Menslage: Difference between revisions
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The arms show a dragon and a rose. The rose is taken from the arms of the Lords von Darlage, who lived in Hahlen and Herbergen and owned the jurisdiction in Menslage. The dragon is the symbol of the Artland region, and is first seen in the local churches from around 1572. Since the 19th century the dragon is used as the trademark of the local furniture industry. The colours are those of the Diocese of Osnabrück. The wavy division line is also taken from the arms of the Samtgemeinde Artland and symbolises the Hase river. | The arms show a dragon and a rose. The rose is taken from the arms of the Lords von Darlage, who lived in Hahlen and Herbergen and owned the jurisdiction in Menslage. The dragon is the symbol of the Artland region, and is first seen in the local churches from around 1572. Since the 19th century the dragon is used as the trademark of the local furniture industry. The colours are those of the Diocese of Osnabrück. The wavy division line is also taken from the arms of the Samtgemeinde Artland and symbolises the Hase river. | ||
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[[Literature]] : Westheider, 2002 | [[Literature]] : Westheider, 2002 | ||
Revision as of 01:36, 9 July 2014
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Heraldry of the World Civic heraldry of Germany - Deutsche Wappen (Gemeindewappen/Kreiswappen) |
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MENSLAGE
State : Niedersachsen
District (Kreis) : Osnabrück (until 1972 Bersenbrück)
Samtgemeinde : Samtgemeinde Artland
Origin/meaning
The arms were officially granted on ?-?-1983.
The arms show a dragon and a rose. The rose is taken from the arms of the Lords von Darlage, who lived in Hahlen and Herbergen and owned the jurisdiction in Menslage. The dragon is the symbol of the Artland region, and is first seen in the local churches from around 1572. Since the 19th century the dragon is used as the trademark of the local furniture industry. The colours are those of the Diocese of Osnabrück. The wavy division line is also taken from the arms of the Samtgemeinde Artland and symbolises the Hase river.
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Index of the site
Literature : Westheider, 2002