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Event Report: Agincourt

AEthelmearc Gazette - Thu, 2016-11-03 09:31

On October 29th, A. S. LI, the Barony-Marche of the Debatable Lands held its annual Agincourt event on a gloriously warm and sunny day. Mistress Arianna of Wynthrope reports on the activities held there.

Morning Court

The day began with a brief court. Queen Margerite called forth THLord Kieran MacRae, who received a Writ for the Laurel at Pennsic to present himself at Agincourt. Her Majesty asked if he was ready to sit vigil, to which he responded in the affirmative. However, Queen Margerite noted that Kieran was in fealty to another and must be free before contemplating elevation to the peerage. His Laurel, Mistress Arianna of Wynthrope, was called forward to receive back his green belt and release him from his fealty, after which the Order of the Laurel escorted THLord Kieran to his vigil.

THLord Kieran returns his apprentice belt to Mistress Arianna before going on vigil for the Laurel. Photo by Lady Àine ny Allane.

Heavy Weapons Combat

Agincourt has always featured heavy fighting, with combatants choosing to portray either the French or the English as they honor the famous battle of 1415 at which Henry V of England annihilated a much larger and better armed French force.

This year, 38 fighters took the field, including eight combat archers. The fighting began with a Warlord Tourney, from which THLord Tegrinus de Rhina and THLord Rouland of Willowbrooke emerged as the winners, becoming the captains of the French and English Sides, respectively. The French took all of the day’s victory points:  Field Battle, Woods Battle, Combat Soccer, and Hold the Barricade, and as commander of the French side, THL Tegrinus was the overall Warlord Tourney Winner for the day.

The day ended with a series of intense Tavern Brawls, in which Lord Ulrich von Baden, who had previously distinguished himself with a dive-in-and-slide goal that scored the final point for his side in Combat Soccer, was named Last Man Standing.

A Tavern Brawl. Photo by Baron Torvald Torgarson.

Videos below are by Baroness Constance Glyn Dŵr.


Don Po Silvertop receives a rose from the Queen during the QRC procession. The outgoing champion, Lord Jacob Martinson, looks on in the background. Photo by Lady Àine ny Allane.

This year Agincourt was honored to host the Queen’s Rapier Champion Tournament. It began with the traditional presentation of fencers to the Queen, each one receiving a rose from Her hand. A huge list of 53 fencers competed, with the tournament fought as round robins in four lists with the top two in each list advancing to the quarter-finals. A noble gesture was made by Lord Magnus bastiano di Vigo, who ceded his spot in the quarter-finals to Countess Ariella of Thornbury that she might have the opportunity to do more fencing and increase her enjoyment of the day. In recognition of this act of kindness, Her Majesty, Queen Margerite, named Lord Magnus her inspiration of the day and bestowed upon him a Golden Escarbuncle at the evening’s court.

The final four fencers were Lord Durante de Caravaggio, Master Clewin Kupferheleblinc, Baron Eric Grenier de Labarre, and Don Po Silvertop. The finals came down to Master Clewin vs. Lord Durante, with Lord Durante winning the coveted title of Queen’s Champion, succeeding the outgoing Champion, Lord Jacob Martinson.

There was also a Free Scholars of the AEthelmearc Rapier Academy tourney run by THLord Jorundr hinn Rotinn, and an “Out of the Box” tourney run by Lord Markus Skalpr Grimsson, in which kills could only be made by shots to the head, arms, hands, legs, and feet. Both tourneys were won by Lord Ru Cavorst.

Video below of the quarter-finals through the finals of the QRC is by Brehan Lapidario.

Youth Combat

Agincourt likewise saw the Kingdom Youth Combat Champions’ tournament. Two enthusiastic young gentles fought three rounds with each of three weapons forms. In the end, Queen Margerite could not choose between them, and so she named Timothy of Arindale the Younger her Division 2 Champion, and Karl her Division 1 Champion. After the youth tourney, several adult sparring partners came forward to cross swords with the new champions, including THLord Rouland of Willowbrooke, Master Jussie Laplein, Prince Timothy of Arindale, and Lord Robert Pour Maintenant.

Karl and Timothy in the Youth Combat Champion’s Tourney. Photo by Mistress Arianna of Wynthrope.


Archery was, of course, at the heart of the original battle of Agincourt, and it was only right that the English did prevail in the shoot run by Master Alaric MacConall, though by a margin of only 2 points. Ronan O’Conall and Duncan MacCoulagh each made 10 point shots that gave the day to the English. Lord Takamatsu Gentarou Yoshitaka also ran a shoot by the victorious English to loot French cheeses, which was won by THLord Alrekr Bergsson with Baron Tofi Kerthjalfadsson coming in second.

Thrown Weapons

The Debatable Lands Baronial Champion tournament was the highlight of thrown weapons at Agincourt. The outgoing Baronial Champion, Master Clewin Kupferhelbelinc, ran the competition, which was hard contested. In the end, Lord Sanada Masamoto Kenshin O’no Kuma proved victorious and was named Champion, with Earl Thomas Byron of Haverford as his second.

Lord Kuma is recognized as Baronial Thrown Weapons Champion with Earl Byron as his second. Photo by Lady Àine ny Allane.

Arts and Sciences

For a second year, the event included an A&S competition run by THLady Sumayya al Ghaziya. Entries ranged from scrolls and cooking to research and ceramics. The winner of the single category entry was Lord Ian Campbell of Glen Mor for his ceramic tiles, while Lady Luceta di Cosimo won the multiple entry category for items including cookies and research into medieval burial practices. Lord Ian was inducted into the Fleur d’Æthelmearc at court later that evening. A slideshow of some of the entries is shown below

Click to view slideshow. Evening Court

After a Baronial Court where the winners of each competition were announced and rewarded, and various baronial awards were bestowed, Queen Margerite held court attended by Prince Timothy and Princess Gabrielle, as well as the Crown Prince and Princess of the Middle, William and Isolde. In addition to the accolades noted above, highlights from the evening court included the induction of Lady Cionaodh Gunn into the Order of the Millrind; the elevation of THLord Kieran MacRae to the Order of the Laurel, and Writs of Summons for the Pelican to Doña Gabrielle de Winter and Baron Robert O’Connor.

Food and Entertainment

The soteltie made by Lady Zianna. Photo by Mistress Arianna.

Of course Agincourt would not be complete without food. THLady Ottilige Rappoltsweiler and Edelvrowe Lijsbet du Keukere organized a lunch buffet of chicken, blancmanger, vegetables and fruit, while Meesteress Odriana vander Brugghe and her crew provided the evening feast. Supper began with a toast to the late Lady Adriana Ramstar, after which there were readings from the Canterbury Tales. Then dish after dish arrived including various meats, pies, rice, Brussels sprouts, and a large marzipan and cake soteltie of the Shield of Chivalry made by Lady Zianna beguy urdina de Zabaleta.

The evening was capped off with a performance by the ever-bawdy commedia troupe, i Genisii, whose show included a seasonally appropriate undead Pantalone attempting to control his daughter Octavia by means both foul and humorous.

Thanks to all of the photographers listed above, as well as Lord Markus Skalpr Grimsson, Lord Takamatsu Gentarou Yoshitaka, Master Morien MacBain, Lord Sanada Masamoto Kenshin O’no Kuma  and Baroness Aemilia Soteria for providing information about various activities for this event report.

Categories: SCA news sites

From the East Kingdom Minister of Lists

East Kingdom Gazette - Tue, 2016-11-01 16:39

Greetings to the Populace of the East Kingdom,

I will be finishing my 4th and final year as the East Kingdom Minister of Lists this February 2017. Term limits dictate that I step down at that time. This makes me so sad, as I truly love serving the martial community of the East Kingdom. To me, there is nothing more exciting than running a double elimination tournament to determine the Heirs of our Kingdom.

What the office of Minister of Lists entails:

Supporting the East Kingdom Martial Community in a kind, efficient and engaging manner.

Run the scorekeeping portion of all Crown Tournaments to determine the Heirs of the Kingdom.

Run the scorekeeping portion of all King and Queen’s Rattan and Rapier Championships.

Print and have ready all score sheets and tournament brackets for any and all tournaments.

Print and have ready all authorization forms for Heavy and Rapier disciplines.

Receive all authorization forms and transfer the information to a database accessible to the marshals monthly, if not more often.

Educate and support the MOL community and marshal community in all aspects of paperwork and tournament staffing.

Be able to work closely with the current and future Royals of the East Kingdom, the Earl Marshal’s office and the Troubadour Herald’s office.

You must be able to travel to all reaches of the kingdom, or designate a deputy to do so when needed.

A computer and email access is a necessity.

There is roughly 16-20 hours a month of behind the scenes work involved in the production of authorization cards and the fighter database. Dealing with “emergency” issues is common and being flexible is helpful.

For the Kingdom MOL to be successful, they truly need to love what they are doing. They need to be happy to be there and enjoy working with the Rattan and Rapier community. Smiles and positive attitudes are contagious and will bring you far in this office.

All Candidates for the position of East Kingdom MOL should send their resumes and letter of interest to,, and by January 3rd 2017 for consideration.

Warmest Regards
Baroness Sabina Luttrell, East Kingdom Minister of Lists


Filed under: Announcements

Arts & Sciences Research Paper #14: Making a Leather Swan Helm Crest

East Kingdom Gazette - Tue, 2016-11-01 16:26

Our fourteenth A&S Research Paper comes to us from Lady Angela Mori of the Barony of Bhakhail, who demonstrates and explains the process of making one of the splendid helm crests so familiar from manuscript illuminations of tournaments. (Prospective future contributors, please check out our original Call for Papers.)

Making a Leather Swan Helm Crest

A German heraldic crest for a tournament. Sold at auction by Pierre Bergé & Associés.

How to Model Crests or Helmets: “Whenever you have occasion to make a crest or helmet for a tourney, or for rulers who have to march in state, you must first get some white leather which is not dressed except with myrtle or ciefalonia, stretch it, and draw your crest the way you want it made. And draw two of them, and sew them together; but leave it open enough on one side so that you can put sand into it; and press it with a little stick until it is all quite full. When you have done this, put it in the sun for several days. When it is quite dry, take the sand out of it . Then take some of the regular size for gessoing, and size it two or three times. Then take some gesso grosso ground with size, and mix in some beaten tow, and get it stiff, like a batter; and put on this gesso, and rough it in, giving it any shape of man, or beast, or bird, which you may have to make, getting it as like as you can. This done, take some gesso grosso ground with size, liquid and flowing, on a brush, and you lay it three or four times over this crest with a brush. Then, when it is quite dry, scrape it and smooth it down, just as you do when you work on panel. Then, in the same way, as I showed you how to gesso with gesso sotile on panel, in that same way gesso this crest. When it is dry, scrape it and smooth it down; and then if it is necessary to make the eyes of glass, put them in with the gesso for modeling; do modeling if it is called for. Then, if it is to be gold or silver, lay some bole, just as on panel; and follow the same method in every detail, and the same for the painting, varnishing it in the usual way”

– From Chapter CLXIX, Il Libro dell’Arte (The Craftsman’s Handbook), Cennino D’Andrea Cennini


The Process
Terms and Definitions

The following text is the description of the helm crest shown above. This piece was sold for 8000€; interestingly enough this is a fraction of what it would have cost at the time of making it.

“A German heraldic crest for a tournament Great helm, Zimier, in 14th-15th century style. Formed as a Swan’s head, accurately constructed of gesso and coarse fibre, probably jute, over a hardened sculpted leather core, the base hollowed for fitting the crown of the helmet skull, with pairs of lace-holes at the sides, painted white and heightened in grey, the base and the beak with traces of gilding over a red base coat, and in “aged ” condition throughout. Height 37 centimeters; weight: 1095 grams.”

This paper describes the steps I took in making the Swan Helm Crest based on Cennini’s text and the picture of the extant helm crest described above. I wanted to do my best at recreating this swan while staying true to the original materials and techniques used during the time it was made.

Materials for crest construction. Photo by Lady Angela Mori.

The Process

“you must first get some white leather which is not dressed except with myrtle or ciefalonia,”

The white leather is what we know of today as Vegetable Tanned Leather. Myrtle was one of the plants used to make this kind of leather. So far no one has been able to translate what “ciefalonia” is, though I’m sure it is a plant similar to myrtle. Vegetable tanned leather can be used in a process called Cuir Bouilli. This is a process in which the leather is wet with water (the water may or may not be hot), and then it is molded into a shape of sorts and then dried (sometimes with heat). It will keep its new shape quite well once dried.

“stretch it, and draw your crest the way you want it made. And draw two of them, and sew them together”

I would like to take a moment and state that in Cennini’s writings, he takes little time to really explain how to copy a shape and make it so that it will fit on a helm. Taking two pieces of material to get the shape down doesn’t work unless your piece is essentially very simple. And he does not include that the bottom really should have a shape sewn in that is similar to the shape of the helm. After making 3 helm crests I can most definitely say that a pattern would have been more complex than what he states above.

A line drawing of the design. Photo by Lady Angela Mori.

I made a line drawing of the original crest. I then went and cut this shape out of 2oz vegetable tanned leather. After looking at the shape I chose to modify the neck some because I was concerned that the curve I made would be too extreme and force the head to touch the chest. So I cut out some extra shapes and added them to the neck to prevent this. In hindsight I should have made a pattern first out of fabric or felt sheet to get the proper shape.

I then went ahead and used linen thread that I had spun and plied to sew the swan pieces together. I used a whip stitch to hold them together. I did this because it will have some give when shaping the leather with the wet sand. Leather stretches a good bit and would shift. A straight running stitch will not have as much give, preventing the leather from taking the shape that you are trying to give it.

“but leave it open enough on one side so that you can put sand into it; and press it with a little stick until it is all quite full. When you have done this, put it in the sun for several days. When it is quite dry, take the sand out of it.”

I wet the leather swan and packed sand into it, and let it sit in the sun. When it was dry I then removed the sand at the base of the swan.

The swan form filled with sand. Photo by Lady Angela Mori.

“Then take some of the regular size for gessoing, and size it two or three times.”

I used rabbit hide glue for the sizing. To work with it, you must first soak the dried glue in water; I would say around 2 ½ parts water to the glue granules. Once the glue has softened, it must be carefully heated to liquify the glue. If it is heated to too high a temperature, it will break down and not hold together as a glue. I put hot water in a bowl and then placed another bowl containing some of the gelatin (glue) in the larger bowl. This will indirectly heat the glue to the right temperature and keep it liquid while you work. When the heat is removed the glue starts to turn back to a solid gelatin.

Left: rabbit hide glue after soaking. Right: rabbit hide glue being heated. Photo by Lady Angela Mori.

I applied the glue to all the pieces. This not only helps the gesso stick to the leather later on, but also helps in hardening the leather as well. The leather absorbs the glue into its fibers which helps give it strength not just on the surface, but on the inside structure as well. One must be careful when applying the glue to make sure that you only work on either the flesh or the grain side of the leather at a time —if the leather is soaked through all the way it will lose the shape that you just made and you will have to re-shape your pieces. I find that coating the grain side first works better because it absorbs less of the glue, but will give a good base structure for when the other side has glue applied to it. Make sure to let the first side completely dry before moving on to the next.

The crest completely covered in glue. Photo by Lady Angela Mori.

“Then take some gesso grosso ground with size, and mix in some beaten tow, and get it stiff, like a batter; and put on this gesso, and rough it in, giving it any shape of man, or beast, or bird, which you may have to make, getting it as like as you can. This done, take some gesso grosso ground with size, liquid and flowing, on a brush, and you lay it three or four times over this crest with a brush. Then, when it is quite dry, scrape it and smooth it down, just as you do when you work on panel.”

The next step was to make the gesso grosso with size and add beaten tow.

Review note – Prior to making this helm I had made another one using a premixed “Italian Gesso” from Natural Pigments. This pre-mixed gesso consisted of calcium sulfate dihydrate and dry rabbit hide glue. When reading the directions on mixing the gesso grosso ground with size I thought this was the equivalent. When making it I had noted that it was a bit undesirable due to the inconsistency of the ratio of glue to calcium and this made it hard to get the right amount of water in the mixture without it being too soggy or too dry. I had made the decision that I would later on mix them differently. I chose to prepare the glue to its liquid state before adding the calcium.

To make the gesso mixture I heated up some of the rabbit hide glue as done before when sizing the leather. I then added calcium sulfate dihydrate and mixed it in, using my fingers to try and break down any lumps of the Calcium. I kept adding the Calcium until the consistency was like a thick cake batter. I then slowly added tow into the mixture making sure it was thoroughly coated with the liquid gesso. Once the mixture started to become a lumpy but still gooey mixture I started applying it to the leather. Sometimes I used my hands and sometimes I used a brush to apply it. The cooler it became the more thick and less flowing it would become. If I needed the mixture to be flowing I just put the bowl back into the hot water bath to warm up the glue. After it dried I then scraped the high points down some with a knife.

Left: crest after gessoing. Right: closeup of gessoed surface. Photos by Angela Mori.

Review note – At this point I had gone only by the comments made by D. Thompson jr. in his translation of ‘Il Libro del Arté’. I recently read an article “Questions about Medieval Gesso Grounds” by Beate Federspiel, where the author had gone through and done further research to show that “examination of grounds in Italian paintings by the Laboratoire de Recherches des Musees de France elaborates on the double structure of the Italian gesso grounds. This double structure was also shown in the examinations by the National Gallery’s laboratories in London.” (Federspiel, 62.) Which means that they did a chemical analysis, finding that the base layers of paintings that also had gesso grosso as the base layers consisted of calcium sulfate anihydrate mixture with calcium sulfate dihydrate. In layman’s terms, the plaster of Paris used was actually made of calcium sulfate anihydrate (which absorbs water less than the modern day plaster of Paris, calcium sulfate hemihydrate) and some dihydrate as well. The author stated that perhaps the full chemical change did not happen because the only water to be absorbed was through the gelatin of the animal hide glue. I have done testing and found that the water content in the glue had no effect on the chemical reaction of the calcium sulfate anihydrate when mixed with it. If anything it acted very much like that of adding the calcium sulfate dihydrate to the warmed glue that I had done with my work previously. I took some of the gelatin and ground it down with the calcium sulfate hemihydrate and then heated it. It reacted the same way with no heat (I have found to be indicative of water absorption and chemical reaction for plaster of Paris) like that of the dihydrate. So I must conclude that the reason for using this as a base layer must be to help in the prevention of moisture damage to the piece being made. Further testing will help me in analyzing the reason for this procedure and choice done by the artists of the Middle Ages.

“Then, in the same way, as I showed you how to gesso with gesso sotile on panel, in that same way gesso this crest. When it is dry, scrape it and smooth it down; and then if it is necessary to make the eyes of glass, put them in with the gesso for modeling; do modeling if it is called for.”

I then made a mixture of the glue and the calcium sulfate dihydrate but this time taking care to sift out any small hard pieces from the powder before adding it to the glue. I kept adding it until it became like a runny pancake batter. Then I applied it to the crest with a brush letting it pool in the recessed areas left by the first layers of gesso. When it was dry I scraped and sanded down the high points again and reapplied another coat until most of the shallows were filled. I also went ahead and added lids to the eyes. I also gessoed in a tongue that I had previously cut and gessoed. I used the gesso as a glue to set into the inside of the mouth. After everything dried I then went back over everything with my knife to scrape down any rough surfaces. I then went over the surface with a damp cloth to smooth out the gesso and take off any dust and shavings that may have been left on the surface.

Left: crest being scraped with a knife. Right: a closeup of the scraped surface. Photos by Lady Angela Mori.

“Then, if it is to be gold or silver, lay some bole, just as on panel; and follow the same method in every detail, and the same for the painting, varnishing it in the usual way”

I also went ahead and burnished down the beak, eyes and base. The beak and scalloped base were gilded on the extant swan so I went ahead to prepare the surfaces on mine for the bole.

Applying bole to the beak. Photo by Lady Angela Mori.

I took some dried bole and ground it down and added a little water to make it into a smooth paste. I then took some glair and mixed it with the bole. I painted on numerous layers of the bole, waiting for it to dry between coats. I burnished the bole to make sure the surface as smooth.

Bole on the beak after burnishing. Photo by Lady Angela Mori.

I took some glair and honey and mixed it with water to make a fixative for the gold leaf. I brushed it on where I wanted the gold leaf to be applied, only going along in small areas. Each time I would apply a piece of gold leaf to the prepared area. When this dried sufficiently, I then went ahead and burnished it. I ran out of gold leaf while working on the beak. When I got more I went over the beak again with the size and the new leaf, because it was a different in color. When it was sufficiently dry I went ahead and burnished the gold.

Painting the swan crest. Photo by Lady Angela Mori.

I worked on the base area of the crest with imitation gold leaf using the same technique as for the real gold leaf. I plan on redoing the base in real gold later on because I am not happy with the results and it strays somewhat from what I have been trying to achieve, which is a crest made as close to original medieval techniques and materials as I can achieve. With that said, I will also state that gold was a very expensive metal and there are many writings that discuss ways to make metals that are not gold, have the look of gold. So to use a imitation gold leaf is not really straying from recipes and techniques used during the Middle Ages.

The finished crest atop the helm! Photo by Lady Angela Mori.

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Terms and Definitions

Animal Hide Glue – a size (primer) and hardening agent as well as a binder for gesso. It is made by soaking small pieces of rawhide in water and then boiling it for a long time to break down the collagen. When it is finished it is dried and crushed in to a granular form. Later it is used by taking some of the dried glue and soaking it in water. When it has absorbed the water it is then heated indirectly with a double boiler until it liquifies. At this point is it ready to be used as is or as a base for mixing other materials into it.

Bole – a fine red clay, commonly termed “Armenian bole” during the middle ages because of its origin, used as an underlay for water gilding because of its “waxy” character allowing the artist to burnish it to a smooth finish which is what was wanted for the surfaces that were to be gilded.

Cuir Bouilli – the shaping and moulding of Vegetable tanned leather. Vegetable tanned leather is leather that has been tanned with tannins used from plants. Some main plants used are Oak Gall, Myrtle and even black tea leaves. These tannins give the leather a property where the leather can be wetted and then molded into a shape and then dried with or without the aid of heat. When the leather is dry it will retain its new shape.

Flax– A plant that is harvested and used to make thread, which is woven into cloth.


  • Calcium sulfate hemihydrate, Gypsum (also known as plaster of Paris). Made by heating calcium sulfate at 128 deg celsius allowing most of the water content to evaporate.
  • Calcium sulfate anihydrate – similar to plaster of Paris, but absorbs water less readily. It is made when calcium sulfate is heated in a kiln between 163 deg. celsius and 300 deg. celsius it becomes calcium sulfate anihydrate.
  • Calcium sulfate dihydrate – made from Gypsum. If the plaster of Paris is slaked, soaked for a long time in water, instead of air drying it becomes calcium sulfate dihydrate.

Gesso grosso – calcium sulfate anihydrate (see above)

Gesso soltile – calcium sulfate dihydrate (see above)

Glair – a sizing made from egg white.

Linen – the thread and cloth made from Flax. Linen thread was used to stitch the leather together to make the helm crest.

Tow – the left over scraggly shorter bits of material that is removed from the Flax before it is spun into Linen. Tow was added to the base layer gesso to help give it strength and give it bulk.

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Cennino D’ Andrea Cennini. The Craftsman’s Handbook: The Italian “Il Libro dell’ Arte.” Thompson, Daniel V., trans. New York: Dover Publications 1960, c1954.

Federspiel, Beate. “Questions about Medieval Gesso Grounds.” In Historical Painting Techniques, Materials, and Studio Practice: Preprints of a Symposium, University of Leiden, the Netherlands, 26–29 June 1995, edited by Arie Wallert, Erma Hermens, and Marja Peek, 58-64. Los Angeles: Getty Conservation Institute, 1995.

Waterer, J.W. Leather and the Warrior. Northampton, England: The Museum of Leathercraft, 1981.

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Filed under: A&S Research Papers, Arts and Sciences Tagged: a&s, Arts and Sciences

Announcement From Laurel: Job Opening – Wreath Sovereign of Arms

East Kingdom Gazette - Mon, 2016-10-31 18:18

The following is an official announcement sent out by the Society for Creative Anachronism, Inc.

The Wreath Sovereign of Arms is an educational deputy of the Laurel Principal Sovereign of Arms, responsible for the consideration of and decisions concerning armory submitted for registration by the College of Arms.

Wreath is an unpaid position, currently requiring approximately 20 hours a week. Some knowledge of period heraldry is useful; knowledge of SCA heraldry is essential. The position requires considerable tact and patience, research and reasoning ability, a clear understanding of the Standards for Evaluation of Names and Armory and past Laurel rulings, the ability to write clearly and succinctly, the ability to work within tight deadlines and coordinate closely with Pelican, Laurel and other staff to produce a Laurel Letter of Acceptance and Return monthly, computer literacy and word processing skills, reliable e-mail and telephone access, and time and ability to travel. Given the current structure of the office, a high-speed internet connection is required.

Resumés must be sent electronically to Laurel at Resumés must be received by Saturday, December 31, 2016, with an expected start date of February 2017, to be determined with the Laurel staff.

Filed under: Announcements, Official Notices

Artwork and Ordering Deadline for East Kingdom Calendars or Note Cards

East Kingdom Gazette - Mon, 2016-10-31 07:40

Aquarius by Mistress Kayleigh Mac Whyte

Aries by His Excellency Master Ursion de Gui

The deadline for ordering East Kingdom calendars or note cards is November 6, one week away.  We’ve posted the final scans of all the artwork so you can see the unusual and beautiful contributions of the scribes of the East to the project.  Orders will ship at the end of November, so they will be available for holiday gift giving.  You can order yours at the project’s website.

If you would like to dedicate a month to someone who inspires you or send a message to the kingdom, a few months still need sponsors.  A sponsors’  message is printed on their month’s page, and they receive a complimentary calendar and set of note cards.  For more information, contact Baroness Lucie Lovegood.

Cancer by Lady Christiane Crane

This is the third year for the project.  Sales help pay for the royalty’s travel and the cost of hosting visiting royalty from other kingdoms.  Due to the success of the project in prior years, this year’s proceeds with be split between both the seated royalty and their heirs.

Capricorn by Lady Lisabetta Medaglia (illumination) and Duchess Thyra Eiriksdotter (calligraphy)

More information about the project and the artists can be found at the website –

Gemini by Boyar Aleksei Dmitriev

Leo by Mistress Elizabeth Elenore Lovell (illumination) and Mistress Eva Woodrose (calligraphy)

Pisces by Mistress Eloise of Coulter

Sagittarius by THL Katrusha Skomorokha

Scorpio by Master Nataliia Anastasiia Evgenova

Taurus by Lord Vettorio Antonello

Virgo by Mistress Rhonwen glyn Conwy

Filed under: Arts and Sciences

Throwback Thursday – HRM Semjaka

PainBank - Thu, 2016-07-14 03:00

This was our last PainBank episode from 2005-6 timeframe. We interviewed His Royal Majesty (at the time) Semjaka, King of Calontir.

It was enjoyable and we never intended to stop podcasting, but alas we did. Maybe one day we will get going again.

Categories: SCA news sites

Throwback Thursday – Duke Felix – aka Scott Frappier

PainBank - Thu, 2016-07-07 03:00

This throwback episode goes back to an interview I did with Duke Felix (Scott Frappier).

It was a great time and our friendship has only flourished since then. In the image though is Duke Edmund and Duchess Katrina.


Categories: SCA news sites