendentibus et Successoribus
Ducibus Lombardiae pro nobis et Ducatu Lombardiae praedicto de Armis et
Insigniis providere, praesertim de Insigniis nostris Imperialibus, quae
Majores tui et tu nostro, et Serenissimorum Praedecessorum nostrorum
Romanorum Imperatorum et Regum nomine retroactis temporibus, in Bellorum
actibus et ubique strenue detulerunt, non ad tuae petitionis instantiam, sed
de benignitate Regia, motuque proprio ac tuae originis nobilitate poscente,
ex certa scientia et de Romanae Regiae Plenitudine Potestatis, tibi, tuisque
Descendentibus legitimis et legitimandis a nobis, sive a Successoribus
nostris Romanorum Imperatoribus et Regibus eorumque Descendentibus in
futurum, quos Duces Lombardiae esse continget, concessimus, et concedimus ac
tenore praesentis nostri Privilegii licentiam elargimur, quatenus pro dicto
Ducatu Lombardiae Arma seu Insignia nostra Imperialia, videlicet Aquilam
nigram in Campo aureo, in forma, qua ipsa Arma Serenissimi Romanorum
Imperatores portare consueverunt, aut per quarteria tu, tuis, tuorumque Descendentium
Armis, pro ut tibi, Descendentibus, et Succesoribus tuis Ducibus videbitur et
placuerit, ubique tenere, deferre et portare, ac teneri, deferri et portari
facere valeatis cunctis temporibus affuturis, ut per hoc inter Nos,
Successoresque nostros in Imperio, ac te, tuosque Descendentes et Successores
Duces memoriale perpetuum, vinculumque unionis maneat et perduret; nolentes,
sed potius inhibentes, te, tuosque Descendentes et Successores Duces ut supra
in Armorum ipsorum delatione per quecumque, cujusqumque Dignitatis et
Auctoritatis existat, protinus succesive quommodolibet impediri.[15]
Coronation of Gian Galeazzo Visconti to a
Duke of Milan, in 1378 in
the basilica of St. Ambrogio miniature of the Messale Ambrosianum di Anovelo da
Imbonate Milano Biblioteca del Capitolo di
S.Ambrogio (Milano Biblioteca del Capitolo di S.Ambrogio ) |
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Giovanni
Maria |
1402-1412 |
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Filippo
Maria |
1412-1447 |
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(Foto H.d.V.
I.2000) Arms of Philip-Maria Visconti on the façade of the
Castello Sforzesco, Milaan. Probably from the former
Visconti castle Arms: ¼ of the Roman King and Visconti. Crown: of eighet leaves By way of supporters: Two angels armed with a shield
Giacomino da Ivrea’s frescoes at Marseiller
(Valle d’Aosta) 1430-1440 |
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Alexander Sforza, Count of Pesaro († 1473) |
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Foto H.d.V. I. 2000 Visconti Arms 14th century Museo Sforzesco, Milano. Visconti
arms with man-eating serpent. For crest a lion’s mask and two pomegranates L.: co pe to.. |
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1447-1450 |
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Arms: Argent a cross Gules
Banner of the Ambrosian Republic Medallion,
in the center of which is placed Saint Ambrose, patron of Milan. This banner
dates from the Ambrosian Republic which existed since the death of the last
Visconti, Filippo-Maria (13 August 1447), until the advent of Francesco
Sforza (1450). It is
also one of the "eight or nine beautiful banners" which Peter Falk
announced was sent to his wife in his letter of 25 July 1512. Pierre Crolot, Le livre des
drapeaux 1648, folio 5 |
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Saint
Ambrose, in priestly costume, holding a whip in his right hand and the stick
in his left hand; he is surrounded by allegories of cardinal virtues:
Justice, Strength, Prudence and Temperance. The medallion frame bears the
following legend: X COMUNITAS * MEDIOLANI, in Roman capitals. |
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The
medallion itself is surrounded by four figures probably representing the four
elements: fire, earth, water and the sky.
The flag
is made up of a strewn of Milan's coat of arms (Argent, a cross Gules) and
crowns surmounting the motto libertas, in Gothic minuscles The whole
is surrounded by a border which alternates the coat of arms of Milan and the
same motto
Reconstruction O. Neubecker Crowned motto
Seal of the Ambrosian Republic, 1449 St. Ambrose
between two coats of arms with a cross L.: sigillum • communitatis / * mediolani.
ASV, Atti diplomatici i privati, b. 38, n.
1128.(Sigilli n° 70) |
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Charles of Orleans 1447-1465
Knight of the Fleece n° 40, VI Capital St. Omaars, 1440. |
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Foto H.d.V. 2010 Stall plate of Charles of Orleans Grote Kerk, Den Haag Arms: ¼: of France (ancient) and Visconti Crest: A fleur de lys Or The
quarter for Visconti is explained by his mother Valentia Visconit who was a daughter
of Gian Galeazzo Visconti. |
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House of Sforza |
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Francesco
I Sforza |
1450-1466 ¥ Bianca Maria Visconti *1425-…1468 |
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Foto Giovanni dell´Ordo Heraldic stone in the Museo Sforzesco in Milan. Two coats of arms in alliance
supported by an angel
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dexter arms a bull, probably the arms of Francesco I Sforza. On the arms of
the sinister the arms of Biancal Maria Visconti. |
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Galeazzo
Maria |
1466-1476 |
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Arms of Galeazzo Maria Sforza on a vault in the
Castello Sforzesco in Milaan. Arms: ¼ of the Kindgdom the eagle crowned and
Visconti. Crown: of five larged and four small leaves and
eight pearls, decorated with a palmleaf
and a branch of olive. GƷ. MA.... DX MI.... QVINTVS |
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Gian
Galeazzo |
1476-1494 |
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Ludovico
Maria |
1494-1499 |
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Louis XII of France |
1499-1512 |
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Arms: ¼: 1 & 4: France; 2 & 3: Visconti. |
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Massimiliano Visconti |
1512-1515 |
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Son of Ludovico Maria
Bannière
de Maximilien Sforza, comte de Pavie Le champ
est parti d'argent à la guivre de sinople, hallissante de gueules, qui est
Milan, et d'or à trois aigles de sable, posées en pal, couronnées d'or, qui
est Empire. Le tout est entouré d'une bordure à caissons disposés dans
l'ordre suivant de droite à gauche, et séparés chacun par un vairé plein: 1.
vairé; 2. une couronne de nuages; 3. un pinceau (scofetta), entouré de la
devise NERITO ET TEMPORE; 4. une colombe brochant sur un soleil et tenant dans ses pattes la
devise A BON DROIT;
5. un mors de cheval (?) surmonté de la devise CH VERGES NIT; 6. une branche de laurier et une
palme passées en sautoir dans une couronne; 7. une housse de poitrail de
cheval. Puis, les caissons se répètent dans le même ordre jusqu'au haut de la
hampe. D'après
Charles Stajessi, cette bannière aurait vraisemblablement appartenu à
Maximilien Sforza, fils de Ludovic-le-More, que les Confédérés ont installé
sur le trône du duché de Milan en 1512. Ce
drapeau a dû faire partie de l'envoi de Peter Falk à son épouse, en 1512. Pierre Crolot, Le livre des drapeaux 1648, folio 7. |
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Etendard de Maximilien Sforza, comte de Pavie De
pourpre semé de flammes d'or, au soleil du même, une colombe d'argent
brochant sur le tout et tenant entre ses pattes la devise A BON DROIT, en capitales romaines. Il ne
s'agit pas d'une enseigne bourguignonne, comme le croyait Max de Diesbach,
mais bien d'un drapeau italien. La colombe, tenant cette devise, est en effet
un emblème des familles Visconti et Sforza, représenté exactement de la même
façon sur la bordure de la bannière de la planche N° 7. La
facture de l'étendard étant la même que celle de la bannière de Maximilien
Sforza, on peut l'attribuer, sans grand risque d'erreur, à ce seigneur italien. Comme cet
étendard n'a pu être pris par les Fribourgeois après que Maximilien Sforza
eut été installé sur le trône du duché de Milan, il faut admettre qu'il lui a
appartenu, comme la bannière de la planche N° 7, alors qu'il n'était encore
que comte de Pavie. Ce drapeau a certainement été pris à Milan et rapporté en
1512 de la campagne de Pavie. Pierre Crolot, Le livre des drapeaux 1648, folio 19 Archives de l’État de Fribourg CH |
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French Rule
1515-1521 |
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Francis I of France |
1515-1521 Knight of the
Fleece. n° 129, XVIII, Brussels, 1516 |
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Foto Marc Beaudoin Arms: France Crest: Fleur de lys Order.: De la Toison d'Or. |
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Franceso II |
1521-1525 |
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Foto HdV. 1998 Heraldic stone in the town hall of Cremona Arms: ¼ Of the empire, the eagle crowned, en Visconti.. L.: FR. II.. |
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Charles V Habsburg |
1525-1529 King of Italy,
crowned Bologna 22.02.1530 Emperor, crowned Bologna 24.II.1530 |
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The first
and at the same time the last Roman Emperor to be crowned with the Iron Cown
of Monza was Charles V. The
Master of Ceremonies Biagio da Cesena tells about this Imperator
qui iam in Germania primam cornam ..... sumpserat, vellet secundam cornam quæ
ferrea dicitur capere [The
Emperor who had recived the frist crown in Germany wanted to have also the
second crown called the Iron Crown ] About the
cown itself: Corona,
quæ dicitur ferrea licet sit ex auro et argento, ac multis margaritis ornata [The
crown called the Iron is of gold and silver and decorated with many pearls] Haec
corona ut habeatur aliqualiter eius cognitio et eius formæ, circularis et
latitudine 4 digitorum est vix coronam unius episcopi cicuiens, nec capiti
firmare poterat ... erat sine florentibus pinnis in simplicem et latum orbem
cicumducta, ferro introrsus tempora præcengenta, sed exteris auro et gemmis
exornata. [This crown is for her meaning and shape to be
descibribed one way or another about four fingers high and enclosed barely
the tonsure of a bisshop and neither can be fastened on the head ... she was,
without leaves set with
a broad binding around the temples and covered [To somehow
describe its meaning and shape, this crown is round and four fingers wide and
barely covers the bishop's tonsure nor can it be fastened to the head ... she
was without fleurons with a wide band all around applied the temples covered
the inside of the iron and the outside was decorated with gold and precious
stones.] [16] After the
death of Charles V Lombardy came to Spain and no emperor crossed the alps to
follow the italian coronation
ceremonies. |
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Franceso
II |
1529-1535 |
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© Hubert de Vries 2020-05-19
Heraldry of the World
