As Mistress Arianna of the Gazette reported previously, Master John the Artificer (John Robert Rose) passed away on November 25th, 2020. Recently, his niece reached out the Kingdom of Aethelmearc to ask his friends and SCA family to share stories and pictures, so that his family may use them in an online virtual memorial that is being planned.
His niece has shared this information about his final arrangements:
A small funeral mass will be said on Friday, February 26th*, at 11am at Sacred Heart Church, in Highland Falls, NY. It will run live feed from [the Facebook page noted above], any who wish to attend virtually can sign on … at 11 am to catch the live service.
*If you would like to send Flowers for his Mass on Friday, you can contact Lilies of the Valley, in Highland Falls, NY. Their phone number is: 845-446-4446.*
We are currently planning a larger, virtual memorial to honor my uncle’s memory more in detail, and to invite friends and family to share together. The date of this is to be announced, anyone who wishes to be a speaker, or share pictures please let us know and we will gladly add you to the program. Thank you!!
[*Editor’s Note: The original version of this story had the date of the funeral mass on the 19th, but since it was delayed until the 26th due to inclement weather, the date was updated to the 26th.]
The Barony-Marche of the Debatable Lands invites the Kingdom to an afternoon virtual 12th Night Social on Saturday, January 16th, starting at 1pm. Join us for socializing, games, entertainment, fighting classes, and more! Help us spread joy and cheer!
The full schedule with details and links to all the activities is here: http://bit.ly/12thNight21 . Use this document to navigate the event! Check out our plans:
A Main Room for socializing, and chatelaining. Drop in and see which of your friends are chatting. New folks are welcome to come in for intros and questions. You can do tech troubleshooting here, too!
Fighting Classes! — 1pm – Count Seto Gesshuko teaches “How to Stay Deadly with At Home Fighting Exercises” (1 hr) — 2pm – Viscount Sagan teaches “An Approach to Successful Training, Practice and Combat” (2 hrs) — 4pm – Jarl Steinarr Aggarson teaches “Reading Unknown Opponents in a Safe Way” (1hr)
A Game Room, hosted by Lord Angus MacDougall of the Debatable Lands: –Games include Carcassonne, 7 Wonders, and jackbox.tv offerings such as Quiplash, Talking Points, and Champ’d Up. –Exact games to be determined by the players. Come at 1pm to hop in early, but players are welcome anytime! [Note: some minor requirements outside of Zoom are needed for online gaming, see schedule for details]
Our Entertainment Room has many fun activities! –A merry Sing-A-Long with Lady Alysoun — I Genesii presents: “Arlecchino’s Adventure” & “Love Canals” (ages 16 and up only, pls) –Gift Exchange Unwrapping Party! Not part of an exchange? Bring your favorite holiday gift to show off! –A Bardic Circle, led by THL Silence de Cherbourg
We have an entire Movie Room just for Shakespeare’s 12th Night – every version! Presented by Master Alaric MacConnall. This activity starts at 11am and runs through midnight. See the event schedule (“Movie Schedule” tab) for the full movie titles and times.
We honored to host a Memorial Gathering in Honor of Master RemusFletcher from 3pm to 4pm. Details here.
At 5pm, all are invited to the Debatable Lands Baronial Court. Come on over to the Main Room to see your friends and chosen family be recognized.
The afternoon will conclude with a community chat after Court, same Zoom channel. See and chat and be of good cheer together. [Still want more? Shakespeare’s 12th Night Movies continue to midnight!]
Fiona of Hartstone and Superman, photograph by Sidney Green
On Saturday, June 29, the event “A Kingdom for my Horse” was hosted by the Barony-Marche of the Debatable Lands. This event included various activities, including equestrian. The event hosted the Æthelmearc Kingdom Equestrian Championship as well as a challenge/obstacle course and jousting. The Equestrian Marshal in Charge was THL Gesa von Wellenstein and the Championship portion was conducted by Baron Tigernach mac Cathail. Several riders and horses from the Kingdom competed for the Championship and were joined by several out-of Kingdom riders who participated in the day’s various activities. The following report was submitted by the Equestrian Marshal in charge of the event (with some editing).
Thundering hooves under the burning sun, in a land were dragons fly, riders of Æthelmearc showed off their skills of arms throughout the day. The day’s first activity was a challenge/obstacle course. Lord Nohaaj was victorious in his quest to slay the dragons and rescue our dearest Baroness Hilderun. Second place was Victoria, followed by John, Fiona, Katja and Katrina.
Lord Nohaaj receives his lance during the Jousting. Photograph by Eilonora inghean an Bhaird
Their Majesties and Royal Highnesses were impressed with the riding performances in front of the court. This was the start of the Kingdom Championship and consisted of the competition known as “Riding Before the Prince.” Recreating an activity from period, this competition challenges the riders to display their skills and that of their horses to their best abilities in order to impress the court. Mistress Gozen was able to impress everyone the most and received the highest scores. She was followed closely in scores by Lady Gesa, Fiona and Catrina. Next in line were THL Aaliz and Victoria.
Mistress Gozen on Rex, Photograph by Lady Pertolongan Kucingyn
The second phase of the championship was a challenge course called Chivalry in Training. In this phase, riders completed a timed course which involved a variety of obstacles and martial targets. THL Aaliz was the master of all skills at arms. Lady Gesa was second, with Mistress Gozen third followed by Fiona and Lord Nohaaj, on his brave war horse Maple.
Lady Aaliz wowed the crowd, holding the unicorn in her teeth, aboard Thelma. Photograph by Lady Sile inghean chein
Following the Championship competition, the court and populace of Æthelmearc and friends gathered to watch the joust. Trampling horses and shattering lances of 6 competitors kept the crowed well entertained. John, Catrina and Victoria were eliminated during the first round. Lord Nohaaj, Katja and Fiona advanced to the second round of the joust. Horses charged, lances shattered, and the crowd cheered. Lord Nohaaj emerged victorious in the joust.
Katja Borsukska and the young jousting mule Frida the Fearsome. Photograph by Eilonora inghean an Bhaird
Scores were tabulated for the riders who completed all portions of the day’s activities, and the winner of the day, with the highest total score was Fiona.
Fiona on Superman. Photograph by Lady Sile inghean chein.
Our Kingdom was enriched this day by the comradery, chivalry and mounted skills demonstrated by the riders. As the Lady of the Lyst, I would like to thank everyone who traveled to this event and rode with us. I wanted to create a fun equestrian day that provided our populace a small view inside of what we do with our four legged partners. I could not have done it without all of you who participated and helped out on the ground, assisting the riders and marshals.
Until next time, Lady of the Lyst, THL Gesa van Wellenstein
THL Gesa on Daisy. Photograph by Lady Sile inghean chein.
Court was held following a procession of Royalty on horseback which has become customary whenever horses are present. At court several equestrians were called to appear before Their Majesties, Royal Highnesses and the Baron and Baroness. Mistress Gozen was called forward and named the King’s Equestrian Champion. As the regalia was not present at the time, it will be delivered and presented at a later time. Lady Gesa was called forth and named the Queen’s Equestrian Champion and vested with the regalia by Baron Tigernach. Both received scrolls to commemorate the occasion. THL Aaliz was called forward and declared the winner of the Chivalry in Training portion and was presented with a scroll and belt favor. Mistress Gozen was named the winner of the “Ride Before the Prince” portion and also presented with a scroll and belt favor. Lord Nohaaj received recognition for his wins in the Dragon contest and the Joust, receiving scrolls and favors for his accomplishment. Lady Gesa was called back into court and inducted into the Order of the Golden Lance of Æthelmearc. (And hence in the above account, her name was corrected to reflect this new title.) The Barony recognized both THL Gesa and Nohaaj for their skills and inducted them into the Order of the Iron Comet as well.
The equestrians of Æthelmearc invite you to join them at the next event which hosts horses and join us in the pageantry and excitement of these activities.
A message from the current Co-Signets regarding a call for Letters of Intent:
It is time to request letters of intent for those who may be interested in pursuing the next term of office for Kingdom Signet. That said, it has always been our intention to serve two terms as Co-Signets, should those who make the decision deem us to be worthy of the honor.
First of all, please bear in mind that Scribes are the only pure production artists we have in the SCA: Everything they create is freely given away, they work alone and they pay for all of their materials and supplies. Interested parties should know that there are a few skill sets that are required to do the job. These include:
Exceptional organizational skills and keeping the Royal scribal secrets, secret.
Knowledge of database management is critical: keeping accurate records for the seated Royals, the Jewel Herald and for any who will review Signet records in years to come. This includes a follow up edit to the database after every Royal Progress event to specifically detail all Court business which occurred and what did not transpire.
The Signet works closely with the Crown and the designated Jewel Herald – this is a team effort and flows smoothly when all parties work together. This requires excellent, respectful communication skills, responding to requests from the Royals, Jewel Herald, other Kingdom officers, our scribes and the populace at large. Traveling to Royal Progress events is an expectation of this position. Further, the Signet is expected to supervise his/her team including any deputies appointed and the assigned work they accept. Communication also includes the ability to write Curia reports, Kingdom policies and even proposals to various Kingdom committees.
Assigning, collecting and presenting scrolls for signature is only a part of the job description.
Education: Artistic development for each and every scribe that desires assistance. Providing resources and materials as requested. The Signet should have a strong base of knowledge of artistic techniques & processes, historical references, materials, and several styles of illuminated manuscripts. Educational deputies may be appointed to assist with the tasks/projects: Heralds and Scribes event, Pennsic Scribal college, War Practice Scribal Playtime, Academy offerings and more. The Signet is the primary resource for all Kingdom scribes.
Community building, fundraising for the Scribe’s Retreat, mentoring, networking new scribes with experienced scribes.
Applicants should expect to spend between 15-20 hours per week and more prior to Coronation and Pennsic.
For those who wish to submit letters, please provide the following: A resume and a letter of intent to include any deputies planned to implement a two year plan of action specifically detailing what you intend to accomplish and who you will enlist for assistance. Please be specific. Letters may be sent to the Kingdom Seneschal and to our Prince and Princess.
The BMDL Fiber Guild was invited back to the Children’s Museum of Pittsburgh MAKESHOP on April 29, for a medieval embroidery demo. (This is our sixth demo for the museum!) MAKESHOP is a partnership between the Children’s Museum of Pittsburgh, Carnegie Mellon’s Entertainment Technology Center (ETC) and the University of Pittsburgh Center for Learning in Out-of-School Environments (UPCLOSE). It is a space dedicated to making, reusing and designing things, using everyday materials and real tools. It has regular programs and special guests.
The goal of the demo was to introduce children and their families to medieval embroidery and basic techniques. As it can be a complex topic, there was a lot of fine tuning to make sure the program would be useful to the children who have never done any embroidery and to the more experienced adults. This required the talent and resources of many people to produce a successful presentation.
Mistress Ts’vee’a bat Tseepora Levi, Lady Gesa von Wellenstein, and Lady Rivka bat Daniyal generously donated their time and skills to the demo by teaching the stitches, drawing designs, and assisting with the kids’ take home projects.
Lady Rivka and Mistress Tsvia demonstrating skills to the children.
THL Renata Rouge sent us her embroidery stitch cards, which guided the kids through commonly used stitches using a “connect the dots” method (and the cards rhymed, too). They were so successful, that after the demo the Museum requested to keep a set. Mistress Rowena ni Dhonnchaidh of Coppertree donated a big box of embroidery floss, and we used a lot of it!
Embroidery stitch cards from THL Renata Rouge.
We also had a wonderful display of medieval embroidered items – the Baron and Baroness of the Debatable Lands Hilda and Brandubh loaned their embroidered heraldic hoods, Mistress Antoinette de la Croix lent us two amazing embroidered dresses, Mistress Tsvia brought her Elizabethan blackwork embroidery, Lady Gesa brought several traditional embroidery items, and Lady Rivka submitted her embroidered Ottoman Turkish coat.
Embroidered items display
Children and adults enjoyed the display, took home the embroidered designs they made, and learned about the use of embroidery in the Middle Ages. Great fun was had by the attendees and the demonstrators! We are looking forward to the next demo in the fall.
Photographs taken and article submitted by THL Luceta di Cosimo.
It may be winter, but the Æthelmearc Equestrians have not been idle. On March 2, as part of the Barony-Marche of the Debatable Lands’ demo which was conducted at the Carnegie Science Center in Pittsburgh, PA, the equestrians of Æthelmearc set up and displayed the tools of their trade. The Coordinator for the equestrian portion of the demo was Isabel Johnston who organized the various portions of the display. She and her husband, Tomas, also constructed several clever devices to facilitate displaying various components of the display and creating a fun and inter-active game for participants.
Tomas solved one of the difficult questions that faces equestrian artisans when trying to properly display “barding” or “caparisons” which are used to cover and decorate the horse. These historical “garments” had a variety of uses and functions in period. Because most A&S type events are not conducive to bringing in a horse to model the barding, it is difficult for the artisans to display these items to full effect. Tomas came up with a portable and life sized “dummy” to display a set of Mistress Gozen’s full barding which completely covers the horse from head to —- hoof.
A life sized display of tournament equipment.
The other interesting creation of Tomas was a mock horse that moved. Constructed of a wooden saddle rack and securely mounted on a sturdy wooded platform with wheels, this device was outfitted with saddle, bridle and barding complete with bells. Attendees to the Science Center’s Over 21 Event were treated to an opportunity to mount the “horse” armed with a sword, and attack a series of mounted heads while being pulled through our mock tourney field. This replicated a popular game on the SCA equestrian tourney field commonly called “Behead the Enemy.” This activity was extremely well received, with a constant stream of participants most who waited patiently in line for several minutes for an opportunity to “take a few swings.” Participants included SCA demo participants as well as the young and quite elderly visitors to the Center. Several of the equestrians worked hard in this area of the display including Isabel, Lady Rowena Macara, Lady Leah of the Debatable Lands, and Jackie Caulkins, one of our newest equestrians. They pulled the attendees through the course on the “horse.” Spouses and friends took many candid photographs in this area.
Besides this fun activity, attendees were treated to a display of arts and sciences by Mistress Gozen including a display of barding types in miniature as well as a display of the items needed in a tournament by a mounted rider. This included a medieval styled saddle, bridle, full barding, banners, surcoat and helmet mantle. Lady Gesa set up a display of jousting equipment. Participants were very fascinated by all these period recreations and asked many good questions.
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The evening was an excellent opportunity to introduce these people to the wonderful world that is the SCA. Some folks came in garb, some wearing things from their cosplay experiences while others said they had the clothes from prior Halloween costumes. The Science Center allowed the SCA to display various crafts and activities on all the floors of their Center. On the Lower floor, where the equestrians were located, there was also heavy fighting and a local Steel Sword Fighting organization. All the areas were well attended and appreciated by the attendees. We, the equestrians of Æthelmearc were grateful to the Center and the Barony, especially Lady Zianna who coordinated the entire project, for the opportunity to bring our craft to the populace of Pittsburgh!
Article written by Mistress Gozen and the photographs were taken by Baron Friderich Swartzwalder and Isabel Johnston.
The Center’s official press release about the demo can be found here.
The Barony-Marche of the Debatable Lands – the Barony of bridges… We have so many bridges in our great lands that connect our populace. We have many little villages with vast cultural diversity. There is another saying in our lands. Some people have never ever left their village because they will not cross a bridge. This was NOT the case when it came to a recent demonstration at the Carnegie Science Center for a Science After Dark Over 21 Event.
The Carnegie Science Center of Pittsburgh, PA (photo courtesy of the Center’s Press Photos)
One of our residents reached out to our Chatelaine with the option to be involved in an evening demo that wanted to showcase what Pittsburgh had to offer in regards to all things medieval. There was a small little catch to this offer – it was only 20 days away! That is really not a lot of days to figure out the details for an event and a venue that you have not been in before. I accepted the challenge when asked to organize the demo. I figured – alright – I can get enough people and display items to man a table at this event. I should be able to do this no problem.
First step: Meet with the main coordinator for the details. He is with the local HEMA branch and found out that he was trying to pull everyone in that he could – he wanted armored combat, role playing, Ren Faire, SCA, and anyone else that we could think of to fill the Science Center. I only had one question at the end of the meeting – How much can I bring? His answer – Bring it all! And we did!
The Display even included a ballista! (Photo courtesy of Baron Friderich Swartzwalder)
Step Two: Put the call out for volunteers. Talk it up at the event we had that weekend. Spread the word! At that event I had both merchants commit to the demo! I had several people say, “put me on the list.” I made a Facebook event and started using the Barony’s social media outlets. I went to the Barony’s business meeting to make sure everyone was aware of the demo.
Step three: Be humbled by the overwhelming out-pouring of interest. One post – one email – one message – over and over people wanted to be there and bring “all of the things.” People that I did not know – people that did not know me – offered to work together. Not only was this within our Barony, it was with neighboring lands – up to four hours away! There were a total of 111 people representing the SCA at this event! Working with other local interest groups was amazing. Although we had similar interests and cross over with our members, working together for events was not that common. We worked on building those bridges. We want to keep the bridges strong.
The bonds were growing – but there were many logistical questions to be answered. Who was going to be doing what? Where would be the best places for everyone to be at the Science Center? Did everyone have what they were going to need? We shared resources – we shared ideas – we worked together even up to the last few hours figuring out where a new interest group could fit in. There was no competition for space or times. We made it work. I personally had not worked with the Science Center before. A few of the other interest groups had – and they took us right into the fold. We were just all one giant family working together to put on a great event.
The day of the event was glorious! Every person from every group united to engage the 1500 people in attendance – more than the venue had ever provided before. We hung banners – we shared radios – we shared dollies and helped everyone that needed help. The attendees were provided with so many options, confronted with choices such as, “Do I fight or do I talk about swords? Do I talk about A&S classes or thrown weapons?” I saw people moving from area to area talking to guests. There may have been 12 different groups at the event – but we melded into one. We shared our passion and our talents to guests that now have been given the tools to build the bridge from their village to ours.
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As Banners of Scarlet rang out from all four floors at the end of the evening, I couldn’t have been more proud of the Barony-Marche of the Debatable Lands, of Æthelmearc, and of the SCA. We crossed and built new bridges – we strengthened new and old bonds – we united as one voice. We are Æthelmearc!
Article written and submitted to the Gazette by Lady Zianna.
(The Photographs used in the slideshow were taken by Baron Friderich Swartzwalder, Luceta di Cosimo and Lady Isabel Johnston.)
The following information was provided by THL Aaliz de Gant, the Kingdom Equestrian Officer based on an announcement by the Society Equestrian Officer:
At the request of the SCA Board of Directors, a new waiver project has recently been completed. This project involved updating waivers to be used to events which include equestrian activities. In the past, waivers were handled in one of two ways. If horses were limited to areas that were restricted to equestrians, the MIC could opt to have only those interacting with horses complete the equestrian waiver. If the event allowed for more interaction, those members with blue cards would sign the additional equestrian waiver at troll. Those without blue cards would sign both the equestrian waiver and the society liability waiver.
Under the new policy, a combined wavier which includes both equestrian and society waiver language has been created which will be signed at troll for all attendees of an event which includes equestrian activities. In other words, the combined waiver will be signed by those with a blue card on file with the society as well as those without a blue card. There will be no need for event attendees without a blue card on file to sign a second waiver.
Due to equine liability laws in various states, there are state specific waivers for two of the states in Æthelmearc. For events held in Pennsylvania and West Virginia, state specific waivers are required. Events held in New York will use the standard society waiver. The Equestrian Marshal in Charge of the event at which equestrian activities are taking place will need to sign each waiver. Waivers will then be sent to the waiver clerk in the normal fashion.
The new waivers can be found at here under Adult Equestrian Waivers.
On December 2nd and 3rd, the Children’s Museum of Pittsburgh invited the BMDL Fiber Guild back for the Wool Weekend. This was our fifth demo for the museum, and our biggest – we were there for two days and had demonstrators in the MAKESHOP as well as in the Studio art space. (MAKESHOP is a partnership between the Children’s Museum of Pittsburgh, Carnegie Mellon’s Entertainment Technology Center (ETC) and the University of Pittsburgh Center for Learning in Out-of-School Environments (UPCLOSE). It is a space dedicated to making, reusing and designing things, using everyday materials and real tools. It has regular programs and special guests.)
This time, the museum guests and staff were able to learn how to use hand cards and drop spindles, spin with a distaff and on a great wheel, knitting, inkle weaving, weaving on a warp weighted loom, and wet felting. To complement these activities, the museum had finger knitting and needle felting stations set up as well.
Display of various materials and products
Woolen items on display by the guild, including materials and clothing.
We also had a display of woolen items and different types of wool for the kids to explore. The display had woolen garments and items spanning from Anglo-Saxon England to late period German. Most of the items were made by Lady Beatrix of Anglesey, who, though she couldn’t be there herself, graciously lent us her work, and by Mistress Irene von Schmetterling. (There was also a cloak made by Mistress Rowena of Coppertree, and a lined hood with oak-leaf dags by Lady Madelaine de Mortaigne of Carolingia)
The demo a great success. By the end of the demo, dozens of kids took home the wet felted potholder squares (one 8 year old lady made several, because, she explained, potholders make great gifts for grandparents). The cloth woven by the kids was gifted to the museum, and the yarn spun on the great wheel was given to the MAKESHOP for future projects!
It was wonderful to be back at the Museum, and we are looking forward to more skill demos at this location. Thanks go out to the Museum staff for inviting us and sharing their MAKESHOP and Studio space and to all the demonstrators: Mistress Mahin banu Tabrizi of Sunderoak and Mistress Arianna of Wynthrope who demonstrated weaving techniques, Mistress Irene von Schmetterling who taught the wet felting and spinning, Lady Kattera Doplerin and Lady Rivka bat Daniyel taught and demonstrated felting, spinning, and knitting, and Medea who did finger knitting, and spinning.
Mistress Arianna of Wynthrope demonstrating weaving.
This demo marks a year of our partnership with the Children’s Museum of Pittsburgh. We feel privileged to have this amazing opportunity to introduce kids to the skills and crafts of the middle ages, show off the amazing artisans of the SCA, and to provide quality programming to our local museum, while fulfilling the educational mission of the SCA. We are looking forward to going back!
Lady Rivka bat Daniyel surrounded by a fascinated group of children.
The following article was submitted to the Gazette by THL Madoc Arundel, who displayed his Malt House reproduction project at this year’s Ice Dragon Pentathlon:
Historical Background
The malting of grain – converting complex starches into simple sugars – is necessary for the grain to be used in the production of alcoholic beverage. While early malting was crude and rudimentary, experience and innovation improved the process over time. By the middle ages, Europeans were producing malted grain in industrial sized batches. This advancement necessitated the move of the malting process from the campfire and kitchen to an industrial sized building or cavern known as a malting house.
As the process has not changed much in two millennia, so has the structure of a malting house remained similar. Archaeologists have uncovered sites in Great Britain and on the European continent of malting houses dating back as far as the Roman occupation. In general, these malting houses consisted of a grain storage area, a soaking pit, a growing floor, and a kiln. Variations existed; but the linear design of the malting house did not change. A very early version of a malting setup in Roman occupied Bavaria in the second century talks about the layout:
Within an oblong set of stone foundations are arranged—clockwise—a deep well; a water-tight basin at ground level; a kiln with a fire pit and a flue; and a stone-ringed fire place, about 3 feet in diameter. The probable date of the site, according to Dr. Andreas Boos, chief archaeologist at the Regensburg Historical Museum and keeper of the pavilion’s key, is the last quarter of the second century AD, when Regensburg was called Castra Regina, the largest Roman military camp in what is now Bavaria.[1]
While the layout is slightly different in this description of an early Irish archaeological site, the functional portions of the facility meet similar criteria to the Bavarian site:
The kiln consisted of a stone-lined bowl and T-shaped flue as well as a possible stoke hole, and measured 5.75m northeast–southwest and 5.9m northwest–southeast… A significant amount of sprouting barley was also recovered from within the kiln which prompted archaeobotanist Sarah Cobain, to suggest that the kiln might have been involved in the process of malting grain. Malting however requires the prolonged soaking of grain and brewing requires the steeping of malted grain in warm water. A large, sub-rectangular stone and mortar-lined pit was located c. 40m to the south-east of the T-shaped kiln. It measured 3m in length, 2.2m in width and 1.05m in depth.[2]
Illustration courtesy of the Great Dunmow Maltings restoration project
The Barley Store: A loft used for dry storage of the grain to be malted. Barley was delivered in sacks through a loading door at wagon height.[3] The store was at one end of the malting house with access to a street for the wagons. Underneath Nottingham, there are several cave complexes that were used in lieu of malting houses. In these locations, grain was delivered through a cave entrance and stored in a dry bin adjacent to a well or cistern.[4]
The Steeping Pit: A watertight room, a well, a cistern, or a large vat. Generally, the pit would be adjacent or immediately below the barley store, with a chute or trap for transferring the dry grain. The following is a description of a steeping pit at an archaeological site in Balbriggen, Ireland:
A large, sub-rectangular stone and mortar-lined pit was located c. 40m to the south-east of the T-shaped kiln. It measured 3m in length, 2.2m in width and 1.05m in depth. The lining consisted of mortared stone with a thick layer of compact lime and sand based mortar along the base. The stone lining within the pit suggests it was meant to retain liquid. It is likely to be associated with two further sub-rectangular pits uncovered in the immediate vicinity. Both possessed a lime mortar base but no stone or mortar on the sides.[5]
This is a more generic description of the function of the steeping pit, describing the exothermic reaction that assists with the germination process:
The grain was first soaked in a steeping pit or cistern for a day or more. This was constructed of brick or stone, and was sometimes lined with lead. It was rectangular and no more than 40 inches deep. Soon after being covered with water, the grain began to swell and increase its bulk by approximately 25 percent. The cistern was then drained and the grain transferred to another vessel called a couch…[6]
The Couch: A holding bin for barley between the steeping pit and the growing floor. Grain never spent more than a day in the couch. Although numerous archaeological references refer to the couch as the next step, the purpose was to enable a tax assessor to determine the volume of grain to properly assess the Malt Tax. Since the Malt Tax in England ran from 1697 to 1880[7], and there are no references to the couch in continental archaeological records, it is not likely that the couch was a necessary part of the malting process.[8]
The Growing Floor: This was the largest single area, since a great deal of space was needed to spread the grain to various depths. The growing floor was longer than it was wide, as the grain would be moved along the floor towards the kiln as the germination process advanced – new grains in one end and older grains out the other. The wet grain would be spread out, the depth dictated by temperature, but sufficiently deep to encourage vegetation. It was turned at intervals of a few hours to achieve even growth and assure that all grains had equal access to ambient air.[9] The temperature and humidity levels were partially controlled by ventilation using slatted windows, and partially controlled by thinning out the depth of the grain layer.[10] The ceiling was relatively low – six feet or so – to enable more stable temperatures throughout the room. “The flagged stone floor would serve excellently to first heap and then spread the steeped barley on, and with the low-roofed hall to keep down the temperature and prevent the malt being spoiled.”[11]
Drying was either done in the sun or in a kiln, each had its advantages. Sun-drying produced the cleanest tasting malt, but was, of course, dependent upon good weather, and the acrospire might continue to grow to the point where it consumed all the grain’s nutrients, making it useless for brewing.[12]
The Kiln: At times referred to as a grain oven, malt oven, drying kiln, or grain dryer, the kiln has three purposes: dry out the grain, stop the growth process, and caramelize the sugars.[13] The kiln is made up of a drying floor, fire box (consisting of a fire hole and a heat sink), and vent. The fire box had to allow for a gradual increase in the size and strength of the fire, since low heat was required to dry the grain while higher heat was necessary for caramelization. This was accomplished through a stoke hole in the side allowing for placement of additional fuel or for the fire tender to move hot coals around as necessary.[14] Special care had to be taken to avoid roasting the grain, which destroys the enzymes rendering the malt unsuitable for mashing.[15] The heat sink consists of sheets of metal, porcelain, or ceramic arranged to dissipate the heat and spread it more evenly across the underside of the grain bed.[16], [17]
The early furnace was a simple fire basket with a cast-iron sheet above it to disperse the heat. Hornbeam coppice wood was often used as a fuel in Hertfordshire as it produced an intense heat and was said to ‘burn like a candle.’ Later good quality anthracite became the fuel of choice since it creates hardly any smoke.[18]
The Baking and Brew House, Bolton Castle, Yorkshire c. 1379. Sketch courtesy of Jamie Olivers
The barley was moved onto the drying floor (above the fire box), and raked to a depth of about 4 to 6 inches.[19]
Because moist grain spoils quickly in storage, the Regensburg maltsters dried it in the kiln. The kiln walls have a narrow ledge that probably supported a floor made of organic material. An open fire pit and a praefurnium (a work area for stoking the fire) are in front of a covered flue that sent hot air into a hypocaustum (a heat chamber) under the kiln floor.[20]
The drying floor was porous to allow heat and air to circulate through and around the grain. A solid floor would heat up just fine, but would result in simply creating hot, wet grain.[21] The weave had to be tight enough to avoid the grain falling through. “The drying floor was originally a horse-hair carpet but later wire mesh, perforated tiles or iron plates were used. This floor was approximately twelve feet above the furnace.”[22] This distance was necessary to allow for the heat and airflow to reach the barley while preventing or minimizing the risk of a grain fire.
Photograph courtesy of Travis Rupp, University of Colorado Boulder
In 1978, the ruins of a malt house in what is now Regensburg, Germany show us a typical construct for such buildings in the first millennium.
Within an oblong set of stone foundations are arranged—clockwise—a deep well; a water-tight basin at ground level; a kiln with a fire pit and a flue; and a stone-ringed fire place, about 3 feet in diameter. The probable date of the site, according to Dr. Andreas Boos, chief archaeologist at the Regensburg Historical Museum and keeper of the pavilion’s key, is the last quarter of the second century AD, when Regensburg was called Castra Regina, the largest Roman military camp in what is now Bavaria.[23]
Photos and corresponding artist’s renditions courtesy of the German Beer Institute
In this example, we see the foundation which includes access to the fire pit (bottom pictures) for the kiln and the drying floor, and what is presumably the drying area (top pictures.) The drying floor would have been made of porous material, most likely woven straw or flax. The kiln, the oven and the cistern (seen in the near corner of the bottom left) are all made from stone or hardened clay.
The upper level would have been made of contemporary materials.[24] A half-timber or all-wood construction would have been lighter, easier to build, and fully functional. In the artist’s rendition (upper right picture), we see a smooth and level ‘capping’ of the stone structure, which would have been appropriate for a wood framed upper level. For this reason, I chose to make my model using a stone and mortar base with a half-timber upper level. Additionally, the Roman architectural style known as Opus Craticium involves…
…squared timber uprights or arrectaria (8 -12 cm thick) were combined with horizontal transversaria (6 – 8 cm) to form panels measuring between 50 and 80 cm. These were then infilled with concrete and rubble. To provide stability the main structure of the house was also supported by piers of brick and blockwork.[25]
This type of design, with masonry on the ground floor and half-timber on subsequent stories, extended into the construction of non-commercial buildings and homes during the 15th century.[26]
Half-timber construction was very popular in both the countryside and city in Germany in the middle ages and later. The frame of the building was made of timber, usually oak. The timbers were morticed and pegged together. Triangular bracing was used to give additional support. The spaces between the timbers were filled with waddle and daub, brick, stones or plaster. The timber remained visible both inside and outside the building.[27]
Diagram from Jackson’s “The Half-Timber House”
There are heavy timbers placed at strategic locations along a wall, followed with bracing in horizontal, vertical, or diagonal configurations. The gaps between the framing timbers and the bracing timbers is filled with non-load bearing material as a barrier against the elements.[28] The result is a less expensive option than full timber construction, and at times a pleasing aesthetic.[29]
These constructions have walls of granite stone with regular masonry in the corners and major parts. The half timbers with earth found in this region are not used for building the whole floor, which is common practice in other regions in Galacia, but only for small parts of the building which also support the roof structure. The structural wooden frame is made of a weak main skeleton of wooden pillars from the sleeper beam to the roof beam, reinforced half-height with other horizontal pieces.[30]
Timber construction
So then he will begin to chop; now it does not take many hours with an ax, squaring up the trunk of a tree, to learn that it is easier to make one’s timbers large than small. It is as much, if not more, bother to get out a thin plank, than it is a great stick; and so he will save time and use the big timbers. With their great size and strength, he may well space them some distance apart, and fill in between with something or other not so hard to make as planks. For this purpose, he will use a mortar or ‘daub’ made of lime and straw, or clay and twigs, or anything that will stick and harden, and reasonably resist the weather, which is not rigorous or one that makes great demands on building materials. As a groundwork for lathing for this plaster he will weave willow twigs together and make a groove in the sides of his timber to take the ends and make a tighter bond between the filling and the beams, so that if the timber does shrink away there will not be an open crack straight through the wall. Then if he plasters the inside of the wall all over he will be as snug as possible. He may make it a more substantial wall by using as a filling brickbats, small stones or what-not, and covering the whole with plaster.[31]
For the corner posts a baulk was used, cut near the foot of the tree to get the beginning of the sweeping curve where it runs out into the roots. These sticks were turned upside down and the curved end formed the bracket to support the girt for the over-hanging second story, while the crooked branches were used for the curved struts and braces.[32]
In early southern Germany, connecting joints between the frame and the intermediate timbers were most commonly lap joints[33], while later designs increasingly used tenons.[34] Like modern design, windows were framed between a sill and a lintel.[35]
Photo courtesy of Jerzy Gorecki (https://pixabay.com) illustrates completed structure
The Project
Madoc working on the project’s walls.
I created the ground level using a mix of construction mortar and garden gravel. The upper level is constructed of green birch. I used greenwood, as it is likely that was the form used in period construction. As the wood shrinks, the joints tighten contributing to the stability of the structure. The corner joints are half-lap horizontal joins with vertical mortise and tenon posts. Each of the intermediate uprights is mortised into the horizontal beams. While the tenons were cut using a power tool, the mortises were done by drilling an initial hole with a bit and brace, and squaring the hole with a ¼-inch chisel. The documentation above shows that the tenons were pinned with wooden pegs. However, because of the scale of this model, I used metal pins instead.
Detail of the mortises
The half-timber fill is aggregated plaster over lath. One panel is lathed with woven willow twigs, as was common in period, to demonstrate the concept. Due to the thickness of the walls, the lath was applied in a series of three coats, allowing each application to completely dry and cure before applying the subsequent coat. Each layer was scored with a three-pronged stick to ensure that subsequent applications would adhere properly.
Wall detail
Soaking pit construction
The soaking pit is constructed of the same mortar and gravel mix as the ground floor wall. The interior of the pit is lined with clay to ensure that it is watertight. The fire pit and heat sink are constructed of clay lined with cut fire brick for safety. I needed the insulation the fire brick provides as protection from scorching that would otherwise be provided by lack of proximity in a full-size malt house. The chimney is constructed of baked clay. While the period examples I have found were constructed of brick, the size of the model precluded that option. Baked clay is a reasonable alternative to actual brick.
The following pictures show the construction of the fire pit and illustrate its use:
Fire pit floor and vent to heat sink in layout
Forming the fire pit cylinder
Fire pit and heat sink before encasing the pit
Heat venting into the heat sink
Flames from the fire pit come though the chimney – note the glow emanating from the stoke hole
Completed Project. Photo courtesy of Elska a Fjarfelli (Susan Verberg)
Dineley, Merrin (13 September 2014). “Grain dryers, malt kilns & ‘malting ovens’.” Ancient Malt & Ale. Retrieved 9 May 2016 from http://merryn.dineley.com/2014/09/
Dornbusch, Horst (1998). Prost! The Story of German Beer. Boulder: Brewers Publications.
Dornbusch, Horst (1 May 2004). “The World’s Oldest Malt and Brew House.” All About Beer, 25:2.
Duffy, P., Cobain, S. and Kavanagh, H. (2014). “From Skill to Skill: evidence for medieval brewing at Balbriggan.” Journal of Irish Archaeology,XXII: 59-76.
“Fancy a pint? Northampton’s first malting kiln.” Museum of London Archaeology (8 October 2015). Retrieved 9 May 2016 from http://www.mola.org.uk/
Friedman, Donald (). The Investigation of Buildings. New York: W. W. Norton & Company.
Hagen, Karl (1995). “The Economics of Medieval English Brewing.” Unpublished. Presented at the 1995 conference of the Medieval Association of the Pacific. Retrieved 9 May 2016 from http://www.polysyllabic.com/?q=medieval/brewing.
“How they tax common luxuries in England.” New York Times, 26 February 1865.
Howard, Wendy, Kirsten Bedigan, and Ben Jervis (2015). Food and Drink in Archaeology 4: University of Exeter Post-Graduate Conference 2010. London: Prospect Books.
Jackson, Allen W. (1912). The Half-Timber House: Its Origin, Design, Modern Plan, and Construction. New York: McBride, Nast & Company.
Kavanagh, H. and Bailey, F. (2010). Final Report of Archaeological Excavation of Development at Folkstown Great or Clonard, Area 2/308E054, Balbriggan, County Dublin. Unpublished final excavation report prepared for IAC Ltd.
Lomax, Scott C. (2013). Nottingham: The Buried Past of a Historic City Revealed. Barnsley: Pen and Sword.
Sygrave, Jon (2004). “From medieval malt house to 20th century pub: excavations at 9–11 Poplar High Street, London E14.” London Archaeologist, Spring 2004, pp. 215-222.