Loyola College - Review Yearbook (Montreal, Quebec Canada)

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75th ANNIVERSARY YEARBOOK This is probably the last yearbook that Loyola, as traditionalists know it, will have. It is called an Anniversary Edition because Loyola first opened its doors 75 years ago. As an Anniversary Yearbook then, this should be more than a review of the past year, but a reflection of its origins. There is too little room for this to be done comprehensively and in any case, because historical perspective has arranged things for our convenient digestion, we are inclined to grant significance to footnotes rather than commit ourselves to a realization of the human scale of values involved in our past. The First World War, three generations ago, seems now like a time long gone by, a place in our minds loaded with abstractions and vaguely categorized events. Like a windswept casement, it opens on huge dark rooms filled with centuries and eras turning around mysterious dates and personalities. An arid sense of history will not allow us to embrace the feelings and realities of people who lived then, even though it would contribute to an understanding of ourselves. We become, I think, too thoughtless and dispassionate. So while most of us recognize the 75 year history implicit in Loyola’s architecture and campus design, few have come to terms with the actual lives of those graduates whose photos line the corridors of the central building. They were just as real as we are (and I know some joker will insist that’s why they’re dead.) On the other hand, though no attempt is made to relive the past or uphold traditions, many of us are conscious of a mood which has settled on Loyola because of them. Consequently the 75th Anniversary Yearbook has tried to gather impressions of Loyola on the life of students through photographs, direct quotations, and a look at some early yearbooks, hopefully to the extent that Loyola appears as a place of unique responses to changing events. Something indicative of our sense of time and values was mentioned by a student who said that “At Loyola, the trees are just as important as the people.” This seems a little peculiar except that everyone is vaguely aware of the cumulative effect that the past has on anyone here. Because of this, the first section of the Anniversary Yearbook deals with some of the years preceding 1972 (mostly through the reproduction of early yearbook pages.) “It is hid in your heart Far away from the light And you cannot’see it Without taking apart All the things that make you The man that you are...”

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I am a rock. I am the sea. I am a flower. Iam a mountain filled with gold. I am a river full of living things. I am growing. Like an eagle. Like a lion. I am found in the deepest forest. My heritage is drawn on the most ancient clay tablet. i iit ii My ancestors are like myself. are me. 1H found me in the darkness. THE At night I am a flame. il I am the wind. I am a blade of grass. I am the reaper.

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2 LOYOLA COLLEGE REVIEW THE LOYOLA ARMS Heraldic devices such as the design on the cover of THE LOYOLA COLLEGE REVIEW are not uncommonly referred to as crests. This, of course, is inaccurate. The crest in armoury is an abbreviated symbol, usually placed above the arms proper, representing some distinctive mark or ornament which was worn upon the helmet, while the arms, generally far more elaborate, were emblazoned on the knight’s shield. Our College has adopted as its coat-of-arms that of the Loyola family at the time of St. Ignatius. It is fully described in an authentic contemporary document, which guarantees the accuracy of the blazonry as we have it. St. Ignatius’ elder brother, Don Martin Garcia of Ofiaz and Loyola, who held the inheritance at that time, makes the following provision in his will: “ And whoever shall inherit this, my entailed estate, shall be bound to be called by my surname and ancestry of Ofiaz and Loyola, and to wear and carry my arms and insignia in camp and wherever he may go. Which said arms of my said house and ancestry of Ofiaz are seven red bars on a field of gold. And those of the house of Loyola, black pot-hangers and two grey wolves, with a kettle hung from said pot-hangers, which wolves aforesaid hold the kettle between them, and are attached on either side, each with their paws resting on the handle of said kettle; the whole to be placed on a white field, keeping the one and the other apart; those of my said house of Onaz, my entailed estate, at the right, as at the head of this writing.” The meaning of the charges is not a matter of fanciful conjecture, so frequent in the interpretation of ancient armoury. The seven red bars on a gold field were granted to the Ofiaz family by the king of Spain, as a special mark of honour for the bravery shown by seven brothers of the family at the battle of Beotibar in the year 1321. In the Loyola shield we have an example of punning or “ canting” arms. The name Loyola is symbolized by “ Lobo-y-olla,”” the Spanish for “‘ wolf and pot.” A wolf stood for the nobility—the ‘ Ricos homines —and the design was taken to represent the generosity of the Loyola family. “ For,” says Father Raphael Perez, S.J., in his book ‘‘ La Santa Casa de Loyola,” “ the country people, still full of remembrance of Ignatius and his ancestry, relate that this name was given in those feudal times when great lords made war upon one another with a band of followers whom they were bound to maintain; and this the family of Loyola used to do with such liberality that the wolves always found something in the kettle to feast on after the soldiers were supplied.” There has been some divergence in the practice of ‘“‘ marshalling’ these arms. Not to speak of the utterly unheraldic grouping sometimes adopted to combine them conveniently with College emblems, there is some uncertainty as to the relative positions of the two femily shields themselves. In Spain the custom is to retain both the paternal and the maternal name. Hence LOVOLA COLLEGE REVIEW 3 the family of St. Ignatius was known as the house of Onaz and Loyola. If we go back to the year 1261, we find that Don Lope de Onaz espoused the heiress of the Loyola family, Dona Ifes de Loyola. Now it is usual in com- bining shields to give the paternal arms the position of honour, that is, the right of the wearer, and it seems clear that the Ofiaz arms, with their seven bars, should occupy this position. The words of Don Garcia which end the ex tract quoted above can hardly bear any other meaning. But as the lords of Fig. 1 Fig. 2 the united house of Onaz and Loyola always occupied the castle of Loyola, that name eventually prevailed and the shields are generally found transposed as on the cover of this REVIEW. Our own representation of the arms has not been altogether uniform. On the back of the College Catalogue, what appears to be the strictly accurate position of the two shields has been adopted (Fig. |), and the same example is followed in the College pin (Fig. 2). In the latter, however, the College colours—maroon olive-green and white—are substituted for the original tinctures of the Loyola family. The cover design of the REVIEW reverts to the more common arrange- ment, as found in many Jesuit College emblems. For the whole figure we Fig. 4 Fig. 5 are indebted to a cut which appeared some years ago in the “ Belvederian,” an annual published by Belvedere College, S.J., Dublin. The drawing is artistically pleasing, but we may gently protest that the maned animals favour lions more than wolves—heraldic or otherwise... A large replica of this device appears over the entrance to the Junior Building of the New College. ei