Attention, Talented Artisans of the Society for Creative Anachronism
In the Society for Creative Anachronism, we are a collective of volunteers, each serving in their own way at one point or another so that all may have a chance to play, enjoy, learn and have fun. It is on this mantra that the SCA has gone on for 50 years now, and shall continue to do so.
As we Celebrate 50 Years of the Society, many of our SCA family will be considering attending the SCA 50 Year Celebration Event, June 17th through the 27th of this year and many of them will be giving their time and service to the event, staffing the Gate, serving on the Watch, Marshalling the Lists.
Everyone who volunteers on site during the event will receive a ticket for each hour they serve. These tickets can be dropped into boxes that will labeled with the items you’ve donated: items that our volunteers would proudly use or displayed long after the event is over.
And Artisans, this is where you are most needed. We come seeking donations from the Amazingly Talented populace of the Known World: we are asking you to please consider donating handmade items that people would Buy/Trade/Commission for themselves.
If you’re considering a specialized item (something that must be custom sized or fit, for instance) or you aren’t sure how to submit it to the cause, please contact my Coordinator, THL Justice McArtain, at email@example.com
To Donate, or if you have any additional questions, simply email the following details to firstname.lastname@example.org
As a thank you to everyone who contributes, His Lordship Justice will be doing a raffle of his own.
Herr Alexander Adelbrecht von Markelingen
SCA 50 Year Celebration – Volunteer Relations Coordinator
Shared by request of the author. Original post may be found at the Midrealm Gazette
Filed under: Uncategorized Tagged: SCA 50 Year
The Battle of Clontarf in the Barony of the Endless Hills Barony of the Endless Hills, April 30, 2016
On April 23, 1014, at first light, the battle of Clontarf began, and by sunset, between 7,000 and 10,000 men were dead and the history of Ireland was changed forever. Much of Irish lore still holds that the Battle of Clontarf freed the Irish from foreign domination.
On April 30, 2016, at 9:00 a.m. (slightly later than first light), the third Battle of Clontarf will begin in the Barony of the Endless Hills, and by 7:00 p.m. (a bit before sunset), warriors and spectators alike will make their way home from a day of fighting and fun.
Do you like fighting with rattan? We have it!
Do you like fencing? We have it!
Do you like archery? We have it!
Is thrown weapons more your speed? We have it!
Do you prefer the elegance and beauty of A&S? We have it!
Perhaps you just prefer to relax around friends and enjoy delicious food? We absolutely have it!!!!
For those who have a penchant for martial activities, Clontarf will be hosting fencing tournaments run by Lord Alain Piat. Baron Murdock Bayne will be running a heavy tournament of honor which will include a procession and presentation to give up-and-coming fighters an opportunity to learn what they’ll experience if and when they fight for crown.
Baron Verdi and Baroness Fiona will be choosing their Baronial A/S champion at Clontarf, so all are invited (and encouraged) to bring their A&S projects to show off.
Archery is also on the schedule, as well as thrown weapons.
And, if that wasn’t sufficient enticement, Baron Perote Campbell will again be preparing a sumptuous dayboard for attendees.
There may be other events at the far ends of the Kingdom, but none where you will be made as welcome and appreciated as the Barony of the Endless Hill’s Battle of Clontarf. For details and other information, please contact Lord Cormacc mac Gilla Brigde.
Article and photos by Lady Christina Mary Lowe
Unto the people of Æthelmearc, and all those who read these words, do Byron and Ariella, King and Queen of Sylvan Æthelmearc, Send Greetings.
Words of Thanks and Praise are due to all those gentles who assisted in making Our Coronation the most glorious Day, the most Medieval Day, of our time in the Society.
First, to the Shire of Gryffyn’s Keep: You came together and created a venue that was unparalleled. I think that everyone who sat in that sanctuary will remember the spectacle for years to come. Although the weather wasn’t the most cooperative, everything else seemed perfect. The site, the staff’s courtesy, the food and table setting, the scheduling and communication: they were all we could have hoped for. It was clear that the people of the Shire had put in a wholehearted effort that made the event a success.
But particular Thanks are due to our autocrat, the good and Honorable Lord Thomas LeStrange. We called him to Us, and told him of Our need, and he responded in the most Noble of ways, creating a day that will always be a source of pride and pleasure for Us. Even as Thomas spreads his thanks to those that served, he speaks for Us, and Our thanks go with his.
We would note a special Thanks to Master Duncan Blackwater, who designed the site tokens. They were the most amazing, most medieval site tokens that We have ever received at an SCA event. If any gentle has the token of the Day, and has not yet compared it to the original coin of Edward III, take a moment and look at them side by side.
Our Thanks, and the Thanks of all Æthelmearc, are given to Master Steffan ap Kennydd of the East Kingdom, for his knowledge of medieval coronation ceremonies was the cornerstone of Our Coronation. We advise all gentles in Our Kingdom and abroad to receive him with honors, as he is a man of depth and learning. The details of the Coronation ceremony have been freely published online, and we hope to have video soon to match.
Also critical to Our Ceremony was the Choir, led by Mistress Arianna of Wynthrope. The singing (in Latin) of the Roll of Kings and Queens was a lovely addition that brought tears to many eyes.
To all those who participated in the Ceremony, as Escorts, Heralds, Order representatives, or Pages, We thank you. Know that 600 years ago, those same words were spoken, and those same steps trod, by those we try to emulate in our Society. To Our reign staff, retainers, and guards, we know that the wonderful Service you rendered Us this Day will continue throughout Our Reign.
And to those who braved the cold and snow to witness Our ascension to the Sylvan Thrones, we thank you as well. We hope that the memory is precious to you, as it is so very much to Us.
Byron, Rex AEthelmearc
Ariella, Regina AEthelmearc
A leaky roof may be responsible for the rediscovery of a long-lost Caravaggio masterpiece. In the attempt to reach the leaking roof of a 17th century house outside Toulouse, in April of 2014 the homeowners broke through a door in the attic that they had never noticed was there. Behind the door was an oil painting depicting the Biblical heroine Judith beheading Assyrian general Holofernes while her begoitered maid Abra holds open a bag in which his head will be placed. It was covered in dust but otherwise in excellent condition. The family called in local auctioneer Marc Labarde to assess the painting. He cleaned the white film of grime off the face of the maid with cotton balls and water and identified it as a 17th century painting from the school of Caravaggio.
Labarde called in friend and Old Master expert Eric Turquin to examine it further. Turquin spent two years cleaning, conserving and studying the painting. He had it X-rayed and analyzed with infrared reflectography. He found key elements characteristic of Caravaggio’s work: great speed of execution, bold, secure brushstrokes and, because Caravaggio never made preparatory sketches first, changes done midstream to the positioning of Holofernes’ right hand and Judith’s face. Two Caravaggio experts examined the painting and agreed with Turquin that it was the original work lost almost 400 years ago. Another determined it was a copy, albeit a very good one.
Caravaggio painted an earlier Judith Beheading Holofernes (1598–99) which is now part of the collection of the Galleria Nazionale d’Arte Antica in the Palazzo Barberini in Rome. He made the second in Naples during the first decade of the 17th century. We know of its existence because Frans Pourbus the Younger, a Flemish painter at the Gonzaga court in Mantua, wrote about it in a letter to his boss, Vincenzo Gonzaga, Duke of Mantua. Dated September 15th, 1607, the letter noted that Caravaggio’s Madonna of the Rosary, now in the Kunsthistorisches Museum in Vienna, was for sale in Naples for 400 ducats. Pourbus also mentioned seeing another Caravaggio painting, a Judith and Holofernes, for sale.
What he didn’t tell Gonzaga was that both works were owned by a good friend of his, Flemish artist Louis Finson. The Duke was unwilling to spend 400 ducats on one Madonna, because a few years later Finson took it to Amsterdam with him. Finson also took Judith Beheading Holofernes to Amsterdam. Both Caravaggio works are listed in his will, but after his death in 1617, the Madonna was acquired by a consortium of artists including Peter Paul Rubens for a church in Antwerp while Judith disappears from the historical record.
Caravaggio was very famous in his lifetime, and while he never had a literal school or workshop with students like other masters did, he had followers who copied his works and painted pieces of their own that were heavily influenced by Caravaggio’s style. Louis Finson was one of the first Flemish Caravaggisti, as the followers were known, as was Rubens. Finson lived in Naples in the early 17th century when Caravaggio was there too. He owned several of Caravaggio’s original works and copied others. The Finson version of Judith Beheading Holofernes was considered a very faithful copy and since the original was lost, for close to 400 years, Finson’s copy was the only extant image of the work. Finson didn’t take it to Amsterdam and it is now on display in the Palazzo Zevallos Stigliano in Naples.
The French government has placed an export ban on the painting which means it cannot leave the country for 30 months. This will give experts plenty of time to study the work in greater detail, and will give French museums the opportunity to tap potential donors for the astronomical sum — something in the $130 million range — required to buy the work should it prove to be an authentic Caravaggio. As a contemporary copy of some quality, Louis Finson’s version will play an important role in the authentication process. One expert believes the newly discovered work is in fact another copy by Finson.
Mr. Robinson allowed the five and a half foot-long pink granite stone to remain on his property for a year before arrangements could be made to remove it for conservation. In 2014, the Dandaleith Stone was transferred to Graciela Ainsworth Sculpture Conservation in Leith, Edinburgh, where Graciela Ainsworth’s team conserved it, documented it and laser scanned it to create a 3D model of the stone.
Meanwhile, the symbol stone was declared a Treasure Trove and the Scottish Archaeological Finds Allocation Panel allocated the find to the Elgin Museum, Scotland’s oldest independent museum (est. 1842), in Elgin, just 15 miles north of Dandaleith. The museum then had to raise the funds to pay the landowner and finder a fee equal to its assessed market value, plus more to pay for transportation, conservation and display. The fundraising was successful, thanks to contributions from the Heritage Lottery Fund, AIM, the Art Fund, the Pilgrim’s Trust, and Aberdeenshire Council Archaeology Service.
On March 1st of this year, the Dandaleith Stone was transported to the Elgin Museum by Graciela Ainsworth. She also brought the carved Pictish and early Medieval stones from the museum’s permanent collection that were conserved at her Edinburgh facility. The next day, the Dandaleith Stone was hoisted into position in the museum’s new display by the Elgin Marble Company which generously donated the equipment, time and manpower necessary to raise the massive stone and install it vertically next to a new row of lit shelves to display the museum’s other, much smaller carved stones.
The new Pictish Stone display opened to the public on Saturday, March 26th. Ploughman and finder Andy Johnstone was invited to cut the ribbon at the exhibition opening.
The Fortieth Festival of the Ice Dragon, once again held on April 2nd at the Connecticut Street Armory in the Barony of the Rhydderich Hael, was packed with its usual heavy fighting, youth fighting, fencing, Arts and Sciences Pentathlon, meetings, and courts. Lord Wolfgang Starcke, on his fourth stint as Ice Dragon autocrat, reports that about 650 gentles were in attendance.Morning Courts and Curia
Morning court saw three gentles sent to contemplate elevation to the peerage: Baroness Laurencia of Carlisle was sent to vigil to contemplate elevation to the Order of the Laurel for her skill in costuming; Don Anias Fenne was sent to vigil and to play the prize in preparation for being admitted to the Order of Defense, and THLord Marek Viacheldrago was sent to vigil for elevation to the Chivalry.Click to view slideshow.
Anais, Marek, and Laurencia are sent to vigil. Photos by Mistress Arianna of Wynthrope.
After court, the Imperator held a Curia where the Award of the Golden Escarbuncle was officially entered into Kingdom Law. This award is to be given to gentles who impress the Crown on a specific occasion, whether for martial, artistic, or service activities.
Later, before the start of the Heavy Weapons Tournament, Augustus Tindal summoned the Order of Chivalry to him and then called forth Baron Aquila d’Athos, sending him to vigil to contemplate elevation to that Order.Heavy Weapons Tournament
The Heavy Weapons bear pit tournament, run by Sir Sextus Plinius Callidus, commenced with 86 fighters lining up to test themselves against other combatants. Points were given for wins only, and any fighter who held a list for 5 rounds without being defeated was required to leave the list and join the line to return. The tournament ran for two hours, with the wait time in line averaging 2 minutes. Once again, Duke Maynard von dem Steine dominated the field, emerging from the tournament with 127 points. The next closest competitor, Sir Evander MacLachlan of the Kingdom of Ealdormere, accumulated 54 points. Duke Sven Gunarrsson was third. Duke Maynard has won the Ice Dragon Bear pit at least 8 times over the years.Rapier Tournaments
The Rapier list, run by Don Berhend von Elmendorf, held two tournaments. The first was a Pool Round Robin, where the fencers were divided into four lists of 10-11 fighters who fought round robin, and then the top two fencers in each list went on to a double-elimination final. The victor was Don Lodovic of Gray’s End, with Mistress Eyrny Ormarsdottir of the Kingdom of Ealdormere coming in second.
The second rapier tournament was a Bear Pit in which fencers were limited to a dagger and parry object. It was won by Master Will Parris with a total of 92 points. Don Clewin Kupferhelbelinc and Doña Fredeburg von Katzenellenbogen were tied for second with 65 points each.
The fencers also voted for who had made the “prettiest” kill. Don Po Silvertop nominated Duchess Dorinda Courtenay for slaying him in a particularly artistic manner, and the other fencers apparently agreed as she was named the winner of that honor.Youth Combat and Youth Rapier
The Youth Combat list, run by Baron Edward Harbinger with MIT Baroness Anastasie Lamour, was busy with about 10 youth fighters. Many were new to youth combat so there was no tournament, but first-time fighters armored up with loaner gear and got to spar with more experienced youth fighters. All had fun and learned a lot.
There was also youth rapier combat, with one young gentle, Simon Fjarfell, authorizing as a Division 1 youth fencer and then winning the three-person youth rapier tournament.Arts and Sciences Pentathlon
The Arts and Sciences Pentathlon, run by Mistress Ysabeau Tiercelin and Mistress Juliana Delamere with assistance from Mistress Filipia Cupbreaker, attracted a goodly number entries ranging from ceramics to fiber arts, scribal entries and woodworking, as well as soap-making and music. Many of the entries can be viewed in the slide show below.Click to view slideshow.
Although entries have always been divided into levels (from novice to Laurel), this year the levels were only judged against each other since there were places at each individual category level as well as for the Pent itself (in past years all entries had been judged together with scores only counting for the Pentathlon at the different levels, and the judges unaware of whether they were judging a beginner or more advanced artisan). The levels were novice (Sycamore or no arts award), artisan (Fleur or other grant level award) and Laurel. There was also a category for youth entries. To create more time for judges to give in-depth comments, the Pent eliminated the complicated scoring sheets and went back to the original ribbon system of awarding first, second and third places.
There were over 115 individual entries, more than double that of the previous year.
The Pent winners were:
Various nobles also chose their favorites to single out for recognition:
In addition, the Imperator gave Golden Escarbuncles to Lady Edana the Red and Lord Ruslan Igotavich Voronov in recognition of the outstanding quality of their entries.
A full list of Pent category winners, with photos of all the first prize category entries, will be forthcoming this week.Princess Ariella’s Favor Design Competition
Also in the Pentathlon room was Princess Ariella’s contest to choose the favor design for her reign. The design submitted by Lady Maggie Rue of the Shire of Hunter’s Home was chosen by both Her Highness and the populace as the favorite. Information on how to assist in making favors for Her Highness is available here.Other Activities
While the rest of the site buzzed with activity, dancers made use of the court hall for dancing, and Lady Cordelia Colton ran children’s activities.
Of course no Ice Dragon is complete without the salons and merchants. Many of the usual merchants were there, including Mistress Gabrielle d’Auvergne with her fiber arts, Master John Michael Thorpe with an assortment of weapons and related goods, and other vendors selling items like jewelry and feast gear. Many of the salons offered displays and food themed to their group, including Clan Yama Kaminari’s Japanese salon. As always, the Scribes of Æthelmearc had a table where gentles could pick up completed backlog scrolls.
The Tavern was ably run by Lord Ursus Epicurius, and featured both meat- and vegetarian-based dishes.
As if all this activity was not enough, there were also numerous meetings, including one for autocrats and exchequers to explain the new terminology around what was previously referred to as the non-member surcharge, the first meeting of the new Æthelmearc Cooks’ Guild being formed by Lady Arianna dal Vallone of the Shire of Sylvan Glen, and meetings of various Orders and Marshals’ groups.Afternoon Court
Afternoon court was long but many gentles stayed to the end to see their friends and family recognized for their accomplishments and skills. In addition to the tournament and pentathlon prizes listed above, numerous awards were bestowed on worthy gentles, notably a Fleur on Lady Katerina das Vögelein in absentia, Gage on Lord Garreth Whytbull, a Millrind on Baron Magnus de Lyons, and a Scarlet Guard on Baron Edward Harbinger.
Court ended with the elevation of the four new peers.
Baron Aquila d’Athos was first, with Barak Sir Carthalo (formerly of the Rhydderich Hael and now of Atlantia), speaking on behalf of his former squire for the Chivalry; Duke Timothy of Arindale as a Royal Peer, Master Fergus for the Order of Defense, Mistress Alison of the Many Isles on behalf of the Order of the Laurel, and Countess Caryl Olesdottir for the Pelican. Sir Michael of Northwood and Duke Khalek Shurrag Od buckled the spurs of a knight on his feet, and his lady, Baroness Bronwyn nic Gregor, placed the white belt of a Knight around his waist. The Imperator delivered the traditional buffet and then hugged Sir Aquila in congratulations.
Next, Don Anais Fenne processed in, preceded by the cutest sword-bearer in the Kingdom, his three-year-old son Elijah. For Don Anais, Count Isenwulf Thorolfeson spoke on behalf of the Royal Peers, Sir Tristen Sexwulf for the Chivalry, Master Quinn Kerr for the Laurels, Mistress Aleea Baga for the Pelicans, and Master Iago Benitez for the Order of Defense. Augustus Tindal placed the white livery collar around Don Anias’ neck and proclaimed him a Master of Defense.
Then the Silver Buccle Herald called forth Baroness Laurencia of Carlisle to be elevated to the Order of the Laurel. Master Llewelyn ap Goddodin of the East Kingdom spoke on behalf of the Chivalry, Duchess Dorinda Courtenay spoke on behalf of the Masters of Defense, Duchess Liadain ní Dheirdre Chaomhánaigh spoke as a Pelican, and Mistress Cori Ghora spoke on behalf of the Laurels. Her Excellency was invested with an ornate hood made by Mistress Elisabeth Johanna von Flossenburg and received a Laurel wreath crafted by Mistress Geirny Thorgrimsdottir. His Majesty pinned a Laurel brooch to her hood and named her Mistress Laurencia.
Last came the elevation of THL Marek Viacheldrago. Having already surrendered his squire’s belt to his liege, Sir Tristen, at morning court, he pronounced himself ready. Dukes Maynard von dem Steine and Khalek Shurrag Od spoke as Royal Peers, Mistress Dorinda once again as a Master of Defense, Duchess Liadain once more represented the Pelicans, Mistress Chrestienne de Waterden spoke on behalf of the Laurels, and Sir Alric of the Mists spoke emotionally on behalf of the Chivalry. Sir Tristen bestowed upon His Lordship the Knight’s Chain of the West, which he proclaimed had been worn by 40 Knights, who had among them sat a throne 80 times. Sir Tristen and Sir Alric affixed the spurs to his boots, and his lady, Sybilla Julianna Detwyller, tied the white belt around his waist. Augustus Tindal delivered the buffet, and the populace cheered the new Knight, Sir Marek.
The Augusta being absent, it fell to the Imperator to choose His inspiration of the day. He called forth THLady Zofia Kowalewska and thanked her and the scribes of Æthelmearc for their work completing backlog scrolls, many of which had been on display in the scribal booth.
With that, court was closed and another Festival of the Ice Dragon came to an end. Alas, the Ice Dragon itself was not through, and many gentles had long slogs home that night through a raging snowstorm. We can only hope that the Ice Dragon retreats soon to leave us to our long-awaited spring!
Due to the Crown Tourney Letters of Intent website inadvertently closing early, it has been reactivated and will remain active until approximately 6:00 PM EDT on Tuesday April 12th.
The address is http://surveys.eastkingdom.org/index.php/925981/lang-enMercedes Vera de Calafia East Kingdom Senechal
Filed under: Announcements Tagged: Crown Tournament, Crown Tourney, Letter of Intent
An extremely rare surviving 13th century tile floor at Cleeve Abbey in Somerset is now back on display under a new, state-of-the-art shelter. The oak shelter will protect the 40 x 16-foot section of pavement from the elements, something its predecessor, a tent, could not do.
Cleeve Abbey was a Cistercian monastery founded by William de Roumare, Earl of Lincoln, in 1198. Populated by only 12 monks in the beginning, by the mid-13th century there was a cruciform church, a cloister, chapter house, sacristy and dormitory. The refectory was constructed in the second half of the 1200s, probably around 1270, and it was paved with expensive polychrome encaustic tiles nine inches square. Each tile is decorated with heraldic designs. The arms of several aristocratic benefactors of the monastery were kiln-baked into the floor tiles, including the chevrons of the earls of Gloucester from the de Clare family, the lion rampant of the earls of Cornwall, the double-headed eagle of Richard of Cornwall, second son of King John of Magna Carta fame, who bribed his way into election as King of the Romans (ie, King of what would become Germany) in 1257, and the three white lions of the Royal Coat of Arms representing monastery patron King Henry III, Richard’s brother. Archaeologists believe they were manufactured by a tilery in Gloucestershire and installed to celebrate the marriage of Edmund, 2nd Earl of Cornwall, to Margaret de Clare in 1272.
In the 15th century, the old refectory was demolished and a new, larger refectory was built just to its north. The old tile floor was not reused elsewhere (the usual practice when dealing with luxurious features like these tiles), but buried, keeping it in situ in its original configuration virtually undamaged for 400 years. Thanks to its hiding place, the floor made it through the Dissolution of the Monasteries unscathed while the abbey church was demolished. Henry VIII sold the abbey property and other structures, stripping any valuable architectural features for individual sale. The abbey became a farm, and most of the buildings are still standing today because of it.
The Cleeve Abbey tiled pavement is the only large example of a decorated medieval refectory floor in Britain. The fact that it survived with its original placement still intact makes it a rarity of international significance. A smaller piece of the 13th century church floor was also discovered at Cleeve Abbey, and while it too is made of colorful encaustic tiles, they have been relain and look like a patchwork quilt now.
The old refectory floor was rediscovered in 1876. To protect it for future generations, the floor was reburied until 1951 when it was again exposed and displayed to the public. It was covered each winter to save it from inclement weather and uncovered during the summer months so tourists could view it.
In the 1990s, tests by English Heritage found that the tiles were dangerous deteriorating from their exposure to the elements. Thermal stress was damaging the protective glaze surface and eroding the detailed patterns in the clay, while microbes and high salt gnawed away the priceless pavement. In an attempt to prevent further damage, English Heritage installed a marquee tent over the floor tiles, which helped keep the sun’s rays from hitting the tiles directly but was only a temporary solution while they worked on a permanent one.
Last year construction began on a new shelter made of louvred oak slats which allow light to enter the space for optimal viewing, but keep direct sunlight from beating down on the tiles. There’s a ventilation system which keeps the temperatures inside the enclosure stable at all times. Visitors can enjoy the floor comfortably from seating and viewing platforms.
The new shelter opened on Good Friday, March 25th, 2016, and will be open daily through October 21st, 2016, which is when Cleeve Abbey closes for the winter. It will open again next spring.
The next in our series of Æthelmearc Artisan Profiles, from Meesteres Odriana vander Brugghe: Lord Angellino the Bookmaker.
For this month’s Artisan Profile, I had the pleasure of interviewing Lord Angellino the Bookmaker. During his years in the SCA, Angellino has done a little bit of everything: Fighting, marshaling, archery, thrown weapons, shopping, dancing (at least once), bardic arts, and the scribal arts. Despite his diverse experiences, his focus is on the scribal arts and running the Inter-Kingdom Scribal Guild (INKS Guild) with Lady Ylaire Sainte Claire and THL Ursula of Rouen.
What is your background? Specifically, did you attend school to learn your art or did you come to your art through the SCA or some combination of the two?
I mostly scribbled with pen and pencil back in high school in favor of actually applying myself. (don’t just stay in school kids but pay attention, it’s worth it). I had all but left art that behind in my adult life prior to joining the SCA. I had gone to a couple of scriptorium events in the Shire of Sylvan Glen when Marija Kotok mentioned that AE was always looking for new blank templates and I thought “I can do that”. I owe being a scribe entirely to her because she was the person who set me on the path. My first tentative steps were quaint, looking back. Each time I’d finish a template, like it or not, I’d paint it anyway (just to prove it could be turned into a scroll) then think “I can do better than that.” The process still holds to this day.
Can you tell me a little bit about the INKS Guild?
This is a group that I had the idea of creating and my wife, Lady Ylaire, supported me in creating. THL Ursula is the administrator for the guild and is an essential part in its success. It’s a collective of scribes from 3+ Kingdoms that do scroll blanks for whatever Kingdom needs them. We use a facebook group to coordinate with each other.
Currently we’re finishing up a package for Atlantia but instead of blanks we’re doing 10 backlogs for Atlantian kids.
What inspires you?
All kinds of stuff. I comb through art both modern and historic. It’s surprising sometimes what I pick up and think “I can use that.” Sometimes it’s just the way they turned a small line, added a brush stroke, two colors sitting next to each other or even how they went from nose curvature to eyebrow on a face. It’s all about breaking down what I’m looking at, how they layered the paint, spatial relations, shading or not, blending, any and all combinations of everything on the canvas. Taking it as a whole then drilling down and examining the pieces.
What work do you most enjoy doing?
All of it. Creating something from nothing scratches a very special itch for me that nothing else can compare. I know we’re a historical re-creation based society but I’m in it for the art part WAY more than I’m in it for the historical part.
What memorable responses have you had to your work?
For the most part, I don’t get a lot of feedback/responses to my work and I kind of like it that way. I like my art to speak for itself and I’m not doing this for recognition. All I ever want to hear about a scroll going out is if the recipient liked it and I can usually get that from a friend who was in court when it was given out.
I will say though, as part of the INKS guild, I had a scroll end up being awarded to a lady in The East Kingdom (Connecticut). I’d never had a scroll go so far before and she sought me out (with no real connection between us) through the web to ask if I would blazon her AoA and paint her device on it. She’d been in the SCA for quite some time and had never gotten her AoA [scroll]. She was excited and pleased with my work and wanted me to complete the scroll so she sent it back to me to put her device on it. It was like having a pen pal in another country! (which I guess it was when you think about it)
What research do you do?
I’m more obsessed with the art part than the historical part. I comb over picture after picture looking for new and unusual things to make something different for the recipient. Rarely a day goes by that I don’t squirrel something away in a folder on my computer with a thought of “I think I can take that style and make something new out of it”.
How have your work practices changed over time?
I’m a structured planner sort of person. So, when I first started, I sat down and logically thought out how best to take something digital and move it to a finished state on paper. My general process has changed little since I’ve started; mostly what I change is style, pushing myself to draw stuff I’m not good at drawing (people and animals!) and try to put something new into every piece I do.
Who inspires you (either inside or outside of the SCA)?
Everything and everyone. I’m always looking through what other people are doing (both in and out of the SCA scribal circles). Deconstructing, trying to see what someone did to create an end piece. Everyone comes at scribal differently, everyone has something to bring to the table.
What is your dream project?
My next project, definitely. Have I shown you pictures? I’ve got this crazy idea and I’ll get it done in two weeks!!! Honestly, I drive everyone around me nuts talking about “my next big thing” that will never live up to the expectations in my head but darnit, in my head at least, it’s gonna be the freakin’ Mona Lisa! Only to mope at every errant brush stroke or every paint mix that didn’t dry to the color I wanted or didn’t have the right shading but that’s ok cause have I told you about my next project? It’s going to be 3-D and have unicorns and one hundred and seventy different colors.
If you would like to see Lord Angellino’s work, please visit his Deviant Art page.
If you would like to participate with the INKS Guild or learn more about it, please visit their Facebook page.
The jewelry is almost certainly local work. The area was known for its very fine gold and silversmiths. The work of the Chiprovtsi smiths was famous all over Eastern Europe for its complexity and delicacy. They had access to a steady supply of precious raw materials, thanks to local silver ore deposits which were extensively mined in the 16th and 17th centuries.
After the Ottoman conquest of the Second Bulgarian Empire in 1396, some areas were granted the right of Christian self-government, among them the village of Chiprovtsi and neighboring towns. When silver ore was found in the region in the second half of the 15th century, the population of the villages swelled with Roman Catholics, Eastern Orthodox, Albanians and German miners while the old Catholic nobility appears to have ruled virtually undisturbed with only a token Ottoman representation in the municipal government. Chiprovtsi was closely linked to the Catholic ecclesiastical hierarchy as well. The official residence of the Catholic archbishops of Bulgaria was Chiprovtsi’s Monastery of St. Mary.
The mix of peoples, strong Catholic leadership and quasi-autonomy of the region spurred residents to seek to overthrown the Ottoman Yoke. The Chiprovtsi Uprising, a rebellion of Roman Catholic (and some Eastern Orthodox) Bulgarians against Ottoman rule, was precipitated by Austria’s capture of Belgrade from the Turks on September 6th, 1688. Chiprovtsi Catholics had been trying to induce the monarchies of western Europe to take Bulgaria from the Ottomans for more than four decades, coming very close several times to triggering elaborate invasion plans that ultimately fell through. When Belgrade fell to the Austrians, the Chiprovtsi rebels thought that after so many false starts, the moment had finally come. Hopeful that the Austrians would send reinforcements to support the uprising, extend their victory east and ultimately liberate all of Bulgaria from Ottoman rule, the insurrectionists rose up and fought the Ottomans and their Magyar allies.
It did not go well. There was no coordination between Austrian and Bulgarian forces, and the Turks handily won the military encounters. The decisive battle took place near Montana, then called Kutlovitsa, in October of 1688. The Ottomans won decisively. They captured Chiprovtsi on October 18th and razed it to the ground, killing almost everyone and enslaving whoever survived. While a much-reduced guerilla resistance continued for a few months, the Austrians never came and much of the remaining population fled west to the Danube or north to Wallachia. Archbishop Peter Knezevic led the emigration to Wallachia. Few Christians remained in the northwest and the Ottomans ruled directly, stripping the Bulgarian nobility of their old privileges and political power.
The National Museum of History experts believe the cache of silver jewels was a family fortune buried in the turbulent days of the Chiprovtsi Uprising in the fall of 1688. Since almost everyone in the area was killed in battle, executed, enslaved or fled, there was nobody left to dig up the treasure.
Archaeologists excavating the back yard of the Wallingford Museum on High Street in Wallingford, Oxfordshire, have unearthed a tiny medieval chess piece. At first museum curator thought it was a figurine of a cat, but once it was cleaned, they recognized the artifact as an Arabic chess piece carved from the tip of an antler.
[Curator Judy Dewey] said: [...] “It is one of only about 50 medieval chess pieces found in England and, at only 21.7mm high, it is unique in being the smallest medieval Arabic chess piece known in the country.
“The chess piece was made from the tip of an antler in the 12th or 13th century and is highly decorated with traditional roundels – most other such pieces are at least double the size.
This is a bishop so the other pieces in the set must have been really tiny – it may have been part of a travelling set.”
The museum’s main building was once Wallingford Priory, a Benedictine abbey that was suppressed by Cardinal Wolsey and of which only the foundations remain today, all of them underground. Wolsey secured a papal bull ordering the dissolution of Wallingford and 30 other small monasteries deemed to be rife with corruption. Funds raised from the dissolution would go to one of Wolsey’s pet projects: the construction of Cardinal College at the University of Oxford. The priory was surrendered in 1525 to notary John Allen, as witnessed by Thomas Cromwell, then Wolsey’s right hand man. It took three more years before the priory was finally suppressed for good. On July 6th, 1528, the monastery and its lands were formally transferred from the crown to Cardinal Wolsey for the construction of his college at Oxford.
Before the demise of the abbey, visitors to the castle of Wallingford were sometimes housed in the priory. Chess was deemed a game for the nobility and educated classes. Any one of those visitors might have owned a portable set, or the monks themselves may have played.
Chess was introduced to Europe from Persia by the Islamic Arabian empire, likely through Spain. The Norman French brought it with them to England after the Conquest in the 11th century. Within a hundred years the original Arabic designs and names of the pieces were altered to forms more recognizable to the elite players of northern Europe. The Vizir became the Queen, the Fars (horse) became the Knight and the Al-Fil, the war elephant, became the Bishop. The look of the pieces shifted from the non-figural representation of the Islamic tradition to the people and characters we know today.
The piece discovered at Wallingford is a war elephant, aka the future Bishop. The round protrusions represent tusks. To Christian European eyes those bumps were reminiscent of a bishop’s mitre, which is how the war elephant became a high-ranking clergyman. The piece likely dates to before the mid-12th century when the figural designs set in, increasing the game’s appeal and popularity across Christendom.
The chess piece is now on display at the Wallingford Museum. Digging is scheduled to resume this July, and archaeologists are crossing their fingers and toes that they might find more pieces from the set. It’s a long shot, however.
Documented from the Scrolls of the Reign of Magnus Tindal and Etain II, basileos kai basilissa Æthelmearc: the Business of The Emperor’s Court at The Festival of the Passing of the Ice Dragon, 2 April Anno Societatis L, in the Barony of Rhydderich Hael, accompanied by Their Highnesses Byron and Ariella, Prince and Princess of Æthelmearc; Their Highnesses Nigel and Adrielle, Prince and Princess of Ealdormere; and Their Excellencies Magnus and Miriel, Baron and Baroness of the Rhydderich Hael. As recorded by Their Silver Buccle Herald, Kameshima-kyō Zentarō Umakai, with the assistance of Baroness Miriel du Lac; Baroness Helena Mützhasenin, Fleur d’Æthelmearc Herald; Brehyres Gwendolyn the Graceful; THL Gytha Oggesdottir; and THL Sophie Davenport, Seedling Pursuivant.
In the morning:
The Imperator called for Baroness Laurencia of Carlisle, who had been served at Rhydderich Hael Investiture with a Writ of Summons to contemplate elevation to the Imperial Council of the Laurel. Confirming that it was her intent to sit vigil, the Imperator convened the said Council and directed them to conduct Her Excellency to the place that had been prepared for her.
The Imperator then summoned THL Marek Viacheldrago, who had been served at Gulf Wars with a Writ of Summons to contemplate elevation to the Imperial Council of Chivalry. Confirming that he too was prepared to sit vigil that day, he returned his belt of servitude to his Knight, Sir Tristan Sexwulf, who released Marek from his oath of fealty. The Imperator then convened the said Council and directed them to conduct His Lordship to the place that had been prepared for him.
The Imperator next called for Don Annanias Fenne, who had also been served with a Writ of Summons at Gulf Wars, his to contemplate elevation to the Imperial Council of Defense. Confirming as well that he was prepared to hold the field in contemplation, the Imperator convened the Council and directed them to conduct His Lordship to the field that was prepared for him.
The Imperator announced that following Morning Court, the Royal Curia would be convened to approve the addition of the Award of the Golden Ecarbuncle to Kingdom Law, and following Curia, Imperial business that had not been completed would be conducted.
The Kingdom Officers approved the addition of the Award of the Golden Escarbuncle into Kingdom Law.
Lady Elsa Taliard was inducted into the Order of the Cornelian in absentia.
Ayleth of Stormsport was Awarded Arms in absentia.
Edwynne of Casa Valdez, called Lairdbreaker, was Awarded Arms in absentia.
Elva the Evil was Awarded Arms in absentia.
Lady Tomassa Isolana was inducted into the Order of the Golden Alce in absentia.
Master Ian Muir was inducted into the Order of the Golden Stirrup in absentia.
Count Sir Andreas Morgan was inducted into the Order of the Keystone in absentia.
Lady Laurentia of Caledonia was inducted into the Order of the Keystone in absentia.
Lady Maggie Rue was inducted into the Order of the Keystone.
Lord TW of Livonia was inducted into the Order of the Sycamore in absentia.
Before the heavy weapons tournament:
The Imperator had words for His Excellency, Baron Aquila d’Athos, whose skill on the field was matched by his service to the heavy weapons community and to the Kingdom at large. Thus is was decided that, instead of marshalling the day’s tournaments, His Excellency should instead sit vigil in contemplation of elevation to the Imperial Council of Chivalry. The Council was convened, and His Excellency was escorted from the field to a place that had been prepared for him.
In the evening:
The children of the Kingdom were assembled, and excused from the business of Court that they might be better entertained.
The Imperator granted leave to Their Excellencies to conduct the business of their Baronial Court.
During Baronial Court, the Imperator called for THL Ruslan Igorovich Voronov and Lady Edana the Red, and awarded them the Golden Escarbuncle for being his two finalists for King’s Choice in the Arts and Sciences Pentathlon.
Her Highness Ariella announced that of the many designs that had been submitted for her Queen’s Favor competition, she had chosen Lady Maggie Rue‘s design, and decreed that 700 of them should be made immediately. Any interested in assisting in this venture should contact Her Highness.
Cassandra MacTire of Norwich was Awarded Arms for her skill in leatherworking and her assistance in preparing for events, regardless of whether or not she would be attending. Scroll by Lady Vivienne of Yardley.
Siobhan Readnait was Awarded Arms for her service in preparing side boards, sitting troll, and event cleanup, as well as her prowess on the archery field. Scroll by THL Eleanore Godwin.
Lord Wolfgar Ronaldson was inducted into the Order of the Golden Alce in absentia.
Lady Brigette de Sainte Mere-Eglise was elevated to the Order of the Keystone for her many years of service as Baronial officer, dance mistress, marshal, and mistress of the lists. Scroll illuminated by Baroness Juliana Rosalia Dolce di Siena and calligraphed by Tiarna Ard Padraig Ó Branduibh.
Mistress Liadin ní Chléirigh na Coille was created a Companion of the Order of Keystone for service to the Barony and to the scribal community. Scroll by Lady Vivienne of Yardley.
Lady Edith of Winterton was inducted into the Order of the Sycamore in absentia for her devotion to the research of fiber arts, including the raising of sheep and the spinning and dyeing of thread. Scroll by Baron Caleb Reynolds.
Lady Katerina das Vögelein was Granted Arms and inducted into the Order of the Fleur d’Æthelmearc in absentia for her skill in the art of tailoring. Scroll illuminated by THL Isabel Fleuretan and calligraphed by Kameshima-kyō Zentarō Umakai.
Lord Garreth Whytebull was Granted Arms and elevated to the Order of the Gage for his skill in sword and shield combat, as well as his extensive travel to both learn and teach others. Scroll by Lady Felice de Thornton and Lady Juliana Stafford.
Baron Magnus de Lyons was named to the Order of the Millrind for his extensive service to his Barony. Scroll by Lady Mary Elizabeth Clason.
Baron Edward Harbinger was created a Companion of the Order of the Scarlet Guard for his many years of teaching and leadership in the archery community. Scroll by THL Eleanore Godwin.
Baron Aquila d’Athos was called before the Imperator to answer the question that had been set before him earlier that day. Confirming that he had indeed sat vigil and received counsel, he was now ready to take his place among the Council of Chivalry. Duke Sir Timothy of Arindale came forth to thank the Imperator for righting a great wrong that His Grace had committed when he sat the throne and had not elevated Aquila to the Chivalry. Master Benedict Fergus of the Council of Defense recalled Aquila’s strong leadership when he was Baron of Thescorre and testified that he would be a strong defender of the Kingdom. Mistress Alison of the Many Isles of the Council of the Laurel sung the praises of Aquila’s devotion to his arts of metalworking and pouch making. Countess Caryl Olesdatter of the Council of the Pelican called Aquila a paragon of chivalry and service. Sir Barak Carthalo of the Knights of Atlantia, who had once called Aquila squire, praised his passion, heart, and prowess, and was proud to call Aquila “brother.” So moved by this testimony, the Imperator called for the regalia of a Knight: spurs for his heels, a belt for his waist, the Ancestral Chain of the Chivalry of Æthelmearc, and a personal chain to wear once the Ancestral Chain had been passed. The Imperator then used the Sword of State to dub Aquila a Knight and Peer of the Realm and Grant him Arms by Letters Patent. The Imperator then received Sir Aquila’s Oath of Fealty. Scroll by Mistress Gillian Llewellyn of Ravenspur.
Don Annanias Fenne was summoned to answer the question that had been set before him. Confirming that he had held the field in the tradition of the Council of Defense of Æthelmearc, he was now ready to take his place among that Council. Count Sir Isenwulf Thorolfssone called him a positive example who balances ferocity on the field with the courtesy of an enjoyable fight. Sir Tristan Sexwulf testified that Annanias always strives for excellence and inspires those around him. Master Quinn Kerr of the Council of the Laurel praised his devotion to his arts, which makes his love for his art, his Kingdom and the Society clear to all those who see him. Mistress Baga Aleea of the Council of the Pelican named Annanias as someone who will help anyone who needs it and who will do so with enthusiasm that is infectious. Master Iago Benitez of the Council of Defense recalled good times with Annanias both on the fencing field and in the kitchen, and named him a master of the blade in all its forms and an inspiration. So moved by this testimony, the Imperator called for the Ancestral Livery Collar of the Defenders of Æthelmearc, placed it around Annanias’s neck and named him a Peer of the Realm and a Councillor of Defense, and Granted him Arms by Letters Patent. He then received Master Annanias’s Oath of Fealty. Scroll wording by Master Quinn Kerr.
Baroness Laurencia of Carlisle was recalled before the Imperator to answer the question that had been set before her, and she confirmed that she had received such counsel as to now be prepared to take her place among the Imperial Council of the Laurel. Duke Maynard von dem Steine recalled the skill and passion with which she teaches her art regardless of the distance she must travel to do so. Master Llewellyn ap Gododdin of the Eastern Council of Chivalry, for whom Laurencia had made clothes for his own vigil, spoke of her kindness and generosity. Duchess Dorinda Courtenay of the Council of Defense, likened the precision of Laurencia’s needlework to the skill one may master with a fencing blade, and like that skill, each takes time and devotion. Duchess Líadain ní Dheirdre Chaomhánaigh of the Council of the Pelican recalled how, when some new fighters had asked Laurencia to make fighting garb for them, she instead taught them how to create it for themselves, thus better serving them for their careers in the SCA. Mistress Cori Ghora of the Council of the Laurel stated that the Council needed this lady, for she brings new research to the Kingdom. So moved by this testimony, the Imperator placed upon Laurencia’s shoulders a hood, pin, and wreath signifying her as a Councillor of the Laurel, Granted her Arms by Letters Patent and named Her Excellency a Companion of that Council and Peer of the Realm. Finally, Mistress Laurencia was presented with the traditional Fruitcake of the Council of the Laurel of Æthelmearc. Scroll by Duchess Anna Blackleaf, Duchess Dorinda Courtenay, and Duchess Líadain ní Dheirdre Chaomhánaigh.
THL Marek Viacheldrago was brought before the Imperator, and stated that he had spent the day preparing to accept elevation to the Council of Chivalry. Duke Maynard von dem Steine called Marek a quiet man who chooses his words wisely, and all who know him are better for it. Duke Khalek Shuraag Od called it the duty of Royal Peers to seek out virtues and nobility in all the populace, and having witnessed Marek’s accomplishments, was convinced that his elevation was right and just. Duchess Dorinda Courtenay of the Council of Defense refrained from regaling the Imperator with stories of Marek’s greater-than-normal courtesy, because “greater than normal” courtesy is normal for Marek. Mistress Chrestienne de Waterden of the Council of the Laurel witnessed his support of the arts, gathering all those who wish to learn the arts of metalwork and wireweaving. Duchess Líadain ní Dheirdre Chaomhánaigh of the Council of the Pelican called Marek an inspiration who embodies service. Sir Alric of the Mists testified that, while the Chivalry may foster prowess above all the other Knightly virtues, it was not necessarily the most important of them, and that Marek excels at all of them. So moved by this testimony, the Imperator called for spurs and a belt, then placed the Ancestral Chain of the Chivalry of Æthelmearc around his neck, followed by a traditional chain from his household, and an ancestral chain worn by more than 40 Knights across the SCA who have ruled as Royalty more than 80 times. So bedecked, the Imperator took the Sword of State and dubbed him a Knight and Peer of the Realm, and on that sword Sir Marek swore his Oath of Fealty. Scroll forthcoming.
In the tradition of the Imperata, THL Zofia Kowalewska was named Inspiration to the Emperor for her diligence in running the backlog display table.
There being no further business, the Emperor’s Court was closed.
On March 3rd of this year, the Newport Historical Society (NHS) in Rhode Island announced via Twitter, Facebook and Instagram that staff members were on a secret mission in the UK. A follow-up image taken at the Pitt Rivers Museum was posted the next day, and then a third photo showed a gloved hand working on what looks like a timepiece.
The secret mission, it turns out, was to send Ingrid Peters to the Royal Observatory, Royal Museums Greenwich, to have their experts examine a pocket watch from the NHS collection. The Royal Observatory’s curator of Horology Rory McEvoy confirmed that the watch was not just a watch, but rather fourth in a series of five precision marine chronometers made by watchmaker John Arnold to calculate longitude. It was made around 1772. The third of the series is the only other one in the series known to have survived, and it’s in the British Museum.
John Arnold was born in 1736 in Bodmin, Cornwall, the son of watchmaker and nephew of a gunsmith. He worked for his uncle for a while, ultimately following in his father’s footsteps and becoming a highly skilled and innovative watchmaker. In 1764, just two years after opening a shop of his own in London, Arnold secured permission to present to King George III and his court the smallest repeating watch in the world. The half-quarter repeating watch cylinder escapement watch was mounted in a ring. The king and courtiers were impressed, and Arnold quickly became the watchmaker to the rich and aristocratic.
His ingenuity was put to the test in a problem that had obsessed clockmakers for decades: create a timepiece that would allow British sailors to calculate longitude while on board ship. Clockmaker John Harrison invented the marine timepiece which made it possible for the first time to calculate longitude at sea in 1759. His invention, which looked like an oversized pocket watch, took him six years to build, too long for his timepiece to be in compliance with the 1714 Longitude Act‘s requirement that construction of the device be practical as well as accurate. The whole point, after all, was for every ship in the Royal Navy to have one, so production had to streamlined.
In 1767, the Board of Longitude published a detailed illustrated description of Harrison’s clock, The Principles of Mr. Harrison’s Timekeeper, and spread it around to inventors in the hope that one of them might figure out a way to build a faster, better mousetrap, as it were. Astronomer Royal Nevil Maskelyne gave Arnold a copy hot off the presses. He went his own way, creating a different device he presented to the Board in 1771. It was a clock in a mahogany box, and three of them were put to the test by Captains James Cook and Furneaux during Cook’s second voyage to the southern Pacific in 1772-1775.
Arnold’s were not very effective — only one of them survived the voyage in some semblance of working order — so he turned to pocket marine timekeepers instead. They worked. Captain Constantine Phipps, 2nd Baron Mulgrave, took one with him to the North Pole in 1773 and it performed like a champ. The Newport Historical Society’s chronometer — a term coined by John Arnold for a precision timekeeper and still in use today — is one of these.
This watch, produced in the early 1770s while one of Arnold’s see-saw escapement timekeepers was away on sea trials features a pivoted detent escapement; others had designed such mechanisms, but Arnold’s was a technological improvement.
It has an impeccable provenance, too.
The watch was acquired by Peleg Clarke in 1792. Clarke was a descendant of one of Newport’s first English settlers and wealthy merchant of the American colonial period who likely bought the watch from Arnold during a trip to London. He was an eyewitness to the Boston Tea Party and recorded his impressions in a letter now also in the society’s collections. The watch was passed down in the Clarke family for over 200 years, as a pocket watch, until it was donated to the society in 1997.
Arnold & Son, the company John Arnold founded in the 1787 with his clockmaker son, John Roger Arnold, is still in business today, and still makes marine chronometers, now in wrist watch form rather than pocket watch.
The following is the court report from Mudthaw held by Their Majesties Brennan Ri and Caoilfhionn Banri on April 2, AS L. Court heralds were Master Malcolm Bowman, Mistress Kayleigh MacWhyte, Master Ryan MacWhyte, and Baron Yehuda ben Moshe.
Filed under: Court
From Mistress Alicia Langland, Chancellor of the Æthelmearc Æcademy:
Were you one of the many artisans who devoted uncounted hours to researching, crafting, and documenting your Ice Dragon entry?
So much time and effort went into your piece … Wouldn’t it be nice to have all that work transcend a single event?
Why not have your Pent entry do double duty by using what you’ve created as the basis for a class?
Here are some ideas to get you started:
Historical Background ClassThe research you did for your entry provides you with the historical background and practices needed to understand who, when, where, why, and how someone in the Middle Ages would have crafted your item. This information would also be of interest to students in a class. In a Historical Background class based on your research, you might include information about:
Sharing this information will speed your students on their way toward creating their own versions.How-I-Did-It Class Chances are, as you created your item, you had to make decisions along the way. A class in which you describe in detail the decisions you made — about tools, materials, and procedures — would be of immense help to someone who’s always wanted to try doing what you’ve accomplished. In a How-I-Did-It class based on your entry, you might include information about:
Especially helpful — in addition to your finished project, of course — would be any practice pieces or missteps. Sharing problems to avoid or solutions that worked for you would give your students confidence that they, too, can be successful.
Make-and-Take ClassWith the knowledge and skills gained by creating your entry, you can help others make their own great thing. By providing tried-and-tested materials and demonstrating recommended techniques, you can help your students avoid time-consuming and costly mistakes. In a Make-and-Take class based on your entry, you might provide:
If you took progress photos of your entry as you worked on it, these would provide you with a step-by-step format to follow in your class. Sharing the photos with the class would help visual learners — those who learn best by seeing — understand and remember what you’ve said. They would also serve as a reminder for students who continue working after the class is over.
You’ve already done so much work to create your piece … in fact, much of the work of putting together a class is already done!
If you have questions about how to turn your Ice Dragon entry into a class, please contact me at email@example.com
Late on the night of June 30th or early in the morning of July 1st, 2008, a blue-and-white glazed terracotta relief of Saint Michael the Archangel by Andrea della Robbia (1435-1525) on display at the Metropolitan Museum of Art fell from its metal wall mounts high on a wall above a doorway and crashed to the ground. A security guard found the lunette the next morning on its back on the stone floor, broken into many pieces. The gallery was closed and conservators picked up the pieces, some large — Michael’s head was undamaged — and some as small as fingernails. The pieces were bagged and numbered and removed to the museum’s Department of Objects Conservation later that day.
The Met hasn’t had the greatest luck with the mounting of their Renaissance masterpieces. At least they were able to puzzle out this jigsaw in seven years. The fall of Tullio Lombardo’s Adam in 2002 was even more catastrophic; it took 12 years to put all of his pieces back together. The museum notes all wall-mounted sculpture was reviewed after the accident, and new systems — comprehensive and regular inspections, formal approval of all mounts — were put in place to prevent something like this happening again.
Andrea della Robbia’s uncle Luca (1400-1482), who in his youth had an illustrious career a sculptor in bronze and marble, invented the blue and white tin-based glazes that made terracotta reliefs exceptionally durable, easy to clean and impervious to the vagaries of the weather. The glazed earthenware pieces were significantly less expensive than marble or bronze, and since they looked so good and needed so little care, soon della Robbia reliefs were in great demand. Luca’s clients included some of the most important people and institutions in Florence — Piero de’ Medici, Jacopo de’ Pazzi, the Duomo — and elsewhere.
Andrea, who had learned the secret glaze recipe as his uncle’s pupil, took over operations of the della Robbia workshop on Via Guelfa in Florence in the late 1460s or early 1470s. He picked up where his uncle left off, executing high-end commissions for reliefs of increasing size and architectural importance from major private clients and churches all over northern Italy. Saint Michael the Archangel was made around 1475 for the church of San Michele Arcangelo in Faenza, a town outside Ravenna known for its majolica pottery. In fact, the town is literally synonymous with majolica tin-glazed earthenware which became known as faience after Faenza. The relief was installed above the church door and remained there until 1798 when the church was demolished and Saint Michael the Archangel sold.
The Met acquired the piece in 1960 at an auction of the estate of American industrialist and diplomat Myron C. Taylor for $40,000 (about $320,000 today). The museum has one of the most important collections of della Robbia works in the United States, including an exquisite Virgin and Child. Saint Michael, however, is probably the most important of all.
There was an upside to the crash. Conservators were able to study the relief thoroughly before they went about reassembling the pieces. They found the artist’s finger and tool marks which shed new light on della Robbia’s production process. The workshop made quality artworks for refined and wealthy clients, but it also had to crank out new pieces at a canter to keep up with demand. Conservators found evidence of this in Saint Michael’s robe. It was made separately and then attached to the lunette, but the toga cracked during firing. Instead of starting over again — a time-consuming and expensive approach — they stuck it back together. It was going above a door, after all, and nobody was going to be at eye-level to see the tiny fissure lines.
The sculpture was originally made in 12 interlocking pieces. While conservators Wendy Walker and Janis Mandrus reassembled the broken pieces and filled in the areas of paint loss, conservation preparator Fred Sager developed a custom mount that secured each of the 12 sections individually to an aluminum backing plate. This makes it safer while still allowing visitors to enjoy the entire composed piece.
The most challenging part of the restoration, Ms. Walker said, was the in-painting between repaired cracks — trying to recreate the signature cobalt della Robbia blue that the critic Walter Pater described as being like “fragments of the milky sky itself, fallen into the cool streets.”
“In the morning it would look good,” she said of the modern paint, “and by noon, in a different light, you’d see and go, ‘No!’ and just want to pull your hair out.”
But another lesson the accident taught, in the end, was how durable della Robbias were made to be, despite their humble, seemingly fragile clay origins. St. Michael’s head, for example, was completely unharmed after its violent detachment the night of the fall.
“For hundreds of years, this was outside, in the elements, protected by its glaze,” Mr. Bell said. “And the amazing thing about these ceramics is that the surface still looks pretty much the same as the day it came out of the kiln.”
The relief is now back in the Met’s European Sculpture and Decorative Arts Galleries, but this time it’s been mounted about at eye level to allow visitors to get a proper look at della Robbia’s amazing details, like the facial expressions and the little babies on the scale. They’re actually souls, not babies, weighed on the scales of justice and mercy. The happy light-weight one is saved for heaven; the facepalming heavy one is doomed to hell.
The Region 2 Archery Muster is being held this Sunday, April 10th, at the Castle of Their Highnesses, 755 Stonegate Drive, Wexford PA 15090.
There will be Archery, Thrown Weapons, Youth Fighting, and Arts & Sciences. The muster begins at 10:00 am and will continue until 5:00 pm.
The archery and thrown weapons ranges open at 10:00 am and archery from the towers, led by THLord Deryk Archer, begins at 1:00 pm.
The Barony’s loaner archery gear will be available. Please bring something for a pot luck lunch.
Their Highnesses have asked that you dress in garb for the day.
In service to the Barony-Marche and the Kingdom,
Mestari Urho Waltterinen
Greetings to the kingdom from THL Phelippe “Pippi” Ulfsdotter, Kingdom Webminister.
I am sadly reaching the end of my term as Kingdom Webminister and I would like to call for resumés.
If you are interested in filling this position, please send me your resumé and a few words about yourself and why you want this job.
Please send them by April 30th to firstname.lastname@example.org with the subject “Webminister Position.”
Archaeologists have unearthed a burial ground at one of Laos’ most fascinating and mysterious ancient sites, the Plain of Jars. The remains are estimated to be about 2,500 years old. An international team of archaeologists from The Australian National University (ANU), Monash University and the archaeology division of the Lao Ministry of Information, Culture and Tourism discovered seven burials and four probable burials with ceramic grave goods.
The Plain of Jars is a group of more than 90 megalithic sites in the central Lao province of Xieng Khouang which are peppered with monumental stone jars carved from a quarry five to six miles away and then dragged to the various jar groupings. This was an impressive feat as some of the jars are massive; the largest weigh 10 metric tons. Most of them are made of sandstone, but four other rock types — granite, conglomerate, limestone and breccia — were also used. They range from three to 10 feet high, two to six-and-a-half feet in diameter and are basically cylindrical in shape although they funnel upwards a little with a wider bottom than top. Rims around the top suggest they used to have lids, but no lids have ever been discovered in situ. Other stone pieces have been found, however: discs placed on the ground over burial pits and unworked stone grave markers.
Each jar grouping contains between one and 392 jars, the latter of which is near a Hmong village that can only be accessed by foot. The group where the burial ground was recently discovered is called Site 1 and has more than 300 jars, stone discs and grave markers. Very little is known about the makers of the Plain of Jars megaliths. With no writing and few engravings on the stones, archaeologists haven’t had much to go on.
In the first excavations in the 1930s, archaeologists found evidence of cremation, including burned teeth and bone fragments, inside the jars. They also found unburned human skeletal remains buried around the jars along with pottery, iron and bronze objects, beads and other artifacts. After that, there was a gap of six decades before the next archaeological explorations of the site. For almost a decade (1964-1973), the Plain of Jars was pelted with an unspeakable number of bombs by the US in the Secret War against the North Vietnamese and Pathet Lao communists. US planes dropped 262 million cluster bombs on Laos, almost all of them on the Plain of Jars, and 80 million of them never exploded. Many of the ancient stones suffered irreparable damage, and the unexploded ordnance made one of the most important prehistoric sites in the world so dangerous that archaeologists didn’t return until 1994, and even though they stuck to surveys and a handful of excavations then they were taking enormous risks.
UNESCO and the Mines Advisory Group NGO cleared seven of the jar sites between 2004 and 2007, one of which was Site 1. This opened the door for a major archaeological excavation that might answer some of the many questions about who made these jars and why.
One popular theory was that the jars were used as vessels for decomposing bodies. Once the soft tissues had decayed, the bones were then buried around the jars. This year’s discovery of primary burial where the individual was interred in the burial ground and never moved is therefore of great importance.
[The Australian National University archaeologist and dig leader] Dr O’Reilly said the dig had revealed three distinct types of burial.
“There are pits full of bones with a large limestone block placed over them and other burials where bones have been placed in ceramic vessels,” he said. “Our excavations have also revealed, for the first time at one of these sites, a primary burial, where a body was placed in a grave.”
He also said that determining the status of the buried individuals was difficult due to a lack of material objects buried with them, but hoped some genetic analysis might shed some light on whom these people were related to.
DNA and stable isotope analysis could provide key information on the ethnicity and geographic origin of the people who used the stone jars. The project will continue for five years, stretching further afield to the Assam region of northeastern India where there are megalithic jar sites that are similar enough to the Laotian Plain of Jars to explore whether there may be a link between them.
An all day scribal workshop focusing on the Macclesfield Psalter will be held in BMDL at The Castle (755 Stonegate Dr, Wexford PA 15090) on Sunday, April 24, from 10:30 a.m. – 5:30 p.m. Please heed the parking marshal, as the site is on a private street. Questions regarding the Castle or directions to the Castle may be addressed by TRHs Byron or Ariella- they may be reached by telephone (724) 933-4661.
Have you tried your hand at painting a Psalter style scroll? No? Well this is your chance to receive all the instruction and guidance needed to complete a Psalter style scroll. Scribes will be learning new techniques on exercise cards and then immediately applying that new knowledge directly onto the scroll blank.
Overview/Elements of the Psalter-Early period painting/shading techniques,Whitework, Diapering, Gilding and Caligraphy.
Materials fee is $10.00 and will include: Exercise cards for each of the above areas of instruction and hand outs. A hand drawn scroll blank with matching color photocopy of that folio from the book. Palette with enough paint to complete exercise cards AND scroll blank. Gilding supplies to complete scroll (done in class time). Correct caligraphy nib for the manuscript.
Class limit is 20 scribes with 4 wait list spots held per workshop; a total of 6 workshops are being planned for 2016.
~Wait listers~ will be given first choice for the next available workshop or future workshop of their choice and will be placed at the top of that workshop roster. Further, the registration for the next available workshop will open the day _after_ the current workshop is held.
No auditors will be accepted for the 6-8 hour workshop(s) because we want to make it possible for every scribe to participate fully in one of the six 2016 all day workshops and receive the full measure of attention and instruction that is only possible with the scribe as a full student.
Scribes are asked to bring their own scribal boxes w/ brushes, caligraphy pen/nib holder and a scroll case and any other creature comforts they require.
The focus is on scribal arts, there will be no other activities scheduled for the day, garb is optional.
2016 workshops to include: Macclesfield Psalter(BMDL), A beginner French Illumination workshop (western PA), Visconti Hours (western NY), Gladzor Gospels (Pennsic), Grand Hours of Anne of Brittany (eastern NY) and a workshop in WV – pending site confirmation.
In an effort to make sure we have enough supplies on hand we ask that you send Antoinette an email to let her know that you plan to attend.
Registrations and questions may be sent to email@example.com.