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Crown Tourney: Finals

East Kingdom Gazette - Sat, 2017-11-04 15:21

In the first semi-final, Sir Matthew D’Arden advances by defeating Jarl Valgard Stonecleaver.

In the second semi-final, Duke Brennan mac Fearghus defeats Duke Randal of the Dark to advance to the final.

Filed under: Events, Heavy List Tagged: Crown, Crown Tournament, Crown Tourney, Fall Crown

Crown Tourney: The Final Four

East Kingdom Gazette - Sat, 2017-11-04 15:11

Thus far undefeated:

  • Duke Brennan mac Fearghus fighting for Duchess Caoilfhionn inghean
  • Sir Matthew D’Arden fighting for Mistress Fia Karmen

Carrying one defeat:

  • Duke Randal of the Dark fighting for Duchess Katherine Stanhope
  • Jarl Valgard Stonecleaver fighting for Lady Gracia Vasquez de Trillo

Filed under: Events, Heavy List Tagged: Crown, Crown Tournament, Crown Tourney, Fall Crown

Crown Tourney: Final 12

East Kingdom Gazette - Sat, 2017-11-04 15:04

The final 12 combatants at the Fall Crown tourney are:

Carrying no losses:

Duke Randal of the Dark v. Sir Matthew D’Arden
Duke Brennan mac Fearghus v. Jarl Valgard Stonecleaver

With one loss:

Baron Euric Germanicus v. Master Dmitri Stephanovich
Sir Rory MacLellan v. Sir Hrafn called Bonesetter
Master Ávaldr Valbjarnarson v. Sir Ketilfastr Thorkilson
Master Richard Crowe v. Sir Matthias Grunwald

Filed under: Events, Heavy List Tagged: Crown, Crown Tournament, Crown Tourney, Fall Crown

Crown Tourney Live Streaming

East Kingdom Gazette - Sat, 2017-11-04 14:29

For those readers who prefer to watch Crown Tourney, Brynhildr Ansvarsdottir is live streaming from List-side via Twitch at the following link:   Shadowfoxx086 on Twitch

Please be advised that Brynhildr is providing this service independently has no connection to the East Kingdom Gazette.

Filed under: Events, Heavy List Tagged: Crown, Crown Tournament, Crown Tourney, Fall Crown

Crown Tourney: First Round Bouts / Le Tournoi de la Couronne: Le Premier Tour

East Kingdom Gazette - Sat, 2017-11-04 13:42

Fifty combatants take to the field to fight for the right to sit the Eastern Throne.  In the first round of combat:

First Round Bouts

Duke Randal of the Dark d. m’lord Joshua Mustard
Master Dmitri Stephanovich d. Baron Vachir Arslanjin
Baron Vladimir Bathory d. Master Ogedei Becinjab
Sir Rhys Ravenscroft  d. Lord Dorian Kalogero
Sir Alexander de Hauteville d. Lord Kevin D’no
Lord Volmar Sollons d. Vicondesa Jimena Montoya
Sir Matthew D’Arden d. Lord Greadden Olthursun Veassellurd
Viscount Antonii Machinevik d. Lord Albrecht Østergaard
Master Ávaldr Valbjarnarson d. Lord Brian of Stonemarche
Duke Brennan mac Fearghus d. m’lord Alton Hewes
Sir Ketilfastr Thorkilson d. Lord Brick James Beech
Sir Wilhelm von Ostenbrücke d. Lord Corwin Blackthorn
Sir Edward MacGyver dos Scorpus d. Lady Vasia von Königsburg
Jarl Valgard Stonecleaver d. Lady Mora Ruadh
Master Tiberius Iulius Rufus Primus d. Lady Leurona Winterborne
Sir Matthias Grunwald d. Baron Joseph Harcourt
Sir Thomas of Ravenhill d. Lord Coileán O’Rein
Sir Zhigmun’ Czypsser d. Lord Martin Wasser Speier

The following fighters fought byes during this round:
THL Micah of Brighton Manor
Baron Euric Germanicus
Sir Donnan FitzGerald
Baron Tiberius Nautius Maximus
Master Sigurthr Vigurhafn
Baron Richard Leviathan
Baron Joachim Liechtenauwer
Lord Sigurd Berserkr
Sir Hrafn called Bonesetter
Sir Rory MacLellan
THL Arne Ulrichsson
Baron Duncan Kerr
THL Duarcaín MacWard
Master Richard Crowe

There are often a large number of byes in the first two rounds of a double elimination tourney so as to balance the tree during the early rounds and avoid the possibility of late round byes.

Efeilian, called Parsley


Filed under: Events, Heavy List, Uncategorized Tagged: Crown, Crown Tournament, Crown Tourney, Fall Crown

Crown Tourney Begins! Le Tournoi de la Couronne Commence!

East Kingdom Gazette - Sat, 2017-11-04 11:00

The Crown Tournament of  Tsar Ivan and Tsaritsa Matilda is being held today, in Their Barony of Bergental.  The tournament procession has begun!

Fall Crown Tourney Procession

The Gazette will share results from Crown Tourney throughout the day, as available.  There are 57 combatants entered in today’s tourney, making up 54 pairs of entrants.  The full list of Crown Entrants can be found here.

Crown Tourney

Any errors are mine and will be corrected as quickly as possible.


Efeilian, called Parsley


Filed under: Events, Heavy List Tagged: Crown, Crown Tournament, Crown Tourney, Fall Crown

See the Borghese Caravaggios in a museum with functional climate control

History Blog - Fri, 2017-11-03 22:38

Giving them a break from the stifling heat, pain-lifting humidity and stench of humanity, the J. Paul Getty Museum in Los Angeles announced that they will be putting on a rare exhibition of three of the Borghese Gallery’s masterpieces by Michelangelo Merisi, the artist principally known as Caravaggio. The three pieces chosen for this rare departure to foreign climes are iconic: Saint Jerome Writing, also known as Saint Jerome in His Study, Boy with a Basket of Fruit and David with the Head of Goliath. The three works were painted at the beginning, middle and end of Caravaggio’s career, which makes them a great prism through which to view the artistic and personal shifts in the artist’s very turbulent life.

Boy with a Basket of Fruit (ca. 1593-94) represents the beginning of the artist’s career when he moved from Lombardy to Rome and first attracted attention as a painter of realistic genre scenes and still lifes. Saint Jerome (ca. 1605) portrays the saint as a scholar reading and annotating sacred passages in the dramatically spotlight manner that Caravaggio made famous. In David with the Head of Goliath (ca. 1610), painted at the end of the artist’s career in his more somber and expressive later style, Caravaggio included his own features in Goliath’s head, purportedly in penance for his having committed a murder in May 1606. All three paintings were acquired by Cardinal Scipione Borghese, a nephew of Pope Paul V, who knew Caravaggio personally and was one of his primary patrons.

“Caravaggio continues to exert tremendous influence on art today. His exceptional combination of truth to life and drama, and that famous chiaroscuro, gave birth not only to a new style of painting, but also inspired generations of painters with his psychological naturalism,” said Davide Gasparotto, senior curator of paintings at the Getty Museum. “These rare loans are prime examples of Caravaggio’s exceptional talent and innovation.”

The loan is in aid of the Caravaggio Research Institute, a project that seeks to create a database of everything we know about Caravaggio and his work, an accessible digital reference constantly updated with the latest and greatest information from art historical research on the man to laser scans of paintings and everything in between. It will allow interested amateurs, scholars, curators, conservators, museums and other institutions to have a world of knowledge about Caravaggio at their fingertips, and for them in turn to contribute what they’ve discovered.

The project is sponsored by FENDI which somehow links it to the value of the Made in Italy brand. It’s a laudable goal that I hope to see succeed and become a standard for all researchers no matter what the subject, but how about they fork over some of the billions they make flogging logoware to fashion victims to FIX THE A/C IN THE GALLERIA BORGHESE?! Seriously it’s insane that the director of the gallery has a deep-pocketed sponsor for the research institute which is under no particular time pressure while the paint is literally peeling off the canvases in the museum itself.

Okay. Deep breaths. I’m good now, thanks. (Until the next time I recall the horrors I witnessed.)

The Getty has a pre-existing relationship with the Borghese Gallery, a fascination, even. In 2000 the Getty Research Institute (GRI) hosted an exhibition about how Prince Marcantonio Borghese IV made extensive alterations and renovations to the villa and rearranged its prized collection to turn it into a full-fledged public museum instead of a private house that allowed visitors the way it had been since Cardinal Scipione Borghese’s days. Marcantonio turned to architect Antonio Asprucci to turn his vision of the new museum into a reality, and they worked closely together on the project for two decades starting in 1775. Craftsmen, builders, painters, antiquities experts all dedicated themselves to this ambitious goal with an attention to detail that was recognized as an artistic achievement without parallel in its time.

It was enormously influential on museum design. The Louvre’s first ancient sculpture galleries were modeled after the ones at Villa Borghese and not in a coincidental way. In 1799, Napoleon hired antiquarian Ennio Quirino Visconti, the same person who had catalogued the Borghese sculpture collection, to organize the new statuary gallery of what was then called the Musée Napoleon, the first public museum in France which would open in the Palais du Louvre in 1803. Visconti consciously repeated what had been so successful at the Borghese estate: he tied the sculptures to the spaces they were in by creating ceiling and wall paintings on the same theme. Four years after what we now know as the Louvre Museum opened its doors, Napoleon made the reference to the great Borghese collection even more explicit when he strong-armed Marcantonio’s son Camillo Borghese, husband of Paolina, to sell him 300 of his family’s most important pieces which he then happily installed in the Musée Napoleon.

The GRI’s exhibition on the subject was the result of its acquisition of a group of 54 drawings, most of them by Asprucci involving their plans for the ground floor of the villa, that illustrate just how painstakingly detailed the Marcantonio/Asprucci renovation was. The drawings cover the imagery that helped create the thematic consistency between the objects on display and the villa itself, how it was to be decorated and furnished, how best to light it and how to display the statues to their greatest advantage. All that industry and dedication produced one of the great steps forward in museum design and the Borghese Gallery today is still largely arranged along the lines established by Marcantonio Borghese and Antonio Asprucci.

Caravaggio: Masterpieces from the Galleria Borghese opens at the Getty Center on November 21st and runs through February 18th, 2018.

Categories: Arts and Sciences, History

DATE CORRECTION – Request for Commentary – By-Laws and Corporate Policies – Corpora IV.E.

East Kingdom Gazette - Fri, 2017-11-03 17:34

Please be advised that commentary on the captioned matters will be accepted until January 15, 2018.   Many thanks to Steve Herring who caught the mistake!

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

You may also email comments@lists.sca.org.

Filed under: Announcements Tagged: corporate

New Society A&S Minister Appointed

East Kingdom Gazette - Fri, 2017-11-03 17:11

The Board of Directors is pleased to announce the addition of Richard Le Mons (Seigneur Etienne Le Mons d’Anjou) to the Society Officer Staff.

Richard has accepted the position of Society Minister of Arts and Sciences. He will be taking over the job from Erik Contreraz, (Master Raven Mayne, OL), who was kind enough to handle an extended tour in the position.

The Society Minister of Arts and Sciences is responsible for fostering the study of period culture and technology, and methods for producing historically accurate artifacts and performances. The duties include coordinating the efforts of kingdom Arts and Sciences officers, and promoting the dissemination of accurate information about the fields under study.

The Board would like to take this opportunity to welcome Richard, as well as to thank Eric for his service and dedication.

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

You may also email comments@lists.sca.org.

Filed under: Announcements, Arts and Sciences Tagged: Arts and Sciences

Vivid color and a prosciutto clock from Pompeii

History Blog - Thu, 2017-11-02 22:10

By a series of link-hops that began with archaic Greece and what I hope will soon be a post of its own (it all depends on whether I can get my grubby mits on good pictures), today I wound up in Pompeii. With a prosciutto. A prosciutto-shaped sundial, to be exact. It was portable, as far as we know the earliest portable sundial surviving, which is even more notable a title when you consider that it’s made out of bonze and managed to make it through the eruption of Vesuvius in 79 A.D. intact.

It dates the 1st century A.D. and was first unearthed on June 11th, 1755, in the early Bourbon-era excavations of the site of Herculaneum. The sundial was found in the House of the Papyri, a handsome private villa where a library of charred scrolls were discovered. The scrolls got the lion’s share of the attention, but the silver-gilt bronze portable sundial so recognizably shaped like a prosciutto hanging from the bone while it cures did get some love from the Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, the ambitious knowledge compendium edited by Denis Diderot and Jean le Rond D’Alembert.

The only problem is the description was not particularly accurate. (Many of the entries in the Encyclopédie left something to be desired in that arena.) The sundial was “in the form of a sleeve,” according to them. In 1762, the first scholarly work to recognize the prosciutto clock for its awesomeness was published. It was the third volume of a much less general encyclopedia — Antiqities of Herculaneum — and the authors corrected the factual errors, barely disguising their contempt that the French encyclopedists couldn’t even recognize a prosciutto when they saw one. Horologists have been discussing the ham with undiminished fervor ever since.

The sundial is now part of the permanent collection of the Museo Archeologico Nazionale di Napoli. It was briefly in New York City this spring as part of the Time and Cosmos exhibition at New York University’s Institute for the Study of the Ancient World. That’s where it found a new fan who introduced new technology to the investigation of the sundial.

Now the “pork clock” ticks once more. Recently re-created through 3-D printing, a high-fidelity model of the sundial is helping researchers address questions about how it was used and the information it conveyed.

The model confirms, for instance, that using the whimsical timepiece required a certain amount of finesse, says Wesleyan University’s Christopher Parslow, a professor of classical studies and Roman archaeology who made the 3-D reconstruction. All the same, “it does represent a knowledge of how the sun works, and it can be used to tell time.” […]

After Parslow was asked about the pork clock, he was inspired to build a 3-D model. He took dozens of photos of the timepiece at its home institution, Italy’s National Archaeological Museum of Naples. A 3-D printer at his university churned out the model—in plastic rather than the original silver-coated bronze—in a matter of hours.

Like the original, Parslow’s model bears a dial, in the form of a slightly distorted grid, on one side. The vertical lines are marked for the months of the year. The horizontal lines indicate the number of hours past sunrise or before sunset.

The original clock is missing its gnomon, the part of a sundial that casts a shadow, but an 18th-century museum curator described it having one in the shape of a pig’s tail, so Parslow re-created that, too.

Parslow then experimented with the sundial outdoors. The clock is hung from a string so that the sun falls on its left side, allowing the attached pig’s tail to cast a shadow across the grid.

The user aligns the clock so that the tip of the tail’s shadow falls on the vertical line for the current month. Finally, the user counts the number of horizontal lines from the top horizontal line to the horizontal line closest to the tip of the shadow. That indicates the number of hours after sunrise or before sunset.

It’s conceivable that he might even be able to tell time to the half-hour, but without the original gnomon he’s having to tinker with curly tail to get the most detailed readings, and it’s not at all clear that the device was meant to be all that precise. A portable sundial was a prestige item more than a practical one and nobody was counting billable hours in 15 minute increments.

The Prosciutto Clock led me to another extraordinary image, this one tweeted by the Pompeii Sites account. This is the collection of pigment cups left behind by painters fleeing the eruption of Vesuvius in 79 A.D., most of them with the pigments or raw materials thereof still in brilliant color.

Following the trail of Internet breadcrumbs, I found Dr. Sophie Hay’s reply to the Pompeii Sites’ tweet of the rainbow of pigment jars. She was on the team that excavated those pots, which is insanely cool. The containers and their dazzling contents came from a painter’s workshop near the House of the Chaste Lovers where an unfinished fresco, a red frame around a white square, was found. On the same insula — a large multi-use block of more than 1500 square meters with homes, retail like a bakery and wine shop, and artisan workshops — a room was found in classic Pompeiian “frozen in time” mode. Apparently before the eruption a crew was working on the hydraulic network while painters had started redecorating the frescoes in the main hall. They had just finished the preparatory drawings when something suddenly came up, almost certainly Vesuvius’ roasting hot insides. The artists must have been in a rush because they left all of the pigments, which were certainly expensive not to mention necessary to their livelihood, behind. This great find gave the structure its modern name: the House of the Painters at Work.

The House of the Chaste Lovers, named after a completed fresco depicting a modest kiss at a dinner, belonged to wealthy baker (the bakery storefront next door was apparently his) and is an exceptional survival in a lot of ways. It’s one of very few two-story buildings in Pompeii with the second story still attached to it. The bakery’s oven and millstones are intact, as are two of its stables, complete with skeletal remains of seven animals. It has been excavated off and on since 1982, and the public have only been allowed in on very rare occasions. The week of Valentine’s Day this year was one those occasions, a tribute to the famous fresco with its sweet kiss on the reclining couch.

The pigment bowls were no longer in situ by then. In 2014, Professor Massimo Osanna, Director General of the Pompeii archaeological site, deposited the entire collection of pigments cups in the Laboratory of Applied Research which specializes in the study and conservation of Pompeii’s unique combination of archaeological materials, including organic, mineral and lithic remains. It has a state-of-the-art climate control system to keep the most delicate remains from degrading, and is therefore best equipped to preserve the vivid color of the ancient pigments.

Graphic artist Gareth Blayney made a series of drawings of how the shopfronts might have looked before the Vesuvian apocalypse for Dr. Hay and they are all beautiful, but the one of the paint shop truly does the riot of pigment jars justice.

Categories: Arts and Sciences, History

From the SCA Board of Directors: Request for Commentary on Proposed Changes to the SCA By-Laws and Corporate Policies

East Kingdom Gazette - Thu, 2017-11-02 16:20

Via the SCA, Inc. announcements mailing list

Currently open for commentary is a proposal for changes to the By-Laws and Corporate Policies for the Society for Creative Anachronism. The reasons for the suggested changes are to clarify confusing language, eliminate antiquated terms, and to correct grammar errors.

Due to the number of corrections requested, the documents along with the proposed changes have been posed on the SCA website to facilitate review of same. This file can be located at:


All members are encouraged forward their opinions for consideration.
Comments may be mailed to:
Comments / By-Law Changes
SCA Inc.
Box 360789
Milpitas, CA 95036

Comments may also be emailed to comments@lists.sca.org.
Please use “By-Laws Changes” in the subject line.

Commentary will be accepted until January 15, 2018.

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

Filed under: Announcements, Corporate Tagged: by-laws, corpora, corporate announcements, corporate policies, request for comment, Request for Comments, sca announcements, sca corporate, sca inc

Pictish stone with fearsome derriere found

History Blog - Wed, 2017-11-01 22:09

Pictish stones are usually abstract designs or animal figures that are stylized enough to look abstract to the untrained eye. That’s why they’re known as “symbol stones,” and why even experts don’t know what all of the symbols recorded from the 350 or so known Pictish stones represent. One theory is that they could be a sort of proto-heraldic assemblage identifying these large, imposing standing stones as the mark an important local family.

Roadwork on the A9/A85 highway in Perth, Scotland, has unearthed a Pictish Symbol Stone in which the symbol is a man, not a V-notch, not a circle, not something that could be an eagle if you squint at it long enough, but a clear outline drawing of a man carrying a spear in his right hand and a club or staff in his left. He is large and physically imposing and while he is wearing a cloak and shoes, the clothing is kept to a minimum in such a manner to emphasize his powerful glutes and quads. He is also sporting an unusual hairstyle: the front, and only the front, of his scalp is shaved. Other facial features have worn away, but from what little is left, it seems his nose was large and in charge.

There is no precise date for the stone as of yet. The spear he carries is of a type used in the middle of the 1st millennium A.D., which is a broad enough range to not tell us a great deal. If it’s actually 500 A.D., that is early for Pictish stones. There are no known Pictish sites in the area, which makes the discovery of this stone all the more significant. It may even refer to a specific local potentate.

A spokesperson for Perth and Kinross Council said: “The fearsome figure probably served to warn travellers and visitors that they were approaching his residence or territory.

“The study of the carving and what it can reveal about life in Pictish Scotland will continue. The Scottish Treasure Trove has been notified and the carving will be allocated to a museum in due course.

“After an inspection of the find spot, no further archaeological works were considered necessary and the roadworks have resumed.”

Mark Hall of the Perth Museum and Art Gallery was called in to the worksite when the stone was discovered. He documented it thoroughly in situ before it was removed and roadwork continued. The stone is now being kept at a mysterious undisclosed location where it will be studied and conserved while the Treasure Trove committee revs into gear and makes the decision everyone knows it’s going to make anyway. Obviously the ancient stone will be declared treasure. Then the only question is which museum will get to keep it.

Categories: Arts and Sciences, History

Irving Finkel on how to raise the dead

History Blog - Tue, 2017-10-31 22:26

If you thought Irving Finkel, the British Museum’s Middle East curator and foremost cuneiform expert, outdid himself in that video where he played the Royal Game of Ur, you’re going to love his Halloween themed video. In it he summarizes in his characterstically witty style the inscructions for necromancy, raising the dead for the purpose of foretelling the future, found on a tablet (K.2779) in the British Museum.

Written in Neo-Babylonian in the 7th century B.C., the tablet was one of tens of thousands discovered at Nineveh that were part of what is known as the Library of Ashurbanipal. Only the top half of it and a few fragments have survived so we don’t have the full recipe for conjuring the spirits of the dead, sad to say, and there are a few lines of magical incantantions that are untranslatable because they were written in what scholars think may be a mixed-up kind of Sumerian seeing as by the 1st milennium B.C. nobody could speak the real thing anymore. This kind of magic-speak has been found on tablets before, including ones dealing with necromancy.

There aren’t a great many specifically dedicated to the raising of ghosts and questioning them, interestingly enough. The namburbi genre this tablet is a part of usually deals with warnings and magic to repel ghosts and contain the damage they can do. Tablet 2779 is unusual in that it covers both subjects: how to raise the ghost and then how to prevent its evil from harming the home and its residents. As it was not incised in Nineveh, it’s likely the tablet was brought to the library in a deliberate attempt to flesh out the collection in subject areas that were sparsely covered.

Here’s a translation of the surviving cuneiform from K.2279, minus the couple of lines of untranslatable verse:

An incantation to enable a man to see a ghost.

Its ritual: (you crush) mouldy wood, fresh leaves of Euphrates poplar in water, oil, beer (and) wine. You dry, crush and sieve snake-tallow, lion-tallow, crab-tallow, white honey, a frog (that lives) among the pebbles, hair of a dog, hair of a cat, hair of a fox, bristle of a chameleon (and) bristle of a (red) lizard, “claw” of a frog, end-of-intestines of a frog, the left wing of a grasshopper, (and) marrow from the long bone of a goose. You mix (all this) (in) wine, water (and) milk with amhara plant. You recite the incantation three times and you anoint your eyes (with it) and you will see the ghost: he will speak with you. You can look at the ghost: he will talk with you.

In order to avert the evil (inherent) in a ghost’s cry you (sic) crush a potsherd from a ruined tell in water. He should sprinkle the house (with this water). For three days he should make offerings to the family ghosts.

He should pour out beer (flavoured with) roast barley. He should scatter juniper over a censer before Samas, pour out prime beer, offer a resent to Samas, and recite as follows:

O Samas, Judge of Heaven and Underworld, Foremost One of the Anunnaki!
O Samas, Judge of all the Lands, Samas Foremost and Resplendent One!
You keep them in check, O Samas, the Judge. You carry those from Above down to Below,
Those from Below up to Above. The ghost who has cried out in my house, whether of (my) father or mother, whether (my) brother or sister,
Whether a forgotten son of someone, whether a vagrant ghost show has no-one to care for it,
An offering has been made for him! Water has been poured out for him! May the evil in his cry away behin him!
Let the evil in his evil cry not come near me! <…> You do this repeatedly for three days, and <…>

You wash his hands, you anoint him with U.SIKIL: “It is finished”: in oil.

I love that they pour out beer for him. Very 90s rap.

The only negative thing I can say about Finkel’s explanation of the tablet is that it’s way too short. I’m hoping he does what he did with Ur and films himself actually performing the ritual. He’s already scared up a suitable skull (Mesopotamian, one hopes, although there is nothing in the literature that suggests the skulls used in these rituals needed to have belonged to any specific individual, group or time period). It’s just the ingredients for the magical brew he’s having difficulty obtaining. That, Dr. Finkel, is what the Internet is for. All you need is a little viral luck and within days you will be inundated with sufficient snake tallow, frog end-of-intestines and chameleon bristles to raise an army of the dead.

Categories: Arts and Sciences, History

In Memoriam: Maestro Augusto Giuseppe da San Donato

AEthelmearc Gazette - Tue, 2017-10-31 22:09

Photo by Mistress Ts’vee’a bas Tseepora Levi.


On Saturday, October 28, Æthelmearc lost a loyal and hardworking servant of the Crown. Maestro Augusto Giuseppe da San Donato, also known as “Joe the Just,” passed away after complications from surgery.

Maestro Giuseppe started attending SCA functions in 1999 in the Barony of the Rhydderich Hael (greater Buffalo, NY), and made it to his first event in 2000.  He quickly jumped into the Society with both feet and became a pillar of his Barony and the Kingdom.

Giuseppe recieved a Pelican in 2012 for his many works, especially autocratting events, running thrown weapons lists, and holding offices from Canton to Kingdom level. If you needed something built, hauled, or organized, he was your guy. One of his many services was driving the “Baronial Bus” to haul gear from his Barony to and from each Pennsic.

Maestro Giuseppe indulged in the occasional grand gesture. At War Practice during the reign of Byron and Ariella, when he took on the position of Kingdom Chamberlain along with Master Meszaros Janos, he presented the Kingdom with a fire ring adorned with escarbuncles to be used in the Royal Camp at Pennsic.

Maestro Giuseppe’s fire ring. Photo by Master Alaxandair O Conchobhair.

The list of awards he has received in recognition of his work over more than 17 years in the SCA encompasses not only most of Æthelmearc’s Kingdom awards and orders, and awards from his local Barony of the Rhydderich Hael, but also awards from the Barony of Rising Waters across the Niagara River in Ealdormere. Most recently he was recognized by King Timothy and Queen Gabrielle with a Sycamore at War Practice last spring for his thrown weapons targets and the Kingdom fire ring.

As many of Maestro Giuseppe’s friends have been shocked by the news of his sudden passing, stories of the ways he’s helped others are emerging.

Baron Magnus and Baroness Miriel of the Rhydderich Hael posted a remembrance of Maestro Giuseppe on their blog site, which eloquently describes how beloved he was in his barony. In that post, they noted, “Joe was a fixture in our Society, constantly working in front of and behind the scenes to make the Society a better place for others. Perhaps it was this singular dedication and drive that makes his passing so hard to imagine. Joe never stopped and no one expected he ever would.”

Photo by Baroness Rosemund von Glinde.

THLady Renata Rouge remembers, “About 10 years ago, my sister’s house burned suddenly. She lost EVERYTHING. It was a few weeks before Ice Dragon, which Joe was autocratting at the time. I felt like a chicken running around without it’s head, trying to arrange for donations to help my sister and the girls. Joe and [Mistress Tiercelin] both emailed me to say that they had arranged for space at Ice Dragon for people to drop off donations of items and clothing, and that there would be a box for monetary donations, to help with the financial burden. I was shocked, and more thankful than I could gather words for. Sure enough, when we got there, we had a truckload of items and not only did Joe collect donations of money but also gift cards for building stores and such. It was so incredible. Then he insisted on buying lunch for my mother and I (back then, Ice Dragon had the cantina style lunches.) That was really when he and I started getting close as friends.”

Master Filippo de Sancto Martino noted, “To call Joe Piselli my friend is an understatement. He was like a brother. His death still seems too unreal. [Giuseppe] traveled, set up ranges and molded things as he saw fit. In the Hael, he autocratted and ran the shed determined to be the best at both. Joe was a “my way or the highway kind of guy”; determined to make things happen. He worked hard, often overworking himself to the point of hurting himself and becoming a wee bit over cranky.” Filippo continues, “There will be many great stories told about Joe, aka Joe the Just, aka Just Joe, aka Joe knows a guy. I’ll let others tell those stories. They tell them better than me any way. I’ll remember the cranky grumpy bastard I call a brother and a friend. I can see him giving me that look and saying “Really Phil”. And I would say, “Now put on a shirt and grab some rest before you piss any more people off.”

Maestro Giuseppe receiving a Sycamore. Photo by Lady Aine ny Allane.

Mistress Anna Eisenkopf recalls Joe fondly, “He was always there with a smile, a hug, and a helpful hand. He would give you the shirt off his back if you needed it. There was a Harvest Raid event that I remember many years ago. It was a weird weather day: one minute the sun was shining, the next it was raining or sleeting sideways. At one point we realized that whenever Giuseppe came out to the thrown weapons range, the weather would decidedly take a turn for the worse. That was one of the early times of laughter with him but there were so many more. This past [Pennsic] War he was recuperating from his first back surgery so he couldn’t be there for my elevation to the Pelican, but he made sure to have someone deliver a gift of a medallion to me. Until we meet again, my dear friend.”

In addition to all his other work, Joe was known as a fine photographer. He kindly gave the Gazette permission to use his photos in our event reports and court reports, and numerous people have said he was the only one who could take a “good” photo of them. THL Renata said, “Oddly enough, Joe was also one of the very few people who could take my picture 1. without me knowing it and 2. while I was not making weird faces. In fact, that was his trick he told me; he said that if I didn’t know he was taking my picture, it always came out beautiful. Of course I took that as a challenge to follow him around, trying to catch him pointing his camera at me.”

One of Joe’s photos, of Duchess Dorinda.

Master Filippo recalls that Giuseppe was also known for his fashion sense. “He was… a clothes horse. He wore decent attire at events, [was] shirtless for take down and set up, and dressed to the nines for court.” Baroness Aemelia Soteria noted that Joe was usually shirtless on the thrown weapons range as well, while THLady Govindi Dera Ghazi Khan commented “He said he’d never wear a t-tunic!”

Visitation and funeral information for Maestro Giuseppe (Joe Piselli):

On Sunday, November 12th, there will be a Celebration of Life for all of Joe’s friends and family-by-choice. More details will follow when they have been finalized.

Maestro Giuseppe is survived by his sister Jaye Lynn, his brother Lawrence, his nephew Matthew, his niece Emily, his inspiration Lady Ysabeau de Comport, his bejant (thrown weapons student) Baroness Aemelia Soteria, and a large host of friends across the Society.

On Saturday evening at the Kingdom Arts & Sciences Champion’s event in Nithgaard, King Gareth and Queen Juliana held a moment of silence in memory of Master Giuseppe, and that night many good gentles all around the Kingdom raised a glass to their friend, Joe.

Just… Joe.

Photo by Duchess Anna Blackleaf.

This article was compiled by Mistress Arianna of Wynthrope with assistance from Master Filippo de Sancto Martino,  THLady Renata Rouge, Mistress Anna Eisenkopf, Baron Magnus de Lyons, Baroness Miriel du Lac, THLady Govindi Dera Ghazi Khan, Baroness Aemelia Soteria, and Mistress Cori Ghora.

Categories: SCA news sites

Fall Æcademy: Schedule, Lunch Menu, Classes for Everyone!

AEthelmearc Gazette - Tue, 2017-10-31 21:39

Greetings unto the most talented and erudite Kingdom of Æthelmearc from Mistress Alicia Langland, Chancellor of Æthelmearc Æcademy, hosted by the Shire of Blackwater!


  • 8:30 AM                Site opens
  • 9:30 AM                Opening Court
  • 10 AM             Classes begin
  • 11 to 1         Lunch served
  • 5 PM                Classes end
  • 5:30 PM                Closing Court
  • 7 PM                Site closes

PLEASE NOTE: There is minimal parking at the church. Anyone may pull into the lot to unload, but we request that spaces in the lot be reserved for those with mobility concerns. For those who are ambulatory, a free pubic parking lot is available across the street behind the Community Bank. Please use caution when using the crosswalk, as this is a major thoroughfare. Use the entrance near the marked accessibility lift.


Prepared by Lady Lasairfhiona inghean Aindriasa, lunch will be available from 11 AM to 1 PM. In order to ease overcrowding in the lunch room, gentles are asked to eat lunch either from 11 AM to noon or from noon to 1 PM. The menu includes:

  • Olive medley
  • Cheese cubes
  • Yogurt with fruit (strawberries, blueberries or other available berries, possibly orange marmalade as well)
  • Meatballs (beef/pork and chicken options )with sauces on the side (cameline sauce and pepper sauce)
  • Fresh fruit
  • Leek soup
  • Hardboiled eggs
  • Bread
  • Chocolate candies
  • Coffee, hot water for tea/cocoa, possibly sikanjabin or lemonade.

Adult Classes

We have classes for bards, brewers, clothiers, cooks, dancers, fencers, fiber artists, leatherworkers, scribes, woodworkers, youths, and a host of others:


  • The Irish Bardic Tradition


  • Judging an SCA Brewing Competition
  • How to Brew Your First Beer


  • Spanish Clothing Terms for Non-Spanish Speakers
  • The Skjoldehamn Hood
  • Medieval Double Apron
  • The Goldhaube: An early 16th Century Saxon Hair Covering
  • From Seeing to Sewing: Intro to Pattern Making


  • Foundations of Period Dance Technique
  • English Dance

Fencing (War College)

  • Tricks to watch out for in fencing

Fiber Arts

  • Burn It!
  • Warp-weighted loom weights: Their story and use
  • Introduction to Silk Banners
  • Intermediate/advanced Embroidery

Food & Drink

  • What the Irish Drank
  • Before Béchamel & Hollandaise
  • Euriol’s Book of Secrets: Introduction to Recipe Translation


  • The Truth About Boleyn Green!

Japanese Studies

  • Perfectly Period Feast: Heian-kyo 2020
  • Heian-kyō 2020 : Annual Festivals of Spring and Autumn
  • Heian-kyō 2020 : Ritual, Festival, and Auspicious Food in Premodern Japan


  • Hardened Leather

SCA Life

  • MoL 101
  • Now What?! Effective Documentation
  • Talking with Your Hands

Scandinavian Studies

  • The Skalds
  • 871 +/- 2: History of the Settlement of Iceland to the year 1000
  • The Marriages of Guðrún and Hallgerður


  • Scribal Documentation and Petting Zoo
  • Illuminating using the Morgan Picture Bible
  • Basic Scribal tool Box for Illuminators
  • Whitework 101: It’s not as scary as you think!


  • Three Scandinavian Boxes

Youth Track

(Thanks to the efforts of Her Grace Duchess Ilish, the upcoming AEcademy is chock-full of fun and engaging activities for our youth.)

  • Embroidery for Children and Beginners
  • Drawing Flowers on a Scroll
  • Stuffed Eggs
  • Make and Take T-Tunic for 18-inch Doll or Teddy
  • Origami for Youth
  • Clay Play

All Youth Track classes will be held in Classroom #2. Each lasts one hour.
All supplies are provided, unless otherwise noted.
Instructors have requested a limited number of participants. Sign up near Troll to reserve a spot for your child.
Children must be accompanied by a parent for the duration of the class.

Descriptions for all classes can be found here. (Click on the title for the description of the class.)

To assist in planning your day on Saturday, the full schedule is now available here.
(A printable version can be found here.)

Event details can be found here.

Visit the event’s Facebook page and find out which of your friends will be there — and let them know you’re coming, too!

(Psst … This will give our kind kitchen crew a better idea of how many people to expect …. It’s always a good idea to keep the kitchen crew happy!)

Categories: SCA news sites

Google-Based Email Arrives in the East

East Kingdom Gazette - Tue, 2017-10-31 14:28

Greetings to the Populace of the Kingdom of the East from the Office of the Webministry!

There have been, over the last 9 months or so, various references made to “Google for Non-Profits” in a variety of places. If you haven’t seen them, that’s fine, but if you have it has been awfully vague. It is time to no longer be vague.

Back in March we began a relationship with Google for Non-Profits (hereafter GfNP), the free service that Google provides to 501(c)(3) organizations. The GfNP service suite includes nearly every service that Google provides, such as GMail, Google Calendar, Google Forms, etc. Since then we have been slowly and carefully planning out just how we are going to manage moving more than 700 email accounts spread over ~70 branches plus the Kingdom itself so as to minimize the pain and suffering. We all went through the last East Kingdom Server migration, we do not wish to go through that pain again.

At this time there are no plans to replace the Kingdom Events Calendar with Google Calendar, or to move websites over to Google Sites. Google Calendar can certainly be leveraged by Officers or Branches to provide calendaring services themselves. Using Google Sites would be much more difficult and at this time is not on the table.

There are, however, plans to make use of Google Drive, Google Docs, Google Forms, Google Sheets, … probably others I don’t even know of. … but that’s phase 2. Phase 1 is email.

We have been working hard on planning and on doing everything we can to make the system we are moving to as easy to use as possible. We are just beginning to test with actual user accounts within the Webministry, and soon we will be sending out a request to all of the local branches and Kingdom Offices for information about your people who need accounts. This is where the first enormous change comes in to play: we will be creating accounts for individuals, not for offices. Thus, one individual who happens to hold 4 different offices will have 1 email account to check. When sending email, that individual would have to choose which office they are sending from, but replying to existing email will handle it for them. So we need to know who all of your people are, where in the past we needed to know what Offices you had.

The second enormous change is that Google has the resources to do effective SPAM filtering, where we simply don’t.

So in the near future, all branch Seneschals and Webministers should be receiving that request for information about your officers, as should all Kingdom Officers to report on their staff. During November, we are planning on migrating the first branch or two, starting with small branches with very technical Webministers so we can work the bugs out of the migration process before we go and inflict it on all the rest of you. With any luck, we won’t need more than two test branches as we streamline the process. This is also the part where we write up the instructions for everyone. Don’t worry, we have a technical trainer on staff now who will make sure that we write in English instead of IT-gobbledygook, we understand that for most of our Populace that isn’t a language you speak.

Once things are known to be working smoothly, we will start ramping up moving more branches each week. The Kingdom itself, for a huge variety of reasons, has to go last. We’re willing to commit that this migration will be completed during the reign of Their Majesties Ivan and Matilde, but we’re going to move as fast as we reasonably can once we get started. As much as we want this done, we want it done *right* even more.

In Service,
Joel Messerer (formerly known as “of Vestfell”)
East Kingdom Deputy Webminister of Services

Filed under: Announcements

Portland Vase keeps confounding experts after 500 years

History Blog - Mon, 2017-10-30 22:03

An interdisciplinary study at the Australian National University (ANU) has discovered evidence that the Portland Vase, a 1st century A.D. Roman cameo glass of extraordinary beauty that has captured the imagination of the artists and antiquarians for half a millennium, may have been manufactured completely differently than scholars have thought up until now.

Specifically, by using a combination of computed tomography and mathematical analysis the researchers have shown that Roman cameo glass was not made by blowing, but by a different process known as “pate de verre”.

While glass-blowing involves basically inflating a balloon of molten glass by pushing air into it through a tube, pate de verre is a form of casting. Finely crushed glass particles are mixed into a paste with a binding material (and colours), which is then put on the inner surface of a mould and then fired.

Research on Roman cameo glass fragments led by Richard Whitely of the Australian National University (ANU) in Canberra focussed on studying the fine structure of air bubbles trapped between blue and white layers. The collaboration between the university’s schools of art and design, classics, and physics and engineering revealed evidence that the glass could not possibly have been produced by blowing.

“We saw a bubble configuration within the glass that results from a pressing and turning motion,” says Whiteley. “I believe that cold granulated glass has been packed into a mould and then a blob of molten blue glass introduced and pressed against mould heating the white granules from behind. You just would not get a bubble that size and flat-shaped from blowing.”

He knows whereof he speaks, because Whiteley is an experienced glass artist in his own right. His first-hand knowledge of how glass works was supported by Tim Senden from the school of physics and engineering who analyzed the data from the scans. Senden created mathematical models of the glass bubbles and found they were not compatible with bubble patterns created during the process of blowing glass.

The Portland Vase has been confounding and enchanting people if not since it was made between 1 and 25 A.D., then at least since its rediscovery in the Renaissance. It is believed to have been found in a tomb just southeast of the ancient Servian walls that still marked the official boundary between the old city (where bodies could not be buried) and the outskirts (where they could). Known as the Monte del Grano (the hill of grain), the grave purportedly contained a large marble sarcophagus thought to be the final resting place of Emperor Severus Alexander (r. 222-235 A.D.) and his mother Julia Mamaea. The imperial attribution proved to be groundless, but the legend stayed attached to the vase, which was found inside the sarcophagus and because of its exceptional quality was assumed to have been used to contain the ashes of the emperor, for centuries.

The discovery was not documented at the time so a lot of this story is nebulous in its details. It was well-established as the background of the vase by the 18th century, but the first known recorded reference to the Portland Vase was a comment by Nicolas-Claude Fabri de Peiresc who saw the artifact in the winter of 1600-1 in the collection of Cardinal del Monte. Peiresc was riveted by it as were his friends Peter Paul Rubens and antiquary Cassiano dal Pozzo whose “Paper Museum” (a collection of more than 7,000 paintings, watercolors and sketches of antiquities, botany, zoology, architecture and more) included multiple drawings of the vase. The three of them wrote to each other about it often, discussing its aesthetic attributes, imagery, original shape and date of manufacture.

As secretary to Cardinal Francesco Barberini, dal Pozza had front-row seats to the cameo glass vase. Cardinal Del Monte died in 1626 and the vase was acquired by the Cardinal’s brother Antonio, both nephews of Pope Urban VIII. That’s where the vase got its next name: the Barberini Vase. The family was the most powerful in Rome at that time and had patronage ties to artists all over Italy. Word of the rare beauty of the vase spread far and wide in the artistic community, and by the end of the century it was considered a must-see for antiquarians, artists and well-bred amateurs who would later become known as Grand Tourists.

Not that anybody had any accurate idea of where it came from or even what it was made out of at this point. Late 17th century sources from encyclopedist Bernard de Montfaucon to Giovanni Battista Piranesi, meticulous engraver of antiquities and fantasy prison landscapes, repeated the story that the vase had been found in the Monte del Grano tomb in the sarcophagus of Severus Alexander. Piranesi engraved the tomb, sarcophagus and vase in his characteristic high detail, but he hadn’t seen them together as the original context was long since scattered. Montfaucon and Piranesi both mistakenly thought the vase was made of sardonyx agate, and they weren’t the only ones to make that mistake.

Sir William Hamilton bought the vase from Scottish antiquities dealer James Byres in 1782 who had bought it from the debt-ridden Donna Cordelia Barberini-Colonna in 1780. In 1784, the vase ceased to be a Barberini and found a new home (and a new name) with the Duchess of Portland. She died the next year and her great collection was sold at a multi-day auction. The buyer of the vase kept things in the family, however, because he was the Duchess’ son, the 3rd Duke of Portland. A year after the sale, Josiah Wedgwood got permission to borrow the vase to make copies in jasperware. His versions were huge commercial hits and geometrically expanded the fame of the original vase.

The Portland Vase darkened the doorway of the British Museum in 1810 when the 4th Duke of Portland loaned it to the institution for safe-keeping, but alas, there is no safety to be found in a world full of crazy people. On February 7th, 1845, a paranoid alcoholic on a bender picked up one of the carved stones on display in the gallery and smashed the Portland Vase and its vitrine to bits. It wound up in 37 pieces but was puzzled back together by restorer John Doubleday within a year. It was finally bought by and entered the permanent collection of the British Museum in 1945.

Categories: Arts and Sciences, History

Dragons return to Kew Gardens’ Great Pagoda

History Blog - Sun, 2017-10-29 22:43

The Great Pagoda at Kew Gardens is in the midst of a major restoration project that will return it to its original glory. This is a tall order, no pun intended, for a wooden octagonal tower ten stories high that was built in 1762. Towering 50 meters (164 feet) above London, the Great Pagoda was unique for its time with its height, Chinese-inspired design and spectacular bird’s eye view of the city. It was the highest Chinese-style building in Europe. A great many people doubted that so tall and thin a structure could even survive and expected it to fall down at any moment. Not everyone would have been unhappy with that outcome, mind you. Horace Walpole, antiquarian, author and son of Prime Minister Robert Walpole, disliked it immensely. He complained in correspondence with a friend that he could see it from his Strawberry Hill House, his Gothic estate in Twickenham, and that if it kept on like this, soon it could be seen from Yorkshire.

Kew Gardens wasn’t the national botanical garden then that it is now. That didn’t happen until 1840. It started out as a private garden with a collection of exotic plants created by Lord Capel John of Tewkesbury on the grounds of Kew Park near Richmond Palace. After the 1751 death of Frederick, Prince of Wales, heir to the throne and father of the future King George III, his wife Augusta, Dowager Princess of Wales, greatly expanded the little exotic garden. She commissioned architect Sir William Chambers, a favorite of John Stuart, 3rd Earl of Bute, Augusta’s closest advisor (some said lover, some Svengali), to design several new structures and follies for Kew Gardens. Over the decades he built the Gallery of Antiquities (now demolished), the Temple of Pan (demolished), the Temple of the Sun (demolished), and still standing today, the Ruined Arch, the Temple of Bellona, the Temple of Aeolus, the Orangery and the Great Pagoda.

Chambers was uniquely suited to that last task. Born in Sweden to a Scottish merchant, he had worked for the Swedish East India Company for almost a decade starting when he was 17 years old. While in its employ, Chambers went to China three times and dedicated himself to the study of Chinese architecture. When he came back to Europe for good, he chose to pursue architecture, studying with masters in Paris and Italy before opening starting his own firm in London in 1755. Just two years later, thanks to John Stuart, he had made the big time garnering an appointment as tutor in architecture to the Prince of Wales. That same year he published a book about Chinese architecture that made a huge splash and popularized Chinese style in design, fashion and the decorative arts. His list of subscribers might as well have been Debrett’s Peerage — His Royal Highness the Prince of Wales, Her Royal Highness the Princess Dowager of Wales, His Royal Highness the Duke, and a few rungs down on the ladder, the Earl of Bute.

Here’s how he described Chinese towers in Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils:

The towers called by the Chinese Taa, and which the Europeans call likewise pagodas, are very common in China. In some provinces, says Du Halde, you find them in every town, and even in the large villages. The most considerable of them all are the famous porcelain-tower at Nang-Kingj, and that of Tong-Tchang-Fou, both of which are very magnificent structures.

In regard to their form, the Taas are all nearly alike being of an octagonal figure, and consisting of seven, eight, and sometimes ten stories, which grow gradually less both in height and breadth all the way from the bottom to the top. Each story is finished with a kind of cornish, that supports a roof, at the angles of which hang little brass bells ; and round each story runs a narrow gallery, inclosed by a rail or balustrade. These buildings commonly terminate in a long pole, surrounded with several circles of iron, hanging by eight chains fixed to the top of the pole, and to the angles of the covering of the last story.

He began construction on the Great Pagoda at Kew Gardens in 1761, four years after the book was published. Chambers followed the template he’d written about in his book to the letter, using the Porcelain Tower of Nanjing as his model. He went for the most ambitious goal referenced in his book, the ten story tower, even though in reality Chinese towers have uneven numbers of floors, seven ideally. Each floor he made just 30 cm (12 inches) narrower than the one underneath it. It was also a riot of color originally. The roofs were tiled with varnished iron plates and had a dragon perched on each corner. The dragons were hand-carved out of wood and gilded. Over time the varnished iron roof tiles were replaced with slate and the dragons were removed in 1784 during roof repairs. Nobody knows for sure what became of them. Gossip has it that they were sold to pay King George IV’s gambling debts, but they weren’t made out of solid gold and you can’t really hock gilded wood dragons. The true story, confirmed by at least one contemporary, is probably more mundane than that: they were simply neglected and rotted away.

Architect Decimus Burton, a botanical enthusiast as well as one of the leading architects of the Greek Revival, Regency and Georgian styles, proposed a restoration of the Great Pagoda to its original splendour, but he was denied on the grounds that the sum of £4,350 it would require was just too princely. Piecemeal restorations have taken place since, mainly to the roofs — holes were cut in each floor during World War II so British bomb designers could test the trajectories and movements of their bombs when dropped — and while there was some talk of going for a larger magnitude reconstruction that would include replica dragons, nothing came of it for decades.

Except for a brief window in 2006, the tower has been closed to the public. That sad loss is soon to be remedied, however, because the ambitious restoration is scheduled to be completed and the Great Pagoda reopened in all its iridescent 18th century glory come spring of 2018. And yes, there will be dragons. All 80 of them are going back to their respective corners. The eight dragons on the first roof will be carved by hand out of wood, just like the originals. The ones on the higher story will be more workmanlike, made out of nylon on 3D printers and virtually indestructible.

Technology can only help so much. This is not a relatively simple matter of creating an exact copy of an existing object. Not only were all the dragons long gone decades before Louis Daguerre took that first picture of a Parisian street, but they aren’t even any extant depictions of the dragons. Curators have had to rely on archival resources and research into the Chinoiserie style of the period to recreate the carving and paint colors. See them at work in these fantastic(al) videos:

Categories: Arts and Sciences, History

Boxed lunches at Crown Tourney / Boîtes repas au Tournoi de la Couronne

East Kingdom Gazette - Sun, 2017-10-29 16:02

En français

Attention Combatants and Consorts for Crown Tourney: The dayboard cooks will be preparing boxed lunches for all entrants, to be distributed separately from the general service so they may focus on the list while still getting a hearty lunch. A handful of you have emailed me to let me know of food allergies and issues—thank you!

If anyone else on the tournament list has an allergy/sensitivity, or even a preference for certain items to NOT be in their lunch (menu has been posted in several places), please email me at gryphon@alum.mit.edu as soon as possible so we can make sure to accommodate everyone.

Thank you!

PS: just to be clear, each box will be clearly marked with each entrants’ heraldry, so we will have the ability to customize lunches as needed.

En français

traduit par Behi Kirsa Oyutai

Attention à tous les Combattants et les Consorts participant au Tournoi de la Couronne: Les cuisiniers prépareront des boîtes repas pour tous les participants, à être distribuées séparément du service général, afin de pouvoir concentrer leurs efforts sur les combats dans les listes, tout en profitant d’un repas nourrissant. Quelques uns d’entre vous m’ont déjà écrit pour me faire part d’allergies et autres préoccupations – merci !

Si d’autres personnes sur la liste des combattants a une allergie ou une intolérance, ou même une préférence à ne PAS inclure certains items dans la boîte (le menu a été posté à différents endroits),  veuillez écrire à gryphon@alum.mit.edu le plus rapidement possible pour être certain de pouvoir accommoder tout le monde.

Boyar Aleksei

PS: Pour être clair, chaque boîte sera identifiée clairement par l’écu de chaque participant, donc nous pourrons faire les boîtes sur mesure pour chaque personne, selon les besoins.

Filed under: En français, Events Tagged: Crown Tourney

Looking for judges in Arts and Sciences / Juges recherchés pour les Arts et Sciences

East Kingdom Gazette - Sun, 2017-10-29 16:01

En français

Greetings all,

K&Q Arts and Sciences championship is approaching rapidly, and that means it’s time to find judges!

If you are interested in helping judge this illustrious competition, please fill out our judge registration form here.

Judging is open to anyone who feels reasonably experienced in an art and as a judge. You will be part of a team who will be evaluating several artisans’ work, and we make every effort to place judges and artisans together in a way that helps everyone learn and grow!

If you don’t feel comfortable judging but are interested in learning, we have an option to “shadow” a team. Tag along, see how the process works, and add to your own knowledge!

Prospective judges will also be asked to read and agree to our Judge Agreement form (linked in the registration form), which outlines our expectations for judging in this competition. We want to make sure that entrants and judges alike come away with a positive experience!

Guidelines for the competition, as well as the three rubrics that judges will use to evaluate artisans, can be found on the MoAS website here.

We need many judges to make this a successful experience for all. Your unique perspective and experience can provide anyone with valuable insight to help them along their path.

With a generous pool of judges, we will be able to give the competitors the personal attention and feedback they need – and we will also be able to give judges a break to enjoy the rest of the event!

Please give us a hand in making this a fun and enlightening experience for all!

-Magnus hvalmagi, Special Deputy to the MoAS

En français

traduit par Behi Kirsa Oyutai

Salutations à tous,

Le Championnat d’Arts et Sciences du Roi et de la Reine approche à grands pas, et cela veut dire qu’il est temps de trouver des juges !

Si vous êtes intéressés d’aider à juger cette illustre compétition, veuiller remplir le formulaire d’enregistrement pour les juges, ici:


Les postes sont ouverts à n’importe qui se sentant raisonnablement expérimenté dans un art et comme juge. Vous ferez partie d’une équipe évaluant le travail de plusieurs artisans, et nous ferons tous les efforts possibles afin de jumeler ensemble des groupes permettant à tous d’apprendre et d’évoluer dans le processus.

Si vous ne vous sentez pas confortable dans le rôle de juge, mais êtes intéressés à apprendre, nous avons aussi une option permettant d’être observateur. Vous suivrez cette équipe, afin de voir comment le processus fonctionne et ainsi augmenter votre connaissance du sujet.

On demandera aux juges potentiels de lire et d’être en accord avec le Formulaire d’entente des juges (lien disponible dans le formulaire d’enregistrement), qui détaille nos attentes en ce qui a trait aux juges dans cette compétition. Nous souhaitons être certains que les participants, autant que les juges, aient une experience positive à l’issue de cette journée !

Les consignes pour cette competition, ainsi que les trios rubriques que les juges utiliseront pour évaluer les artisans, peuvent être trouvés sur la page web du Ministre des Arts et Sciences:


Nous avons besoin de beaucoup de juges afin que ceci soit une expérience fructueuse pour tous. Votre perspective unique et votre expérience peuvent donner à n’importe qui un point de vue différent et très enrichissant afin de les aider dans leur cheminement.

Un basin de selection de juges généreux nous permettra de donner aux compétiteurs l’attention et la rétroaction dont ils ont besoin – et nous pourrons aussi donner une pause aux juges afin de profiter du reste de l’événement !

S’il-vous-plaît, donnez-nous un coup de main afin de rendre cette expérience agréable et enrichissante pour tous !

-Magnus hvalmagi, Député Spécial pour le Ministre des Arts et Science

Filed under: Arts and Sciences, En français Tagged: Kings and Queens Champions