Mural crown

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Antiochia in a mural crown by Eutychides of Sicyon.
Antiochia in a mural crown by Eutychides of Sicyon.

In Hellenistic culture, a mural crown identified the goddess Tyche, the embodiment of the fortune of a city, familiar to Romans as Fortuna. The high cylindrical polos of Cybele too could be rendered as a mural crown in Hellenistic times, specifically designating the Mother Goddess as patron of a city.[1] The mural crown became an ancient Roman military decoration that later became a heraldic motif.

The Roman corona muralis (Latin: "walled crown") as used in antiquity was a golden crown, or a circle of gold intended to resemble a battlement, bestowed upon the soldier who first climbed the wall of a besieged city or fortress to successfully place the standard of the attacking army upon it.[2] The Roman mural crown was made of gold, and decorated with turrets[3], as is the heraldic version. Being one of the highest orders of military decorations, it was not awarded to a claimant until after a strict investigation [4]. The rostrata mural crown was assigned as naval prize, similar to naval crown.

The term is also used in heraldry to denote a crown modeled after the walls of a castle. In recent times, mural crowns have been used in opposition to royal crowns; they are typical of Italian medieval and modern Communes. A mural crowned lady, Italia Turrita, is a symbol of Italy. In Italy, communes have a mural crown on their coat of arms, golden and with five towers for cities, silver and nine-towered for the others; also some provinces and military corps use it. The coat of arms of the Second Spanish Republic had a mural crown. Most Portuguese (and Brazilian) municipal coats of arms contain a mural crown, with three towers signifying a village, four towers representing a town, and five towers standing for a city. Similarly, the Romanian municipal coats of arms contain a mural crown, with one or three towers for villages and communes, five and seven towers for towns and municipalities.

After the dissolution of the Austro-Hungarian Empire at the end of World War I, the single-headed eagle of the coat of arms of Republic of Austria began to wear a mural in the place of the former royal Austrian and Hungarian crowns that adorned the double-headed eagle of former coat of arms.

[edit] Examples for the use in heraldry

[edit] References

  1. ^ The mural crown as an indicator of the personification of a city was thoroughly explored by F. Allégre, Étude sur la déesse grecque Tyché (Paris 1889), pp 187-92.
  2. ^ Aulus Gellius, Noctes Attici, V.6.4; Livy, Ab Urbe Condita, XXVI.48
  3. ^ muri pinnis according to Aulus Gellius
  4. ^ Livy. l.c.; cf. Suetonius, Lives of the Twelve Caesars, Augustus 25.

[edit] See also