Background
In preparation for 2025 where we celebrate the Jubilee of Hope, the 150th anniversary of the arrival of the Miraculous Statue, and the 100th anniversary of the church’s dedication, the basilica and shrine had a coat of arms designed to celebrate our rich history. A coat of arms is a unique and hereditary symbol that originated in medieval Europe. Symbols and colors were utilized to identify the person, family, or place. These were normally painted on shields during battle. Since the 13th century, the Church has used heraldry, initially for marking documents. It has since spread to popes, bishops, priests, dioceses, and churches. The coat of arms can be added to all official documents, letters, and banners as well as placed on the basilica itself.
As our music director searched to have one designed for us, he found an article about a priest, Fr. Cory Catron, in the Diocese of Charlotte, who designs heraldric achievements. After reaching out to him, it was clear Our Lady had pointed us in his direction! When Fr. Catron was a seminiarian in Columbus, he made yearly retreats at the Shrine, and he continues to send Mass requests here. He immediately noted he had a few ideas for the heraldric achievement and got to work. After a few drafts, the final version was approved by the staff in November 2024.
The Blazon
A heraldic acheivement is formally described by a blazon, which is an angliczied version of Norman French. The blazon describes exactly what is on the heraldric achievement and their location. The formal description, or blazon, reads:
Barry wavy argent and azure, a pale and chief enarched sable, in chief a key or,
in pale a heart with seven flames issuant of the fourth, an escallop of the same.
What does all that mean?
Barry wavy argent and azure
wavy bars of silver (argent) and blue (azure)Pale and chief enarched sable
a vertical band (pale) and chief enarched (horizontal band with a concave arch); both black (sable)In chief a key or
inside the horizontal band (chief), a key of gold (or)In pale a heart with seven flames issuant
inside the vertical band (pale), a heart with seven flames coming from itof the fourth
of the fourth color such mentioned, in this case, gold (or)an escallop of the same
inside the vertical band (pale), a scallop of the same color: gold (or)
The Symbolism
From Fr. Cory Catron
- The blue and white wavy lines evoke the origin of the statue of Our Lady of Consolation in Luxembourg by referencing the state ensign of that country, as well as representing water so as to evoke the first miracle attributed to Our Lady’s image, when the statue was carried in procession during a rainstorm in which all of the participants remained dry the whole seven miles they walked.
- The chief and pale combine to form a Tau Cross, the emblem of the Franciscan Order, with the color black evoking the darker habits of the Conventual Franciscans who have cared for the Shrine for over a century.
- The key and flaming heart are symbols found on the statue itself, with the scallop representing the Shrine as a pilgrimage site.
- The motto Consolatrix Afflictorum is taken from the Litany of Loreto, invoking Mary as “Consoler of the Afflicted,” and the external ornaments of the crossed keys and umbraculum are the proper insignia for a Basilica, indicating the special status bestowed upon the Church by the Pope.
It was a great honor to be able to design the coat of arms for the Basilica and National Shrine of Our Lady of Consolation, as I have a very long-standing personal connection. As a seminarian at the Pontifical College Josephinum, just to the south in Columbus, I made an annual pilgrimage with my brother seminarians to start each new formational year. In more recent times, I reconnected with the devotion to Our Lady of Consolation as I found myself in need of consolation myself amidst some of trials that have come my way. A replica of the statue of Our Lady sits on my desk, and I routinely send Mass requests and prayer intentions there, trusting in Mary’s intercession to provide for me the heavenly favor she has for so many. While I did the sketches, the finished product artwork was done by my good friend and regular heraldic collaborator William Griffith IV, as I am utterly useless with technology.