Mistress Mercedes Vera de Calafia, Seneschale of the East Kingdom, wishes to share the following:
The agenda for the next curia has been posted on the Seneschal’s page. Curia will be at Southern Region War Camp, June 28th 10am.
Filed under: Law and Policy, Official Notices Tagged: agenda, curia
The biggest Picasso in the United States will be leaving its home on a wall at the Four Seasons restaurant in New York for what one hopes will be greener pastures at the New York Historical Society. RFR Holding, owner of the historic Seagram Building where the Four Seasons and the 19-by-20-foot theatrical curtain have lived together in harmony since 1957, planned to remove the work last year. It claimed the wall on which it hung was structurally unsound due to a leaking steam pipe and informed the New York Landmarks Conservancy, owner of the painting since it was donated to it by Vivendi Universal, then owner of the Seagram Building, in 2005, that the curtain would be coming down immediately.
The Conservancy challenged the plan in court. They said the curtain was far too fragile to be moved, especially by rolling the canvas up “one click at a time” and transporting it in a rental van. At the last minute, the court sided with the Conservancy and issued a temporary restraining order. Since then, RFR Holding and the Landmarks Conservancy have been locked in a struggle over the fate of the historical curtain. The discussions have now apparently borne fruit, and the front cloth painted by Pablo Picasso in 1919 for a production of the Ballets Russes’ Le Tricorne will be moved to the New York Historical Society, conserved and put on display, all at RFR’s expense.
To move the Picasso, workers will mount hydraulic lifts to detach the top of the curtain from the wall. It will then be wrapped around a wide roller, starting at the bottom. The curtain will first go to a conservator, for cleaning and restoration work. The historical society plans to have it installed for an exhibition in May.
That process sounds a lot like the original “one click at a time” plan which the Conservancy deemed far too dangerous. The art mover agreed that the painting could “crack like a potato chip” under the strain. The Conservancy isn’t too thrilled about it, judging from their press release, but they will have conservators on the ground during the removal and transport stages.
The impetus for this compromise is the looming defeat in court the Conservancy expected. The donation was made on the condition that the curtain remain where it was at the Four Seasons, but that wasn’t going to be able to trump RFR’s solid legal position. From the Landmarks Conservancy press release:
We did our best to maintain it in place. But our only leverage was that the Curtain is specifically included in the current restaurant lease. It was made clear to us that the Curtain would not be included in whatever new lease is negotiated. So, if we had prevailed in Court, the most a judge could grant is that the Curtain stay until the end of the current lease.
Phyllis Lambert, daughter of Seagram founder Samuel Bronfman, purchased and installed the curtain in 1957. She’s not in favor of this plan.
“It sort of breaks my heart,” she said.
Vivendi bought the Seagram company, including its large art collection, in 2000, around the time Mr. Rosen bought the Seagram Building. Later, the financially ailing Vivendi moved to sell the entire Seagram art collection, but Ms. Lambert persuaded Vivendi to bequeath the Picasso to the conservancy.
Lambert has every reason to be bummed. The curtain is an iconic part of what has become a beloved and famous interior. However, the Conservancy had few options here, and it’s undoubtedly better for its long-term prospects for the painting to be in the hands of a museum instead of a company owned by a man who once called the curtain a “schmatte” (Yiddish for “rag”) and who appears to be keen to install works from his own modern art collection in the space. The pressing issue is how to ensure the least possible trauma in the removal and transportation.
The New York Historical Society is thrilled to have it. They plan to make Le Tricorne the centerpiece of the second-floor gallery.
Paid registration for Pennsic ends on Monday, June 16th at 11:59pm EDT. The size of the land allotted to a group is determined by the number of people who preregister by this deadline. Unpaid online registration is available until July 11th. Preregistration is available at this website.
Filed under: Pennsic
The following message is from Their Royal Highnesses, Edward and Thyra
Greetings to the East Kingdom,
We are eagerly anticipating the events that we will get to spend with all of you throughout the kingdom. We are seeking hosts for the major kingdom events, as we arrange our travel schedule. As we would like to see as many of you as we can, we are looking to merge landmark events together, such as investitures, champions events, and major annual events.
If you are contemplating entering a bid, please talk to us first regarding dates. We are listing some of our preferred dates below, which will fit into our progress. Please refer to the Royal Progress calendar to avoid other scheduled events such as foreign wars. Please contact us if you have any questions at all.
Coronation, 9/27 preferred
Fall Crown (northern region), 11/1 preferred
12th Night, early January
Fencing Championship, Oct-Dec
Bards’ Championship, Feb-Mar
A&S Championship, Feb-Mar
Thank you to everyone for their hard work in running the Kingdom level events!
Filed under: Events, Official Notices
Attila the Hun, called the “scourge of god” in the 5th century, has historically been considered a ruthless barbarian for his campaign against the Romans' eastern empire, but new thought shows the king to be somewhat more complex. Owen Jarus has a feature story for Live Science.
St Leonard's church in Shoreditch, England, best known as the backdrop for the hit BBC series Rev, is believed to have been the site of the medieval church where Shakespeare worshiped. Now archaeologists plan to investigate the area in search of the original building.
Archaeologists have discovered a 700-year-old council house, a space dedicated to political and religious purposes, in the ancient site of Nixtun-Ch’ich’ in Petén, Guatemala. The house is a square about 164 feet by 164 feet. The interior has two collonaded halls that were once decorated with animal sculptures — the carved heads of a reptile (snake or crocodile) and a parrot were found in the home — built next to each other, and two altars.
“Basically almost every political and religious ritual would have been held there,” [Queens College professor Timothy] Pugh told Live Science in an interview. The leaders who gathered there would have held power in the community and perhaps the broader region. Among the artifacts is an incense burner showing the head of Itzamna, who was the “shaman of the gods,” Pugh said.
The house was devoted to its role between 1300 and 1500, after which it was deliberately destroyed by the Chakan Itza and the seat of power moved. This was part of the process of transition from one calendar period to the next. The ritual required that the altars be demolished and the house covered with a thin layer of ceremonial dirt representing burial.
The city of Nixtun-Ch’ich’ was a thriving metropolis when the council house was built. Its importance was confirmed by the discovery of a vast Mayan ball court, the second largest ever found. The first largest is at Chichen Itza in Mexico’s Yucatán peninsula. The Chakan Itza people claimed the Chichen Itza builders as their ancestors (hence the name), that they had migrated from what is today Mexico and settled in Guatemala.
They only had a few centuries to enjoy their new surroundings. In the 17th century, the Spanish conquered Petén, bringing death from war and disease to the Chakan Itza who were close to extermination. There are still Itza people today, but their language is almost extinct. Only a handful of surviving people still speak it. The rest speak Spanish.
Re-enactors who want that authentic Viking smell should get themselves a can of Norse Power Deodorant For Men. Developed by scientists for Visit York and the Jorvik Viking Centre, the deodorant claims to "help recreate what a Viking probably smelled like."
Sir John and Mistress Alyna Wolfstan report that Master Cedric Wlfraven has been elevated to the Order of the Chivalry by Their Majesties Eirik and Drifinna of the Kingdom of An Tir.
Timothy Shriver, son of Robert Sargent Shriver Jr. and Eunice Kennedy Shriver, brother of journalist and former California First Lady Maria Shriver, attended a memorial service Wednesday for relatives he didn’t know he had. They were prominent people in their day, but over time their final resting place in Washington, D.C.’s Congressional Cemetery had fallen into disrepair and was in dire need of restoration. Since the brick vault could not be repaired while the remains were still inside, in 2009 Douglas Owsley, head of the Natural History museum’s Physical Anthropology Department, was asked to excavate it and identify the remains for future reburial. After years of research and restoration, the skeletal remains of 16 people were reinterred in the tomb attended by a small group of Shriver relatives.
The Causten Vault was built in 1835 by lawyer and international diplomat James H. Causten after the tragic death of his first son, Charles Isaac, who passed away just days short of his second birthday. According to his obituary, little Charles “was a child of uncommon intelligence and excited the admiration and affectionate regard of all that knew him. His family have much cause to regret the early fall of one so interesting and promising.”
James Causten would outlive all but one of his children, and his daughter Josephine only outlived him by four years. His eldest daughter Henrietta Jane was the Shriver connection. She married Joseph Shriver, scion of an important Baltimore family that included a signer of the 1776 Maryland Constitution. Henrietta died in 1863 of a sudden heart attack when she was 52, “leaving both families overwhelmed in grief at this loss of their richest jewels.” She was buried in the vault, joining her daughter Josephine Shriver who had died 14 years before her mother at the age of four.
After his death in 1874 at the age of 86, Causten was buried in the family vault, which was already so sadly well-populated by then. It would eventually hold the remains of 22 members of the extended family, and that’s not counting the eight temporary residents who were placed in the vault while arrangements were made for permanent burials elsewhere. One of them was First Lady Dolley Madison. Her niece and adopted daughter was Annie Payne Causten, wife of Dr. James H. Causten Jr., the founder’s son. After Dolley died in July of 1849, she was buried in the Public Vault of the Congressional Cemetery ostensibly just until arrangements could be made to bury her by her husband’s side at his Virginia estate Montpelier. Unfortunately her gambling, alcoholic wastrel son, whose endless debts were a major reason for her poverty in old age, set aside no money for her burial. When he died of typhoid fever less than three years after his mother, she was still in the Public Vault. A month later, Annie Payne Causten had Dolley’s remains moved to the Causten Vault. Unfortunately she died a few months later aged just 33, so Dolley’s remains stayed in the vault for another six years. Finally the Caustens saw to it that she was buried in Montpelier.
The last burials in the Causten Vault were at the end of the 19th century. After that, the fate of the vault matched the fate of the Congressional Cemetery. It stopped being a fashionable place for Washington politicos and society figures to be buried and gradually fell into neglectful decay. Vaults crumbled, headstones broke, drug dealers and prostitutes plied their trades amidst the historical dead. In 1976 the non-profit Association for the Preservation of the Historic Congressional Cemetery took over management of the cemetery, but it wasn’t until the '90s when volunteers and innovative programs began to boost restoration projects. Its inclusion on the National Trust for Historic Preservation’s list of America’s 11 Most Endangered Historic Places in 1997 brought it fresh attention, including, finally, some maintenance funding from Congress.
Restoration is an ongoing process. The Causten Vault became a priority in 2009 because its mortar was crumbling and the barrel roof was on the verge of collapse. When Douglas Owsley and his team opened the tomb, they found that the interior was in even more dire condition. Over the years the shelves that held coffins had fallen apart, pancaking caskets and human remains in a chaotic pile several feet thick. The remains were carefully removed and transported to Owsley’s lab at the National Museum of Natural History.
Over the past five years, a team of archaeologists and anthropologists analyzed the skeletons taken from the vault, the hardware on the coffins (which helps date the caskets) and personal artifacts found inside. Bones provide all sorts of information, Owsley said, from gender and age to lifestyle (years of heavy labor, for example, take a toll), diet and probable cause of death.
In the final tally, the remains of 16 people were found. The six people known to have been buried in the vault whose remains were not found are thought to have been buried near the bottom of the vault where the damp conditions caused brushite to form on the bones and eventually disintegrate them. The remains of the 16 were identified and placed either in white boxes or in their original cast iron coffins, several of which survived in usable condition. They have all now been reinterred, with their family in attendance, in the Causten Vault.
In another argument against the barbarism of the Vikings, researchers have discovered that a small compass could have worked with other tools, such as a pair of crystals and a flat, wooden slab, to navigate when the sun was low in the sky or even below the horizon.
Silver Buccle Herald, Kameshima-roku-i Zentarou Umakai, reports that at Their Abhain Ciach Ghlais Silver Anniversary, Their Majesties Timothy and Gabrielle of the Kingdom of AEthelmearc offered elevation to the Order of the Laurel to Maitre Gilles de Beauchamps.
A text copy of all 3 volumes of Thomas Percy's Reliques of Ancient English Poetry was recently posted to Project Gutenberg. These books contain a great deal of poetry in middle and early modern English.
This morning, anyone who is subscribed to a mailing list through the eastkingdom.org domain (including the discussion lists for all the Kingdom orders) recieved an email notifying them they have been unsubscribed from the list.
This ‘purge’ of the mailing lists is one small part of a long-planned part of the of the migration of the web servers which host the eastkingdom.org domain.
The email discussion lists (which include both the order lists and officer-specific lists such as the Seneschal’s list and the Exchequer’s list) will be available again on Monday, June 16th. However, the list and web administrators are taking an opt-in approach to the process of re-subscribing, which means that people who wish to continue to subscribe to these lists must manually resubscribe starting on Monday. It is very important that you do not re-subscribe before Monday, June 16th.
To resubscribe, or to see a list of email lists affected, click here. Again, please do not re-subscribe before Monday, June 16th.
Filed under: Official Notices Tagged: eastkingdom.org, email discussion lists, mailing lists, pollings, server migration, webminister
Saint Praxedis, an oil painting depicting the 2nd century saint cleaning the blood of a decapitated martyr, was first attributed to Johannes Vermeer in 1969. That year it had gone on display at the Metropolitan Museum of Art’s Florentine Baroque Art from American Collections as a work by Felice Ficherelli, aka Il Riposo. It was thought to be a second version of a nearly identical 1640-5 work by Ficherelli, but University of London art historian Michael Kitson proposed a very different hand was behind the copy. In his opinion, the signature “Meer 1655″ on the bottom left of the painting “correspond[ed] exactly to those on Vermeer’s early works, particularly the Maid Asleep.” He also thought the treatment of the historical subject had elements in common with Vermeer’s Christ in the House of Martha and Mary, namely its “breadth of form and handling and a similar gravity (though not sickness) of mood.”
Kitson’s tentative attribution wasn’t widely accepted. Saint Praxedis was an unusual subject in Dutch painting in general and for Vermeer in particular, even though he did start out treating historical scenes like Christ in the House of Martha and Mary and Diana and her Companions, both of which were painted during Vermeer’s earliest productive years (1654-1656). Also, this would be the sole example of Vermeer copying the work of an Italian master, or anybody else for that matter.
In 1986, Arthur Wheelock Jr., the influential curator of Northern Baroque painting at Washington, D.C.’s National Gallery of Art, boosted Saint Praxedis‘s fortunes. Wheelock agreed with Kitson that there were stylistic similarities between Saint Praxedis and Christ in the House of Martha and Mary. He also suggested that the painting of the saint’s face was characteristically Dutch in modeling, comparable in its downcast posture to the young woman in A Maid Asleep. Wheelock noted a second potential signature on the right side. It’s barely distinguishable, but Wheelock posited that it said “Meer N R o o,” originally “[Ver]Meer N[aar] R[ip]o[s]o” or “Vermeer after Riposo.”
Wheelock’s arguments were controversial. Several important art historians and experts in Dutch painting thought the brushwork, lighting and quality had little in common with Vermeer’s known works. One of them couldn’t even find the so-called second signature, and even if he had, he wouldn’t have found it persuasive since it’s the only example of a signature shouting out the original artist. Many experts were convinced Saint Praxedis was of Florentine origin, painted by a student of Ficherelli’s, and that the signature was a later addition referencing an artist named Meer or van der Meer.
The painting was purchased the year after Wheelock’s first publication by Polish-American art collector Barbara Piasecka Johnson. She died last year, and works from the fine collection she and her husband Johnson & Johnson co-founder John Seward Johnson I put together will be going up for auction at Christie’s London on July 8th (view the catalogue here). With a potential pre-sale estimate of $11,000,000-$13,000,000 if she could be shown conclusively to have been painted by Vermeer’s hand, Christie’s enlisted experts from the Rijksmuseum and Amsterdam’s Free University to test Saint Praxedis.
The results are pretty spectacular. From the Christie’s catalogue:
Particles of lead taken from samples of lead white pigment used in Saint Praxedis were submitted for high precision lead isotope ratio analysis at the Free University, Amsterdam. The results placed the lead white squarely in the Dutch/Flemish cluster of samples, establishing with certainty that its origin is north European and entirely consistent with mid-seventeenth century painting in Holland. Two separate samples from the picture have been tested to certify this result. This provides incontrovertible scientific proof that the picture was not painted in Italy. Furthermore, a lead white sample taken from Diana and her Companions was tested in the same manner to allow for comparison between Saint Praxedis and a work from the same approximate date that is universally accepted as by Vermeer. The outcome of this was extraordinary, providing an almost identical match of isotope abundance values between the two samples. They relate so precisely as to even suggest that the exact same batch of paint could have been used for both pictures.
As for why Vermeer would copy a work by a second-rate Italian artist on a subject of little resonance in Dutch Protestant culture, the simple answer is that it was a learning project. We don’t know very much about Vermeer’s life, but there is no solid evidence that he was ever apprenticed to or tutored by an established artist. Vermeer appears to have taught himself to paint, amazingly enough, and as a highly knowledgeable fan of Italian art and as a recent convert to Catholicism, the 22-year-old artist had reason to appreciate Ficherelli’s original even if his contemporaries did not. Saint Praxedis was a particular favorite of Jesuits in the late 16th century, and Vermeer’s mother-in-law lived next to an order of them in Delft.
This is one of only two works attributed to Johannes Vermeer that is privately owned, so even though Saint Praxedis doesn’t look much like the works Vermeer is famous for today, the incredibly rare chance to buy any piece by Vermeer could drive the price through the stratosphere.
A new study provides fresh evidence that a small anatomical model of a skull was made by Leonardo da Vinci. Since the 1990s, the model has been examined by doctors, art historians and geologists, among others, who have provided solid evidence in favor of the attribution, but Belgian researcher Stefaan Missinne’s take on it contributes highly significant additional information, including for the first time a date of ca. 1508.
[Names have been edited per comment from Dr. Missinne below.] Winfried and Waltraud Rolshausen came across the piece in an antiques shop in Homburg, Germany, in 1987. Winfried is a medical doctor, so they purchased the skull for 600 German marks ($415 by today’s conversion) and he put it on display in his office. In 1996, Prof. Dr. Roger Saban of Paris, then director of the museum housing the massive anatomical collection of Paris Descartes University’s medical school, recognized that it was not just a decorative sculpture, but a remarkably accurate 1/3rd scale anatomical model of a skull. Saban’s conclusion:
“A striking, unusual and rare fact for a sculptor to create this very precise, proportional 1/3 scale model, which breathes a scientific spirit wanting to conserve a three-dimensional piece, which is easier to transport in secrecy than a human skull originating from a burial site or an exploration.”
Secrecy was essential for anatomists since human dissection was against the law and custom, and Leonardo was a pioneering anatomist. Saban noted the skull model bears a remarkable similarity to one of the seminal images in the history of anatomy: Leonardo da Vinci’s 1498 drawing of a sectioned cranium, now in the Royal Collection at Windsor Castle. The Windsor skull drawings on three pages, back and front, are groundbreaking innovations in anatomical illustration. RL 19059 recto was probably the first of the series (although we can’t be certain because Leonardo’s notebooks were dismembered and sold off piecemeal), and he helpfully dated it to April 2, 1498. RL 19058 and RL 19057 follow. They were Leonardo’s first forays into accurate observation-based views of human anatomy (or at least the first known to have survived), and the first anatomical drawings to employ the kind of section views used in architectural design.
Like the miniature model, the skull on the verso (back) of RL 19057 has no lower jaw and depicts the outer features of the skull at the same level of knowledge. Both are missing the inferior orbital fissure, and both place the sutura coronalis — a connective tissue joint that separates the front and back bones of the skull — in an unusual position at the back of the skull; other features on the cheekbones and eye sockets match as well.
There’s also a philosophical commonality between the drawings and model. According to the notes accompanying the drawings, Leonardo was studying the skull in an attempt to locate the sensus communis, the place where all the senses, all intellectual and creative faculties, come together in the brain. That spot, Leonardo theorized, was the locus of the soul. He points to the spot in the recto of RL 19058. It’s where all the lines intersect in the plane he has tilted so the seat of the soul could be seen best.
The model, which is not anatomically accurate on the inside because for structural purposes it couldn’t be as hollow as the skull actually is, does include the optic canals, the openings through which the eyes send visual information to the sensus communis where the optic nerve picks up the info and sends it to the brain. Thus the optic canals are the means by which “the visual power passes to the sensorium,” as Leonardo put it. No other skull known includes this morphological detail linked to the sensus communis.
What Saban got wrong is the material. He thought it was carved out of marble. A 2003 X-ray fluorescence analysis found that the skull was made of an “agate alabaster” extracted from the Cipollone mine just 50 miles from Florence. Missinne found an anomaly in the results: the presence of the rare metallic element iridium which does not naturally occur in alabaster from the Cipollone mine or anywhere else that we know of. That means the iridium was added, and that the skull wasn’t carved so much as modeled, created out of a mixture of ground agate, calcium and river sand (the source of the Ir) that Leonardo called “mistioni.” This was his own invention, the product of research between 1503 and 1508 mentioned in several of his surviving notebooks. He made artificial pearls with this modelling material, and in Manuscript F and the Codex Atlanticus he writes that he can use it to produce agate. That’s as close to a signature as we’re likely to get.
There are references to model skulls in Leonardo collections after his death. The first is a “detailed engraved skull made from fine calcedonia stone” listed in the 1524 inventory of Leonardo’s student and heir (and possible lover) Andrea Salai. A 1584 catalog of the Villa Riposo in Florence describes one object as “by Leonardo da Vinci there’s a skull of a dead man with all its minutiae.” There are also descriptions of a model of “a child’s skull” in a Habsburg collection in Prague and Innsbruck, which could be an interim step between its Florentine origin and rediscovery nearly 500 years later in southwestern Germany.
Read about Leonardo’s anatomical drawings in the Windsor collection in this catalog from the Metropolitan Museum of Art’s 1981 exhibition of the Windsor drawings, Leonardo da Vinci: Nature Studies. The entire book is available free of charge to view online or download as a pdf.
Reference: Missinne, S.J. (2014). The oldest anatomical handmade skull of the world c. 1508: ‘The ugliness of growing old’ attributed to Leonardo da Vinci, Wiener Medizinische Wochenschrift. The full paper can be purchased or accessed via institutional login here.
Over the next six months, the Hadrian's Wall Trust, the charity that maintains the famous Roman wall crossing northern England, will be closed due to "significant financial constraints." In the future, the wall will be maintained by English Heritage and local authorities.
"It's fantastic we can look in such detail at an individual who died 600 years ago," said Don Walker, an osteologist with the Museum of London about his recent work on remains found last year under London's Charterhouse Square. A study of the teeth has revealed that at least 12 of the skeletons died in the 14th century of the Black Death. (photos)
The Middle Kingdom's A&S Pentathlon Champion is shining the light on the amazing artisans of the Society with the SCA Artisan Love project, which showcases those artisans who inspire us with their beautiful artifacts, period processes, hard-sought research, infectious enthusiasm, and just plain amazing work.
The Register of St. Osmund, a 12th century manuscript recording the foundational documents of Salisbury Cathedral, has been returned to the Cathedral after 34 years. It was a filing mishap that saw one of the Cathedral’s most important historical records leave its home to spend almost four decades in the County Record Office. The book belongs to the Cathedral Chapter under the purview of the Dean of Salisbury, but somehow wound up in the archives of the Diocese, under the purview of the Bishop, instead.
In 1978 the General Synod of the Church of England passed the Parochial Registers and Records Measure which stipulated that non-current parish records should be transferred to the records offices of local authorities where they could be properly cared for by experts. The measure protected the records, ensuring they would be kept in proper archival conditions and handled by professionals rather than church employees who may or may not have any special knowledge in this area, and made church documents accessible to the public for historical and genealogical research.
In keeping with the Parochial Registers and Records Measure, in 1980 the Diocesan archives were moved from Wren Hall in the Cathedral Close offsite to the County Record Office, now the Wiltshire and Swindon History Centre. The misfiled Register of St. Osmund went with them, nestled amidst the parish’s collection of baptismal records and historical wills from 1540 to 1858.
It was archivists at the Wiltshire and Swindon History Centre who finally recognized that the Register belonged in the Cathedral Library and Archives.
The Bishop of Salisbury, the Rt Revd Nicholas Holtam, said “I am delighted to see this ancient document, which somehow got confused with my predecessors’ records, returned to the cathedral. One of the glories of Salisbury Cathedral is the integrity and continuity of its ancient records and it reflects great credit on Wiltshire and Swindon History Centre that they recognized this particular document’s true home and encouraged its return.”
The Register of St. Osmund was not, as its name implies, compiled by the Saint himself. It’s named after him because it’s a compendium of charters, rules, statutes and rites that he instituted when he was Bishop of Salisbury from 1078 until his death in 1099. Salisbury was called Sarum in his day, and the Sarum Use, the practices regulating the Divine Office, mass and liturgical calendar that Osmund put together from pre-existing Norman and Saxon sources, became hugely influential. It was in widespread use in churches all over the country. Even after the Reformation, the Sarum Use was with some modifications employed in Church of England practices and in fact still is to this day.
The original manuscript drawn up by Osmund (he was a dedicated bibliophile and did a great deal of copying and book binding personally, so he could have literally put the first register together himself, or he could have ordered it put together by scribes) was lost. The Register includes the earliest surviving copy of Osmund’s Consuetudinary (a book containing the forms and ceremonies of a particular church or monastery), written around 1222-1240 for use in the new Salisbury Cathedral built on the property of Richard Poore when he was Bishop of Salisbury.
The influence of the Sarum Rite inspired a movement to canonize Osmund as a saint and father of the English church. The first papal bull establishing a preliminary inquiry into Osmund’s potential sainthood was promulgated on May 30th, 1228, by Pope Gregory IX. The inquiry took another 250 years, the repeated interventions of at least two kings of England (Henry V and Henry VI), and the Salisbury chapter to come to fruition. Osmund was canonized on January 1st, 1457.
Given the major historical import, therefore, of the Register, it’s kind of crazy that they ever lost track of it. Let’s just be grateful it wandered into the county archives for all those years and that it’s back in the Cathedral library now.