SCA kingdoms and branches

Artifacts of Life III

East Kingdom Gazette - Tue, 2017-10-03 20:19

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

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

Lord Brendan Firebow

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

Lady Aibhilin inghean Ui Phaidin

Lady Aibhilin inghean Ui Phaidin

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

Baroness Ysabella de Draguignan

Baroness Ysabella de Draguignan

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

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

Lord Bartholomew and his longbow

Lady Elaine Howys of Morningthorpe

Lady Elaine Howys of Morningthorpe

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

Lady Tola knitýr

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

Lady Rosamund von Schwyz

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

 

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

Information and rules for Artifacts of a Life III can be read here:
http://sca-artifactschallenge.blogspot.com/

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

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

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

Editor’s Note

East Kingdom Gazette - Mon, 2017-10-02 11:24

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


Filed under: Announcements

East Kingdom Bards Enchant Their Audience at Winter Nights

East Kingdom Gazette - Wed, 2017-09-27 17:03

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

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

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

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


Filed under: Events Tagged: Bardic, events

EASTERN RESULTS FROM THE JULY 2017 LoAR

East Kingdom Gazette - Mon, 2017-09-25 11:45

EASTERN RESULTS FROM THE JULY 2017 LoAR

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

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

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

EAST acceptances
Aurelia Colleoni a’Buccafurno. Name.

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

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

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

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

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

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

This was pended on the February 2017 LoAR.

Hrothgar of An Dubhaigeainn. Name.

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

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

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

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

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

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

Michael Ballason. Name.

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

Ranka Sveinsdottir. Name.

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

Submitted as Tassin Tréséol, the spelling of the byname is entirely modern. With the
submitter’s permission, we have changed the spelling of the byname to the
documented Tresseaul, dated to 1364 and 1415, found by Juliana Siren in Latin rolls
from the Convent of Saint François
(https://books.google.com/books?id=x9QwAQAAIAAJ&pg=PA108).

Nice early 15th century French name!

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

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

Úlfr Járnhauss. Name.

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

EAST returns

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

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

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


Filed under: Heraldry Tagged: heraldric submissions, heraldry

Unofficial Court Report – A Funny Thing Happened to St. Andrew on the Way to the Forum

East Kingdom Gazette - Mon, 2017-09-18 19:21

Unofficial Court Report
The Court of Their Majesties Ioannes and Honig
Held at A Funny Thing Happened to St. Andrew on the Way to the Forum – An Investiture
On September 16, A.S. 52, 2017 C.E.
In the Barony of An Dubhaigeainn

In the morning Court, the following items of business were conducted.

Lord David Vazquez de Valencia stepped down as Baron of An Dubhaigeainn.

Mistress Suzanne Neüber de Londres stepped down as Baroness of An Dubhaigeainn.

Lord Titus Aurelius Magnus was invested as Baron of An Dubhaigeainn. He was given a scroll created by Mistress Catarina Giaocchini.

Lady Sorcha of Stonegrave was invested as Baroness of An Dubhaigeainn. She was given a scroll calligraphed and illuminated by Lady Magdalena Lantfarerin, with words by Mistress Kay Leigh Mac Whyte.

Lord Peter of Hawkwood presented a hand-crafted wooden footrest to Her Majesty.

Lady Sofia Gianetta di Trieste was inducted into the Order of the Maunche for her excellence in costuming. She was given a scroll calligraphed by Lord Vettorio Antonello and illuminated by Mistress Suzanne Neüber de Londres.

Lady Sofia Gianetta di Trieste was then sent to Vigil to contemplate induction into the Order of the Laurel.

Lord Vettorio Antonello was also called to sit Vigil to contemplate induction into the Order of the Laurel for his excellence in calligraphy and illumination.

In the afternoon Court, the following items of business were conducted.

Lord David Vazquez de Valencia was given a Court Barony with Grant of Arms for his service to the Barony of An Dubhaigeainn. He was given a scroll crafted by Lord Vettorio Antonello.

Mistress Suzanne Neüber de Londres was given a thank you scroll, calligraphed by Master Jonathan Blaecstan and illuminated by Mistress Kis Marike, for her service as Baroness of An Dubhaigeainn.

The children of the East were called forward. Their Majesties offered them toys from the Kingdom toy chest if they could capture its bearer, the Court’s newest Baron, David Vazquez de Valencia.

Her Majesty presented Mistress Suzanne Neüber de Londres with the Queen’s Order of Courtesy for her graciousness while serving as Baroness of An Dubhaigeainn. The Queen did the embroidery on the glove.

Their Majesties called for Mistress Jadwiga Zajaczkowa. She was made Guildmistress of the established at the newly re-established East Kingdom Herbalists’ and Apothecaries’ Guild. The Guild’s charter was calligraphed and illuminated by Lady Sarah bas Mordechai.

Genevieve Velleman was called before the Crown. For her work as an archer, and her contribution to the arts and sciences and service in kitchens and at events, she was Awarded Arms. Scroll forthcoming, words by Master Rowen Cloteworthy.

Their Excellencies An Dubhaigeainn presented gifts of welcome to Their Majesties and Their Highnesses.

The Crown called for those newcomers attending their first Royal Progress. Those newcomers were given tokens from the Crown in welcome.

Monkey Makgee was called into Court. For her work in the kitchens, as event steward, and for her work with the arts and sciences, she was awarded the Order of the Silver Wheel. The scroll was created by Lady Onora ingheann Ui Rauirc.

Lady Sláine Baen Ronáin was also called forward to take her place in the Order of the Silver Wheel for her work as an MoL, royal retainer, chatelaine, event steward, and dishwasher. She was given a scroll crafted by Baroness Mari Clock van Hoorne.

Their Majesties called for Barone Francesco Gaetano Gréco d’Edessa. For his work as seneschal, herald, webminister, and chronicler, he was inducted into the Order of the Silver Crescent. In recognition of this, he was given a scroll made by Baroness Aesa feilinn Jossursdottir with words by Master Erhart von Stuttgart.

Conrad Järnhand was called before the Crown. For his contibutions as a fighter, teacher, and combat archer, he was Awarded Arms and given a scroll with calligraphy and illumnation by Lady Triona MacCaskey, words by Master Toki Skaldagorvir.

The Crown next called for Louis of House Three Skulls. For his work as a kitchener and feast cook, he was Awarded Arms and presented a scroll with words and illumnation by Lady Triona MacCaskey and calligraphy by Master Jonathan Blaecstan.

Their Majesties summoned Baroness Sorsha of Stonegrave. For her work as an herbalist, teaching at scholas and demos and running workshops, she was inducted into the Order of the Maunche. She was given a scroll crafted by Pan Jan Janowicz Bogdanski.

The Crown called then for Lady Onora ingheann Ui Rauirc. For her work as a calligrapher and illuminator, she too was inducted into the Order of the Maunche. She was gifted a scroll calligraphed by Lord Vettorio Antonello and illuminated by Vicereine Lada Monguligin.

Emperor Ioannes and Empress Honig then thanked Their event steward, Lord Ronan Fitzrobert, for his work.

Their Majesties requested the attendance of Lady Bianca Anguissola. For her services to the Crown as a retainer and aide, she was presented with a Court Barony and Grant of Arms. The scroll was crafted by Queen Ro Honig von Sommerfeldt with words by Nicol mac Donnachaidh.

Their Imperial Majesties then called for the answer to the question set before Lord Vettorio Antonello. Lord Vettorio was released from his fealty to Mistress Kay Leigh Mac Whyte. Words of support were offered by Sir Antonio Patrasso for the Chivalry. Mistress Nest verch Tangwistel spoke for the Pelican. Sir Antonio read the words of Master Donovan Shinnock for the Defense. Mistress Suzanne Neüber de Londres presented the words of Duchess Thyra Eiriksdottir. Master Ateno of Annun Ridge read the words of Master Alexandre St. Pierre, then spoke words of his own. The scroll was crafted by Mistress Kay Leigh Mac Whyte, with words by Mistress Kay Leigh and Master Ryan McWhyte. Master Vettorio was presented two medallions, two cloaks, and a wreath, then offered his fealty to the Crown.

Lady Sofia Gianetta di Trieste was then called before Emperor Ioannes and Empress Honig to accept her place in the Order of the Laurel. She was released from her apprenticeship to Master Jose Felippe Francisco el Sastre de Madrid. Sir Donnan Fitzgerald came forward to speak on behalf of the Chivalry. Master Philip White spoke for the Order of the Pelican. Master Jean Xavier Boullier offered words for the Order of Defense. Duchess Isabella of York spoke for the Order of the Rose. Lord Ervald LaCoudre Edwardson the Optimistic offered words on behalf of the populace. Mistress Caterina Gioacchini spoke for the Order of the Laurel. The scroll was created by Vicereine Lada Monguligin with words by Master Jose. Mistress Sofia was given several medallions, a mantle, and a wreath. She then offered her fealty to the Crown.

Their Highnesses and Their Majesties offered final words of thanks and appreciation to the Barony of An Dubhaigeainn, then Court was concluded.

These are the events of the day as I recall them. My thanks to the Barony, all the guards, retainers, heralds, scribes, and those others who made the day possible.

For Crown and Kingdom,
Pray know I remain,

– Master Rowen Cloteworthy


Filed under: Court

EASTERN RESULTS FROM THE JUNE 2017 LoAR

East Kingdom Gazette - Sun, 2017-09-17 11:09

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 June 2017 Wreath and Pelican meetings.

EAST acceptances

Avonmore, Shire of. Badge for Populace. Per bend sinister purpure and Or, a lighthouse Or and a bird sable.

East, Kingdom of the. Order name Order of Silver Mantle of the East and badge. (Fieldless) A mantle argent.

In the return of Lochac’s badge, (Fieldless) A mantle gules, lined and charged on the sinister breast with a mullet of six points argent in June 2003, it was noted:

If someone wore a red mantle which was lined white and charged on the sinister breast with a mullet of six points argent, it would not appear to be a correct display of this badge. … One correct heraldic display… would be to create an enameled pin in the shape of the charged mantle. Another correct display would be to make a flag and put a picture of the charged mantle on the flag.

Similarly, the correct display of this badge is not a silver mantle; it would be a pin or medallion displaying a silver mantle.

Ile du Dragon Dormant, Baronnie de l’. Badge association for Populace. Purpure, on a pale argent a pallet Or.

Ioannes Aurelius Serpentius. Name and device. Per pale gules and sable, a three-headed hydra passant and on a chief argent three frets couped gules.

After the close of commentary, additional research by Ursula Palimpsest and Alisoun Metron Ariston supported the pattern of the name based on, among other things, the attested example of Libius Severus Serpentius.

Katla of Stóra Borg. Name and device. Azure estencely, an owl maintaining in its feet a sheaf of arrows fesswise reversed argent.

PN2E of SENA states:

No name will be registered that either in whole or in part is obtrusively modern. Something is said to be obtrusively modern when it makes a modern joke or reference that destroys medieval ambience and drags the average person mentally back to the present day. Obtrusiveness can be either in the written form or when spoken. A period name that has a modern referent will not generally be considered obtrusively modern. Only extreme examples will be returned.

Submitted as Katla of Borg, commenters in OSCAR and at the Roadshow at the Known World Heraldic and Scribal Symposium universally agreed that the phrase “of Borg” is an obtrusively modern Star Trek reference. As the submitter allows all changes, we have changed the byname to of Stóra Borg to use the lingua Anglica name of one of the places known as Borg in period and thereby avoid the appearance of obtrusive modernity.

Lillia de Vaux. Heraldic title Crampette Herault.

Nice Middle English heraldic title!

Luca Spadini. Name and device. Azure, a serpent erect and on a chief argent three ravens sable.

Luna Cohen. Name.

Objections were raised in commentary to the use of the surname Cohen by a woman based on its Hebrew meaning denoting descent from the priestly caste. However, in commentary, Yehuda Blue Tyger provided evidence from the FamilySearch Historical Records of 16th century and early 17th century English women with the surname Cohen. In addition, Lillia Crampette noted in commentary that Cohen is the name of a location in France. Based on this evidence, there is no reason to bar a woman from using the surname Cohen in English or French. As Luna is also found as an English given name, this name is registerable as a 16th century English name.

Mael Eoin mac Echuid.  Household name Company of the Black Boot.

Submitted as Black Boot Company, no evidence could be found to support the pattern of this household name. In December 2013, we ruled that the correct form of a company name using the pattern Color + Heraldic Charge is Company of [color] [charge]:

Submitted as Red Dragon Company, commenters could not find evidence of a company name using the pattern X Company, where X is a charge or a color + charge. However, the pattern Company of the X can be justified as the lingua Anglica form of an order name or fraternal organization. Although the submitter did not allow major changes, he permitted the change to Company of the Red Dragon. We have done so in order to register the name. [Tristram O’Shee, 12/2013 LoAR, A-An Tir]

Neither the Letter of Intent nor commenters provided any documentation inconsistent with this precedent. Accordingly, with the submitter’s permission, we have changed the name to Company of the Black Boot for registration.

Mari Clock van Hoorne.  Badge (see RETURNS for alternate name). (Fieldless) A comet per pale gules and Or.

Mathias Feuer Drache.  Device. Sable semy-de-lis, on a pale Or a dragon gules.

Ysmay de Lynn.  Badge. (Fieldless) A shoe Or.

Nice badge!

 

EAST returns

Cillene O Caollaidhe.  Device. Per pale purpure and argent, a butterfly counterchanged and on a chief argent five trefoils vert.

This device is returned for violation of SENA A3B, Armorial Contrast. The chief is argent on a field that is half argent, half purpure, and the chief comes into contact with the argent portion of the field. In the Letter of Intent, the submitter cited SENA A3B4b, which states that

The field and charges on it may share a tincture only if … (2) only one of the two is multiply divided and the charge(s) is an ordinary or simple geometric shape arranged in a way that both the type of field division and charge are clearly identifiable.

However, the rule gives a clear example that informs this decision:

For example, both Vair, a chief argent or Checky Or and vert, a lozenge vert can be acceptable, if drawn so that the shared tinctures are not against each other.

Because per pale is not “multiply divided,” and the chief comes into contact with a substantial portion of the field that shares its tincture, it becomes unrecognizable and must be returned.

Gaius Claudius Valerianus.  Device. Per fess argent and vert, a stag’s head caboshed sable and two lightning bolts in saltire Or.

This device must be returned for redraw. The line of division as depicted is high enough above the tics of the marked fess line that the lightning bolts (which should be completely below it) cross the normal fess line.

When resubmitting, the submitter should make the lightning bolts thicker and bolder, and not interlace them where they cross in saltire.

There is a step from period practice for the use of lightning bolts not as part of a thunderbolt.

Mari Clock van Hoorne.  Alternate name Star Dust.

This name must be returned for violating PN2E, which states:

No name will be registered that either in whole or in part is obtrusively modern. Something is said to be obtrusively modern when it makes a modern joke or reference that destroys medieval ambience and drags the average person mentally back to the present day. Obtrusiveness can be either in the written form or when spoken. A period name that has a modern referent will not generally be considered obtrusively modern. Only extreme examples will be returned.

Commenters in OSCAR, at the Pelican decision meeting and at the Roadshow at the Known World Heraldic and Scribal Symposium unanimously called this name obtrusively modern, particularly as the concept of “star dust” is dated to the 19th century and later. Even applying the fairly liberal standard for obtrusive modernity, this name grabbed too many listeners by the scruff of the neck and dragged them into the 21st century.

 


Filed under: Heraldry Tagged: heraldry, LoAR

Aethelmarc Coronation – Change of Location

East Kingdom Gazette - Mon, 2017-09-11 16:48

The Coronation of Gareth and Juliana, on September 16, has been moved due to possible problems with the weather. For more information:

ATTN: Coronation Location Change

 


Filed under: Announcements Tagged: events

Ducal Challenge – Unofficial Court Report

East Kingdom Gazette - Mon, 2017-09-11 16:40
Unofficial Court Report of the Court of Ioannes and Honig, held at Ducal Challenge in the Barony of Settmour Swamp, September 9, A.S. 52, as reported by Master Rowen Cloteworthy. Katheryn Fontayne, Vigil for Laurel Rory MacLellan, Vigil for Chivalry Hasanah bint al-Khalil ibn Habib, Court Barony
C&I: Shoshana Gryffyth, W: Ysmay de Lynn Children of the East, Gifts from the Crown Emeline la Chauciere, Golden Lyre (Backlog)
Token only Phelippe le Vigneron, Golden Lyre (Backlog)
Token only Emeline la Chauciere, Award of Arms
Scroll forthcoming Phelippe le Vigneron, Award of Arms
C&I: Mariette de Bretagne Brennan mac Fearghus and Caoilfhionn inghean Fhaoliann, Event Stewards
Thanks of Their Majesties Nadia Hart, Silver Brooch
C&I: Ellesbeth Donofrey Ellice de Valles, Maunche
C&I: Jonathan Blaecstan Newcomers Tokens from the Crown Katheryn Fontayne, Laurel
C: Jonathan Blaecstan, I: Kis Marika, W: Ardenia ARuadh Conchobar mac Oengusa, Court Barony with Grant of Arms
Scroll forthcoming, W: Rowen Cloteworthy Redacted, Silver Wheel
C&I: Katherine Barr, W: Dietrich Schwelgengruber Devillin MacPherson, King’s Cypher
C&I: Shoshana Gryffyth Caoilfhionn inghean Fhaoliann, Silver Crescent
C&I: Nataliia Anastasiia Evgenova, W: Lorenzo Gorla Rory MacLellan, Chivalry
C&I: Jonathan Blaecstan, W: Malcolm Bowman
Filed under: Court Tagged: court report

Coronation Pre-Registration Announcement

East Kingdom Gazette - Mon, 2017-09-11 05:40
An announcement about Coronation preregistration from the event steward:

You have the option to preregister using PayPal. Please use this link.

There are instructions in both English and French. You will input your information into the survey and after you hit send PayPal will generate an invoice within 24 hours and send it to you via email. Please check your email and pay the invoice, putting your SCA names and membership numbers for all those in your party in the notes section to speed up check in at troll on the day of the event. Any invoices not paid by September 27th will be canceled and those persons will need to pay at the door.
Filed under: Announcements Tagged: coronation, event announcement

Heralds and List Runners for Crown Tournament

East Kingdom Gazette - Thu, 2017-09-07 16:13

Greetings to the tourney heralds and list runners of the East and Tir Mara from Mistress Suba al-Hadid, Troubadour Herald!

Please save the date for Crown Tournament on November 4th in the Barony of Bergental (Massachusetts)! Event announcement is here: http://www.eastkingdom.org/EventDetails.php?eid=3234

Yours in Service to the Dream,
-Suba
Jamilia al-Suba al-Hadid min Bhakail al-Sheikha al-Mu’allima (Baroness Suba al-Hadid) Troubadour
جميلة
الاصبع
الحديد
من
باكالي
الشيخة
المعلم

Crown Tournament of Ivan & Matilde Event Details November 4th, 2017 <a href=https://bergental.eastkingdom.org>Barony of Bergental</a> – Feeding Hills, MA
Filed under: Announcements

Unofficial Court Report from Bhakail Champions and Commons

East Kingdom Gazette - Wed, 2017-09-06 16:11

At the Bhakail Champions and Commons held in The Barony of Bhakail on August 27, A.S. 52, the following pieces of business were conducted on behalf of Their Majesties Ioannes and Honig in the Court of Baron Rowen and Baroness Suba.

Egill Illugasson, called Badhands, received an Award of Arms.  (C&W: Faolan an Sccreccain, I: Lorita de Siena)

Egill Illugasson, called Badhands, was inducted into the Order of the Silver Tyger.

Reported by Baron Rowen Cloteworthy


Filed under: Court

Unofficial Court Report for River Wars

East Kingdom Gazette - Wed, 2017-09-06 16:06

At River Wars in Iron Bog on September 2, A.S. 52, Heinreich Wächter called Digger, was inducted into the Order of the Silver Crescent.  (C&I: Mari Clock van Hoorne, W: Alys Mackyntoich)

Reported by Baron Rowen Cloteworthy


Filed under: Court Tagged: River War

Chancellor Minor Application Deadline Extended

East Kingdom Gazette - Fri, 2017-09-01 18:58

Greetings to the Populace of the East Kingdom,

While I have loved serving the youth and families of the East these past four years, my time as Chancellor Minor is coming to the end, and I am still seeking a successor. The deadline for application for the position has been extended to September 15th.

What does the Chancellor Minor do, you ask? Well, according to Kingdom Law:

10. The Kingdom Chancellor Minor:
a. Assists parents of children in integrating children’s activities into local and Kingdom events. The Kingdom Chancellor Minor will not be responsible for, nor in any way encourage autocrats or the Society to provide, baby-sitting services.
b. Prepares, maintains, and disseminates such materials as further the objectives of the Office.
c. Works with the Kingdom Chatelaine in accomplishing these goals.
d. Encourages youth in the culture and customs of the Society.
e. Works with the Kingdom Youth Earl Marshal and the Kingdom Youth Rapier Marshal to coordinate youth martial activities.

In addition, with the help of a deputy, the Youth Clerk, the Chancellor Minor is responsible for making sure that all those who work with youth are properly warranted and background checked through society.

The candidate for this job should be someone who:
– Enjoys working with both children and adults
– Communicates well via email and in person
– Has basic spreadsheet and document skills
– Has or is eligible for an SCA background check
– Has approximately 2 hours per week to dedicate to reaching out to seneschals, deputies, and youth officers about activities, initiatives, and answering any questions.
– Can fulfill the duties of kingdom officers laid out in EK Law section E.

In order to apply, candidates are asked to submit a letter of intent to myself, the Prince and Princess, and the East Kingdom Seneschal. Ideally, an SCA resume and and modern resume would be included. Any questions can be directed to me at chancellor-minor@eastkingdom.org.

Yours in Service,
Mistress Leonete D’Angely


Filed under: Announcements, Youth Activities

Announcement of a new Badger Herald / Annonce d’un nouveau Héraut Badger

East Kingdom Gazette - Fri, 2017-09-01 13:55

En français

Unto the Populace of the East, and specifically the Crown Principality of Tir Mara, does Malcolm Brigantia send greetings.

I want to announce a change in officers for the Crown Principality.  I have appointed to the role of Badger Herald, the Tir Mara Regional Deputy and primary point of heraldic contact for the Crown Principality, Behi Kirsa Oyutai.  We have worked together numerous times, and I know she is passionate about her work, and enthusiastic to serve.  I am looking forward to Kirsa’s new service to the Kingdom and Crown Principality.  This appointment is effective as of this missive.

I want to take a moment to thank the outgoing Badger Herald, Lord Diarmaid O Briain, for his service.

The East Kingdom College of Heralds continues to be one of the finest in the Knowne World, and I have outstanding deputies who make it so.  Thank you all for your continued hard work.

YIS,
Malcolm Bowman, Brigantia Principal Herald

____
En français – traduit par Behi Kirsa Oyutai

À la population du Royaume de l’Est, et spécifiquement aux gens de la Principauté de Couronne de Tir Mara, moi, Malcom Brigantia, envoie mes salutations.

Je désire annoncer un changement parmi les officiers de la Principauté de Couronne. J’ai nommé au rôle de Héraut Badger, le Député Régionnal de Tir Mara et premier point de contact héraldique pour la Principauté de Couronne, Behi Kirsa Oyutai. Nous avons travaillé ensemble de nombreuses fois, et je sais qu’elle est passionnée par cette tâche et enthousiaste de servir. J’ai très hâte de constater les accomplissements de Kirsa dans son nouveau rôle au service du Royaume et de la Principauté de Couronne. Ce changement est effectif immédiatement.

Je souhaite prendre un moment afin de remercier le Héraut Badger sortant, Seigneur Diarmaid O Briain, pour son service.

Le Collège des Hérauts du Royaume de l’Est continue d’être un des plus renommé dans le Monde Connu, grâce aux excellents députés me secondant. Merci à vous tous pour votre continuel travail acharné.

En Service,
Malcom Bowman, Héraut Principal Brigantia


Filed under: Announcements, En français, Heraldry Tagged: brigantia, herald, Tir Mara

Arts & Sciences Research Paper #21: Symmetrical vs. Asymmetrical “Offset” Lacing on Front-Laced Women’s Gowns in Western Europe, 1450s-1550s

East Kingdom Gazette - Fri, 2017-09-01 09:42

Our twenty-first Research Paper comes to us from Lady Elena Hylton of the Barony of Carolingia. She examines over 100 paintings to explore the question of how lacing holes on women’s gowns were arranged over the course of a century – and discovers a surprising difference from the conventional wisdom!  (Prospective future contributors, please check out our original Call for Papers.)

Symmetrical vs. Asymmetrical “Offset” Lacing on Front-Laced Women’s Gowns in Western Europe, 1450s-1550s

Style of Domenico Ghirlandaio. Costanza Caetani. 1480-90, London, The National Gallery.

Table of Contents
Notes
References
Appendix

Lacing is perhaps the most common type of clothing closure seen in the later medieval/early renaissance period in Western Europe and is used frequently in modern recreations of women’s historic clothing. However, lacing holes can be spaced along a garment in two ways, symmetrical or asymmetrical (also called “offset”)

Figure 1. Two arrangements of lacing holes. Image courtesy of Lady Elena Hylton.

Spiral lacing (where a single lace is wound in a spiral through the lacing holes) is a popular method seen throughout the medieval period and later, but many people also assume that the only method to secure such lacing is by offsetting the lacing holes (asymmetrical lacing). This offset arrangement is often thought to be the only “period” option for lacing and is frequently cited in modern costuming blogs and clothing texts as the best method. The Medieval Tailor’s article “Kirtles 3 – Lacing” states that “You will notice that the holes are staggered with the exception of the first and last holes.” [1] One book claiming to describe all of Tudor women’s dresses states that “It is also worth looking at the alignment of those eyelets. They are not parallel across the opening, but staggered; they are not designed to be laced across like shoes, but in one long continuous spiral.” [2] This equivalency of spiral lacing and offset/asymmetric lacing holes is very common in popular advice, and most likely caused the belief that because spiral lacing does seem to be one of the most common forms of lacing in many periods that therefore all women’s lacing in the renaissance period should be offset. While the occasional modern text does show spiral lacing with symmetrical lacing holes (such as Thursfield’s Medieval Tailor’s Assistant) these seem to be in the minority, with the conventional advice to be that all lacing should be offset. [3]

Figure 2. Vittore Crivelli. Madonna and Child with Two Angels. 1481–82. New York, Metropolitan Museum of Art.

Looking at paintings in several periods, this popular advice did not seem to fit with what I observed as many paintings seemed to show spiral or other types of lacing (such as ladder lacing) across symmetrical holes, as in Crivelli’s Madonna and Child with Two Angels (fig. 2) (see fig. 3 for images of different types of lacing seen in paintings of the period).

Figure 3. Four types of lacing. Image courtesy of Lady Elena Hylton.

I decided to conduct an analysis of Western European paintings from the 1450s-1550s to determine the frequency of symmetrical versus asymmetrical lacing styles on women’s front-laced gowns. I selected the time period as that was where I originally noticed the disconnect between the advice and the paintings, and because it covers a wide range of styles of gowns (“Cranach” gowns, multiple Italian styles with substantial variations, Tudor, and more across all of Western Europe) which had all been grouped together under the umbrella of “medieval and renaissance” and therefore assumed to be offset. Out of a sample of 101 paintings showing such gowns, asymmetric lacing holes/rings, while often present, were substantially less common than generally assumed.

To achieve an unbiased sample set I examined the works of approximately five hundred European artists from 1450-1559 across various online catalogs and museum galleries, including the National Gallery of Art (US), the Colonna Gallery of Rome, the Victoria & Albert museum, the National Gallery (UK), LACMA, the Rijksmuseum, and others. I searched for paintings based on time period and location and then manually determined if the paintings met my criteria (listed below). To ensure unbiased results, I did not use any examples I have found outside of those I came across using this method. While this meant that I excluded many paintings I know of showing front lacing, I believed that adding individual paintings could alter the results. By limiting the paintings counted to only ones found from the full collections, I believe the results show a representative sample set of the frequency of the various lacing styles in period.

I searched collections by time period (1450-1559), by object type (painting), and location (Europe) and then went through the results and logged paintings when they met the following criteria [4]:

  1. Female subjects
  2. Lacing appeared to run at minimum from bust to waist.
  3. Lacing was visible and in the center of the front of the dress.

Out of my initial set of approximately five thousand paintings, this left me with 101 paintings across the 109 year span of time, for an average of 9.266 paintings per decade (see Appendix for full list of paintings analyzed). I then organized the paintings by decade and by lacing style. I did not sort the paintings by location as while that is an essential factor to determine if an individual gown from a specific time and place is more likely to have been symmetrically vs. asymmetrically laced, this project was looking at overall trends in popular Western European culture. [5] While I did not purposefully exclude any paintings on the grounds of them showing allegorical scenes (which often may not show fashions actually worn in period), the majority of clearly allegorical scenes showed looser, draped clothing and therefore were automatically excluded by not showing front-lacing women’s gowns. Likewise, it is true that paintings are not photographs and should not always be assumed to be exact representations of the actual clothing worn in period. However, there is clearly a large number of highly detailed paintings showing visible depictions of the lacing going through symmetrically-spaced holes seen across multiple schools and styles of art and following the trends in the changing fashions (see figs. 2, 5-9). Especially for times and places where no extant gowns exist, examining detailed paintings seems to be the best method for determining an accurate historical recreation.

Figure 5. Giorgio Schiavone. Detail of The Virgin and Child. 1456-60. London, The National Gallery.

Figure 6. Hans Memling. Triptych of Adriaan Reins (detail of central panel). 1480. Bruges, Memling Museum.

Figure 7. Master of the Legend of Saint Lucy. Detail of Virgin Surrounded by Female Saints. 1488. Brussels, Musées Royaux des Beaux-Arts.

Figure 8. Domenico Ghirlandaio. Portrait of Giovanna Tornabuoni. 1488. Madrid, Museo Thyssen-Bornemisza.

Figure 9. Style of Domenico Ghirlandaio. Costanza Caetani. 1480-90, London, The National Gallery.

Different lacing looks (the lines created by the lacing cord) can be created depending on if the lacing holes/rings are symmetrical versus asymmetrical, and depending on the method of lacing used (spiral, ladder, or other), so I analysed both the lines created by the lacing as well as the relative position of any visible lacing holes/rings on the garment (see fig. 3 above). [6]                                        

Figure 10. Percentage of Lacing Styles, 1450s-1550s. Image courtesy of Lady Elena Hylton.

Out of the 101 paintings meeting my criteria, 62 showed symmetrical lacing, 23 showed asymmetrical, and the remaining 16 were unclear. This shows a clear trend towards favoring symmetrically laced options overall, contrary to the prevailing idea that offset lacing was the preferred method throughout the entire medieval and renaissance periods. 

Individual decades varied dramatically however. Breaking down the number of paintings by  decade we see several trends emerge.                                                        

Figure 11. Frequency of lacing styles by decade. Image courtesy of Lady Elena Hylton.

Asymmetrical lacing does make up the majority of examples found in the 1450s and 60s, but from 1470 onwards the trend veers substantially towards favoring symmetrically laced gowns overall (see fig. 4 for numerical data).

Decade Symmetrical Asymmetrical Unclear Total Results 1450s 1 3 0 4 1460s 1 2 1 4 1470s 8 1 5 14 1480s 16 3 0 19 1490s 9 2 3 14 1500s 7 2 0 9 1510s 5 1 2 8 1520s 6 6 3 15 1530s 4 3 2 9 1540s 2 0 0 2 1550s 3 0 0 3

Figure 12. Frequency of Paintings Showing Front Lacing Gowns by Decade

It is interesting to note that this change occurs when the gowns go from being laced completely closed (as seen in the medieval fitted gowns up to the 1450s/60s, fig. 5) to the style where the lacing is often left open, revealing the layer below (seen mostly in the 1470s and later, fig. 6). You do see a resurgence of asymmetrical lacing in the 1520s and 1530s where it matches or comes close to the frequency of symmetrical, but it then dies out again by the 1540s.

Figure 13. Total Paintings Found Showing Visibly Front Laced Gowns. Image courtesy Lady Elena Hylton.

While the paintings are not broken down by location, these trends do tend to be somewhat consistent across both the Italian and Northern Renaissance schools, despite the differences in gown styles. For example, in the 1480s Italian fashion shows a distinct style quite different from the Northern European style regarding waist seams, waist height, and sleeve style, with the Northern European styles sharing more similarities with the 1460s and prior styles. However, both fashions do see a switch to predominantly symmetrical lacing in the 1480s as seen in the works of the Master of the Legend of Saint Lucy and Hans Memling (both considered Northern European painters) as well as many paintings by Domenico Ghirlandaio, Vittore Crivelli, and Sandro Botticelli (of the Italian school) (see fig. 6).

In conclusion, while asymmetrical lacing is certainly a documentable option for many styles of gowns in the 1450s-1550s, it is by no means the only period option, nor even the most common option of lacing hole placement seen in extant paintings of the period. The overwhelming numbers, 62 examples of symmetrical to 23 examples of asymmetrical (especially considering the absence of enough extant gowns to have a similarly large sample size for study), refute the commonly held belief that “offset is best” for the entire late SCA period in Western Europe.

Notes

  1.  Cynthia Long, “Kirtles 3 – Lacing,” The Medieval Tailor, accessed January 9, 2017, https://medievaltailor.com/kirtles-overview/kirtle-lacing/.
  2. Ruth Goodman, How to be a Tudor: A Dawn-to-Dusk Guide to Tudor Life (New York: Liveright, 2015), 21.
  3. Sarah Thursfield, The Medieval Tailor’s Assistant (Marlborough: Ruth Bean Publishers, 2001), 54.
  4. Not all collections allow their online catalog to be searched automatically for all of these categories. When such automatic sorting of search results was not possible I determined if the paintings met the criteria manually through a broader search of the catalog.
  5. There were several reasons for this. Not all museums detailed the location of the artist beyond “Europe” or “Northern Renaissance,” and also there is sometimes a disconnect between the painter’s native home and the location where the painting was found. As such, trying to break down the 109 paintings by location as well seemed like it would require too many personal judgements to be valid. As the popular advice is not generally limited by location, I choose not to break my results down by location either.
  6. Many of the paintings I initially examined do not show visible front lacing on women’s gowns, especially in certain periods. In several instances the vast majority of women in paintings from a decade did not have visible front lacing. This project was designed to examine the frequency of symmetrical versus asymmetrical front lacing options and did not count any gowns not showing visible front lacing.

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References

Crivelli, Vittore. Madonna and Child with Two Angels. 1481–82. New York, Metropolitan Museum of Art.

Ghirlandaio, Domenico. Portrait of Giovanna Tornabuoni. 1488. Madrid, Museo Thyssen-Bornemisza.

Goodman, Ruth. How to be a Tudor: A Dawn-to-Dusk Guide to Tudor Life. New York: Liveright, 2015.

Long, Cynthia. “Kirtles 3 – Lacing.” The Medieval Tailor. Accessed January 9, 2017.

Master of the Legend of Saint Lucy. Virgin Surrounded by Female Saints. 1488. Brussels, Musées Royaux des Beaux-Arts.

Memling, Hans. Triptych of Adriaan Reins (central panel). 1480. Bruges, Memling Mseum.

Style of Domenico Ghirlandaio. Costanza Caetani, 1480-90. London, The National Gallery.

Thursfield, Sarah. The Medieval Tailor’s Assistant. Marlborough: Ruth Bean Publishers, 2001.

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Appendix: Full List of Paintings Examined, Listed by Decade and Lacing Style

1450s

Symmetrical:
Cosmè Tura, Terpsichore, 1450s

Asymmetrical:
Jean Fouquet, Melun Diptych: Virgin and Child Surrounded by Angels, 1452
Cosmè Tura, A Muse, Calliope, 1455-60
Giorgio Schiavone, The Virgin and Child, 1456-60

1460s

Symmetrical:
Giovanni Bellini, Portrait of a Woman, 1450 – 1470

Asymmetrical:
Cosmè Tura, Pietà, 1460
Piero della Francesca, Madonna del Parto, 1460s

Unclear:
Francesco Benaglio, Virgin and Child, 1465. Symmetrical, but may be hooks of some sort instead of lacing rings.

1470s

Symmetrical:
Workshop of Andrea del Verrocchio, Madonna and Child, 1470
Piero della Francesca, Madonna of Senigallia, 1474
Sandro Botticelli, Portrait of a Young Woman, 1475
Attributed to Domenico Ghirlandaio, Lucrezia Tornabuoni, 1475
Andrea del Verrocchio, Madonna and Child, 1470-1480
Master of the Prado Adoration of the Magi, The Presentation in the Temple, 1470-1480 Though challenging to see, the young, shorter girl in the back shows symmetrical lacing when viewed closely.
Master of the Legend of Saint Ursula, Legend of St Ursula, the Church and the Synagogue, 1475-82
Master of the Saint Godelieve Legend, The Life and Miracles of Saint Godelieve, 4th quarter 15th century

Asymmetrical:
Domenico Ghirlandaio, Announcement of Death to St Fina, 1473-75

Unclear:
Master of the Life of the Virgin, Visitation, 1470. Under close inspection of a high resolution photo, the gown of the woman in red to the far right appears to be symmetrical, but the image is not clear enough to determine it with certainty.
Master of the Life of the Virgin, The Birth of Mary, 1470 Front lacing is visible but it is unclear if symmetrical or asymmetrical.
Carlo Crivelli, Altarpiece for the Cathedral at Ascoli Piceno: Madonna and Child, 1473 Closures are symmetrical, but may not be lacing.
Leonardo da Vinci, Portrait of Ginevra de’ Benci, 1474-78. This is debated if it shows symmetrical or asymmetrical due to the 3/4 profile causing the image to be seen at an angle.
Sandro Botticelli, Profile Portrait of a Young Lady (Simonetta Vespucci?), 1476. Appears to be symmetrical lacing, but could also be trim.

1480s

Symmetrical:
Master of the Legend of Saint Lucy, Legend of St Lucy, 1480
Hans Memling, Triptych of Adriaan Reins (central panel), 1480
Domenico Ghirlandaio, Portrait of a Young Woman, 1480s
Vittore Crivelli, Madonna and Child with Two Angels, 1481–82
Vittore Crivelli, Enthroned Virgin and Child, with Angels and Saints Bonaventure, John the Baptist, Louis of Toulouse, and Francis of Assisi, 1482
Sandro Botticelli, Venus and the Three Graces Presenting Gifts to a Young Woman, 1483-1486
Both the woman in green and the woman in white show straight lines of lacing across the bust.
Hans Memling, Triptych of the Family Moreel (right wing), 1484
Antoniazzo Romano, Annunciation, 1485
Style of Domenico Ghirlandaio, Costanza Caetani, 1480-90,
Domenico Ghirlandaio, Study, 1486
Domenico Ghirlandaio, Birth of Mary, 1486-90. Entered under asymmetrical as well because both styles are seen.
Domenico Ghirlandaio, Marriage of Mary, 1486-90
Domenico Ghirlandaio, Birth of St John the Baptist, 1486-90. While the front-laced gowns are all either symmetrically laced or not visible, there is a side laced gown that is offset.
Domenico Ghirlandaio, Herod’s Banquet, 1486-90
Domenico Ghirlandaio, Portrait of Giovanna Tornabuoni, 1488
Master of the Legend of Saint Lucy, Virgin Surrounded by Female Saints, 1488

Asymmetrical:
Master of the Baroncelli Portraits, Baroncelli Portraits, 1480-1490
Hans Memling, Diptych with the Allegory of True Love, 1485-90
Domenico Ghirlandaio, Birth of Mary, 1486-90. Entered above as well because two women show symmetrical where one other shows asymmetrical.

1490s

Symmetrical:
Crivelli, Carlo, Madonna and Child, 1490. Difficult to see, but the lacing is clearly spiral laced through symmetrical holes upon close examination.
Davide Ghirlandaio, Portrait of Selvaggia Sassetti, 1490
Alunno Niccolo’, Our Lady of Succour, 1490
Workshop of Domenico Ghirlandaio, Portrait of a Girl, 1490
Lorenzo Costa, Portrait of a Woman with a Pearl Necklace, 1490
Carlo Crivelli, Saint Catherine of Alexandria, 1491-4
Bernardino del Signoraccio, Madonna Enthroned with Saints, 1495
Sandro Botticelli, Judith with the Head of Holofernes, 1497-1500
Juan de Flandes, Portrait of Joan the Mad, 1496-1500

Asymmetrical:
Agnolo di Domenico Mazziere, Portrait of a Young Woman, 1490
Master of the Virgo inter Virgines, Virgin and Child with Sts Catherine, Cecilia, Barbara, and Ursula, 1490

Unclear:
Leonardo da Vinci, Madonna Litta, 1490-91. This shows two sets of symmetrical lacing over the breasts, one of which is unlaced allowing Mary to nurse. An interesting concept.
Giovanni Ambrogio de Predis, Portrait of a Woman in Profile, 1495-9. While there is front lacing, it cannot be seen if it is symmetrical or asymmetrical.
Juan de Flandes, Herodias’ Revenge, 1496. This may be front laced, but it also may be trim on the center front of the bodice.

1500s

Symmetrical:
Gentile Bellini, Portrait of Caterina Cornaro, Queen of Cyprus, 1500
Bernardino di Betto (Pinturicchio), No. 5: Enea Silvio Piccolomini Presents Frederick III to Eleonora of Portugal, 1502
Raffaello Sanzio da Urbino (Raphael), Portrait of Maddalena Doni, 1506
Andrea Solario, Salome with the Head of Saint John the Baptist, 1507-09
Girolamo di Benvenuto, Portrait of a Young Woman, 1508
Lucas van Leyden, Card Players, 1508-10
Francesco di Cristofano (Franciabigio), Head of the Madonna, 1509

Asymmetrical:
Unknown artist, Profile bust of a lady facing left, 1500.
Follower of Jan Gossaert (Jean Gossart), The Magdalen, early 16th century

1510s

Symmetrical:
Master of the Holy Blood, Lucretia, 1500-1520
Anonymous, Woman with Unicorn, 1510
Vittore Carpaccio, Portrait of a Young Woman, 1510
Lucas Cranach the Elder, Portraits of Henry IV of Saxony and Catherine of Mecklenburg, 1514. Only visible under extreme magnification, but the lacing is clearly symmetrical when examined closely.
Hans Holbein the Younger, Portrait of the Artist’s Wife, 1517

Asymmetrical:
Lucas Cranach the Elder, A Princess of Saxony, 1517

Unclear:
Lorenzo Lotto, Judith with the Head of Holofernes, 1512. Due to the position of the front lacing it cannot be determined if it is symmetrical or asymmetrical.
Hans Holbein the Elder, Portrait of a Woman, 1518-20. The front lacing could be interpreted either way due to the 3/4 profile putting everything on a slant.

1520s

Symmetrical:
Andrea Solario, Salome with the Head of Saint John the Baptist, 1520-24 (the artist had painted a similar work by the same name approximately 15 years earlier).
Lucas Cranach the Elder, Ill-Matched Couple: Young Man and Old Woman, 1520-22
Jan Mostaert, The Expulsion of Hagar, 1520-1525
Lucas Cranach the Elder, The Bocca della Verità, 1525-27
Lucas Cranach the Elder, Ill-Matched Couple: Young Widow and Old Man, 1525-30
Workshop of Master of the Magdalen Legend, The Magdalen Weeping, 1525

Asymmetrical:
Lucas Cranach the Elder, Portrait of a Young Woman, 1522
Bernardino Licino, Portrait of a Woman, 1524
Attributed to Francesco Torbido, The Holy Family with Saint Catherine, 1525
Paris Bordone, The Venetian Couple in Love, 1525-30
Lucas Cranach the Elder, Ill-Matched Couple: Peasant and Prostitute, 1525-30
Lucas Cranach the Elder, Martin Luther and Katharina von Bora, 1526

Unclear:
Lucas Cranach the Elder, Portrait of a Woman, 1525
Lucas Cranach the Elder, Portrait of a Woman, 1526
Jan Provost, The Coronation of the Virgin, 1524. This could be symmetrical lacing, but it could also be trim.

1530s

Symmetrical:
Girolamo da Santacroce, Christ and the Woman of Samaria, 1530s
Ambrosius Benson, Virgin Mother, active 1520s-1540s. You can actually see the ladder lacing used here as the ladders are done on the outside.
Lorenzo Lotto, Portrait of a Lady as Lucretia, 1530-32
Lucas Cranach the Elder, Saxon Princesses Sibylla, Emilia and Sidonia, 1535. Also listed under asymmetrical as both lacing styles are seen here.

Asymmetrical:
Lucas Cranach the Elder, Ill-Matched Couple: Young Girl and Old Man, 1530
Lucas Cranach the Elder, Portrait of a Young Woman, 1530
Lucas Cranach the Elder, Saxon Princesses Sibylla, Emilia and Sidonia, 1535. Also listed under symmetrical as both lacing styles are seen here.

Unclear:
Lucas Cranach the Elder, Portrait of Princess Maria of Saxony, 1534
Master of the Female Half-Lengths, Three Musicians, 1530. While under close observation this appears to be symmetrical (the top lacing runs parallel to the trim), the arm cutting across provides enough room for doubt that I am not counting it.

1540s

Symmetrical:
Lorenzo Lotto, Portrait of Giovanni della Volta with his Wife and Children, 1547
Lucas Cranach the Elder, Portrait of a Young Girl, 1540

Asymmetrical: None

1550s

Symmetrical:
Paris Bordone, Portrait of a Woman, 1550s
Tiziano Vecellio, Girl with a Fan, 1556
Follower of Titian, Portrait of a Woman (perhaps Pellegrina Morosini Capello), 1558-62

Asymmetrical: None

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

Entering Crown Tournament?

East Kingdom Gazette - Wed, 2017-08-30 11:10

Greetings unto all those intending to enter Fall Crown Tournament,

Please be aware that both the combatant and the consort must submit a letter of intent, either through the following link (preferred) or by email to TRH Prince Ivan and Princess Matilde with a copy to the Kingdom Seneschal. Joint letters are preferred if you are using the following link, or if you are using email.

http://surveys.eastkingdom.org/index.php/372252?lang=en

The Letter of Intent must be received by Coronation, October 7, 2017.

If using email, the letters of intent must include all of the following information for both combatant and consort: Society name, legal name, address, telephone number, years of residency and be accompanied by proof of membership with membership number & expiration date that is valid at least thirty days after Crown. If both entrants are combatants, then that should be clearly indicated.

TRHs also request that combatants bring heraldic shields for the list trees.

In Service to the East, I remain

Dueña Mercedes Vera de Calafia
Seneschal, East Kingdom


Filed under: Events Tagged: Crown Tournament

Ansteorra Begins Collecting Donations/PayPal for Victims of Hurricane Harvey

East Kingdom Gazette - Mon, 2017-08-28 17:23

This post has been shared by request from the Ansteorra Gazette, where updates and specific requests will be posted.

Greetings from Ansteorra!

As everyone knows, The Kingdom has been visited by Hurricane Harvey.  It has ravaged our coastline and many of our Baronies and Shires in that group have taken more than 20” of rain with more on the way.  Many people have evacuated, and some are still in the process of being evacuated.  It will be some time before we know the full extent of the damage Harvey has left.

Their Majesties, their Highnesses, and their Excellencies Bonwicke, their Excellencies Elfsea, and their Excellencies Steppes, and the autocrat of Braggart’s War this weekend have been very gracious in allowing me to place a collection container at the gate table to collect gift cards and cash for the victims of this storm. Please do not bring stuff. We are not ready to accept donations other than gift cards or cash, there is nowhere to store the stuff (the rain is still falling and everyone is still evacuated).  We will do another collection for this at a later time.

At this point, we are going to limit donations to gift cards, cash, and PayPal donations. Once people have returned to their homes and begun to assess the damage, we will begin to start a list (physical and amazon wish-type) of “stuff” that needs to be replaced, but we will only do that once the rain has stopped, Harvey has left, and they have a place to put it.

The only monies in the PayPal account are relief funds. Any cash received will be added to the PayPal account for accounting/accountability purposes. It is not an SCA affiliated account, nor are the donations tax deductible. All monies need to be given by individuals to help those who want to help those affected. All donations will be used to help the affected, and any excess money (after the tornado, we split all monies equitably, and I foresee this being the same situation with no excess) will be given equally to Red Cross, Salvation Army, TX Food Bank, and the Humane Society.

We could also use gift cards to help fill immediate needs and help with clean-up. The best gift cards are Generic Visa/MC, Wal-Mart, Target, Home Depot, Lowe’s, HEB, PetCo, and other big box stores.

Donations can be sent to the PayPal address AnsteorraTwister@gmail.com.

Mail (and gift card) donations can be sent to me:

Brandy Merrell
629 Unbridled Lane

Keller, TX 76248

I will send them on to where they will be most helpful.

Anyone can feel free to contact me for more information or clarification: Brandy.Merrell@gmail.com.

In Service,

Lady Marion inghean ui Ruanadha
DRC Ansteorra


Filed under: Tidings Tagged: Ansteorra, disaster relief

Wed, 1969-12-31 19:00