SCA news sites

Fall Crown Tourney 2017: Third Round

AEthelmearc Gazette - Sat, 2017-10-07 12:41

Baroness Ekaterina Volkova has posted the following winners round in today’s Crown Tourney:

Winners side:Duke Syr Malcolm, Duke Sir Sven, Count Andreas, Sir Murdoch

Categories: SCA news sites

Fall Crown Tourney 2017: First and Second Rounds

AEthelmearc Gazette - Sat, 2017-10-07 12:29

Baroness Ekaterina Volkova has posted the following updates from today’s Crown Tourney:

First-round winners

First-round losers

First-round losers, continued

Second-round winners

Categories: SCA news sites

Follow Æthelmearc’s Crown Tourney

East Kingdom Gazette - Sat, 2017-10-07 12:03

The Kingdom of Æthelmearc is holding its Crown Tournament today, and the Æthelmearc Gazette is providing coverage. The starting tree has been posted, and updates will follow.

Filed under: Tidings Tagged: aethelmearc, Crown Tourney

Fall Crown Tourney 2017: The Lineup

AEthelmearc Gazette - Sat, 2017-10-07 11:44

Baroness Ekaterina Volkova has posted the starting tree for today’s Crown Tourney (with 29 combatants) and plans on making regular updates.
Please be aware that the cell phone coverage on site is inconsistent.

Categories: SCA news sites

We Are the Escarbuncle – Æthelmearc’s 20 Year Anniversary Celebration & Fall Crown Tournament

AEthelmearc Gazette - Thu, 2017-10-05 08:24

The staff of Æthelmearc’s 20 Year Celebration and Fall Crown Tournament share some insight on what promises to be a very special event.

There have been many questions about this weekend’s Æthlemearc’s Fall Crown and Twentieth Anniversary Celebration. Why are they being held together? What makes this event special? It’s really exciting, so the staff and I wanted to fill you in.


This event is about celebrating the creation of our Kingdom and the choosing of new Royal Heirs, so we sought out a site that’s central for everyone: All Saints Camp (110 All Saints Rd, Emlenton, PA 16373.) We are pleased to offer tent camping space free of charge on both Friday and Saturday nights.

Troll will open at 3 pm on Friday evening, and Lady Zianna beguy urdina de Zabaleta has graciously provided us with a Traveler’s Repast; Vegetable soup , beef stew, bread, butter , vegetables, hummus, and a cookie.

On Saturday, there will be a brief Morning Court at 10 am on the List field followed by the Crown Tournament Processional. If you wish to have a shade on the field; please reach out to our Day Shade Coordinators – Lady Arthes MacLeod (Brandy Straub,, 412-352-0978) and Lord Alister MacLeod (Greg Straub,, 412-216-5443). We are giving priority to Combatant and Consort Pairs.

Lunch will be served to the Tournament Field with a seated lunch near our arts and sciences display. Mistress Illadore de Bedegrayne has provided a gracious menu. Please contact her directly at with any food allergies or other issues.

Feast Menu from the THL Ottilige van Rappoltsweiler; a remove for each style of cooking she has studied. A love letter to her Kingdom through food! Please reach out to her with any food allergies at You will find the menu here.

Commemorative Token made by Edena the Red and Countess Anna Leigh.

We have a merchants row with several great vendors. A commemorative token for 20th year has been cast which will be sold as a personal fund raiser with proceeds to be split between the works of the Pewter Guild and Travel Expenses of their Majesties. The pewter work is by the hands of Edana the Red with detail beading by Countess Anna Leigh. They will be available onsite for $5.00. We have 100 minted and Edana has graciously offered to make more for those that would still want one after we sell out or are not able to attend the event. You will need to mail her a self-addressed envelope and the funds for your piece and she will send one out to you(Bridgette Montgomery; 128 Russellton Dorseyville Rd., Cheswick, PA 15024). The pewter token is based on an original pendant housed at the Cleveland Museum of Art. Created in 13th c. France during the Gothic period, the materials are gilded copper and champlevé enamel. It measures 4 x 3 1/2 inches. The difference in size accounts for the changes in details. Pewter tokens were used to mark an occasion such as a pilgrimage or royal event.

Reverse of Commemorative Token

Now, I know what you are thinking, this doesn’t sound all that different from a Fall Crown – but on the occasion of our Twentieth Anniversary, there will be an opportunity to enjoy almost anything that our fair kingdom has to offer. We have archery, atl-atl, thrown weapons, arts, history, heraldry, cut and thrust is starting a new competition, and the equestrians will be out in force. We’ve added a Friday evening torchlight tournament for rattan combat and a melee scenario after Crown Tournament on Saturday that will include the youth rattan fighters alongside the adults! There will be Fencing starting with Friday night pickups and an early bird tournament and activities all day Saturday. The Kingdom Historian’s Office is preparing a display of the origins or our Beloved Kingdom so that we can reminisce and celebrate our beginnings and the ways that we have grown!

All are welcome to participate in the arts and science display run by THL Eleanore Godwin! “We need your items for display! Please bring one item you’ve made for display that represents “We are the Escarbuncle” to you. No documentation is required! There will be 3×5 cards for your name and information about your item. There will be a book to write your name in and about your item and how it represents “We are the Escarbuncle” to you. Items will be accepted on Saturday, from 9:30am to 11:00am. Display will be open to the populace from 11:00am to 8:00pm.”

Prefer other Arts or Sciences? We have a Brewer’s Round Table so that you can taste and talk about what you are making, how you can improve it, and see what other brewers have learned. Consider bringing your potable to share. Stop by the heraldic consult table to discuss a new device, badge, or registering your name. The Debatable Choir will give a concert of Æthelmearc Songs, and we will end Saturday in celebration: a ball with choral music and live musicians! All are welcome to come dance, and musicians are wanted – speak with THL Sionn the Lost (Email jfkyle at about joining the players!

There’s simply too much to keep listing; our schedule and contacts are here.
We have already sold out of feast and cabins but bring your tent and we’ll find you a place to set up! There are also several hotels close by; the site if off I80 between Grove City and Clarion:
Quality Inn at 137 Gibb Rd, Harrisville, PA 16038; Motel 6 at 1010 Dholu Rd, Harrisville, PA 16038; Holiday Inn 225 Singh Dr, Seneca, PA 16346; and Microtel Inn and Suites 121 North Point Drive, Clarion, PA 16214.

More questions? If the website doesn’t answer them; please reach out to the Autocrats; THL Muirgheal inghean Dubhghaill (muirgheall at, 724-683-7558) Baroness Elena de la Palma (elenadelapalma at, 916-704-2367

Categories: SCA news sites

Court Report: Agincourt, September 23, A.S. 52

AEthelmearc Gazette - Wed, 2017-10-04 08:41

Here continues the Record of the Reign of Gareth and Juliana, King and Queen of Sylvan Æthelmearc, at Agincourt, September 23, Anno Societatis 52, in Their Shire of Sunderoak; as recorded by Lord Arias Beltran del Valle with the assistance of Lord Ronan O’Conall.

Their Majesties first gave leave to Their Excellencies Brandubh and Hilderun, Baron and Baroness of the Debatable Lands, to hold their court.

Their Excellencies’ court having been concluded, Their Majesties invited before them Mistress Arianna of Wynthrope to discuss the tournament held earlier in that day to determine Their Royal Majesties’ Youth Champion. Mistress Arianna informed Them that from the field of 6, two rose above the others, and Fox and Fritz were named Youth Champions in their divisions.

Mistress Arianna asked further leave of Their Majesties to discuss efforts to support those subjects of the Kingdoms of Ansteorra and Trimaris most recently affected by Hurricanes Harvey and Irma. She thanked the populace for their donations thus far, and informed them of further opportunities to donate at future events.

Their Majesties then called forth Lord Robert MacEwin of Thornhill. They tasked him, with the assistance of the other Lord Robert present, to take the toy box away to be found by the children of Æthelmearc, who were then asked to assemble before Their Majesties. Seeing their opportunity, the two Lords Robert sped from the room before the children of the Kingdom were sent to give chase by Their Majesties.

Their Majesties next invited Master Jacopo di Niccolo to attend them. Master Jacopo spoke of the tournament held that afternoon to determine Their Majesties’ Archery Champion. He summoned his Lordship Alrekr Bergsson and Lord Ronan O’Conall, the final two competitors on the day. Lord Ronan finished in second place, and was acknowledged by Their Majesties and granted a token in recognition of his skill.  But his Lordship Alrekr had emerged victorious on the day, and for this was he name Their Majesties’ Archery Champion. He was then granted the trappings of the champion and invited to join Their retinue in Court.

Photo by Lord Arias Beltran del Valle.

Their Majesties then called for the presence of Stiofan of Hahvehbier. Having heard of his efforts for decades in teaching new skills to SCAdians and spending time working with the Pennsic Land Staff, They were moved to recognize his efforts and awarded him Arms, creating him a Lord of Their Court. Illumination by Baron Caleb Reynolds,calligraphy not credited.


Photo by Lord Arias Beltran del Valle.


Their Majesties then demanded the presence of Wolfgang von Ostheim. They spoke of Wolfgang’s commitment to fighting for the Kingdom army, even returning from an injury to defend the Sylvan lands, as well as his assistance provided at events doing whatever needs done. For this was he, too, awarded Arms and made a Lord of Their Court. Scroll by Lady Felice de Thornton.

Photo by Lord Arias Beltran del Valle.


Lord Tertius Maximus Drusus was next summoned before Their Majesties. Word of his work as exchequer of Silva Vulcani, his teaching on the archery range, and his service in organizing transportation and other needs for his College had reached their ears. For this they thanked him and inducted him into the Order of the Keystone. Scroll by Thea Denes.

Photo by Lord Arias Beltran del Valle.


Their Majesties next called for Takamatsu-san Gentarou Yoshitaka. Their Majesties were of a similar mind, and so named him a member of the Order of the Keystone for his service as archery marshal in Their Barony-Marche of the Debatable Lands and his time spent working in Their kitchens and as a herald, and his efforts in building a camp gate for the Barony. Scroll by Lady Kolfina Jodisdottir.

Their Majesties summoned Lord Otto Boese before them. They thanked Lord Otto for his willingness to take on the role of exchequer in Their home Shire of Misty Highlands, and for making himself available to paint shields for Vikings at Miklagard and helping to set up and tear down other events. For this was he named a companion of the Order of the Keystone. Illumination by Baron Caleb Reynolds,calligraphy not credited.

Photo by Lord Arias Beltran del Valle.


His Lordship Oliver Sutton was then called before Them. Their Majesties had followed his Lordship’s work creating his own inks for scrolls and in researching and creating period furniture. For this They were well pleased, and did then induct him into the Order of the Sycamore. Scroll by Lady Rivka of the Debatable Lands.

Photo by Lord Arias Beltran del Valle.


Mistress Arianna of Wynthrope was then invited again before Their Majesties. They spoke of Mistress Arianna’s tireless devotion to the Kingdom over many decades, most notably as Kingdom Youth Marshal, and as one who serves where it is needed and is a role model for others to follow.  For these reasons were they moved to claim her as one of Æthelmearc’s own and did give her right to an Augmentation of Arms to be determined in consultation with Their Heralds. Scroll by Master Kieran MacRae.

Photo by Lord Arias Beltran del Valle.


Their Majesties then invited Master Jacopo di Niccolo to return once again to Their presence. Her Majesty spoke about the success of his tournament to choose the next archery champion, not simply as a way to determine his successor, but also as one of the most entertaining tournaments They had witnessed. For this was Master Jacopo named Her Majesty’s inspiration for the day and given a Golden Escarbuncle.

Their Majesties then bid all those who had worked on those scrolls awarded this day stand and be recognized amongst the populace. They also recognized Mistress Elisabeth Johanna von Flossenburg and Baroness Sybilla Detwyller for their efforts in creating their garb for the day.

There being no further business, the Court of Their Majesties was then closed.


Categories: SCA news sites

Artifacts of Life III

East Kingdom Gazette - Tue, 2017-10-03 21:19

The third Artifacts of a Life was held Sept. 30, 2017, in the Barony Beyond the Mountain. This very special arts and sciences competition format encourages participants to present items which a person from our period of study could have possessed. There were categories for entries which covered “elite” displays of 6 to 9 articles, “typical” collections of 3 to 5 items, and “team” or “village” entries by a group of participants (though there were no entries in that category this time).

Throughout the day, visitors and judges admired the presentations and discussed them with the seven entrants.

Lord Brendan Firebow

Lord Brendan Firebow’s display was of various items found on his person at the time of his untimely death (possibly in a duel) in the late 1500’s. Presented were glasses, a knife sheath, a belt, and a pouch. Decoration on the pouch, the edges of the belt, and the leather frames of the glasses, was chemically stained black with an iron solution. The strapless pouch was worn against the body and held in place by the belt. His research into the leather framed glasses led him to discover that these were important 16th century trade items.

Lady Aibhilin inghean Ui Phaidin

Lady Aibhilin inghean Ui Phaidin

Lady Aibhilin inghean Ui Phaidin presented glass bead jewelry as found in the Deer Park Farms Settlement site in County Antrim Ireland. Beads, such as those in the strung grouping of 11, were found scattered in the bedding in one of the homes of the site, and a glass-topped pin like those shown was found in another structure. The beads Aibhilin reproduced were among the most common types found throughout the site. The description of her experimental bead furnace was fascinating. Her research into the beads has ignited her desire to learn much more about medieval Irish history.

Baroness Ysabella de Draguignan

Baroness Ysabella de Draguignan

Baroness Ysabella de Draguignan’s artifacts were discovered while repairing WW2 damage to Maison Draguignan. An old box was found under broken floorboards. It contained a few playing cards, a pewter token, a padlock key, a fire-damaged pendant, a toy horse, a gravoir (a hair parting tool), and several handwritten notes and letters – items that would have been lovingly treasured by her 14th century persona. Participating in Artifacts of Life allowed Baroness Ysabella to explore art forms she had never attempted before.

Lord Bartholomew of Northampton was an archer on board the Mary Rose when it sank. His personal possessions include his yew longbow, arrows, wooden comb, embroidered purse, bracer (arm guard), wooden plate and bowl, bollock dagger and sheath, and a leather jerkin. It takes a special technique to pull a 104 pound bow.

Lord Bartholomew and his longbow

Lady Elaine Howys of Morningthorpe

Lady Elaine Howys of Morningthorpe

Lady Elaine Howys of Morningthorpe was the widow of a Master Broderer who left the service of Queen Elizabeth to start his own shop. Her will leaves the contents of the shop to her son-in-law and daughter, as he was in the trade as a journeyman and pattern drawer. Presented were merchandise, supplies, tools, patterns and work samples of various forms of Tudor and Elizabethan embroidery.

Lady Tola knitýr

Lady Tola knitýr was a 14th century Swiss noblewoman. She made two knitted purses, likely to be used as reliquary bags in her church. Spools of her handspun silk thread survive, on her spool stand. The tiny scale of the knitting, and the complex patterns, are evidence of her skill. She is looking forward to continuing her explorations of natural dyeing techniques.

Lady Rosamund von Schwyz

Lady Rosamund von Schwyz presented the tools and technique of bobbin lace. Her pillow includes a roller, to facilitate making lengths of lace, and she made several of the many bobbins in use.


These skillful entrants demonstrated both breadth and depth in their explorations of medieval life. Their enthusiasm for their work was readily apparent. In Baronial Court, the event stewards, Mistress Elizabeth Vynehorn and Baron Jehan du Lac, thanked the entrants and judges, and announced the results:
Lord Bartholomew of Northampton was the winner in the “elite” category.
Lady Tola knitýr was the winner in the “typical” category.
Lady Elaine Howys of Morningthorpe received the stewards’ choice prize.
Baroness Ysabella de Draguignan was honored with the Baron and Baroness’ choice prize.

Information and rules for Artifacts of a Life III can be read here:

Event staff requested that this report announce that the next Artifacts of a Life will be held in the Fall of 2019, so artisans and researchers should start planning their entries NOW!

Photos provided by Baron Joseph of the Red Griffin and Baroness Ygraine of Kellswood. Article written by Mistress Ose Silverhair and Baroness Ygraine of Kellswood.


Filed under: Arts and Sciences, Events Tagged: Arts and Sciences, events

Harvest Raids, the Making of Knights, and the Bonds We Share

AEthelmearc Gazette - Tue, 2017-10-03 20:57

By Lord Christian Goldenlok

Sir Thorsol is knighted. Photos by Baron Steffan.

In relation to each other, the rubber band of geographical life is made from unequal parts time and distance. When it stretches, all too often we have too much distance between us and not enough time to spend when we are together.

The opposite is also true. While it’s nice to visit with old friends around the fire, hearts become restless to look out to the horizon and build bonds away from home. In a perfect world, we could all live within walking distance. Until then, we have to use our time effectively. I am terrible at time management, mostly because I spent half my raids hugging people. It’s a rough life.

At Court at Harvest Raids, an Æthelmearc event in Western New York, my King and Queen made the first set of knights of their reign. Two men were presented, two men with whom I have very different relationships.

The first man to be brought forth was His Lordship Thorsol Solinauga. The Thorsol and I have been friends for years. He sought me out from the VERY beginning of my journey and has never once not made me feel welcomed at an event. He is either a saint or an incredible actor.  We have fought against and beside one another, and we have shared laughter, a love for this society, and many good conversations and will continue to do so. Thorsol is a popular man and inspired me to strive to build up people outside of the household and shire that I could love.

I have always measured my goodness based on his example. He is the gauge of inclusiveness to which I try to measure up. I have never heard him raise his voice in anger. Besides his deeds on the battlefield, I am sure that his diplomacy is something others should emulate. He can and will out-humble you. He is a dirty hippie. Sir Thorsol was the first man my King knighted. He is absolutely worthy of the station.

If he lived in Pittsburgh, we would throw pottery together, sing and play guitar together, or play boardgames together. He would be a part of my life because I would make him do so whether he wanted to or not. I love The Thorsol, and the beauty of the words spoken for him by friends I also know told me what I already knew for years: that many people are joined with me in sharing in my love for him. Thorsol spoke words of fealty on the Sword of State, he received his last unanswered blow from King Gareth, and he made his way, humbly and happily, to be with his new Chivalric brothers.

His ceremony was fantastic, and I wept happy, ugly tears for my friend, a man I wish I had more time with and less space away from. My house is a Bon Jovi-free zone.

After Sir Thorsol got the hell out of the way (Thorsol, GIT!), the crown proceeded to its next point of business and called forth Baron Dominic I-don’t-even-know-his-last-SCAdian-name. (Editor’s Note: Morland)

Sir Dominic is knighted.


Down the isle processed a handsome man with his beautiful wife whom I can’t recall I’ve ever met. As he and his retinue processed I thought to myself, “I don’t know her, nope, don’t know that guy, nope not him, nope don’t know her.”

The stranger knelt before my King and Queen, the King and Queen I know better than ANY other SCAdians, are masters of the fighting house to which I belong, and with whom I have spent countless hours. As the seconds passed, dichotomies between Dominic and Thorsol and the differences in my familiarity with the Royals and my familiarity with Baron Dominic began shooting through my mind.

As the introductory words were spoken, I searched my memory and couldn’t remember a time I had ever interacted with this man save a handshake or two, maybe a pat on the back in passing. Dominic and I have NEVER had the opportunity to sit and talk together. Earlier, as I had passed his vigil tent, I actually couldn’t recall any of the people who were standing guard for him or in that general vicinity. I’m Christian (expletive) Goldenlok and I know everybody… yet an entire group of people were unintentionally foreign to me.

Dominic’s heraldry is stunning, however.

To my delight, as the moments went on, I started to become slowly, intensely connected to these people, the man being knighted, and the ceremony.

Other people I didn’t know stood before the crown and offered their endorsements of Dominic. I started to feel a connection between their love for this man in relation to my love for the people that I hold dear. Tears streamed down the faces of many friends of Dominic, the majority of whom I have never become acquainted.

I began to feel the spirit of reverence that emanated through the ceremony. Words like honor, mental toughness, and graciousness poured out of the mouths of his friends, and I began to see that the same kinship that exists between me and Sir Thorsol absolutely exists between these fine people and their fine friend and brother, Dominic.

He began to tremble while kneeling before Their Majesties. You could visually comprehend that all his sacrifice, all his time spent in harness, all his time serving his friends, family, and the kingdom he calls home were about to manifest into becoming a Knight of Æthelmearc. He was aware of all this and, I imagine, was reacting to it. I empathized with the weight he was feeling. You could see he was humbled at being exulted by his friends. His dream, and the dreams and hopes and expectations others had of him, seemed to turn into a heartfelt, tangible reality with every word that filled the hall of that great Court. With the mounting of spurs, the clasp of cloak, and the fitting of the belt, he was being reworked, remade.

And then I started freaking ugly crying.


With so much strife in the modern world, it isn’t surprising that we occasionally need to be reminded that there is so much positivity and so much commonality that transcends the boundaries of time and distance in the SCA. As we struggle, as we toil in the fields, we must be reminded that there will come a time for harvest because of our collective dedication. It was obvious to me that many placed stones for Sir Dominic to walk on in his path to knighthood, and it was truly inspiring to see the love his friends showed him.


In closing, we must learn to become even more inclusive, to become even more open and honest and caring, and to realize that there is so much love in this world to be seen if only we fix our collective eyes to see it. I felt that love for you, Sir Dominic, and I hope we have time in the future. I’m grateful for both of these men, their separate retinues, their relation to us all, and their example to me.


Harvest Raids was fantastic!

Categories: SCA news sites

Editor’s Note

East Kingdom Gazette - Mon, 2017-10-02 12:24

Five years ago, Mistress Catrin o’r Rhyd For, along with a staff of editors, brought the East Kingdom Gazette to life.  During that time, Mistress Catrin managed the site, staff, and content, and brought the Gazette to where it is today.  As of Saturday, October 1, 2017, Mistress Catrin has stepped down, and Lady Tola knitýr stepped into the role of Site Management and Content Editor.  Mistress Catrin will remain on the Gazette staff as the Massachusetts editor.  Lady Tola has been on the Gazette staff for four years, and is looking forward to the challenge of filling Mistress Catrin’s shoes.

Filed under: Announcements

Court Report: Under the Grenewode, August 26, A.S. 52

AEthelmearc Gazette - Mon, 2017-10-02 12:10

From the Scrolls of the Reign of Timothy and Gabrielle, King and Queen of  Æthelmearc, as recorded by Dame Kateryna ty Isaf, Jewel of AEthelmearc Herald as conducted by Lord Arias Beltran del valle at Under the Grenewode hosted jointly by the Barony of Blackstone Mountain and the Shire of Port Oasis on August 26, Anno Societatis LII.

Their Majesties called for Lord Sasson della Sancta Victoria to speak about the Arts and Sciences competition that had gone on throughout the day. In this competition, while all submissions were praised for their craftsmanship, two gentles did rise above to earn recognition. Lady Katarina of Twin Moons was named both the choice of the Populace and Their Excellencies of Blackstone Mountain for her blackwork chessboard, and Baroness Cerridwen de Skene was named Royal Choice and Heir’s Choice for her wool embroidery and silverpoint.

Lord Sasson with A&S competition winner Baroness Cerridwen

Their Majesties then gave Lord Sasson a different task: to convey the children’s toy chest from Their presence for the children of the Kingdom to begin their search. After allowing Lord Sasson the traditional head-start, the children were then sent to find him and receive a toy from those offered.

Their Majesties called for Their subject Rhiannon Borror to appear before Them. They noted this gentle’s long history of service to the kingdom as chatelaine and demo coordinator, and for this were They were moved to award her Arms and create her a Lady of their Court.

Rhiannon receives an AoA

Lady Aine ny Allane was next summoned to Their presence. Lady Aine had shown herself to be a presence at many events, recording the events of those she attends in picture form for those who could not be there themselves, and giving of her time to make sure the work of the Kingdom and Society is done and done well. For this did They induct her into Their Order of the Keystone. The scroll is a work in progress.

Lady Aine receives a Keystone

Their Majesties next demanded the presence of Lady Katharine McClung before Them. They spoke of this Lady’s long history of serving her Kingdom and Barony as a scribe and more recently as Onyx Pursuivant and Millrind Herald. Believing her work to be worthy of greater renown, They did then summon Their Order of the Millrind, and bid her join the ranks of the Order as its newest member. The scroll was created by Lady Juliana Ravenshaw.

Lady Katharine receives a Millrind

Their Majesties bade the Order to stay a moment longer as Their business with them was not yet finished. They invited Maestro Orlando di Bene del Vinta to attend Them as well. Citing his service to the kingdom as a vocal  herald, as the Jewel of Æthelmearc Herald to Their Royal Parents, and as a leader in the organization of Their fencing army, They did also name him to a place in Their Order of the Millrind. The scroll was created by Lord Sasson della Sancta Victoria.

Maestro Orlando receives a Millrind

Next did Their Majesties summon Lord James Freeman to Their presence. Having succumbed to the exertions of the day in organizing certain activities, he was sent for. While the court waited, Their Majesties asked his mother to come forward that They might praise her for having raised such a hard working son and so that They might confound said son to the merriment of all. Once he appeared at speed, Her Majesty named him Her Inspiration for the day and bestowed upon him a Golden Escarbuncle, for She had seen the fruits of his labors throughout the day and noted the success
of the tournament format in entertaining the populace.

James Freeman receives a Golden Escarbuncle

Their Majesties then invited all those present whose work had contributed to a scroll handed out on the day to rise and be recognized by the populace.

There being no further business before Their Majesties, Their court was then closed.

Categories: SCA news sites

Baron Dominic Receives Chiv Writ at Harvest Raids

AEthelmearc Gazette - Sat, 2017-09-30 11:49

Baron Dominic is sent on vigil today.

Their Majesties Gareth and Juliana issued a writ this morning at Harvest Raids to Baron Dominic Morland to consider elevation to the Order of the Chivalry.

He is now on vigil, as is fellow vigilant THL Thorsol, and both will be elevated at tonight’s Court.


Reporting and photo by Baroness Katja





Categories: SCA news sites

Court Report: Æthelmearc Æcademy, June 17, A.S. 52

AEthelmearc Gazette - Fri, 2017-09-29 21:09

From the Scrolls of the Reign of Timothy and Gabrielle, King and Queen of
Æthelmearc, as recorded by Dame Kateryna ty Isaf, Jewel of Æthelmearc
Herald with the assistance of THLady Sophie Davenport, Silver Buccle Herald
in the Shire of Angel’s Keep on June 17, Anno Societatis LII.

In the morning:

Their Majesties called THLady Jacqueline de Molieres before Them.  They
asked her if she was ready to sit vigil this day and receive the counsel of
the Order of the Laurel.  She assented and Their Majesties called forth the
Most Noble Order of the Laurel to take her to a place made ready for her to
sit in contemplation of elevation to the peerage.

Jacqueline de Moliere is sent to vigil.

In the afternoon:

Their Majesties called forth Floki Bjornson.  Finding him to be overall a
very helpful young gentleman who works diligently as a kitchen assistant
and porter for the Shire of Angel’s Keep and beyond, They felt it was right
and just to induct him into the Order of the Silver Buccle.  The scroll is
a work of Lady Gilliane McGill de Verona.

Floki receives a Silver Buccle

Their Majesties called forth rest of the children present so that they
might chase the toy chest from the court.  They called upon the good graces
of Baron Perote Gormal Campbell and asked him to take up the toy chest.
The children were assembled and counselled to take one toy each, beginning
with the youngest child present once they stopped Baron Perote.  The count
being given, they did chase him from the court.

Their Majesties invited Mistress Alicia Langland to speak before the
court.  Mistress Alicia thanked the teachers who made the day so successful
and especially those who were teaching for the first time advising them
that they should see her to receive a pearl for taking on this new
endeavor.  She also thanked the staff of the event for organizing and
running such a fine day.

Their Majesties called Maddalena D’Agostino before Them.  For her many
works, including as tollner, kitchen staff, teacher of nailbinding and
deputy Herald of the Barony of Delftwood, Their Majesties Awarded her Arms
and made her a Lady of the court.  The scroll was created by the hand of
Lady Edana the Red.


Maddalena receives her AoA

Their Majesties called for the Rock to be brought forth in court.  A mighty
and impressive runestone was ceremoniously brought forward so that Their
Majesties could find a gentle worthy of carrying this burden.  Their
Majesties then called Bjorn Grimmson to present himself before Them.  They
Awarded him Arms for his work as Head cook for Dayboards, Chamberlain and
overall helper for the Shire of Angel’s Keep as well as his might of arm as
a fencer.  The carved scroll was etched by Lady Felice de Thornton.

Bjorn receives an AoA

Their Majesties called Ulfgrima Tannadotir to attend Them.  Knowing she
serves as the Shire’s Children’s Officer and by taking care of the upkeep
of the Gold Key with a smile for all, They saw fit to make her a Lady of
the court and Awarded her Arms.  The scroll was a work by THLady Julianna

Ulfgrima receives her AoA

Their Majesties called forth Lady Elisabetta Tempesta.  Having seen her
work for her Shire as Seneschal, Exchequer, Feast cook and autocrat, They
felt it right to induct her to the Order of the Keystone.   The scroll was
created by the hand of THLady Elyse le Bref.

Lady Elisabetta receives a Keystone

Their Majesties called Lady Maire ni Cathai O’Connor to attend Them.  To
engage the children of Aethelmearc and hold their attention is a gift this
gentle Lady excels in.   Their Majesties being parents are minded to be
appreciative of such a person and thus inducted her into the Order of the
Keystone. Scroll by Lady Edana the Red.

Lady Maire receives a Keystone

Their Majesties then called forth Lord Snorri skyti Bjarnarsson.   His
leatherworking is of fine detail, his arrows fly true.  For his works of
art including the scabbard he displayed at Ice Dragon, Their Majesties were
moved to induct him into the Order of the Sycamore.  Scroll by Lady Alysoun
of the Debatable Lands.

Lord Snorri receives a Sycamore

Their Majesties call for THLord AELric Ravenshaw to attend Them.  Noting
his attention to detail in his every effort to dress, fight and teach with
authenticity for his German persona and for his teaching of German
longsword techniques, Their Majesties inducted him into the Order of the
Golden Stirrup.  Scroll by THLady Mary Elizabeth Clausen.

THLord Aelric receives a Golden Stirurup and then is surprised with a Writ for the Pelican.

Their Majesties advised THLord AElric Ravenshaw to remain with Them as They
had another piece of business concerning him that needed to be attended
to.  With that, Their Majesties called before them the Most Noble Order of
the Pelican.  For his many years of service to the Shire of Ballachlagen as
well as his work as a scribe, They enjoined THLord AElric to return to Them
with a time and place where he would sit vigil in contemplation of
elevation to the Peerage as a Companion of the Order of the Pelican.  Writ
scroll by Mistress Arianna of Wynthrope.

Their Majesties called THLady Jacqueline de Molieres to rejoin Them.
Having sat vigil and received counsel, Their Majesties asked her if it was
her wish to continue.  She assented and Their Majesties called for the
Order of the Laurel to attend Them.  They asked for worthies to attest to
her qualifications to for this accolade.  As a Member of the Order of
Chivalry from Atlantia, Sir Bedawyr of Avaricum spoke of the fact that she is an
example of Gentility and Courtesy and chivalric grace.  As Jewel of
Aethelmearc, Lord Conrad Keinast spoke of how befitting it was that her
heraldry was the Dandelion, for her roots run deep.  He advised she was
instrumental in starting the Embroidery Day at Pennsic and sees worth where
others do not.  As a member of the Order of the Pelican, Mistress Alicia
Langland spoke of her generosity of spirit and how she sees a need and
brings others with her to fulfill it.  As a member of the Order of the
Laurel, Master Gille MacDhonuill spoke not only of her skill but also of
her extraordinary ability to teach others as a craftsman does.

Having heard these words and the counsel of the Order of the Laurel, Their
Majesties agreed it was right and fitting to elevate Jacqueline de Molieres
by Letters Patent to the Order of the Laurel.  They called forth for the
regalia of her new station, the Laurel wreath, the Cloak and a Laurel’s
broach for her to be adorned by so that all may know her to be a peer of
the Society.  A scroll was created for her by the hand of THLady Vivienne
of Yardley.  Their Majesties having received her oath of service as a
member of the Order of the Laurel, asked Mistress Jacqueline de Molieres to
bide a moment as They wished the presence of the Order while They completed
another item of business before the court.

THL Jacqueline is made a Laurel

Their Majesties called forth THLord Artemius Andreas Magnus.  The beauty of
his stained glass and lampwork being known throughout the Kingdom, They
advised him that it was Their will that he sit vigil upon a date mutually
agreeable to contemplate elevation to the Order of the Laurel.

Baron Artemius receives a Writ for the Laurel

Their Majesties asked that all scribes who contributed to the scrolls given
during the courts today stand and be recognized.

Her Majesty asked Lady Aurelie NicTurnear to attend Her.  Her Majesty
advised how she was moved by the joyful service of Lady Aurelie to name her
the Queen’s Inspiration of the day and bestowed upon her the Golden

Lady Aurelie receives a Golden Escarbuncle

There being no further business this day, Their Majesties’ court was thus

All photos by Mistress Arianna of Wynthrope.

Categories: SCA news sites

On Target: Backyard Backstops Part 2, or The Arrows Stops Here

AEthelmearc Gazette - Wed, 2017-09-27 23:29

Before I begin, I want to thank all of you who reached out to me with your condolences at the passing of my Dad. He got me started in shooting over five decades ago. I’ve never met anyone that had as much experience shooting as he did.

This month I want to do a backstop that’s hanging in the air. Once again, we take five sheets of cardboard and zip tie them together.

Next, add a thin piece of Coroplast, because the cardboard will rip without it.

Now, attach D-rings or carabiners so you can easily clip the target to a rope going from tree to tree. This also allows the backstop to go easily on and off the rope.

I’ve discovered over the years that no matter how hard you pull on the rope, after a while the rope stretches and there is slack, so on the far end of the rope, hang a counterweight to keep it tight. In the picture, that’s roughly 40 lbs. of concrete blocks.

As you can see here, two of the backstops come up out of the ground. The third one hangs in the air. Now it’s a triple-layered backstop.

Next, I have two videos that show how well-layering backstops work. You can see how they absorb the kinetic energy as they catch the arrow and rock back-and-forth.

Finally, another thing you can do for safety in your backyard is use flu-flu arrows. The extra large fletching causes drag that slows the arrow down.

I’ve also been asked about shooting without tips. If you shoot without a tip, it will not penetrate the cardboard, and could throw the balance of the arrow off and break the shaft, which would be very unsafe in your backyard.

This month’s safety tip: marshals and shooters, beware of distractions on the line. In these photos*, the shooter is it at full draw when something behind her gets her attention. As she turns to look, she swings the loaded bow around and has it pointed in the wrong direction. Remember, where the eyes go, the body goes, and the body will bring the bow with it. Never hesitate to call a Hold.

*Thanks to our model, Lady Thalia Papillon, who graciously staged these photos.

In Service,

THL Deryk Archer

Categories: SCA news sites

East Kingdom Bards Enchant Their Audience at Winter Nights

East Kingdom Gazette - Wed, 2017-09-27 18:03

On a bright September afternoon, bards from far and wide gathered around the fireplace at Scotia United Methodist Church, in Concordia of the Snows, to spin tales and sing songs. They came from as far away as Malagentia and the Crown Province of Ostgardr to show their prowess and polish their skills. This would be a friendly competition where the bards challenged each other to stretch and grow. The winner would take home the silver arm band to proudly wear for the next year.

The competition began with each bard performing a piece that let the audience know who they were. The selections ranged from an Italian aria, to Norse poetry, a Japanese folk tale to silly songs. They had the audience in the palm of their hands.

As the competition continued, the bards were randomly paired, and issued each other a challenge. Scores were given for both the challenge given and the piece performed in response to the challenge. As the sun sank low in the sky the audience was treated to tales of magical sea turtles and crabs, by Doug Dunn (don’t open the box!); Lady Lorita di Siena’s comical telling of a Baba Yaga story; the death of Sir Gawain, told in Middle English by Master Grim; a chilling poem based on the Salem Witch Trials, by Siona; and a new tale about Loki, Thor and putting on shoes, by Cedar san Barefoot, of course. There was a song of meadowlarks, performed by Byrd; several songs of Pennsics past; and the beautiful notes of Drake Oranwood on his new lute-guitar.

The competition was won by Master Peregrine the Illuminator, with his lusty tale of illuminating the grape. Be sure to ask him to tell you that story when next you see him.

Filed under: Events Tagged: Bardic, events

A Research and Documentation Primer

AEthelmearc Gazette - Tue, 2017-09-26 21:23
An Introduction to Research & Documentation

By Euriol of Lothian, O.L., O.P.

Please don’t run away! I know that Research & Documentation may scare many of you. No need to fear, I know it is a bit frightening… like a young child coming face to face with a junkyard dog. But if you give me a chance, perhaps we might be able to make this journey less intimidating and more enjoyable. Believe me, this dog will not bite.

Take a deep breath. You alright? Ready to take your first step? No need to worry, I’m here beside you to help you on your way.

I cannot recall how many times I might see something and think to myself “That is so amazing, I wish I could learn how to….”. We are very fortunate in the current modern age that we have so much information at our disposal. Sometimes it is too much information, and we don’t know where to start. The purpose of this article is to offer guidelines, suggestions really, on where you might start your own research journey and how to document it to a desired audience (e.g. classroom notes, newsletter articles, competition documentation for judges).

Research vs. Documentation

What is the difference between Research and Documentation? Research is the investigation of a subject to discover or revise information on the subject. Documentation is an artifact that is derived from the research. Research can include looking at primary, secondary and tertiary sources of information including expert analysis and opinion as well as practical hands-on experience. Examples of research may include the following:

  • Online articles and pictures
  • Personal attempt to create an item that is the subject of your research
  • Books, Magazines and Periodicals (Printed and Online)
  • Viewing a painting contemporary to the time period of an item (secondary source)
  • Archaeological notes from a university publication (expert analysis & opinion)
  • Examining an item on display at a museum (primary source)

Many of us are not fortunate to have access to many primary & secondary sources of information, but most of us have access to online articles and pictures as well as our own personal experience in attempting to create an item.

How far you go with your research is completely a personal choice, but sometimes when you start following the breadcrumbs of information, you might not anticipate where that journey might lead you.


Now that we have made the decision to start researching a subject, where to begin? There are several starting points at your disposal.

Do you recall where you first heard or saw something about the subject you want to research? Perhaps it was at a class? Perhaps you saw someone wearing or working with the subject? Go to these individuals, and strike up a conversation about the subject. I can tell you that people really do enjoy talking about subjects that are of interest to them. Ask them if they have any information of how you can learn more about the subject and get their contact information.

Perhaps the subject was something you learned about while watching a TV show, movie, or some other video. Perhaps it was an article online or in a magazine.

You had to learn about the existence of the subject somewhere; if you can. make a note of where you first learned about it.

Additional starting points may be:

  • Search engine (i.e. Google)
  • Wikipedia
  • Online Communities for the Subject (i.e. Facebook or Email Groups)
  • SCA Arts & Sciences Websites
  • Personal websites by Amateur Scholars

As you begin your research you also want to make sure you are keeping some sort of notes of your research. These notes are to help you keep a record of the sources you investigated and the information you learned from these sources. Pick a method of keeping notes that is most comfortable for you. Some methods that may be used are:

  • A blog or personal website
  • A notebook or journal
  • An electronic notepad (Word Document, One Note)
  • Idea board (Pinterest)
  • Email folder

Below are some samples of a note entries:

Type Book Title Harvest of the Cold Months ISBN 9780571275328 Information Learned Ice was used to cool wine in Italy during the 16th century.


Type Online Article Title The Garden of St. Francis Website Information Learned The garden was specifically embellished with an inner sanctum – a smaller garden – meant to hold a flower-garden, uniquely kept to provide olfactory and visual pleasures


Type Personal Experience Title How to Crack Honey without Thermometer Date June 14, 2017 Information Learned I was finally able to get the honey to get hot enough that in cracked like peanut brittle when the nucato was cooled. You will get a whiff of smoke as the honey is boiling, and then immediately take it off the heat. Reminder, not to put the nuts nor spices into the honey while it is being heated, otherwise the spices and nuts will burn. Documentation

Documentation can be as simple as taking all your notes and putting them together in a manner that is directed for a specific audience. There are several different types of documentation you can create based on your research. Examples of documentation can include the following:

  • An article for a newsletter or a blog
  • Class notes
  • How-to guide
  • An article for a magazine
  • A periodical issue
  • Documentation for a competition

Knowing your audience can help you determine the type of documentation to create. There are templates available for creating documentation. I also suggest having someone not knowledgeable in the subject matter review your documentation so anything that might not be clear can be identified and addressed.

Some of the details you might consider discussing in your documentation are as follows:

  • Introduction
    • Introduce the reader to the subject and set their expectations for what they might gain or learn from the document
    • What about this subject has inspired you to research it?
  • Historical background
    • Tell the reader about the subject and how it relates in context to a time period or through several time periods
  • Materials, Processes, Tools & Techniques
    • If the subject is an item that can be crafted, discuss the materials, processes, tools and techniques used to make the item.
    • Discuss any differences between historical practices and how you made the item.
  • Supporting your Research
    • For further information – Give the reader information on where they could learn more, this could include your contact information.
    • Footnotes or Endnotes – Give credit where credit is due by supporting what you have learned by where you learned it from.
    • Bibliography – Now you have all your notes, you can create a bibliography based on all the information you have gather.

Thank you for taking the time to let me guide you on these first steps to Research and Documentation. I have only scratched the surface on these topics. Hopefully it is not as scary as it was once before. If you would like to learn more, feel free to contact me at For your convenience, I have many links on various articles on research and documentation on my website at:

Categories: SCA news sites

How to Make A Point… or 12

AEthelmearc Gazette - Tue, 2017-09-26 18:05

By Laird Coinneach Mac an Leigh

Points are the short (generally a foot long) ties used by Elizabethans for many clothing purposes: attaching sleeves to doublets, holding jerkins closed, and lacing doublets to hosen, among others.

During that time period, points were sold in bundles of a dozen. From this we may deduce they were a “manufactured” item, not something made to order for each customer. Many Scadians use short shoelaces or bits of ribbon for points, but here is a way to make them.

Tools and Materials. All photos by THFool Dagonell Collingwood of Emerald Lake.

I make my points from brass tubing and braided cotton cord. It’s really quite simple and results in handsome points (if I do say so myself) that don’t break the bank.

Start with a length of small brass tubing. I have used 3/16” tubing with good results. While 5/32” works, I found it difficult to insert the cord. Cut the tubing into approximately 1” lengths, two for each point you want to make. These are your aglets.

If you decide to use the whole length of tubing (it’s commonly sold in three-foot lengths) you may want to cut the last two lengths in half; any errors in the lengths of the aglets will accumulate at the end of the tubing, and cutting the last two aglets in half will result in one point per batch having shorter but even tips.

Cutting aglets with a tubing cutter

The best tool for cutting the tubing is, surprise, surprise, a tubing cutter. You can also use a hacksaw and a mitre box, but that will leave you with rough ends that need to be smoothed with a file or sandpaper, with no guarantee of a square cut, unlike the tubing cutter.

Measuring the cord

Once the aglets are cut, it’s time to cut the cord. I use braided cotton cord such as Venetian blind cord, about 9/64” in diameter. Cut about a one-foot length and pull the core from the braid.

Pulling the core

Roll the cut end between your fingers and carefully push it into an aglet. You can ease the aglet onto the cord by twisting and pushing, and you may find waxing the end of the cord helpful.

Inserting the cord into the aglet

Once the end of the cord is even with the other end of the aglet, pinch the aglet with a crimping tool such as those used for connecting terminals to small wires.

Make sure the end of the cord is even with the aglet

Crimp near the cord end of the aglet, then repeat the process for the other end of the cord.

Crimp the aglet

Congratulations! You have made your first point. Now all you need to do is repeat the process until you have all the points you need.

You can also use different materials for the cord. Period portraiture often shows ribbons with aglets used as points. You can do this simply by substituting half- or three-quarter-inch ribbon for the braided cord. Lucet cord would also work, but you may need to use a different diameter tubing; take a sample of your lucet cord to the craft store and find tubing that fits. I do not recommend using leather lace; I have found that crimping leather crushes the fibers and causes the aglets to break off.

Categories: SCA news sites

Pennsic 46: Annual A&S Display

AEthelmearc Gazette - Mon, 2017-09-25 19:40

By THL Elska á Fjárfelli

Hannah’s art at the Display. All photos by Elska.

August 6 marked the 20th annual display of the talents and knowledge of the Known World’s artisans and craftspeople at the Pennsic War.

As in previous years, the variety and scope of work was amazing! From the tiny beaded flowers by Lady B’Gen van der Sterren of the Middle Kingdom, the intricately detailed Elsa snowflake jewelry box by Fredis Sjona of the Kingdom of Atlantia, and the delectably edible sugarpaste playing cards by Baroness Tatiana Ivanovna, if you could not make it to this years’ display, make sure to mark it down for next year!

While the A&S Display is not a competition, this year’s display also featured A&S consultation tables. Each entrant could voluntarily request feedback from practiced judges to help prepare for the higher degree of expectations that happen at more competitive levels. Even if an artisan does not plan on entering competitions, they may use these tables as great opportunities for low-key constructive feedback.

Because of several conflicting meetings, I only had a few hours to sit at my display and capture the work of my fellow artisans. While I always intend to immortalize all present, my excuses beforehand to the few I might have missed… From my documentation it seems that from the 70+ entries the Kingdom of the East had the most artisans, with a whopping 23 displays. The East was followed loosely by Atlantia and the Middle, with 11 artisans each, then Æthelmearc with nine, and a handful of dedicated Northshield, West, Ealdormere, Meridies, and Calontir artisans.

I met the following Æthelmearc artisans at the Display and enjoyed their works of art. Thank you all so much for sharing!

  • The Goldhaube Project by Freiherrin Helena Mutzhasen
  • Embroidery by Mistress Gillian Llywelyn
  • Illustration and The Memento Mori by Hannah (Youth)
  • Pick your Poison & The Hand of Glory by Lady Maggie Rue
  • Illumination by THL Mary Elizabeth Clason
  • Gems of the Cheapside Horde by Brahen Lapidario
  • Lampwork Beads by Lady Aranwen verch Rys ap Gwaiter
  • Tablet Weave warp weighted weaving by Lord Hrolfr á Fjárfelli
  • Alumen faecis, a most unusual Medieval ingredient by THL Elska á Fjárfelli

The A&S Display is an amazing spectacle of artistic talents and scientific skills. As the display is not a competition, it is possible to bring completed items as well as works-in-progress, research, and discussion material so that you may share, inspire, and enrich our Society. This way we can all see what others in our field are working on, discover a new passion, make new contacts, and most importantly, have fun! And maybe for next year, why don’t we try to show up those Easterners…

Categories: SCA news sites

Æthelmearc Fall Crown Combatants List

AEthelmearc Gazette - Mon, 2017-09-25 13:52

Greetings to the good subjects of Æthelmearc from Sophie Davenport, Silver Buccle Herald! It is my pleasure, with the permission of Their Majesties, Gareth and Juliana, to publish the names of those vying for the title of Heirs to the Throne of Æthelmearc.

Full event info can be found here.

Fall Crown Tournament, October 7, AS 52, 2017
Combatant/Consort List.  Good Luck to All!

Duke Timothy of Arindale for Duchess Gabrielle van Nijenrode

Duke Sven Gunnarsson for Duchess Siobhán inghean uí Liatháin

Duke Malcom Duncan MacEoghainn for Viscountess Rosalinde Ashworth

Duke Marcus Eisenwald for Countess Marguerite Eisenwald

Count Andreas Morgan for Countess Kallista Morgunova

Earl Thomas Byron of Haverford and Countess Ariella of Thornbury,
each for the other

Sir Maghnus an Chnoic na n’Iora for Mistress Gwendolyn the Graceful

Sir Angus MacBain for Mistress for Yvianne de Castel d’Avignon

Sir Murdoch Bayne for Baroness Rioghnach ny Rise

Sir Delphinious Aegeous for Lady Sigrid Wilhelm

Sir Alonzio of the Peacemakers for Mistress Alexandra dei Campagnella

THL Rouland of Willowbrooke and Mistress Jenna McPherson of Lion’s Tower,
each for the other

THL Freidrich Flußmüllnerin for Mistress Felicitas Flußmüllnerin

Sir Vladimir Mechnik for Lady Tomassa Isolona

Master Tigernach mac Cathail for Margareta le Sayre

Sir Arnþorr inn sterki for Lady Ceirich na Hinnsi

Sir Marek Viacheldrago for Baroness Sybilla Detwyller

Royce Bentley for Master Juan Miguel Cesar

Master Jussie Laplein for Lady Vika Vyborgskaia

Sir Beatrix Krieger and THL Thorsol Solinauga, each for the other

THL Dominic McMorland for Eleanor McMorland

THL Madison Morai for Lady Stasha Sebastyn

THL Oliver Sutton for Lady Grainne Shionnach

THL Cid Hiyo for Diane Haldie

THL Ardan Scott for Lady Deirdre Scott

Lord Marius Sittius for Lady Alita of Hartstone

Lord Wolfgang Starke for Lady Katerin Starke

Lord Cheng Tai Ren for Lady Dai Li

Lord Ulfkell Dungalson for Lady Aesa

Lord Legaire mac Connall for Lady Aurelie NicTurnear

Categories: SCA news sites


East Kingdom Gazette - Mon, 2017-09-25 12:45


The Society College of Arms runs on monthly cycles and letters. Each month, the College processes name and armory submissions from all of the Kingdoms. Final decisions on submissions are made at the monthly meetings of the Pelican Queen of Arms (names) and the Wreath Queen of Arms (armory). Pelican and Wreath then write up their decisions in a Letter of Acceptances and Return (LoAR). After review and proofreading, LoARs generally are released two months after the meeting where the decisions are made.

An “acceptance” indicates that the item(s) listed are now registered with the Society. A “return” indicates that the item is returned to the submitter for additional work. Most items are registered without comments. Sometimes, the LoAR will address specific issues about the name or armory or will praise the submitter/herald on putting together a very nice historically accurate item.

The following results are from the July 2017 Wreath and Pelican meetings.

EAST acceptances
Aurelia Colleoni a’Buccafurno. Name.

Bryniarr Ísólfsson. Device. Per pale Or and vert, two wolf’s heads erased respectant counterchanged.

Caecilia Brigans. Name and device. Azure, on a fess between two greyhounds courant argent, a greyhound courant azure.
Artist’s note: Please draw all charges larger to fill the available space.

Duncan MacMillan. Name and device. Per pale argent and sable, an owl and a bordure embattled counterchanged.
The Letter of Intent documented MacMillan solely as the header form in Black’s
Surnames of Scotland. Heralds and submitters are reminded that header forms in Black and similar books are not registerable unless they are dated or shown to be consistent with period spellings. Fortunately, Alisoun Metron Ariston documented the submitted spelling in the FamilySearch Historical Records dated to the early 17th century.

Giana di Nicholò da Firenze. Device change. Argent, a bend sinister vert, overall a wyvern erect sable.

This device is clear of the device of Charles the Traveler, Argent, a bend sinister vert,
overall a drakkar sable its sail paly gules and argent. There is now one DC for tincture of half of the overall charge, as well as one DC for its type. See the Cover Letter for a
detailed breakdown of the new precedent on ships and their sails.

The submitter’s previous device, Vert, on a pile indented argent an owl’s head cabossed sable, is released.

This was pended on the February 2017 LoAR.

Hrothgar of An Dubhaigeainn. Name.

An Dubhaigeainn is the registered name of an SCA branch. By precedent, the standard
form of the byname using this branch name is of An Dubhaigeainn, even if this is not
grammatically correct. [Violet Hughes. Alternate name Purple of An Dubhaigeainn,
9/2015 LoAR, A-East]

Hugoline the Delicate. Name and device. Per chevron azure and sable, a chevron engrailed on the lower edge, a chief invected argent.

The byname the Delicate is a reasonable marked lingua Anglica form of the attested
Middle English surnames Fine (1196) and Prymme (1286), both found in Reaney &

Leda Zipyos. Name change from Aleyd Czypsser.
Submitted as Leda Zipys, the patronymic byname needed to be put into genitive form.
With the submitter’s permission, we have changed the name to Leda Zipyos as suggestedby Ursula Palimpsest.

The submitter’s previous name, Aleyd Czypsser, is retained as an alternate name.
Although the form and the Letter of Intent were unclear, the submitter subsequently
clarified that she wished to change her name to the submitted name (Leda) and preserve her previous name (Aleyd) as an alternate.

Matthias von Würzburg. Badge. (Fieldless) On a seeblatt azure a bear rampant argent.

Michael Ballason. Name.

Michael was documented on the Letter of Intent as the submitter’s legal given name.
However, the submitter does not need to rely on the Legal Name Allowance because
ffride Joye Sans Fin found Michael as a Latinized Swedish name dated to 1518.

Ranka Sveinsdottir. Name.

Tassin Tresseaul. Name and device. Azure, in pale three suns between flaunches Or.

Submitted as Tassin Tréséol, the spelling of the byname is entirely modern. With the
submitter’s permission, we have changed the spelling of the byname to the
documented Tresseaul, dated to 1364 and 1415, found by Juliana Siren in Latin rolls
from the Convent of Saint François

Nice early 15th century French name!

Artist’s note: Please draw the flaunches issuant from the corners of the shield.

Úlfeiðr Artudóttir. Device. Per bend purpure and sable, two wolves combatant and in base a raven volant wings addorsed argent.

Úlfr Járnhauss. Name.

This name was pended on the February 2017 Letter of Acceptances and Returns for
commentary on a change from Úlflundr Járnhauss to Úlfr Járnhauss, requested by the
submitter after the Pelican decision meeting. We are pleased to register the name as

EAST returns

Brita Mairi Svensdottir. Augmentation of arms. Quarterly argent and azure, an equal-armed Celtic cross between four ospreys volant bendwise counterchanged and for augmentation on an inescutcheon surmounting the cross Or three sharks naiant conjoined in annulo azure.

This augmentation of arms is returned because the depiction of the base arms is
blazonably different from the registered arms. The original device had an elongated lower arm, which is standard for Celtic crosses. However, the base device in this submission is equal-armed, a blazonable detail that is grounds for return.

This augmentation is also returned for lack of identifiability of the charges of the
augmentation itself. Commenters had difficulty recognizing the charges on the
escutcheon as sharks, with some calling them branches, others a stag’s attire in annulo.

Filed under: Heraldry Tagged: heraldric submissions, heraldry

On Building a Conjecturally Correct Medieval Puppet Stage

AEthelmearc Gazette - Sat, 2017-09-23 17:28

by THFool Dagonell the Juggler

The only medieval illustrations I could find of a period puppet stage come from The Romance of Alexander, a French manuscript started by Flemish illuminator Jehan de Grise during 1338-1344 with additional sections by other authors through the 14th and early 15th centuries. The manuscript is now at the Bodleian Libraries, Oxford University.

Both have tall white fabric draping down to hide the puppeteers with a stage above for rod puppet performances. Both have crenellated towers to either side with a rainbow arch connecting them over the puppets.  In the first picture, the towers are on stage with the puppets and the stage between them is flat. In the second picture, the towers jut forward from the stage with puppets on them which would not leave room for a puppeteer beneath and the stage between them is also embattled in front of the central puppets.

I wanted my puppet stage to look as medieval as possible, but more importantly, it had to break down to fit in a compact car. People always ask me where I store the puppets in my house, but never think of my car. I live in a Victorian-era 140-year-old farmhouse, with lots of nooks and crannies (for all the crooks and nannies?). If you’ve seen the first Harry Potter movie, the puppet show lives in Harry’s bedroom under the stairs.

The first version of my stage was simply two uprights with a crossbar. Originally, I drilled a hole in the tops of the uprights and inserted a short wooden dowel. The crossbar had holes drilled in each end which fit over the dowels.  After the third time the dowels broke off in setting up or taking down the stage, I filled in the holes and drove a large nail into each upright. Now, I just drop the crossbar holes over the nails.

I folded the edges of a bed sheet over and sewed it down, forming long tubes on three sides of the sheet.  The crossbar and uprights slid into the tubes to keep the sheet upright.  Instead of a second bed sheet to extend it down to the floor, I sewed on a piece of bedspread material that Duchess Dorinda Courtenay gave me.  It was my intention to eventually do a shadow puppet show as well and the heavier fabric would better hide the puppeteers.

The uprights were originally held in place by slipping them into milk crates and weighing the milk crates down with coffee cans full of sand. Lord Coinneach Mac an Leigh is a wood wright and made me a pair of portable holes similar to what we use for indoor list ropes. I weigh them down with sandbags to hold them steadier while making it look more authentic. The sandbags are old canvas bank bags turned inside out to hide the lettering and stuffed with 2-liter bottles full of sand duct taped shut. They look authentic and I don’t have to worry about a small tear leaking sand everywhere.

First undocumented innovation: I ran a strip of masking tape horizontally exactly 24″ below the top of the stage and labeled it “Quicksand”. Scripts were taped to the back of the stage, but the puppeteers had to divide their attention between following the script and looking up to make sure the puppet was at stage level, neither floating above the stage nor sinking below it. With the quicksand marking, the puppeteer only had to glance at the bottom of the puppet’s central control rod.  If the rod was on the quicksand line, the puppet was at the correct height above.

Second undocumented innovation: I bought tool clips at the local hardware store and attached them to the crossbar every four inches. The crossbar was now permanently attached to the fabric, but that was not a problem, I simply rolled up the fabric around the crossbar when it came time to transport.  This arrangement not only allowed me to set up scenery by snapping it into the clips, but allowed a single puppeteer to handle multiple puppets.  The central control rod for each puppet snapped into the clip holding the puppet in place. One puppeteer could operate two puppets and hold a conversation between them simply by moving the arm rods of whichever puppet was supposed to be talking. Much later, I read in the book, Puppets and the Puppet Stage by Cyril W. Beaumont (1938), a historical puppet stage in Germany uses a similar technique with slots to rest the puppets in. “The type of rod-puppet used in the German Hanneschen theatre is mounted on a pole, reaching to the ground, which can be set in slots when the figure is to be stationary.” (pg.17)

You can just see the yellow ‘quicksand’ hardware tool clips every 4″tape crossing underneath the scripts. The strip behind the scripts is the one foot mark. Each puppeteer’s lines are highlighted in a different color.

When we do shows, the script pages are taped to the back of the stage with a font large enough so all the puppeteers can read them.  Parts were highlighted, not by puppet, but by puppeteer. If one puppeteer was working two puppets, both sets of lines were highlighted in the same color. Since we usually arranged it so one puppeteer wasn’t working two different puppets in the same scene, it wasn’t a problem. I know highlighters aren’t period, but this was simply too useful and I justified it because it was back stage where no one would see it.

At first, puppets were stuck into the milk crates holding the uprights based on whether they made their appearance from stage left or stage right.  In later performances, I arranged for a table to be behind stage with the puppets and props laid out from left to right in the order they made their appearance.

Third undocumented innovation: I asked Lord Coinneach to make a wooden board with holes drilled at intervals, like a standard pegboard, but with the holes larger and farther apart. I drape the board across the backs of two chairs and drop the control rods for the puppets and scenery in the holes from left to right in order of appearance. The arrangement takes up far less room behind stage which gives the puppeteers more room to work in. I looked up the history of folding chairs on Wikipedia to see if they were period. Not only did they have wooden folding chairs in medieval times, they had them on Viking long ships and in the Roman Coliseum!

At this point, I could do two different kinds of puppet shows. For a standard European style rod puppet show, the puppeteers stood behind the stage and the rod puppets performed above them.  For an Oriental style shadow puppet show, the puppeteers sat on cushions behind the yellow lower half of the stage.  Work lights behind the stage were aimed at the white upper half of the stage and the puppets performed while pressed against the fabric.  The first time we performed a shadow puppet show, audience members told us it was like watching stained glass windows perform!

The next modification I made for my stage was to add turrets. I decided that rather than add them on the stage like in folio 54r or in front of the stage as in folio 76r, that I would add them to the sides of the stage so they didn’t make the stage smaller. I cut turrets out of cardboard, painted them white and fastened them together with heavy masking tape. I added fabric to the bottom of each turret to extend them without adding any significant weight. They folded flat with the fabric draped over them for easy storage and transport.  Everything had to fit easily in my compact car. I drilled a pair of holes in each upright and the turrets fastened to the upright with long bolts and wingnuts. To keep their square shape during performance, a pair of white shoelaces connected opposite corners inside the turret above the window.

After a few years, the cardboard turrets started to get battered. I replaced them with wooden ones.  I cut them out of plywood, using the cardboard turrets as templates and hinged them together.  The same pairs of white shoelaces kept them square during performance.  I needed stronger towers to support the weight of the archway that would eventually cross from turret to turret.

My first attempt at an archway was cut from sheets of cardboard.  I cut two halves of an arch and hinged them together with duct tape so it could fold up for transport.  It was too flimsy to hold its shape.  When I replace it with a wooden arch, there will be a series of hooks along the bottom edge of the arch in back.  Those will be there to hang backdrop scenery from.  The puppets will be operated in a gap between the back drop and the stage front.

Fourth undocumented innovation: The first illumination shows the turrets as solid. The second illumination shows the turrets decorated with a design that is either painted on or cut out of the turrets and stage front.  I added arched windows to the front of each of my turrets and fastened a piece of drapery fabric behind each window to cover them.

The simple addition of turrets with windows expanded my capabilities enormously. I could have a narrator speed up the plot by appearing in a turret window and explaining scenes that were too complex to act out with puppets. Since the narrator was separate from the main stage, it didn’t even need to be the same kind of puppet, I could use a hand-puppet narrator with rod puppet actors.  I could also play out a minor scene on top of the turret or in the window without having to take down the scenery on the main portion of the stage. When we performed “Rapunzel”, the title character was up on top of a turret for most of her lines.

Fifth undocumented innovation: When we performed “The Ogre’s Staircase”, a Japanese folk tale about an ogre ruining village gardens, I cut pieces of felt to represent village houses, gardens, fish ponds and giant footprints and pinned them to the white section of the stage, making the front of the stage, part of the scenery. I expanded on this idea with “Why the Sea is Salt” when I created scenery on long sections of fabric which I then rolled up and taped shut and hung from the outermost tool clips.  When it came time to change the scene, I broke the tape and flipped the roll over the stage.  It unrolled down the front of the stage to display the new scene.  I could do multiple scenes this way provided they were arranged in reverse order so that the first scene was attached last and would be flipped over first.  I later converted the scenery for “The Ogre’s Staircase” into a drop down as well as making a ‘theater marquee’ for the puppet theater itself.  I am currently designing a ‘movie poster’ drop down for an upcoming play.

Front of stage for “The Ogre’s Staircase”

You can see the rolled-up scenery above and Thorin sails his ship across the sea in the the scripts for the final act of “Why the Sea is Salt”

The next innovation I intend to build is a projection that extends either forward or backward from the main curtain.  By extending it forward and covering it over, puppeteers can be under it and do a hand puppet show. By extending it backward and lifting the bottom of the yellow curtain, puppeteers can do a marionette show.

A few lessons from experience:

Almost none of my puppets are specific, they are generic fairy tale characters; old man, wizard, king, knight, princess, ogre, etc. All my puppets, except for a few specific characters like the witch or ogre, are Caucasian.  A puppet is a caricature of a human being. I have not yet been able to make a non-white puppet that didn’t have overtones of being a racist caricature, but I will keep trying. When I did an Oriental folk-tale, I simply put peasant hats on my standard puppets.

My first puppet shows were fairy tales from the Brothers Grimm. They’re blatantly out of period, as the brothers collected fairy tales in the nineteenth century, but they don’t break the medieval ambiance of events, so they’re acceptable.  For a while, as a gag for the grown-ups, I made a pair of Brothers Grimm puppets to introduce and narrate their tales.  Wilhelm is tall and thin, Jacob is short and fat, and they both wear dark suits, white shirts, narrow ties, dark glasses, and fedoras.  They are ‘The Grimm Brothers’ and Jake introduced himself as “Bastille Jake”.  The joke went right over kid’s heads.  I have also used puppets of myself and William Shakespeare for narrators.   In more recent years, I have been producing puppet plays based on period folk tales.

When I first started out, I tried to match the gender of the puppet to the gender of the puppeteer for more realistic voices.  The kids simply don’t care and the puppeteers just pitch their voices higher or lower for female or male puppets as needed. We’ve put on several shows ‘in full drag’.

My puppets will interact with humans, I occasionally have a puppet in a discussion with a human narrator. My puppeteers will also do a quick vaudeville gag in front of the curtain to distract the audience while we change from one puppet play to another. One puppeteer walks around the front of the stage holding a sign that reads “See the Man Eating Lion!”  A moment later, he’s followed by another puppeteer holding a lion beanie baby and pretending to eat it.

The children love it when anything comes over the stage into the audience. I first discovered this doing “The Frog Prince”. I had Dixie cups with shots of water behind stage. Any time the frog went down the well, I tossed a shot over the stage to simulate the splash. The children all moved up to get wet. I rewrote the skit to send anything and everything down the well; the frog, the princess’ golden ball, her math book, etc. It was very popular.  I try to incorporate something going over in almost any performance we do.   A wizard trying to pull rabbits out of a hat showered the audience with nearly everything else starting with the letter “R” such as ribbons and rivets.  A magic wishing machine produced candy (never had to clean up after that one for some reason.)

If the show is long, it’s a single performance.  If the show is short, I may do a second short skit or extend the time with the puppet version of vaudeville jokes such as:

Princess holding her nose: “My nose, my nose, I got stung by a brose.”

Prince: “What’s a brose?”

Princess: “A pretty flower with red petals and thorns.”

Prince: “That’s a rose, there’s no ‘B’ in rose.”

Princess: “Well, there was in this one!”

I try to keep the entire performance under 20 minutes.  Longer than that, and the kids start getting restless. The local library had a puppet show about “Jack and the Beanstalk” that went on for a full hour. The production was brilliant, but the kids were fidgety before the first half hour was up.

After a mundane show, the audience will get up and leave.  At an SCA event, people want to come backstage. Since the show is usually against a wall, and there’s less than four feet behind the stage, I bring my more robust puppets out for people to examine while I answer questions.  I’ve given a couple of classes on doing puppet shows, but I usually end up with small children in the single digit age group. If I say it’s an adult class, people think I’m doing something like “Avenue Q” and I get no one. Adults enjoy puppet performances like MST3K or Dark Crystal, they just don’t want to admit it. In Japan, they treat a night at the puppet theater like we would treat an opera performance. Get a sitter for the kids, wear your best clothes, and if your cell phone goes off, you could get ejected from the theater.


Photos labelled 2012 taken by Lady Helena Lyncoln of Norfolk at 2012 Harvest Raid and used with permission.  Remaining photos taken by me at Harvest Raid 2016 and in my garage shortly afterward.


Baird, Bil (1965) The Art of the Puppet. New York: The Macmillan Company.

Bane, Matheus (2006) Marionette.

Beaumont, Cyril W. (1938) Puppets and the Puppet Stage. New York: Studio Publications.

Beaumont, Cyril W. (1958) Puppets and Puppetry New York: Studio Publications.

Mahlmann, Lewis and David Cadwalader Jones (1974) Puppet Plays for Young Players Boston: Plays Inc.

Schreur, David K (2006) Puppets and Puppetry in Period.

Speight, George (1955) The History of the English Puppet Theatre New York: John de Graff


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