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Sagremor: Mullets (1/3)

Published by Carlos da Fonte, em 02.07.12
Sagremor - Attributed Arms

Being the imaginary arms of a character that equally doesn't belong to the domain of tangible persons, historical considerations won't be as important as in real circumstances; this doesn't mean that they should be entirely arbitrary. There are distinct versions describing Sagremor, we will only retain the most consensual, seeming to correspond to the arms seen above, certainly inspired in the legend. Sagremor, known as “the Desirous”[1], “of Hungary” or “of Constantinople” was one of the Knights of the Round Table, son of the king of Hungary and Wallachia, who arrived at the court of King Arthur to join his widowed mother, Indranes, daughter of Adrian, emperor of Constantinople, now married with the king Brangore[2]. This short biography is sufficient to inspire our analysis, especially since the parophonic methodology must, above all, determine quite well the geographical residence at the birth of a blazon. Besides, Sagremor was used by us as a paradigm to establish a comparison boundary, in order to measure the discretion index[3]. So, this study wasn't chosen to make our task easier, a supplementary advantage.


Latin should be the language of choice to activate the process of verbalization ahead of us. We mistrust the aptitude of the author of the arms to understand Hungarian and, again, we may verify how distant he was from the theme of the drawing, possibly living within the Anglo-Norman or French influence. The referent's metonymy in this second semantic level uses the Latin gentilic of those born in the Hungarian capital by the time of King Arthur, Aquincum, at the modern city of Buda, although their continuity may not be verified. Nevertheless, the plot of the Arthurian legends is typically contemporary to their medieval authors. Then Aquincum must refer Buda as a translation into Latin, not the very Aquincum. I believe Aquincenses doesn't describe the Hungarian subjects of that city but, particularly, the familiar roots of Sagremor. It would be viable to use the singular, Aquincensis, to better focus the individuality inspiring us.


The calculation of the discretion index doesn't bring anything new. We won't get into any details this time, the previous analyses will suffice to understand the procedures used. Note that the final value, k = 0,31, is perfectly credible, allowing us to consider the parophonic hypothesis. Once obtained: Aquincenses ~ Ac quini sentes, we may then analyse each component.


The additive conjunction ac (lat. and) is not a mere parophonic trick. As a matter of fact it makes the whole ac quini sentes depend from other semantic levels that may eventually appear. In this respect it is a redundancy for, in reality, heraldic traces rely upon their own sematization. Let us say that we don't know the original sequence by which these traces were formed. It's perfectly possible that, in general, it was an iterative process, gradually adjusting towards a satisfactory solution. The component quini (lat. five each) denotes the number not only as a quantity but also that it refers to more than one figuration. Inherently it suggests that these five sub-elements must be included in an arrangement, interpreted as a star polygon. After the establishment of a numeral and a conjunction we would need more concision at the third component, allowing the determination of something more substantive for the drawing of the blazon. These considerations induced us to prefer sentes (lat. thorns, briars) instead of sentis (lat. feel, understand) or the declined sentus/sentis (lat. thorny) or even replacing the parophonic censes (lat. count, assess).


A simple monosemy emerges in the sematization stage but it's not immediately apparent. Only the metonymy: five thornsfive pointsmullet will build a clear association between the designant and the heraldic trace. The choice of a geometrical or astronomical subject instead of a branch, a pierced mullet or a caltrop, may raise the suspicion of an extreme simplification, often seen in older armorials. Without entirely discarding this influence, we must stress that the third semantic level, to be studied in the next post, demands a sidereal theme.


Despite simplicity we need to acknowledge the effect of all complementary agents, intrinsic to the formation of our heraldic traces. As we may see, the mullets' rays are symmetric and oriented according to a horizontal stability, in the only position available where there is simultaneous “support” of two points. Furthermore, each placement depends fundamentally from the situation of the black mullet. It appears at the centre of the quarter and restricts the position of the second mullet, aligned with the first and at the same distance from the border. The third should rest at the vertical axis, also obeying to the homogeneity of distances. The disposition “two and one” follows the general shape of the shield and, for the very same reason, it's always favoured for the arrangement of three figurations, unnecessary to declare in the emblazonment. Dimensional harmony is kept by the proportionate occupation of the field and an absolute equivalence of all figurations.


This version of the arms of Sagremor strictly follows the rule of the tinctures[4]. This law will help us to understand later why such tinctures were chosen. For now we will only emphasize the connection of the stars' golden metal with a luminous source, a common correlation that appears recurrently in the analyses made in the past. It's also possible that the figurations were taken for planets, given their apparent magnitude and brightness, which tends to be yellowish. An emblazonment describes: “de gueules à 2 planètes d'or, au franc-canton d'argent à une planète de sable[2].


It would be feasible to use other tinctures as argent or azure but the conjunction of all colours needed for the drawing wouldn't advice it. On the other side, the presence of a black star, unexplainable by its luminous immanence, is perfectly coherent if we let you know in advance that it represents an opposition: darkness. This darkening is semantically transitional and for this reason the second level must be represented by all three mullets or. Finally, we refer that from now on we will show some or all the traces of other semantic levels by using a dark khaki colour[5]; it will stress only the elements that belong to each discussion.


[1] Translation of desreezdérangé.


[2] MERLET, Lucien - Coutumes des Chevaliers de la Table Ronde - Mémoires de la Société Archéologique d'Eure-et-Loir - Vol. VI - Chartres - Petrot-Garnier Libraire - 1876.


[3] Based on the suggestion of Michel Pastoureau for the canting arms Sagremor ~ sycomore, at the edge of reasonableness in our view, becoming an adequate boundary for the acceptance or rejection of other parophonies: “Pour doter Sagremor d’armoiries la solution la plus simple aurait été de lui donner une figure parlante, en occurence un sycomore”, see Bibliographic References (PASTOUREAU, 1986, p. 25).


[4] See also another version, almost certainly misrepresented: SCOTT-GILES, Charles W. - Some Arthurian Coats of Arms - Coats of Arms - nº 64-65, 1965/1966 - Baldock: Visited 27th of June 2012, available in: <http://>, 2012.



[5] This colour will hardly appear in any blazon, avoiding ambiguities and providing enough contrast with heraldic tinctures.



Attributed Arms R Sagremor
Demonym M Budans
Imaginary language V Aquincenses (Latin)
Denominant A Aquincenses
Graphemization A  A  |  Q  |  U  |  I  |  N  |  C  |  E  |  N  |  S  |  E  |  S 
Phonemization A a  |  k  |  w  |  i  |  N  |  s  |  e |  N  |  s  |  e  |  s
Pairing A a  |  k  |  w  |  i  |  N  |  _  |  s  |  e |  N  |  s  |  e  |  s
A a  |  k |  w  |  i  |  N  |  e  |  s  |  e  |  N  |  t  |  e  |  s
Coefficient of transposition A 0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0
Coefficient of character A 0.0|0.0|0.0|0.0|0.0|1.0|0.0|0.0|0.0|1.0|0.0|0.0
Coefficient of position A 0.0|0.0|0.0|0.0|0.0|1.0|0.0|0.0|0.0|1.0|0.0|0.0
Addends A 0.0|0.0|0.0|0.0|0.0|1.0|0.0|0.0|0.0|1.0|0.0|0.0
Discretion index A k = 0.31
Phonemization A a | k |  | k | w | i | N | i |  | s | e | N | t | e | s
Graphemization A A | C |  | Q | U | I | N | I |  | S | E | N | T | E | S
Designant A ac | quini | sentes
Qtty + Geometry + Geometry E and five + thorns + each
Redundancy S there are other semantic levels
S and
Simple monosemy S mullets
S five thorns
Tincture H Gules
Number H 3 -1 = 2 two
Simple metonymy S 5 thorns > 5 points > mullet
Figuration H 5 points mullets (of five points)
Immanence C star
Symmetry C radial
Orientation C stability
Placement C mullet sable
Tincture H light or
Immanence C star
Contrast C gules
Connective H and
Placement H on
Number H a
Separation H quarter
Tincture H argent
Number H a
Figuration H mullet
Tincture H sable
Number H each, 3 (the three mullets)
Disposition H 2 & 1 (set two and one)
Filling C shield's area
Symmetry C shield's axis
Centrality C fess point


(next article in this series is II/III)

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Published at 12:24

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