Heraldry, as a scholarly discipline that deals with the study and origin of various symbols and elements, emerged in Albania towards the end of the 13th century. Over time, it has evolved as an inseparable component of European heraldry, encompassing its advancements, shifts and accomplishments.
The earliest evidence in the usage of coats of arms can be traced to the formative period of the Principality of Arbanon, with the Gropa ruling family. This practice continued in uninterrupted succession across various medieval Albanian lineages and patronymic families, namely the Albani, Angeli, Arianiti, Balsa, Beçikemi, Dukagjini, Durazzo, Dusmani, Kastrioti, Matranga, Muzaka, Scura, Spani, Spata, Thopia, Zaharia, Zenevisi and numerous others.[1]
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The Cocco were a Venetian patrician family, originally from Durazzo in Albania. Part of the Consilium, they faced exclusion from the Maggior Consiglio of 1297. Other members of the family held important ecclesiastical positions in the Stato da Màr. In 1565, Gaetano Cocco founded the Cocco College in Padua.After the fall of La Serenìssima, their nobility received recognition from the imperial Habsburg government through Sovereign Resolutions on 11 November 1817.Their coat of arms is featured in a Florentine manuscript from the first half of the 17th century. The finely drawn illustration is followed by a detailed history of family events.[49] French chronicler Casimiro Freschot in his work "The Values of Venetian Nobility" sheds light on this family:[50] The family coat of arms can be described as follows: | |
The Zaguri were a noble Albanian family[51] [52] [53] [54] that settled in Venetia from Cattaro around 1646. Its progenitor, Trifone Zaguri, had excelled during the Ottoman-Venetian War. Another family patron, Pietro I Antonio (1733–1806) was a distinguished poet, senator and architect, who designed and financed the façade of the Church of San Maurizio.[55] Marco Zaguri served as bishop of Ceneda and Vicenza from 1777 until his passing in 1810. The family resided at Palazzo Zaguri, now a cultural center, converted into an exhibition space with temporary art shows. The coat of arms is described as follows: | |
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The presence of Albanian nobility in Istria can be sought to the early Venetian rule of Koper (13th century), where we find the Albanese and Brati families, with the Albani family said to be a branch of the Albanese. Having lost their ancestral lands, these aforementioned families found refuge in Venetian Istria, successfully restoring their noble status and acquiring new titles. On March 1, 1431, Hieronymus Albanensis was the first of the Albanese family to enter the list of titular nobility. The influence of this family and others, led to the naming of a street in the city called “Calle Albanese”, situated between today's Kettejeva and Santorijeva streets, along the garden of the Servite Monastery, which later became Koper's maternity hospital.[84] | |
The noble Borisi family traces its lineage back to ancient times, claiming descent through their maternal line from Hungarian royalty, as mentioned by Constantine Porphyrogenitus in De Administrando Imperio. Prospero Petronio, in a manuscript later seen by Carli Rubbi, notes that Nicolò Borisi had served as a high-ranking military officer under George Castriota Scanderbeg. In 1443, Nicolò's sons bravely defended Antivari against a Venetian assault, ultimately surrendering the city under honorable terms. Johann Siebmacher classifies the Borisi as counts of Albania in his «grosses und allgemeines Wappenbuch», republished in 1857.[85] The family eventually settled in Capodistria, where they gained admission to the Major Council on May 1, 1620, with Bernardo having served as general marshal, commanding the troops of the Prince of Transylvania and Moravia. By 1725, they were listed in the Istrian nobility register, bearing the title of Count. The Borisi also produced skilled diplomats. Marc’Antonio achieved the rank of grand dragoman at the Sublime Porte in 1594. Giacinto held the position of secretary to the general captains of the sea, in 1690. Among the wealthiest families in Istria, they held the castle of Loc in Carniola, and subsequently acquired the fief of Fontane, between Parenzo and Rovigno, which included the localities of Acquadizza, Monte Pighera, and Scoglio Riviera. By the end of the eighteenth century, Count Pietro held the civic office of superintendent of Via Dolfina, the road connecting Capodistria to Trieste, a vital communication route between Venetian and Austrian territories.[86] Some members of the family also made significant contributions to Italian theater, notably Carlo, an actor known for his performances in Venetian dialect. Captain Ferdinando managed the Trieste shipping company "Tripcovich" in 1915. The last heir of the Borisi family name, Giuseppe, passed away in the late 1960s. | |
The Brati were a noble Albanian family who settled in Capodistria during the 13th century, later attaining the prestigious title of Count, until their lineage ended in 1848. One Alberico Brati held the castle of S. Giorgio from 1251 until 1269, as a pledge from the patriarch Gregorio di Montelongo. By 1300, they were granted the estate of Trebezze as a fief from the Patriarch of Aquileia. Around 1338, the Brati came into possession of the castle of Sipar, eventually relinquishing it to the Rota of Momiano. In 1505, the family received the investiture of the fiefdoms of Covedo and Cristoiano from Bishop Bartolomeo Assonica. Paolo Brancaino, of the late Giovanni Brati, renounced the fiefdom of Castelli near San Servolo in 1539, placing it in the hands of the bishop of Trieste, Pietro Bonomo. Aggregated to the Noble Council on 28 April 1423, they were included in the Register of Nobles on 1 March 1431 with Gaspar de Bratis, as cited by Manzuoli (1611). Sardo Brati practiced typographic art with Panfilo Castaldi in 1461, while Michele served as mayor of Capodistria in 1491. The last family heir, Giovanni Antonio, a lawyer, married Maria Simonetti and was added to the Noble Council on 10 January 1802.[87] | |
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The Alicorni were a noble Albanian family who fled the Ottoman advance of their homeland during Pope Pius II’s reign (r. 1458–1464). Seeking refuge in Milan, Pavia, Forlì, and eventually Rome, they attained high status through matrimonial alliances with other Italian nobility: among them the Ricci, Cayni, Trivulzi, Pusterla, Colli Aleotti, Leccilio, Colli Armentieri and Capranica. Messer Traiano was a Conservator (one of the three city councillors), who had his residence, today known as Palazzo Alicorni, erected in Borgo, not far from Piazza del Popolo, at the beginning of the sixteenth century. He left behind two sons, Giovanni Battista and Fabius, who were both appointed knights by the Pope. On July 3, 1584, Giovanni sold the palace to the French cardinal Matteo Contarelli, Datario of Pope Gregory XIII (r. 1572–85). The lineage ended at the dawn of the 20th century with Francesco, the last male heir of Traiano. The family coat of arms is featured in Stemmario Cremosano, dating from the 17th century: | |
The Albani family, heralding from northern Albania, migrated to present-day Italy in 1464, led by Filippo de Lazii. They attained nobility status in various Italian cities such as Urbino, San Marino, Venetia, Genoa, Viterbo, Neapolis, etc. Following the abolition of Seats in 1800, the family was recorded in the Neapolitan Libro d'Oro. Its most famous patron, Giovanni Francesco Albani (Pope Clement XI) was crowned head of the Catholic Church and ruler of the Papal States from 23 November 1700 until his death on 19 March 1721. Other notable members included Orazio Albani (1717 † 1792), who became prince of Soriano al Cimino and was recognized within the Neapolitan patriciate of Seggio di Portanova. Gian Francesco Albani (Rome, 1720 † therein, 1803), great-grandson of Pope Clement XI, held various ecclesiastical offices and in 1747 was appointed cardinal. The symbols in the family's coat of arms were acceded to the papal coat of arms, later found in the engraving work of Filippo Juvarra (c.1722), after designs by Francesco Fontana.[88] The sculpted image of the papal coat of arms is found at the Cortile del Belvedere in the Vatican and the Fontana del Pantheon in Rome. | |
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The coat of arms of the Voivode of Moldavia is found in the 1643 publication titled "Carte de Învățătură" (p. 138), commissioned in Iași by Prince Vasile Lupu of Moldavia, himself of Albanian stock.[99] Prince Vasile Lupu traces his roots to the lesser-known Coci family, who had settled in Wallachia in the early 16th century, having migrated there from the Albanian settlement of Arbanasi, according to some sources.[100] [101] [102] The coat of arms is accompanied by the following poem: | ||
The Ghica family is one of Romania's oldest noble families whose members were active in Wallachia, Moldavia and the Kingdom of Romania from the 17th century through the late 19th century. Of esteemed Albanian lineage, the family produced 9 princes, 2 prime ministers and other prominent figures in the world of politics and literature.A noteworthy member of this family, influential writer and feminist Elena Ghica (pen name: Dora d'Istria) emblematized the Albanian national cause during the Renaissance period. Another family scion, Albert Ghica, a pretender to the Albanian throne, garnered recognition for his involvement during the Congress of Trieste and for providing monetary support to the Albanian Colony of Bucharest. The family coat of arms is described as follows: The coat of arms shown here is a reproduction from a lithograph found in the 1873 book "Gli Albanesi in Rumenia", which chronicles the history of the Ghica family.[103] A later variant of the coat of arms is portrayed in a painting by George Demetrescu Mirea. |
Our historical narrative of the modern Greek State would be incomplete without acknowledging the significant influence and participation of its Albanian populace. From the widespread presence of the Arvanites in the Peloponnese, who constituted the predominant demographic there until the 19th century, to the Souliotes of Thesprotia that played a prominent role in the Greek War of Independence, continuing with the autonomous rule of Ali Pasha Tepelena over expansive territories in western Rumelia, centered around its capital, Ioannina, followed by the Stratioti defending the coasts of Kefalonia, Zante, and Corfu, to conclude with the working classes of Parga and Preveza. Albanian contributions as a whole are deeply woven into the fabric of Greek society.
For over 500 years, Albanians were an integral and indispensable component of the Ottoman Empire, with far-reaching contributions that extended beyond politics, the economy, the military, administration and the judiciary. At least 32 accounted for grand viziers that served in this vast empire were of full or partial Albanian stock.
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Koca Sinan Pasha was an Ottoman-Albanian military figure and statesman who served for five terms as Grand Vizier of the Ottoman Empire. Appointed governor of the Egypt Eyalet in 1569, he was subsequently involved in the conquest of Yemen two years later, becoming known as Fātiḥ-i Yemen ("Conqueror of Yemen"). In 1594, he ordered the burning of Saint Sava's relics on the Vračar plateau.Contemporary Turkish historians note that he remained close to his heritage and would give those of Albanian stock preference to high-level positions within the empire.[116] The coat of arms attributed to his namesake can be found in the engraving work by Giacomo Franco, published in Venetia in 1596, and currently on display at the Metropolitan Museum of Art in New York City.[117] | ||
Köprülüzade Fazıl Ahmed Pasha was an Ottoman-Albanian nobleman and statesman, belonging to the renowned Köprülü family, which produced six Grand Viziers for the Ottoman Empire. He served in the post of Grand Vizier himself from 1661 to 1676, after inheriting the title from his father, Köprülü Mehmed Pasha.[118] Köprülüzade Ahmed Pasha led the Ottoman Army in the Austro-Turkish War of 1663–64 and succeeded in destroying Novi Zrin in the northern part of the Kingdom of Croatia after nearly a month-long siege. Later on he would capture Candia (present-day Heraklion) from the Republic of Veneto in 1669, during the Cretan War.[119] His coat of arms is depicted in the engraving work by Nicolas de Larmessin, dated from 1690 and published in the Gallica Digital Library. |
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Great Arms Diplomatic Seal | The earliest usage of state symbols is prescribed in the Organic Statute of Albania, drafted by the International Commission of Control. Chapter II, titled "The sovereign", in articles 7 and 18 states:[121] The official newspaper of the Albanian government, Perlindja e Shqipëniës, in its opening page article titled "Speech of the King's in-law – Royal Court – Crown of Albania", dated 28 February 1914, gives an elaborate depiction of the coat of arms:[122] An illustration of the coat of arms was published for the first time in an article by Eberhard Freiherr von Wechmar in the weekly illustrated newspaper Die Woche (1914), issue no. 10, p. 387. The extract from German reads:[123] The coat of arms is once more featured in the form of a diplomatic seal on a royal invitation letter addressed to captain N. Thomson, the brother of Lt. Colonel L.W.Thomson.It bears the prince's coat of arms and that of the family of princess Sophie, both under the Albanian crown.[124] |
Gold model Silver model | The Coat of Arms of the Albanian Republic was introduced by decree-law "On the state coats of arms and official flags", dated 12 July 1926:[125] Teki Selenica's encyclopedic guide book Shqipria më 1927, e illustruar (p. 125) provides an illustration of the coat of arms whereby the helm with the arms and banners is displayed in silver profile. The usage of the silver model is reaffirmed in official documents of the Ministry of Internal Affairs' secret office from the late fall of 1929.[126] |
A decree-law in reference to the new Coat of Arms of the State was published in Fletorja Zyrtare, dated 14 August 1929 (p. 7–8). The redaction is from the original print using a form of old gheg, conventional for the time:[127] DECREES: Tirana, 8 August 1929.ZOG d. v. | |
Great Arms Lesser Arms | On 3 June 1939, his Majesty the King Emperor, surrounded by his civil and military entourage, placed the «Constitutional Charter» into the hands of the President of the Ministerial Council, Vërlaci, expressing the paternal solicitude and affection for the Albanian people which inspired his determination. The said "Charter", made up of 54 articles grouped into 7 Titles, makes no mention yet of a coat of arms.[128] The arms of the Kingdom of Albania were promulgated by royal decree nr. 141, dated 28 September 1939. Summarized in seven article paragraphs, they are described as follows:[129] The greater arms is used: in the great seal of the State, on solemn occasions and in monumental decorations. The lesser arms is used by the state administration. |
Article 95 of the Statute of the People's Republic of Albania (1946) describes the state emblem as follows: Article 107 of the Constitution of the People's Socialist Republic of Albania (1976) maintains the same design phraseology as its precursor although expressed in a whole condensed sentence: Designed by acclaimed painter Sadik Kaceli, the emblem was initially adopted on 14 March 1946. It was readopted with minor amendments on 28 December 1976.[130] The shapes of the emblem have undergone several changes over the decades and are explained in chronological order below: Model (3): This image of the emblem is found in the Constitution of the People's Republic of Albania published in 1964 by the Albanian Committee for Cultural Relations and Friendship with Foreign Countries. The interweaving of the wheat stems is shown in right profile, meanwhile the wreaths are simplified in the shape of a rhombus or lozenge. The eagle's chest comes forth in a triangle-like posture, the minuscule eyes are rounded and there is a widening of the claws. The overall color scheme is lightly faded. Model (4): The emblem shown here was published by the nationally syndicated satire magazine Hosteni in its 1st issue of the 39th annual edition (956), dated 12 January 1983.[131] The lifelike image was used in the 500 L commemorative gold coin from 1969. A matching illustration of the emblem is featured on the cover page of the 1st issue, 27th annual edition, of the military magazine "10 Korriku" (1973). Model (5): Unlike with previous models, the wreath shown here is olive in color and appears more rounded, attuned to its soviet counterpart. Interestingly, the shape of the eagle is almost identical to the model found in the 1998 coat of arms. This exact emblem is seen in the 10 L silver coin minted in 1990. The only difference being the word MAJ which is printed as MAI, suggesting that it was likely reproduced in Italy. Model (6): The model of the emblem generally accepted as the official variant was published by "Albania today", a political and informative review, in its 1st issue (32) of the 7th annual edition (1977). This model has been used in banknotes and fiscal stamps since 1947.[132] On 7 April 1992, the Assembly formed after the early elections, in its afternoon session, voted to remove the communist emblem as the official symbol of the state including the removal of the star from the country's flag and established a parliamentary commission tasked with studying the proposal of a new emblem of the state.[133] [134] | |
During the plenary session of 13 November 1992, members of the Assembly, having previously abolished the use of communist symbols as official representative symbols of the state, decided to adopt a new coat of arms of the Republic. Under proposal was the amendment of law no. 7491, dated 25.04.1991, "On the Main Constitutional Provisions" which propagated the inclusion of a new chapter titled "Flag, Coat of Arms and The Capital". Article 3 of the chapter, as read by the secretary of the assembly, stated the following:[135] After several discussions and with no objections, the chairman of the assembly Pjetër Arbnori took the microphone to announce that article 3 was approved unanimously. The image of the coat of arms is found in various documents of the state archive and was once suspended at the main curtain wall in front of the rostrum of the national assembly. | |
The symbolism in the coats of arms of counties in Albania is reflected in Article 5 of Law no. 139/2015, later amended by Law no. 38/2019, dated 20 June 2019 and titled "On Local Self-Governance", which classifies the county as a second level unit of local governance that represents an administrative-territorial unit, consisting of several municipalities with geographic, economic, social and common interests.[136]
Emblems of municipalities are required to incorporate and visually present, in a highly stylized approach and preferably in accordance with the formal rules of heraldry, the inherent elements and distinctive features that typify and symbolize any given municipality.[137]
The initial phase of clerical heraldry in Europe commenced around the year 1118, with the establishment of the Order of the Knights Templar. Its formal development occurred between 1417 and 1431, during the reign of Pope Martin V.Clerical heraldry in Albania endured throughout the Ottoman occupation, though it steadily waned due to the scarcity of prelates serving in the country. Whatever remained from that period was eradicated during communist rule, when a more atheist ideology was embraced.The earliest extant clerical coats of arms (or seals), recognized to this day, are attributed to Pjetër Zaharia and Nikoll Mekajshi.[138]
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The original seal of the bishop of Sapa, Pjetër Zaharia, was discovered quite by chance, during excavation works in front of the Hvar Cathedral, on March 12, 1988. Preserved inside the Archives of the Bishopric of Hvar, the seal is made of copper. It has an oval shape with two poles that are slightly depressed, measuring 62x37x2x11 mm in size. On the side circle, in the form of a strip, is engraved in Latin with Gothic graphemes, the following text:[145] which reads as: | |
Following Skanderbeg's passing in 1468 and the subsequent Ottoman occupation of his domains, many Franciscan monasteries were destroyed or damaged. In response, a special administration with extensive powers was promptly established by Franciscan Superior General Francis Gonzaga, in 1585. The administration or commissariat was thirty-first in line of establishment and fell under the direct jurisdiction of the Superior General. Its five monasteries at Sebasta, Lezhë, Rubik, Memli and Kep Redoni housed over forty Franciscan monks. In 1488, Pope Innocent VIII had turned St. Mary's Benedictine monastery at Kep Redoni (Caporedoni) over to the Franciscan's Dalmatian Province. The monastery later became the center of the Albanian Franciscan Province from 1713 to 1727.[146] | |
Possibly descending from the settlement of Mjekës, present-day Elbasan, Nikoll Mekajshi was ordained bishop of Stefania and Benda in 1592. He played a pivotal role in the uprising of 1595, aimed to attack and liberate Croya from the Ottomans. From 1601 to 1602, Mekajshi participated as a leading figure at the Convention of Dukagjin. The Kingdom of Spain recognized him as ambassador of the Albanian clansmen (1602–1615). His Episcopal seal is preserved in the collection of Shtjefën Gjeçovi, borrowed for publication from Theodor Ippen, the Austrian consul in Shkodër, who had published it in his monograph in Vienna.[147] The seal representing the coat of arms has the following inscription in Latin: | |
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A color illustration featuring Albanian heraldic motifs, sketched according to the original conception of its author, Ludwig von Thallóczy, whose vision was for the national coat of arms which he had specifically designed for Albania, be included in its political future. Thallóczy himself amalgamated traditional Albanian elements like the eagle, the wolf and the red and black colors with prevailing oriental religious symbols of the era, such as the crescent moon and the horse's tail, symbols of the Ottoman Empire, uniformly embraced by the nominal Muslim majority of Albanians. Ultimately, the Austro-Hungarian foreign ministry objected to its publication due to concerns about the potential impact it would have on its political interests in the region, which was to maintain the current status quo.[148] | ||
The front page of the biweekly periodical Albania, published in Brussels by Faik Konica since 1896, features an illustration of a double-headed eagle, cradling a flame torch between its heads. A ribbon encircles the torch's handle, bearing the word “UNITAS” (meaning Oneness), symbolizing a call for unity among Albanians. The eagle's chest is shielded, and in the upper left corner hangs a black cross. A waving stripe stretches across the shield, wraps around the body, and ends on both sides of the eagle's neck, allowing its wings to remain partly unfurled. The text “ALBANIA” is prominently displayed. On the left side of the ribbon, it reads “ANNO,” and on the right, “1896.” Two claws grasp a lower ribbon, forming an arch, inscribed with the Latin text “UNGUIBUS ET ROSTRIS,” translating to “Claws and Beaks.” This graphic work of art was conceived by Belgian painter Paul Nocquet, under the guidance of Konica himself.[149] | ||
Among the cultural-artistic societies that emerged in the city of Shkodër during the post-independence years, the “Bogdani” society held a prominent place. Established by a group of young men who departed from the “Oratory of the Heart of Christ” to form their own organization, naming it after and being inspired by the patriotic ideals of Pjetër Bogdani, a renowned writer of old Albanian literature. In their programmatic document dated May 27, 1920, the society expressed its commitment "...out of love for the flourishing of the Albanian nation...". Interestingly, the same coat of arms was adopted by the parish and members of the “Rozafat” society for various activities, including theatrical performances, carnival celebrations, and musical events.”[150] |