Heraldry developed in the High Middle Ages based on earlier traditions of visual identification by means of seals, field signs, emblems used on coins, etc. Notably, lions that would subsequently appear in 12th-century coats of arms of European nobility have pre-figurations in the animal style of ancient art (specifically the style of Scythian art as it developed from c. the 7th century BC)."significant pre-figuration of medieval heraldry" John Onians, Atlas of World Art (2004), p. 58.

The origin of the term heraldry itself (Middle English heraldy, Old French hiraudie) can be placed in the context of the early forms of the knightly tournaments in the 12th century. Combatants wore full armour, and identified themselves by wearing their emblems on their shields. A herald (Old French heraut, from a Frankish *hariwald "commander of an army") was an officer who would announce the competitors. The display of heraldic emblems on shields is an innovation of the 12th century. The kite shields shown in the Bayeux Tapestry (c. 1070) sometimes show simple cross or spiral ornaments, but no heraldic emblems. Similarly, Frankish or German round shields of the 11th century (Ottonian, Salian) are sometimes depicted with simple geometric ornamentation, but not with figurative emblems.Round Shield Designs (vikingage.org): "chequered" (11th c., Biblio. Mun. Avranches MS50), "flared cross" (c.1000-1050 Arras, BM MS 559 (435), vol. 1), "spirals" (c.1000-1050 Arras, BM MS 559 (435), vol. 1), "spirals with dots" (c.1000-1020 Bamberg MS A. II. 42 Bamberg Apocalypse). Early mention of heraldic shields in Middle High German literature likewise dates to the 12th century."With the exception of several heraldic shields that appear in the Kaiserchronik [c. 1150–1170], such as the boar carried by the Romans—the oldest heraldic insignia in medieval German epic literature, according to Zips [Wappenwesen, 1966]—most of the precourtly and even courtly epics up to 1200 contain very few decorated shields at all. Several isolated coats of arms are mentioned in the German Rolandslied [c. 1115], König Rother [c. 1150], Veldecke's Eneas [c. 1170], and Hartmann's Erec [c. 1185]—mostly related to the protagonists." Haiko Wandhoff, "The Shield as a Poetic Screen: Early Blazon and the Visualization of Medieval German Literature" in: K. Starkey (ed.), Visual Culture and the German Middle Ages (2016), 53–72 (p. 57).

In some cases, the adoption of a symbol on a coat of arms was the culmination of a gradual progression, whereby a family can be seen using a symbol in a quasi-heraldic manner prior to its adoption as part of a formal coat. An example of this are the Counts of Saint-Pol, who between 1083 and 1130 decorated their coins with wheat sheafs that are then found on the equestrian seal of Count Engueraud (1141–50) placed in the blank space surrounding the mounted knight, before appearing on the shield of count Anselm and his successors from 1162. Similarly, the fleur-de-lis progressed from use as a decorative emblem by Henry I of France (1031–60) to then be displayed as a quasi-heraldic symbol by Louis VI, Louis VII, and Philip II (1180–1223) before becoming the charge of the French royal arms under the last of these kings.Ailes, Adrian, The Origins of The Royal Arms of England: Their Development to 1199, Reading Medieval Studies Monograph No. 1, Reading University, 1982, pp. 25-6 Lions were used as heraldic emblems by Henry "the Lion" (before 1146), and Alfonso VII of León (d. 1157), and probably by Henry I of England (d. 1135),Ailes, pp. 46-47 in the first half of the 12th century, and lions later appear on the coats of arms of their respective realms.

The oldest surviving heraldic seals are the equestrian seals (German: Reitersiegel) used by high nobility in the second half of the 12th century. Among the oldest examples from the Holy Roman Empire, of what would develop into German heraldry, is the lion (or "leopard") of the Staufer coat of arms, first used before 1146 by Henry "the Lion", and in 1181 on the seal of Frederick VI of Swabia.Werner Hechberger, Staufer und Welfen 1125-1190: zur Verwendung von Theorien in der Geschichtswissenschaft (1996), 1996 p. 342; Xenja von Ertzdorff, Rudolf Schulz, Winfried Baumann, Die Romane von dem Ritter mit dem Löwen (1994), p. 174. Similar seals are known from England, one of the oldest being the equestrian seal of King Richard Lionheart of the House of Plantagenet, dated 1189, showing a heraldic lion design on the king's shield. His second seal, dated 1198, shows the three lions design which would subsequently become the royal coat of arms of England.

The earliest known colored heraldic representation appears on the funerary enamel of Geoffrey of Anjou (d. 1151), showing a coat of arms that appears to be the same as one later used by some of his descendants. Depiction of heraldic shields in manuscript miniatures becomes more common in the early-to-mid 13th century, and dedicated armorials become fashionable in the mid-to-late 13th century.

Year Contemporary depiction Modern interpretation Attribution 1135 Ralph I, Count of Vermandois: A gonfanon is found on an equestrian seal dated to 1135 that depicts a chequy pattern, though the shield face is not visible in the seal and so there is no evidence that Ralph himself bore arms. This seal is of note only because the direct descendants of Ralph I would later adopt for arms Chequy Or and azure; the descendants of his nephew Waleran de Beaumont, 1st Earl of Worcester would adopt Chequy Or and gules. 1138 Waleran de Beaumont, 1st Earl of Worcester: The earliest known armorial seal in England or Normandy is attributed to Waleran de Beaumont, 1st Earl of Worcester. The seal dates to 1138, in which Worcester bears arms chequy. The descendants of Worcester would adopt for arms Chequy Or and gules. Worcester's brother and their descendants bear Chequy Or and azure. Worcester is the nephew of Ralph I, Count of Vermandois that bears Chequy Or and azure. 1138 Theobald II, Count of Champagne: An equestrian seal depicts what could be interpreted as an escarbuncle, however, the seal may simply be depicting braces that were commonly added to shields for reinforcement. Such braces are believed to be the origin of the heraldic escarbuncle. 1138–1161 Robert III de Vitré: An equestrian seal showing a shield with a sixteen-armed escarbuncle, but this may be a depiction of braces rather than a heraldic device. 1141 Enguerrand de Campdavaine, Count of Saint-Pol: In a seal dated to 1141, Saint-Pol can be seen on horseback surrounded by several garbs of wheat. The descendants of Saint-Pol would later adopt Azure a garb of wheat Or as their armorial bearings. 1143–1151 Humbert III, Count of Savoy: It is speculated that the cross of Savoy may have been adopted as a symbol by Amadeus III while on campaign during the Second Crusade, leading to his son Humbert III assuming the same symbol after succeeding his father. The cross of Savoy has been used on seals dated to 1143–1151. There are also two seals that depict Savoy with a shield bearing an eagle. 1146 Henry the Lion, Duke of Saxony and Bavaria: A total of seven seals of Henry's are known. Of these, only the second shows a recognizable lion displayed on his shield. This seal is attached to two documents dated to 1146. It is possible that the lion was also on the first seal (c. 1142), but it is no longer recognizable.Xenja von Ertzdorff, Rudolf Schulz, Winfried Baumann, Die Romane von dem Ritter mit dem Löwen (1994), p. 175,