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January BoD Meeting Agenda Published

East Kingdom Gazette - Tue, 2018-01-23 16:56

Per membership request, the Board of Directors would like to provide the following agenda for its upcoming meeting on January 27, 2018.  Please note that this is a tentative agenda and does not contain confidential items.  This agenda may be changed without notice.

Please contact the Leslie Luther-Fulton, Executive Assistant to the Board of Directors at, should you have questions regarding this preliminary agenda.



Board of Directors Meeting for the

Society for Creative Anachronism, Inc.

Milpitas, California

January 27, 2018

I.     Establishment of Agenda

II.    Approval of Minutes

III.   Recurring Business

A.   Branch Status Changes

B.   Routine Changes in Branch Status

C.   Quarterly Meeting Schedule

1.   Establishment/Confirmation of Meeting Dates & Locations

2.   Board Meetings – Invited Guests

3.   Establishment of Conference Call Schedule

D.   Bank Account Authorizations

E.   Warrants

F.   Ongoing Projects

1.   Board Recruiting

2.   Board Representation

IV.   Old Business

1.   Bylaw Revision Discussion

a.   V.C.2.b – Eligibility for Office

b.   VI.G. – Place of Meetings

c.   XIV – Parliamentary Procedure

2.   Corporate Policies Manual Revision Discussion

V.   New Business

1.   Revised Marshal’s Handbook

2.   Mission Statement Revision

3.   2018 Revised Budget

VI.   Officer Reports

A.   President

1.   Vice President Information Mgmt. & Technology

B.   Vice President for Operations (Society Seneschal)

C.   Vice President for Corporate Operations

1.   Publication Manager

a.   Tournaments Illuminated

b.   Compleat Anachronist

c.   Society Chronicler

D.   Society Treasurer

1.   Society Exchequer

E.   Laurel Queen of Arms

F.   Marshal

G.   Minister of Arts & Sciences

H.   Standing Committees

1.   Communication

2.   Finance

3. Peerage

4.   YAFA

VII.   Correspondence

Closing Remarks and Adjournment

Comments are strongly encouraged and can be sent to:
SCA Inc.
Box 360789
Milpitas,  CA 95036

You may also email

This announcement is an official informational release by the Society for Creative Anachronism , Inc.  Permission is granted to reproduce this announcement in its entirety in newsletters, websites and electronic mailing lists.

Eastern Results from the October 2017 LoAR

East Kingdom Gazette - Tue, 2018-01-23 16:46

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 October 2017 Wreath and Pelican meetings.

EAST acceptances

Ádísa Grímólfsdóttir. Name and device. Per bend argent and gules, an increscent and a unicorn contourny counterchanged crined Or.

Appearing on the Letter of Intent as Rhiannon Grímólfsdóttir, Kingdom issued a timely correction of the name to Ádísa Grímólfsdóttir. In the corrected form, it is a registerable Old Norse name.

Albrecht Østergaard. Device. Per pale Or and gules, a raven displayed sable between three towers, a bordure counterchanged.

There is a step from period practice for use of a non-eagle displayed.

Aleydis van der Veere. Name and device. Per bend embattled argent and purpure, two lotus blossoms in profile counterchanged vert and argent.

Nice 14th century Dutch/Flemish name!

Artist’s note: Please draw the lotus blossoms as cup-shaped flowers, and the embattlements bigger and bolder.

Christophe de Frisselle. Device. Azure, a pale checky sable and argent.

Nice device!

The submitter has permission to conflict with the badge of the Shire of Caer Adamant, Azure, a pale vert fimbriated Or.

Gregori Rogue Montana. Name.

Joel Messerer. Name.

Katharine Slough. Device. Or, a sexfoil and a bordure wavy purpure.

Mari Clock van Hoorne. Badge. (Fieldless) On the forehead of a skull Or a card pique sable.

Artist’s note: Please fill in the eye and nasal cavities in the tincture of the skull.

Morwill MacShane. Badge. (Fieldless) Two fish hooks in saltire sable.

Nice badge!

Ráðúlfr Grímólfsson. Name and device. Per chevron throughout raguly gules and argent, two Thor’s hammers argent and a bat-winged wolf sejant sable.

Nice 9th-10th century Icelandic name!

Sitt al-Gharb ha-niqret Khazariyya. Badge. (Fieldless) Two winged monkeys combatant each maintaining two daggers, the center daggers in saltire Or.

Symon van Moordrecht. Name change from Symon Fitz Gilbert (see RETURNS for badge).

The Letter of Intent did not document Moordrecht as a period spelling of the place name. However, after the close of commentary, Yehuda Blue Tyger found a 1625 Dutch record for a Cornelis Janszn Moordrecht. Therefore, we can register this name as submitted.

The submitter’s previous name, Symon Fitz Gilbert, is released.

Theodoric of Malagentia. Name and device. Purpure, on a natural sea tortoise Or a bear’s paw print sable.

Malagentia is the registered name of an SCA branch.

There is a step from period practice for use of a paw print.

Wilhelm van Hammaburc. Name and device. Per pale wavy argent and gules, two horses rampant addorsed counterchanged.


EAST returns

Danielle de Lorraine. Device. Azure, a serpent involved and on a chief argent a bow palewise reversed between two musical notes azure.

This device is returned for violation of SENA A2C1, which requires that charges be depicted in their period formats. The musical notes in this submission have flags that extend horizontally, like a pennon. Period musical notation, if they used flags at all, drooped them vertically, and even folded them back onto the stem, to save space on the page. This depiction of musical notes doesn’t show up until well past even the grey period.

Piers Campbell. Badge. (Fieldless) A saltire couped and overall a boar’s head couped close argent.

This badge must be returned for identifiability issues. The overall charge obscures the saltire, which is compounded by the charges being the same tincture. Upon resubmission, either one of the charges should be made a different tincture, or the head should be redrawn so as not to obscure the saltire, or both.

Symon van Moordrecht. Badge. (Fieldless) A calamarie sable.

This badge must be returned for conflict with Athanasius Lacedaemonius, Argent, a calamarie sable. There is a single DC for fieldlessness.


Mistress Alys Mackyntoich

Editor for Heraldic Matters

Unified Marshal’s Meeting at Birka

East Kingdom Gazette - Tue, 2018-01-23 16:25


I’m going to hold an open-to-all unified marshals’ meeting at Birka, 3pm on Saturday, in the Frost Room. (I know the equestrians are also meeting then. They can come on in when they’re done. There will be plenty of time for them.)

I’m going to talk about my proposed change for the tenure of the Earl Marshal, catch up with all my supervisory concerns, outline what I’m looking for in the next Deputy Marshal for Armored Combat, and generally address questions and issues any of our groups may have.

 Vis East Kingdom Earl Marshal

East Kingdom University Survey Open

East Kingdom Gazette - Mon, 2018-01-22 14:33

En Français.

The East Kingdom Minister of Arts & Sciences, Master Philip White, has tasked me with soliciting opinions from the populace on how to make the East Kingdom University (EKU) a valuable and useful function of the Kingdom A&S Office.

From Master Philip: “At the most recent Curia [December 9, 2017 at Bhakail Yule] Kingdom Law was updated to delete all reference to the East Kingdom University / Royal University. Going forward, the University with remain as a function of the Kingdom A&S Office, and will be maintained without restrictions previously placed in Kingdom Law.

What will that look like? We don’t know! But! We will find out.

How? By asking lots of questions!

Of who? Everyone.

Why? Because we want the/an EKU to be something that people find valuable and useful.”

To that end, I have put together a survey to gather opinions about what the EKU is and what it should be to members of the populace.

Survey responses are being collected through March 1st, 2018.

Click Here to Go to Survery

In service, Lady Serafina Della Torre

En Français.

Sondage maintenant disponible au sujet de l’Université du Royaume de l’Est

Le Ministre des Arts & Sciences, Maître Philip White, m’a donné comme mission de solliciter l’opinion de la population afin de savoir comment l’Université du Royaume de l’Est (EKU) peut jouer un rôle de premier plan pour l’Office des Arts & Sciences du Royaume.

De Maître Philip: “À la Curie la plus récente (9 décembre 2017 au Yule de Bakhail), la Loi du Royaume a été mise à jour afin de retirer toute référence à l’Université du Royaume de l’Est / l’Université Royale. À partir de maintenant, l’Université sera une des responsabilités de l’Office des Arts & Sciences du Royaume, et sera maintenue sans aucune des restrictions précédemment imposées par la Loi du Royaume.

Quel en sera le nouveau format ? Nous ne savons pas ! Mais nous le découvrirons.

Comment ? En posant de nombreuses questions !

Qui ? De tout le monde.

Pourquoi ? Parce que nous souhaitons que l’Université du Royaume soit un événement répondant aux besoins des citoyens, et dont les gens de l’Est soient fiers.”

Pour ce faire, j’ai créé un sondage afin de récolter les opinions au sujet de ce qu’est l’EKU et ce qu’elle devrait représenter pour les membres de la population.

Les réponses au sondage seront acceptées jusqu’au premier mars 2018.

Cliquez ici pour aller au sondage

En service,
Dame Serafina Della Torre


Artisan Exchange Going Strong and Seeks Even More Participants

AEthelmearc Gazette - Sun, 2018-01-21 14:53

By Baroness Katja Davidova Orlova Khazarina (Chris Adler-France)

Grimmy loves his new coat from Baroness Helene. Photo by Baroness Ekaterina.

Come on, you know you want to join the Æthelmearc Artisan Exchange!

Yes, you.

You, creating that awesome, intriguing, engrossing, fun, beautiful art form.

Sign up to make it – whether an art form you’ve been developing for years or something you just started delving into, whether woodworking, sewing, brewing, metal smithing, leather working, cooking, etc. – for someone else.

Then reap the joy of that person receiving it, while you receive a personalized gift in return from another talented artisan in our kingdom.

What is the Artisan Exchange?

Unlike A&S competition, displays, classes, or other common artisan-oriented activities that are often competitive and scary to new artisans, the Exchange encourages artisans of all levels and abilities simply to practice an existing skill or explore a new one while creating something within roughly three months’ timeframe (and with a $25 limit on materials, not including shipping costs) for a fellow artisan in the exchange, at the end of which they will receive a gift in turn from another artisan. As in modern Secret Santa exchanges, only the Exchange coordinator knows which artisans she has matched up until the gifts are mailed and the effusive thanks begin. Artisans of all ages, skill levels, genders, etc. participate and the created items do not all have to be documented period items.

History of the Exchanges

Originally created as a Noblesse Largesse swap in Calontir by Lady Konstantia Kaloethina and HL Aline Swynbrook, those founders encouraged gentles in other kingdoms to use and expand the idea. Baroness Oddkatla Jonsdottir learned about the East Kingdom’s Swap (and then Exchange) while a resident of that kingdom and enjoyed participating in 10 exchanges over four years there: knitting shawls, painting and embroidering messenger bags and a Norman cloak, and sewing a silk banner and a Skoldhammim hood.

When she and her husband, Baron Friderich Swartzwalder, became citizens of Greater AEthelmearc a few years ago and began playing in the Nithgaard/Abhainn Ciach Ghlais area, she wanted to join our kingdom’s Exchange, which had been coordinated in 2013 by Janice Mullins Wagoner.

“I saw the amazing art being made in the East’s group, and knew that AE had or has many very talented artisans,” Her Excellency explained.

Block-printed feast gear bags from Mistress Fredeberg to Baroness Helene. Photo by Baroness Helene.

When Janice stepped down and offered the Exchange to Baroness Oddkatla, she talked to the Calontir founders for guidance with the process and forms and began coordinating the project in Fall 2015, which finished by Kingdom Twelfth Night in January 2016.

“The first exchange was very well received, and we had about 40 artisans participate. I try to have a new exchange start within about a month to six weeks after the previous on ends. Most of the time it works out to be two exchanges a year. Someday, maybe I can get a third one in or have two different exchanges running at the same time.”

At the beginning of each Exchange, Her Excellency asks participants to join the project’s Facebook group and fill out a survey detailing the participant’s home group, persona, color preferences, favorite activities, and art interests. After receiving all the surveys, Baroness Oddkatla randomly matches each artisan with another and privately sends each artisan the survey information for their matched artisan. She checks in frequently with the artisans via the Facebook group (and private emails, if necessary) on the progress and nudges everyone into mailing or personally handing every gift by the Exchange deadline.

The Exchange is primarily coordinated on the Facebook group, but Her Excellency notes that artisans do not need to be a Facebook member to join the Exchange; they can participate via email.

What outcome did you hope for the Exchange – just a fun Secret Santa gift swap or something more?

“When I first thought about starting an Exchange in AE, I had the dream of getting people together in a fun way to make and share art, whether the participant was a new person to the SCA or a Laurel who had years of making and creating art. The fun part (in my mind) was the fact that no one knew who was making the art for you. When I was taking part in the East Kingdom exchange, one of the best parts was anticipating what might arrive in the mail at the end of the exchange.”

How has the exchange changed/evolved since you began this?

“The exchange has grown by leaps and bounds since we first started. The Facebook group has 296 members with more artisans asking to join every swap. The first swap had 40 artisans and the more recent exchange that finished in December 2017 had 70.”

So far, 50 participants have joined the one that is in the survey stage right now. Baroness Oddkatla is hoping for 70 participants.

Woven belt/trim by Lady Zianna for Lady Catherine O’Herlihy. Photo by Lady Catherine.

What has gone well and was has been a challenge?

“The amazing creativity AE artisans have (has gone well)! A challenge has been getting the gifts delivered in a timely manner. One of the things about the exchange that dismays me is the need for extra time at the end of the exchange, as some need more time to finish. One of my goals is to have everyone mail their gifts on the scheduled mailing date. Usually, the extensions are given as an artisan has a “fail” and needs more time to finish. Please don’t misunderstand, most people mail on the date, and only a few need extensions.”

What have been some of the themes of past exchanges and what is the current one?

“Themes in the exchange have been varied. The first one was a Twelfth Night theme, with the gifts being something fancy that could be worn or used at Twelfth night. Themes since then have been “Spring/Camping” where each artisan was asked in the survey if they would like to receive a spring- or a camping-themed gift. The theme of the exchange that we just completed was “Heraldry,” and each artisan was asked to make a gift using their recipient’s arms or colors, or if the artisan did not have heraldry, the recipient’s household or Kingdom arms were used.

“This new exchange is a repeat of a past exchange called a “RED/WHITE” exchange. What this means is that the artisan can pick either the RED or WHITE part of the swap. RED gifts must be made with period methods, have documentation, and the dollar amount for supplies can be more than $25. WHITE gifts stick to the original rules of $25 being the top end of the amount each artisan can spend on supplies and no documentation or period methods necessary. Other than that nothing special needs to be done.”

What are some of the most notable gifts you’ve seen made?

“Every gift that is made is very special! I have a few favorites, from all the different exchanges. Some memorable ones are the amazing painted box Abigail Kelhoge made for Anna Leigh, inspired by an illumination; a blackwork embroidered coif Rhys Penbras ap Dafydd made for Elisabeth Johanna von der Flossenburg; and the angel gift Rynea von Lingen made for Astridr Vigodottir, known as Ashling.

Painted box by Lady Abigail Kelhoge for Countess Anna Leigh. Photo by Countess Anna.

“There are many, many gifts I love, way too many to list here!

“You’re probably wondering what an Angel gift is? An Angel gift gets made when an artisan cannot complete their gift. I put out a call for someone to make a gift, and then when I get an angel, I send them the information they need and they make a gift for the artisan that did not get a gift due to their artisan not being able to finish their gift.

“I make sure that everyone who joins to make a gift gets a gift. I feel that every artisan needs to be able to have something to show for the hard work they have done.”

How much time each week during the exchange do you spend coordinating this and what is involved on your end? Is anyone else involved in the coordination?

“There is a fair amount of work that I do to get the exchange up and running. Starting with writing and developing a survey all the artisans must take to be included in the exchange. After the surveys have been taken and it has been closed, when I have the number of artisans that I need to run the exchange, the real work begins. I take each artisan and give them a number, and then using a blind draw, I assign artisan to artisan. Then I send each artisan an email with their recipient in the email. I ask each artisan to send me an email back so that I know they have received their artisan’s name and survey information.

“At this point, the progress of the exchange is up to the artisans. My part slows down a bit as I just make sure I am a cheerleader to keep people motivated and working. I let everyone know that I am here to answer their questions. One of the rules is that no one contact their recipient. If they need help for something they would like to know, they need to contact me either by email or private message on Facebook.

“I put in about 20 to 30 hours at the beginning getting the exchange started and then about two hours a week answering questions from artisans. When the gifts are due to be mailed, I do a bit more making sure that artisans have mailed their gifts. I ask that they send me a photo of their mailing receipt, so that I know their gift has been mailed; there’s a bit more work if anyone asks for extensions. By the end of the exchange, I’m usually putting in anywhere from four to six hours a week. I am the sole person running the AE Artisan Exchange. I have had people ask if I need help, which I usually thank them for, but decline. “

What are your future plans or hopes for this exchange?

“I hope the exchange will continue to grow, and that AE continues to show how talented her artisans are. “

Quiver by Lord Wladislaw Poznanski.

When is the deadline for the current one?

“Deadline to mail this Exchange’s gift is April 15, 2018. Deadline to withdraw from the Exchange is March 1, 2018, barring last-minute major project failure, for which an extension may be granted. If for any reason you need to bow out of an Exchange it must be done via the Gmail account, not Facebook message.”

What do you say to artisans who are intrigued but unsure about participating?

“I tell people who contact me about participating in the exchange, that they may have doubts about playing with us, but each and every one of us can art. We each have special talents that I know are there, and that all they have to do is fill out a survey, and ask questions. I turn NO ONE AWAY!!! Everyone is welcome, and I will make sure they have help if they think they may not do as well as others that participate in the exchange.”

Anything else you’d like to add?

“This is a lot of fun! I have made many new friends, and encourage all that may have an interest to come and join us!”

Join the Æthelmearc Artisan Exchange group on Facebook.

The GoogleDoc survey is here.

The rules for the exchange are here and the history/explanation of the rules of the Exchange is here

Commonly asked questions are here

Categories: SCA news sites

A Message from The Kingdom Equestrian Officer Regarding New Wavier Requirements

AEthelmearc Gazette - Sat, 2018-01-20 15:13

Equestrian activities at the Championship in 2014

The following information was provided by THL Aaliz de Gant, the Kingdom Equestrian Officer based on an announcement by the Society Equestrian Officer:

At the request of the SCA Board of Directors, a new waiver project has recently been completed. This project involved updating waivers to be used to events which include equestrian activities. In the past, waivers were handled in one of two ways. If horses were limited to areas that were restricted to equestrians, the MIC could opt to have only those interacting with horses complete the equestrian waiver. If the event allowed for more interaction, those members with blue cards would sign the additional equestrian waiver at troll. Those without blue cards would sign both the equestrian waiver and the society liability waiver.

Under the new policy, a combined wavier which includes both equestrian and society waiver language has been created which will be signed at troll for all attendees of an event which includes equestrian activities. In other words, the combined waiver will be signed by those with a blue card on file with the society as well as those without a blue card. There will be no need for event attendees without a blue card on file to sign a second waiver.

Due to equine liability laws in various states, there are state specific waivers for two of the states in Æthelmearc. For events held in Pennsylvania and West Virginia, state specific waivers are required. Events held in New York will use the standard society waiver. The Equestrian Marshal in Charge of the event at which equestrian activities are taking place will need to sign each waiver. Waivers will then be sent to the waiver clerk in the normal fashion.

The new waivers can be found at here under Adult Equestrian Waivers.

Categories: SCA news sites

Unofficial Court Report – String Thynge

East Kingdom Gazette - Sat, 2018-01-20 14:44

Royal Court at String Thynge. Photo by Duchess Etheldreda Ivelchyld

On Saturday, January 13th, AS LII, Their Majesties Ivan and Matilde paid a visit to their Shire of Caer Adamant.

In the morning they held a brief court, and called for Dietrich Schwelgengräber. They were disappointed that not only could he not produce the sock they had given Dobby, but that Tsar Ivan had possession of it. The Tsar said he would hold it a bit longer, as Dietrich had a question to ponder. The companions of the Order of the Pelican were called forth. A reception would be held to celebrate Dietrich joining a second Peerage order.

After a day of all things String, their Majesties held court. The following gentles were recognized thus:

Lady Motte is being presented; Photo by Duchess Etheldreda Ivelchyld

Astrid Magnusdottir – Tyger’s Cub
No scroll

Buffy Gerald – Award of Arms
scroll by Magdalena Lantfarerin
Words by Shoshana Gryffyth

Laurena Mouchot – Silver Wheel
scroll by Shoshana Gryffyth

Motte Nachfalter – Award of Arms
scroll by Mairi Crawford
Words by Sean O’Morian

Arthur Alyn- Silver Tyger
scroll by Shoshana Gryffyth

Dietrich Schwelgengräber – Pelican
scroll by Marti Palozi

Dietrich Schwelgengräber is elevated to the Order of the Pelican at String Thynge; Photo by Duchess Etheldreda Ivelchyld

Additionally, Tsar Ivan and Tsaritsa Matilde called for Sir Thorson to run the toybox.

The Newcomers present received tokens.

Thus concluded court. Long live the Kingdom of the East!


Malcolm Bowman, Brigantia Principal Herald.

PS – Thank you to Marian Kirkpatrick for heralding the court as well.

On Target: Flying Fantasy Targets

AEthelmearc Gazette - Thu, 2018-01-18 21:17

One night after watching ‘Once upon a Time,” I got the idea to do a “Flying Creature,” in this case an Oz-style wicked witch on a broom. Now I have to tell you, the finished product looks great and can fly from tree to tree, but it took a lot of time to build.

First, you need a female foam head (yes, they do make male and female heads).

Then you need to make prosthetics to get the right look. A rubber finger from any Dollar store (cut to size) fits over the nose.

You can use the tip of a paper snow cone stuffed with cotton for the chin, and googly eyes for realism.

I used green duct tape for the skin and black duct tape for the hair. Remember, if you don’t duct tape the head, an arrow will make it shatter.

Next comes the body. I used heavy construction paper and pool noodles for the body and shoulders. Rolled paper was used to make the arms. The paper gives you flexibility when you add the hands and broom later.

Now we go back to the Dollar store for the clothing. I picked up a costume intended for a five-year-old girl for 50% off after Halloween.This gives you some idea how big the target is. The hands are cheap gloves (Dollar store again) stuffed with cotton and glued to the arms.

The broom is a tree branch with colored pipe cleaners added to the back to look like flame as it flies. 
In the picture below, cords made of 10 lb. fishing line run from the witch to a heavy cardboard tube above the witch. All that is left is to tie a clothesline to a tree, run the line through the cardboard tube, and tie the other end to another tree. Tie a line to the witch’s broom and have the marshal stand at a safe distance while slowly pulling the witch across the field.

This is a “for fun” shoot, so be sure to pull slowly enough that the archers get 3 or 4 shots before you call Hold.

Finally if you want to try this shoot, it will be at the Castle Archery Muster in Debatable Lands this April. The witch will fly up to the castle roof, so if you ever wanted to go on a “flying creature hunt,” now is your chance.

This month’s safety tip: in the article I talked about a safe distance for the marshal to stand when pulling the rope. Check the diagram below. The marshal should be at least 10 yards back from the firing line so he or she can see the target and also watch the archers. 

In service,

Deryk Archer

Editor’s note: no actual witches were harmed in the making or use of this target.

Categories: SCA news sites

Collecting Tales of Duke Kenric

East Kingdom Gazette - Thu, 2018-01-18 16:48

Photo by Raziya bint Rusa

Stories, songs, and poems about Duke Kenric are being collected in an online Google Form. The works submitted will be laid out, printed, and given to his family. Anyone may submit a story, which can be as long or short as the person wishes. Final stories will be edited for spelling only; no other edits will be made. If you would like to submit a story, the form can be found here.

East Kingdom Law & You: Statement of Inclusion from Curia Agenda

East Kingdom Gazette - Thu, 2018-01-18 11:12

Hello and welcome to a new series of articles from the East Kingdom Gazette entitled: East Kingdom Law & You. Articles will feature detailed, sometimes riveting and always informative pieces submitted to or solicited by the East Kingdom Gazette by members of the populace on existing East Kingdom Law & upcoming Curia Agenda Items.

Reminder: The East Kingdom Gazette is an unofficial group of volunteers unaffiliated with any East Kingdom Office working to provide the best information we can. For official interpretations of East Kingdom Law, Society Law, or any Local/Kingdom/Society Policy, please consult your local Seneschal.

The first East Kingdom Law & You article has been sent to the Gazette by Master Philip White, OL, OP and includes information about one of the upcoming Curia Agenda items following Market Day at Birka.


The East Kingdom is committed to being a welcoming and supportive place.

As part of this commitment, a proposed Statement of Inclusion for Kingdom Law has been added to the Birka Curia agenda:

X. Rights of Subjects 

 A. Statement of Inclusion

The East Kingdom is committed to celebrating equity, diversity, and inclusiveness. We promote social equity and diversity in all activities including but not limited to race, ethnicity, culture, age, gender, sexual orientation, gender identity, ability, national origin, veteran status, socioeconomic class, religion, and professional status. We are committed to providing resources and opportunities for all subjects of and visitors to the East Kingdom.

Link to Curia Agenda Here.

Before Curia at Birka we are sharing with you some thoughts and we are looking for feedback from you.

For reference, there are some related policies already in place. This Statement of Inclusion does not replace those existing policies.

From the SCA Organizational Handbook:


The SCA, Inc. will not discriminate against any member or participant on the basis of race, sex, religion, national origin, age or disability. The SCA, Inc. will comply with all laws of the nation in which the meeting or event is held. For any meeting or event held in the United States, the SCA, Inc. will comply with the Americans with Disabilities Act. The SCA, Inc. will provide reasonable accommodations to qualified individuals with disabilities to enable all participants to fully enjoy the events whenever it is possible to do so. The SCA, Inc. will at all times attempt to provide reasonable accommodations, while preserving the fundamental nature of the SCA event.

From the Society Seneschals Handbook:


  1. Harassment and Bullying

The SCA prohibits harassment and bullying of all individuals and groups.

Harassment and bullying includes, but is not limited to the following:

  • offensive or lewd verbal comments directed to an individual;
  • the display of explicit images (drawn or photographic) depicting an individual in an inappropriate manner;
  • photographing or recording individuals inappropriately to abuse or harass the individual;
  • inappropriate physical contact; unwelcome sexual attention; or retaliation for reporting harassment and/or bullying.

Participants violating these rules are subject to appropriate sanctions. If an individual feels subjected to harassment, bullying or retaliation, they should contact a seneschal, President of the SCA, or the Kingdom’s Board Ombudsman. If a participant of the SCA becomes aware that someone is being harassed or bullied, they have a responsibility pursuant to the SCA Code of Conduct to come forward and report this behavior to a seneschal, President of the SCA or Kingdom’s Board Ombudsman.

These policies are in place to stop things from happening in the SCA.

But what about what we do want in the SCA? That’s why we are looking at adopting a statement specifically letting people know that we are an inclusive organization.

Statements of Inclusion:

  • Encourage different experiences and perspectives.
  • Establish diversity and inclusion as underlying aspects of the principles and traditions of an organization.
  • Strengthen organizations by specifically stating that everyone has a voice and is encouraged to contribute.

That’s our starting point.


We want to hear feedback, suggestions, and questions in order to make this a more useful guiding principle for our members.

Members of the populace can email me here.

To facilitate that next step, we wanted to help set expectations and answer some initial questions we anticipate people will have.

Question 1:

“Is this really necessary?”

Yes. There are people that look at the SCA from the outside and do not see it as a welcoming place. That’s because they can take a casual look at our organization and see a visible lack of diversity.

Our current membership has underrepresented populations. Our minority members may already feel welcome. And our majority populations may feel like we are already supporting diversity and promoting inclusivity. But that’s from an insider’s perspective.

A Statement of Inclusion tells everyone, prospective members and existing members alike, that they are welcome in the SCA even if they do not see people who look like them at events.

Question 2

“Are we simply stating what we are doing anyway?”

In many ways, yes, this is something we already do. Putting what we do into law lets newcomers and prospective members know that we are committed to an inclusive organization.

Question 3

“I don’t think this is a problem. So why are we changing things?”

That’s great. We’re glad your participation in the SCA is going well. Lots of our members are happy and productive participants already.

The policy, then, is not so much for you. You already feel welcome. This policy is put in place to let our current members and prospective members know that they are welcome too.

We want it to go well for all of our members alike. So, for you, it may not feel like a change. For them it will feel like an improvement. Your part would be to continuing helping them know that they are welcome, too. To let them feel some of what you feel when you are a part of the SCA.

Question 4

“This doesn’t happen here. That’s only a problem in other Kingdoms.”

Adopting this Statement of Inclusion will help us continue the good work we already do. It will help us make sure it doesn’t happen here. And it will help us improve on it.

Question 5

“Do you have proof that people are not being included? I think people are blowing things out of proportion.”

Experiences will be different for each of us. You may be in a position to feel like everyone has equivalent access and opportunity to the SCA.

If that were the case, I would ask you talk to some of your fellow local SCA members and hear about their experiences.

Do you have a friend who is underemployed? As them about event expenses. Do you have a friend that is disabled? Ask them about how it is to get around at a camping event. Do you have a friend that is dyslexic? Ask them about trying to write documentation for an A&S entry.

These are just a few examples of experiences we would like to find ways to make easier for individuals.

Question 6

“We don’t even have enough minority or marginalized populations now to make stuff like this worth it. Why bother?”

That’s actually the perfect reason. If there is a lack of diversity then you need a tool to help promote inclusiveness and equity. This is a visible and articulated commitment to minority and marginalized communities.

Question 7

“This is a history club. Isn’t this a modern issue?”

The historical times and places that we study and recreate in the SCA are wide and varied. Those times were diverse through people, place, and culture. Diversity is actually already part of our game.

We are also a modern day organization that studies history. Our membership deals with modern issues day in and day out. We cannot ignore that there may be modern obstacles and barriers in place that limit people’s participation.  A Statement of Inclusion allows us to recognize that modern issues may limit potential members from enjoying the history we study. We want to help them overcome those limitations.

Question 8

“Diversity isn’t period. And it is period to exclude people. Why are we even talking about this?”

Actually, diversity is very much period. It may not be very well known but it is well documented.

Improving membership diversity would make actually make us more accurate historically, not less.

That said, this policy is part of the administrative aspect of the SCA. This is not put in place for persona purposes only. It is part of the entire game that we play and applies to all aspects and interactions of the SCA, administrative and game-side both.

We’re a modern organization made up of modern people. That is our membership. We are addressing those needs here in this policy.

Question 9

“Why does everything need to be so inclusive? Can’t this just be a game?”

We are a volunteer organization with limited resources on time and money. We’re a stronger group with more people to help this game happen. Many hands make light work. We do not want to turn people away, even unintentionally.

Inclusivity helps us with our shared values of generosity and kindness while showing many of the attributes of chivalry.

When a new person hears about the SCA we’d like to automatically feel welcomed. This Statement helps with that goal.

Question 10

“Not everyone can be the same. Our award structure will not allow for that.”

We are promoting equity in order to encourage diversity and inclusiveness across the organization in all aspects of the SCA.

This is separate from the ceremonial hierarchy established by the award structure of the SCA.

The Order of Precedence is a game function important to persona play. We have inherited it as a way to interact together while dealing with game interactions.

Question 11

“Does this mean I have to let people be a part of my household?”

That’s not what we’re asking. The SCA is made up of lots of different personalities. We have all sorts of individuals that cross multiple kinds of boundaries.

We’re not expecting you to form relationships with each other. You’re not being asked to make everyone your friend. You’re not being asking change your household or your other private gatherings.

We’re asking you to treat each other like neighbors or partners all working towards the same goal of making the SCA a welcoming place.

Question 12

“Does this mean we are going to have religious ceremonies as parts of events?”

No. That’s not what it means. It means that people of different religions observations, or none at all, are welcome to participate in SCA activities where and as they are able.

The SCA has a policy regarding region already.

SCA, Inc. Policy on Religion:

  1. Having no wish to recreate the religious conflicts of the period under study, the Society shall neither establish nor prohibit any system of belief among its members. No one shall perform any religious or magical ceremony at a Society event (or in association with the name of the Society) in such a way as to imply that the ceremony is authorized, sponsored, or promulgated by the Society or to force anyone at a Society event, by direct or indirect pressure, to observe or join the ceremony. However, this provision is in no way intended to discourage the study of historical belief systems and their effects on the development of Western culture.
  1. Except as provided herein, neither the Society nor any member acting in its name or that of any of its parts shall interfere with any person’s lawful ceremonies, nor shall any member discriminate against another upon grounds related to either’s system of belief.
Question 13

“Aren’t people going to falsely claim that they are not being included?”

Let us hesitate to label anything as false. What may feel inclusive to one person may feel exclusionary to another person. Avoid making assumptions about a situation and try to learn more about what the individual is requesting.

Now, the SCA will not be a good fit for everyone. We’re still following the basic precepts of our game. For those people who are interested in the SCA we want to give them a way to be involved without barriers in place.

Question 14

“Will this be a philosophical mandate with no monetary backing?”

Yes, actually. That’s correct. We’re not asking for groups to fund individuals. Including others of different economic situations does not mean funding their hobby. We are asking you to be understanding of their circumstances.

What does that mean? It means finding new and different ways to help them participate. Can you teach through a website broadcast for people that can’t afford to travel? Can you provide instructions or access to public transit for people who need mass transit? Do you have loaner gear that others can use? Or do you have common materials people can try out new arts with?

Question 15

“Will there be training?”

Yes. There can be. We plan to have this information on the Kingdom website with FAQs, access to diversity training, classes at events, sessions on the web, and availability for one-on-one questions.

Question 16

“How do we think this will change our Kingdom?”

When an organization makes a commitment like this to its members it lets its members know that they can ask for help. Can they ask for help today? Yes, of course. That opportunity already exists. Does everyone know this? No. And by making this statement we can let everyone know that they are able to speak up.

Question 17

“Are we thinking of a long-term plan?”

Yes. Our organization will develop and grow through our continued commitment to diversity and inclusion. We believe that this will give us more opportunities for learning and teaching.

Question 18

“Who are the ones that are going to be responsible for this?”

Ultimately? We are all in this together. Anyone who want to see this organization grow will be committed to finding ways to supporting others participating in the way that they can.

Agenda Published for upcoming Curia

East Kingdom Gazette - Wed, 2018-01-17 16:31

En Français

Greetings to all who see these words,

As published in the January 2018 issue of Pikestaff
Ivan and Matilde, Tsar and Tsaritsa of the East Kingdom, will hold a Curia after the Market Day at Birka, in the Barony of Stonemarche (Manchester NH), on Sunday 28 January 2018, starting at 10:00 am. Event Announcement.

The agenda for Their Majesties’ upcoming Curia is now available on the Seneschal’s web site.

in service,
Eadgyth aet Staeningum
Clerk of Laws

En Français.

Publication de l’ordre du jour pour la prochaine Curie

Salutations à tous ceux lisant ces mots,

Comme publié dans le Pikestaff de janvier 2018
Ivan et Matilde, Tsar et Tsarine du Royaume de l’Est, tiendrons une Curie après le Jour de Marché à Birka, en la Baronnie de Stonemarche (Manchester NH), le dimanche 28 janvier 2018, commençant à 10:00 heures. Annonce de l’événement.

L’ordre du jour de Leurs Majestés pour la prochaine Curie est maintenant disponible sur le site web du Sénéchal.

En Service,
Eadgyth aet Staeningum
Gardien des Lois

Arts & Sciences Research Paper #22: Recreating an Illuminated Persian Manuscript Page

East Kingdom Gazette - Tue, 2018-01-16 11:45

Our twenty-second A&S Research Paper comes to us from Lady Onóra ingheainn Uí Rauirc of the Barony of An Dubhaigeainn. She takes us through her process of recreating a manuscript page in the Persian style, and shows us some fascinating things in the process. (Prospective future contributors, please check out our original Call for Papers.)

Recreating an Illuminated Persian Manuscript Page

Detail view of final painting. (Photo courtesy of Lady Onóra.)

Table of Contents
Materials and Methods
Examples of Historical Pages


I set out to create a double page illumination inspired by Persian manuscripts painted during the Safavid Dynasty; this article describes the process for the left-hand page, which is all illumination. Although the Safavids ruled from 1501 to 1736 in what is present day Iran, I chose an art style that was popular with scribes in the beginning of the dynasty, specifically between 1527 and 1550 (see figures 1-4). During this time, the designs were simpler in comparison with those found in the later Safavid period. The floral vine work and geometric patterns were much less complex, and scribes used fewer shades of pigments.

I was inspired to create this piece while researching Mongolian culture. I came across several sources that described the Mongol influence on Persian art after they invaded the Persian Empire in the early 13th century. I began to dig further into the illuminated manuscripts created by Persian scribes after that invasion and was inspired to challenge myself with a style of art which is completely new to me.

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Materials and Methods

Historical Materials Used Materials I Used Polished cotton, hemp or flaxseed paper Heavy cotton hot pressed paper Charred twig Graphite pencil Mineral pigments in a gum Arabic base Gouache pigments in a gum Arabic base Squirrel fur brushes with a feather handle Nylon brushes Gold leaf paint Gold leaf paint

Persian scribes were highly regarded for their art and chose only the finest materials to use for their manuscripts. They started with a high quality paper. On the western side of the Persian empire, now modern day Saudi Arabia, artists used a variety of fibers for their paper including flaxseed and hemp. However, artists on the eastern side of the empire near India used cotton fiber paper. Based on my research, I posit that the use of cotton fiber paper was probably adopted from Indian artists since cotton was the primary type of paper fiber used in Indian art (Barkeshli, 2009).

Historically, this scribal paper was created by soaking wet fiber in a sizing material such as starch, fish glue, vegetable glue or gum Arabic. The sizing material acted as a filler for the paper fibers and created a smooth waterproof surface. The scribe would prepare the paper for painting by burnishing the page to a glossy finish using a smooth agate stone. This created a slick, almost impermeable surface to work on. I used a high quality hot pressed watercolor paper for my piece. This paper is 100% cotton fiber sized with natural gelatin. It was prepared by applying heat at a high pressure to create an ultra smooth finish. This technique mimics the polishing process of period scribes. I chose this type of paper because the materials and the manufacturing technique used are the closest match to its’ period equivalent available.

After the paper was prepared, the scribe would use a charred twig to sketch out a rough draft of their design onto a thin sheet of paper or animal skin. This was called the “tarh”. The sketch was then transferred to the final sheet of paper using the pounce method, which works the same as modern carbon paper. The pounce method involved filling a linen bag with charcoal powder and bouncing the bag on the underside of the tarh to apply a thin coat of charcoal dust to the back of the sketch. The draft was then placed over the prepared final paper. The artist carefully sketched over the design, pressing the charcoal powder onto the  polished paper (Sardar, 2003). To sketch my design, I chose to use a fine graphite pencil. I felt that the fine tip of a mundane pencil would be easier to use since the intricate detail of this art is new to me. Instead of tracing the design, I started by using a straight edge to measure out the spacing and placement of the shapes I would use, then I sketched my design directly onto my final paper. Carefully placed guidelines eliminated my need for a rough first draft, which saved me a lot of time.

Sketching the design in pencil with guidelines. (Photo courtesy of Lady Onóra.)

Persian artists began painting by laying down all the gold pigment first. This process was called “tazhib,” which literally translates to “gilding” and is a term still used today. Artists created gold paint by placing a thin sheet of gold into a porcelain bowl and adding a small amount of honey. This combination was thoroughly smashed with a porcelain mortar and pestle into a fine dust (Pakzad, 2016).

Grinding gold dust with honey. (Photo courtesy of Lady Onóra.)

Warm water was then added in small amounts until the honey was dissolved. After the gold dust settled to the bottom of the bowl, the gold was carefully strained until the water was removed. The process of adding water, mixing and straining was repeated two or three times to clean the gold.

Cleaning the gold dust with water. (Photo courtesy of Lady Onóra.)

The artist then mixed in a binder such as gum arabic or isinglass (a glue obtained from fish bones), and set the paint to dry. Water would be added to rehydrate the gold for painting. For my piece, I followed this method as closely as possible to maintain period accuracy. Although I could not find documentation on the specific type of honey Persian artists used, I suspect that they used honey that was locally collected instead of honey that was imported from neighboring regions since beekeeping was serious business in the Persian Empire. In fact, the art of beekeeping in Persia was inspired by the Egyptian mastery of the craft. (Crane, 1995). With this thought in mind, I chose to use locally collected honey since it was readily available to me.

Preparing gold leaf sheets. (Photo courtesy of Lady Onóra.)

To finish the tazhib process, artists burnished the gold with a smooth agate stone. This is supposed to smooth the surface of the paint and create an illuminated effect. I attempted to use an agate stone to burnish the gold on my piece, however I found that it rubbed the paint off the paper so I skipped this step in the final product. I will certainly research this issue in more depth so I can use this technique on future scrolls.

Once the tazhib process was complete, the artist began to add color to the painting. Colored paints were made using mineral pigments mixed with a binder. To prepare colored paints, Persian artists crushed the stone or ore into a fine dust. The mineral was then cleaned by pouring water over the mineral, allowing to mineral to precipitate, pouring off the water and repeating. The mineral was then dried, and a small amount of gum Arabic was added as the binder for the pigment (Pakzad, 2016). According to several sources, gum arabic was the most popular binder; however, I also found instances where isinglass or egg yolk was used instead. Once the minerals were mixed with the binder, they were dried and rehydrated when needed (Pakzad, 2016; Arias, 2008).

The color palette I used was chosen to specifically match the colors used in early Safavid Dynasty manuscripts. The table below shows the most popular colors used and what they were derived from. I used wet gouache pigments mixed with gum arabic and a little water for my scroll. I chose gouache since it was the most readily available paint to me at the time. Upon close inspection of my reference pieces (Examples of Historical Pages), I noticed that the pigment was opaque and very evenly applied. I mixed a small amount of gum arabic and water with my paint to create the same visual effect while maintaining the use of period materials.

Color Origin Azure Azure stone Vermillion Cinnabar ore Orpiment Yellow Orpiment mineral Malachite Green Malachite stone White Lead White lead Black Carbon soot

Of these colors, I used azure, vermillion, yellow, white and black as they matched my reference materials most closely (Figure 1 and Figure 2).

Persian artists used fine brushes of squirrel fur to apply paint to their manuscript. According to the writings of Sadiqi Beg, a poet, biographer and well known artist of the Safavid period, the squirrel fur was trimmed and attached to a pigeon feather with silk thread (Barkeshli, 2009). I chose to paint my piece with synthetic nylon brushes instead. I felt that since this was my first time painting in this style, it would be beneficial to me to use a synthetic brush so I could maintain better control over the flow and precise application of the paint. I am looking forward to learning more about Persian brush making so I can make period brushes in the future.

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This project was certainly a challenge, but I learned so much in the process. One thing that I found surprising was drawing the design was not as difficult as I thought it would be. Although Persian manuscripts look intimidating with their ornate and intricate designs, they are actually quite simple. Each design is composed of a repeating pattern and filled in with vine work. The pattern can be broken down into sections and simplified into basic shapes including circles, triangles and diamonds. I found that when I used this common artist technique of breaking things down into simple shapes and patterns it was pretty easy to draft the piece.

Completed linework. (Photo courtesy of Lady Onóra.)

I did, however, run into challenges making the gold paint. I knew that I would have to be really diligent in grinding the gold leaf down to a fine dust, but I was not prepared for how difficult and tedious this process would be. This step alone took at least an hour of sheer muscle to grind eight sheets of gold leaf. I also needed to resort to grinding the gold with my bare fingers. Although the porcelain mortar and pestle I own is similar to those used in period, I could not seem to create a fine enough dust. I plan on researching this issue in depth to obtain better results in future paintings.

Gold paint completed. (Photo courtesy of Lady Onóra.)

The second challenge I ran into with the gold was drying time. I learned that the dry environment that is characteristic of the Middle Eastern dessert is very important for the paint to dehydrate properly. Since it was very humid at the time, my paint took three full days to dry. Despite the trouble I went through, I truly think it was worth it to make the gold paint for this piece. I get a lot of joy out of learning a new period technique and it was exciting to be able to apply it to my own work.

The completed page! (Photo courtesy of Lady Onóra.)

In the future I plan on making the gum arabic for my next batch of paint using period techniques. The readymade gum arabic I used was quite watery, and I think it would be beneficial to be able to control the consistency and create a thicker medium when needed. I also noticed that mixing the gouache pigments with gum arabic and water resulted in a blotchy finish in my painting. My theory is that this is due to the inconsistency in the water to gum Arabic ratio in the paint. Handmade gum Arabic may fix this issue as well in the future.

I plan to continue to create Persian illuminated manuscripts in the future, since I most certainly enjoyed this project. For my next piece, I would love to work with a complete set of period mineral pigments. I also plan on making my own brushes. I absolutely loved the entire of process of researching and preparing this piece of illumination, and I look forward to continuing my research on Persian manuscripts.

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Examples of Historical Pages

1. Left-hand page of a double page illumination with text from an unidentified manuscript. Iran, circa 1550. Ink, opaque watercolor and gold on paper. (Image courtesy The Los Angeles County Museum of Art)

2. Right-hand page of a double page illumination with text from an unidentified manuscript. Iran, circa 1550. Ink, opaque watercolor and gold on paper. (Image courtesy Los Angeles County Museum of Art)

3. Right-hand page of an illuminated front piece from “Kulliyat-I Sa’di” (the Collected works of Sa’di). Iran, circa 1527, poems by Muslih-I Din Shaykh Sa’di. Ink and pigments on paper. (Image courtesy The Walters Museum)

4. Right-hand page of an illuminated front piece to the beginning of the poem “The Treasury of Mysteries” from a collection of poems entitled “The Khamsa” by Nizami. Iran, circa 1541. Medium not specified. (Image Courtesy the State Hermitage Museum)

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Arias, Teresa Espejo “A Study About Colourants in the Arabic Manuscript Collection of the Sacromonte Abbey, Granada, Spain. A New Methodology for Chemical Analysis.” Restaurator: International Journal for the Preservation of Library and Archival Material, Vol. 29, issue 2 (2008)

Barkeshli, Mandana. “Historical and Scientific Analysis of Iranian Illuminated Manuscripts and   Miniature Paintings.” Quarterly on the History of Iranian Art and Architecture vol. 5 issue 2 (2009) pp. 8-22

Crane, Eva. “Beekeeping in the Islamic World” Ahlan Wasahlan pp. 34-38 (1995)

Pakzad, Zahra. “Color Structure in the Persian Painting.” Review of European Studies vol. 9, issue 1 (2016)

Sardar, Marika. “The Arts of the Book in the Islamic World, 1600-1800.” Heilbrunn Timeline of Art History (2003)

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Missive from TRM

East Kingdom Gazette - Mon, 2018-01-15 22:18

En Français

Tzar Ivan and Tzaritsa Mathilde at East Kingdom 12th Night AS 52. Photo by Baron Brendan Crane.

As all have come to know, Duke Kenric aet Essex has been lost at sea. Like all of you, We feel that there has been a hole made in our Kingdom, in our lives, and in our hearts.It is Our deepest wish to pay Our respects to his beloved wife Duchess Avelina and daughter Lady Aethelthryth, and to attend the memorial service in his honor this coming Saturday. However, We are scheduled to attend Owlsherst Country 12th Night, to pay a visit to the good gentles in one of the farthest corners of this great Kingdom.

It is because Duke Kenric loved this game so that, in his memory and to honor his commitment to our Society, We will still be attending this event. Kenric was a man who showed us how to live life with passion, with sincerity, and with honor. While we mourn his loss, we celebrate his life, and his great love of this game we play and society we cultivate. His family remains most assured of Our love, respect and commitment to their needs. We know they are secure in the hands and hearts of the loving people of the East.

Whether you choose to attend the memorial for Kenric, the event in Owlsherst, or have another commitment, take a moment to remember our lost Duke, and express love and support for your friends, your family, and your chosen family. We believe that Kenric would expect all of us to continue on in this manner.

In heartfelt service and love,

Ivan Rex Matilde Regina


En Français.

Missive de Leurs Royales Majestés

Comme tous le savent maintenant, Duc Kenric aet Essex est disparu en mer. Comme vous tous, nous ressentons qu’un vide s’est créé dans notre Royaume, dans nos vies, et dans nos coeurs.

Il est notre voeu le plus cher d’aller rendre hommage à sa douce épouse Duchesse Avelina et sa fille Dame Aethelthryth, et d’assister à la cérémonie commémorative en son honneur ce samedi. Cependant, Nous sommes présentement engagés a assister au 12th Night d’Owlsherst Country, afin de rendre visite à notre bonne population dans un des coins les plus éloignés de ce grand Royaume.

C’est parce que Duc Kenric aimait ce jeu, qu’en sa mémoire et pour honorer son dévouement à notre Société, Nous irons toujours à cet événement. Kenric était un homme qui nous montrait à vivre la vie avec passion, avec sincérité, et avec honneur. Tandis que nous pleurons sa perte, nous célébrons sa vie, et son grand amour de ce jeu dont nous faisons partie et cette société que nous cultivons. Sa famille reste bien assurée de Notre amour, respect et engagement pour leurs besoins. Nous savons qu’ils sont entre bonnes mains et dans les coeurs des gens dévoués de l’Est

Que vous choisissiez d’aller à la commémoration de Kenric, l’événement à Owlsherst, ou ayez un autre engagement, prenez un moment afin de vous souvenir de notre Duc perdu, et assurez-vous d’exprimer votre amour et support pour vos amis, votre famille, ainsi que votre famille choisie. Nous croyons que Kenric s’attendrait à tous nous voir continuer dans cette voie.

D’un amour et service sincère,

Ivan Rex Matilde Regina

Service commémoratif pour Duc Kenric

East Kingdom Gazette - Mon, 2018-01-15 21:08

Un service commémoratif multiconfessionnel pour Duc Kenric sera tenu ce samedi 20 janvier 2018, à midi à l’église Saint Benedict’s à Warwick, RI. Suivant le service, une collation sera servie dans le hall de l’église, jusqu’à 4pm. L’église est située au 135 Beach Avenue. La famille et les amis sont bienvenus. Soyez avisés que ceci ne constitue pas un événement costumé. Pour toute question, veuillez contacter Amy Dickens.

Il y aura aussi un service commémoratif à Pennsic, dans le pavillon du Royaume de l’Est. Plus de détails concernant le service à Pennsic sont à venir.

In Memoriam: Duke Kenric æt Essex

AEthelmearc Gazette - Mon, 2018-01-15 15:34

Photo by Raziya bint Rusa

The East Kingdom Gazette has published a memorial to Duke Kenric, who is now presumed lost at sea.

You will find the page here.

We extend sympathy to his family, his friends in the East Kingdom, and his friends throughout the Known World.

Categories: SCA news sites

In Memoriam: Duke Kenric æt Essex

East Kingdom Gazette - Mon, 2018-01-15 15:19
“When righteousness and mercy are associated in the ruler’s authority, he may, while soothing the hearts of his subjects, inspire them with reverence, and, whilst correcting, sooth them. So spoke Alfred, great King of the Saxons, and it is as if he had known Kenric ætEssex.” – From the ducal scroll of Kenric æt Essex

Photo by Raziya bint Rusa

Duke Kenric æt Essex, Knight, Laurel, has been declared lost at sea following a boating accident on Friday, January 12th. Kenric was one of the most highly accomplished and beloved citizens of the East. He and his wife, Avelina Keyes, reigned three times as King and Queen of the East. He was the only person in the history of the East to be inducted into five orders of High Merit. Prior to his first reign as King of the East, he served as East Kingdom Brigantia Herald for four years, then subsequently as Kingdom Chamberlain for two years, and at the time of his death was serving as East Kingdom Marshal of Armored Combat.

Kenric was a fixture in his home Barony of the Bridge for decades and was a leading member of Duchy Von Drachenklaue and of House Silverwing. He recieved his Award of Arms in the Fall of 1994 from Lucan II and Jana II and was shortly thereafter inducted into the Pillar of the Bridge for his contributions to his local group. He was a companion of the Order of the Sagittarius (1998), of the Silver Crescent (1999), of the Maunche (2000), of the Tygers Combattant (2001), of the Chivalry (2002), of the Silver Rapier (2014), of the Laurel (2014), and of the Golden Rapier (2017). In addition, he held the rank of Master Bowman.

Coronation of Kenric I and Avelina I. Photo by Duchess Caoilfhionn inghean

He was recognized with the Queen’s Honor of Distinction by Caitlin and by Jana IV, and with the Queen’s Award of Esteem by Caoilfhionn II, and he was recognized with the King’s Cypher by Lucan for his personal service to the Crown during three different reigns, as well as twice by Brennan.

Kenric enters Coronation. Photo by Sir Michael of York

For his courtesy and comportment in the Crown Lists, he was awarded the Shield of Chivalry four times. He twice served as Queen’s Champion of Arms and also won the position of King’s Champion of Arms three times. He was recognized with the Order of Valor of the East by Darius II and Roxane II at Pennsic 32 in recognition of his valor on the battlefield.

Kenric was a skilled metalworker, who at this past Pennsic was one of Champions representing the East for the Arts and Sciences War Point. He also did extensive and immersive research on Anglo-Saxon culture and language, learning to read and speak Anglo-Saxon English and striving at all times to make his person and persona as historically accurate as possible, to make history real and tangible to enhance both his own experience and that of those around him. To note only one vivid example, he was a performer in a battlefield telling of Beowulf at Pennsic XLII during his first reign. As one audience member described it, “when it came to be his turn he rose from his high seat to speak just as the sun was setting. He was exactingly dressed for the role, and as the light shifted from the setting sun to the torches in the tent, the Anglo-Saxon King of the East spoke the words of King Hrothgar in the original language that the poet put in that king’s mouth. We were transported.”

Viking silver spiral armring, Smithing by Duke Kenric aet Essex.

Photo by Lady Perronnelle de Croy

Kenric and Avelina reigned three times in the East. At the end of their first reign, Kenric “retired” his original persona and name of Kenric of Warwick, and at the Coronation of Edward II and Thyra held elaborate funeral rites for the death of the King, culminating in the elevation of Prince Edward and Princess Thyra to the Crown. The story of the passing of King Kenric captured the imagination of many in the East, and a number of artworks, stories, and songs were inspired by the life of “Saint Kenric of Warwick of Blessed Memory”. During their second reign, Kenric adopted the persona of Kenric æt Essex, cousin of the original Kenric, who had married Avelina and who again reigned in the East. During their third reign, Kenric instituted King Kenric’s Challenge, whereby he pledged to personally reward any and all Eastern Citizens who completed two, three, or four war point activities in armored combat, rapier, archery, or thrown weapons at Pennsic War.

Kenric is survived by his beloved wife, Duchess Avelina Keyes, and their daughter, as well as a wide circle of family and friends. An interfaith Memorial Service will be held this Saturday, January 20, 2018 at noon at Saint Benedict’s Church in Warwick, RI.

Photo by Raziya bint Rusa

It is the wish of the family that all media inquiries be directed to

Date limite pour les recommendations de Leurs Altesses Royales

East Kingdom Gazette - Mon, 2018-01-15 13:22

Leurs Altesses Caoilfhionn et Brennan souhaitent rendre connu de tous qu’ils accepteront des recommandations pour un jour supplémentaire. S’il vous plaît assurez-vous que la recommandation est dans la fin de la journée.

Souvenez-vous que vous n’avez pas besoin d’être membre d’un ordre afin de recommander une personne que vous pensez méritante. Si vous pensez que des gens que vous connaîssez sont méritoires, il y a un formulaire en ligne facile à remplir afin que leur candidature soit considérée au travers de


Memorial Service for Duke Kenric

East Kingdom Gazette - Mon, 2018-01-15 01:12

An interfaith Memorial Service for Duke Kenric will be held this Saturday, January 20, 2018 at noon at Saint Benedict’s Church in Warwick, RI. Collation to follow in the church hall until 4PM. The church is located at 135 Beach Avenue. Family and friends are welcome. Please be aware this is a non-garb event. For any questions, please contact Amy Dickens.

There will also be a memorial service at Pennsic in the East Kingdom Pavilion. More details on the Pennsic service will follow.

Polling Recommendation Deadline Extended to Monday Night

East Kingdom Gazette - Mon, 2018-01-15 00:13

Caoilfhionn Princepissa and Brennan Princeps wish it to be known that the deadline for award recommendations for their first polling has been extended a day.  Please ensure that recommendations are in by the end of the day Monday, January 15th.

Please remember that you need not be a member of any order to recommend someone you consider deserving.  If you know someone you feel strongly about, there is an easy online form you can fill out to submit them for consideration.

Many questions about the awards process can be answered through this great article by Her Grace, Duchess Avelina: How the Awards Process Works

C3R Got A Facelift

AEthelmearc Gazette - Sun, 2018-01-14 22:22

By Lord Eldjarn the Thoughtful, C3R Autocrat 2018

Thescorre’s College of Three Ravens has gotten a facelift for 2018! The Barony’s staple schola event (over 30 years old, formerly UWEKAT and UAKAT) will be held at a new location next month: St. Paul’s Lutheran School in Hilton, NY, just half an hour from downtown Rochester. The site includes a gymnasium for fencing and heavy weapons classes and sparring.

February 24th will see more classes and activities than the event has had in years. Classes on many topics will be filling the nine classrooms and dedicated scriptorium from 10 a.m. to 4 p.m. (See current class list below.)

Sinks, Gym, and No Stairs!

The school just completed renovations this past summer and now all classrooms have ceiling-mounted projection systems. There is also a sink in each room. Previously, there were two larger classrooms. The renovations saw one room permanently split, resulting in an extra room which gives us private space for holding a third vigil. The remaining larger classroom will be dedicated to dance or other subjects requiring a little extra floor space.

What does the new facility lack? Stairs!!

The gym, a respectable-sized main hall, classrooms, scriptorium, and three vigil rooms are all on one level for complete ease of access. The Royalty room is even conveniently placed across the hall from the scribal room.

The school includes three sets of restrooms spaced throughout the T-shaped site, with two sets offering diaper changing stations. The third set alongside the gym is adjacent to a pair of small, locker/changing rooms equipped with two adult-height shower stalls each. One shower in each Lords’ & Ladies’ conveniently has a fold-down shower seat and wand shower head.

Off-street parking is extensive, boasting four separate parking lots totaling approximately 200+ spaces. SCA attendees will be using the larger west lot that fits 98 cars, as well as two other parking areas reserved for the convenience of event staff, vigil coordinators, and Royalty. That still leave us with some overflow in the more distant areas of the parishioners lot, should it be absolutely necessary.

The main hall features 18 tables of eight, and its own exterior entrance apart from the one leading directly into the adjoining kitchen. Our lunch and feast cooks, Lady Ragna Feilan and Lady Lasairfhiona inghean Aindriasa, have been raving about the kitchen space just from seeing photos and are eager to fill many bellies with their delicious-sounding planned meals.

Outside the main hall are large windows letting in sunlight near benches where gentles may sit and chat. There is even room for several merchants should anyone wish to set up a table to display their wares. There are one or two already signed up; contact the Autocrat if interested.

Unfortunately for us, the church holds a small Saturday service in their 400-seat nave/chancel, which conflicts with our traditional Court time. However, the spacious gym with its movable bleachers will be ample room for our pageantry! The gym is also at the opposite end of the site, so SCAdians and parishioners will not disrupt each other. I’ve no idea what spectacle may be planned for the elevation of Gillian Llwelyn to the Laurel and elevations of Nest Verch Rys and Rioghnach ní Rose to the Pelican, but such will doubtless be a delight to witness.

A well-attended C3R calligraphy class taught by Mistress Matilda in 2015.

It would be neglectful of me to fail to mention the sprawling outdoor athletic fields, though snow-covered in February, are capable of simultaneously accommodating all martial activities including target archery at future events in warmer seasons.

The site administrators have been exceedingly friendly and interested in our medieval activities. Let us hope we can build a mutually respectful relationship with the school and continue to have access to the site for years to come!

Please consider braving the wintry temperatures and roads to come make this College of Three Ravens an extraordinarily enjoyable day of learning, socializing, eating, and plain chivalrous fun.

Current Class List
  • Gilding for Novices– Abigail Kelhoge
  • Blackwork, Beyond the Basics– Moniczka Poznanska
  • Beginning Embroidery– Moniczka Poznanska
  • Do They Get This at the Thingvallir?- Humor in the Sagas– Baron Fridrikr Tomasson
  • Með jákvæði hennar sjálfrar: Change in Icelandic Marriage Law as reflected in Njals Saga and Laxdæla Saga– Baron Fridrikr Tomasson
  • Whitework 101: It’s Not as Scary as You Think– Felice de Thornton
  • Chainmaille for Beginners– Amalie Reinhardt
  • Symbolism of Flowers in Squashed Bug Manuscripts– Eleanore Godwin
  • Belly Dance– Kathlin Ulfsdottir, known as Hadia
  • Left-Handed Calligraphy Class– Padraig O’Branduibh
  • Essential Oils in the Middle Ages– Baroness Rosemund von Glinde
  • Spoon Carving– Iohn Spooner
  • Yonec & Caerwent– Thomas of Petersham
  • Syrup of Lemon- Baron Caleb Reynolds
  • Emergency Preparedness for the Kitchen, or What to do When it All Goes Wrong– Andrew of Thescorre
  • Easy Ottoman Turkish Garb-Baroness Katja Davidova Orlova Khazarina
  • The Amazing T-Tunic– Genevote Nau d’Anjou
  • Basic Beginner Brocading– Hrolfr a Fjarfelli
  • The Single Heraldic Supporter, Décor, and Design– Baron Rhiannon Elandris of Glyndrvdwy
  • The Truth about Boleyn Green– Renata Rouge
  • On Being a Chatelaine– THL Maeve Ni Siurtain
  • Beginning Dance for Children– THL Maeve Ni Siurtain
  • Beginning Dance– THL Maeve Ni Siurtain
  • Making a Personal Body Block for Custom Patterns– Abigail Kelhoge
  • Cut and thrust road show, part 1, 2, and 3– Raev Halle
  • Winning Documentation for Scribal Entries– Mistress Alicia Langland
  • Kokki-fukurei: How Not to Embarrass Yourself in Medieval Japan– Sǫlveig Þrándardóttir
  • Sweet Scents: Making scented hand waters and perfumes– Mistress Francesca della Rovere and Lady Elisabeta da Venezia
  • Happy Feasting! or How to get the most from your feast experience– Baroness Sadira bint Wassouf
  • Strength, Flexibility and Balance: the 3 pillars of injury prevention– Irene von Schmetterling
  • Modern Tricks and Old tactics in Fencing– THL Gytha Oggsdottir
  • Talking with Your Hands– THL Gytha Oggsdottir
  • Putting “authenticity” in Re-created Clothing: The art of conspicuous consumption in the 15th and 16th centuries– Maistresse Marguerite d’Honfleur

The class list is still growing, but slots are filling fast. Contact Lady Nicole du Marais  about teaching!

A schedule should be posted within a few weeks.

Rather than having a couple of marshals working all day, it is our hope to have numerous warranted marshals help for just an hour or two each, thus enabling everyone to participate in classes or fighting as they wish. If you are able to volunteer, please contact Sir Dominic McMorland (Micah Nelson) to assist with fighting or Baron Eric De LaBarre (Eric France) to assist with fencing.

Lunch and Feast Menus (subject to change)

Lunch, inspired by Nordic sources:

  • Viking barley cakes made fresh & hot to order
  • Hard-boiled eggs
  • Stuffed olives
  • Fresh raw vegetables
  • Bread with butters and/or soft cheese
  • Meat pasties (will be chicken or pork, some veg and gluten-free will be available to those who ask)
  • Lentil soup
  • Meat soup (likely lamb)
  • Hazelnut treats
  • Apples or other fresh fruit
  • Hot and cold beverage

Dinner, inspired by 16th century French:

  • Bread & butters
  • Fresh grapes or other fruit
  • Green salad
  • Stuffed eggs
  • Rabbit pate
  • Grape juice or other beverage
  • Chicken bread pudding/strata (roast parts on side for GF)
  • Squash soup
  • Herbed peas
  • Roast beef with sauces on side
  • Cheese gnocchi (plain rice available for GF)
  • Turnips with bacon
  • Crepes with fruit and sauces
  • Orange cheesecake
  • Applesauce

Visit the event Facebook group for latest class lists, other updates, or pre-registration info.

Categories: SCA news sites