Category Archives: A&S Faire

A&S Faire at dripping wet site this year!

06 Thursday Apr 2023

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This years’ Æthelmearc Arts & Sciences Faire and Queen’s Prize Tourney will be hosted by the Shire of Nithgaard (event details) Saturday, April 29, 2023. The format will be, as has been in the past, to have room for all who choose to display their works as well as enter in the Queen’s Prize Tourney. This sure will be a day to celebrate the artisans of our Sylvan Æthelmearc!

To show her appreciation to the artisans entering the Tourney, Her Royal Majesty Kallista will honor her favorite entry with the Queen’s Prize.

And by special request of our ÆthelBrewers, we were able to find a site that is dripping wet this year! You have no idea how excited and happy I am to accept alcoholic beverage entries on-site at this (any!) event – parking-lot car trunks and off-site hotel rooms are *something* but ideal it’s not!

(Then) Royal Majesties Byron and Ariella showing quite an interest in Lord Snorrie’s metal stamp project (or perhaps it was the coins?) at the A&S Faire and Prize Tourney in Blackstone Raids, 2022.

How does the A&S Faire differ from traditional competitions?

In contrast to the Kingdom A&S Championship as well as regional A&S competitions, the Æthelmearc A&S Faire is not a judged competition. It does not include judging rubrics nor a populace vote. The A&S Faire and Prize Tourney is set up with two components: an A&S display for anyone to share their amazing work with our populace and the Queen’s Prize Tourney, where, in addition, entrants are offered an opportunity to meet face to face with a panel of advisors. The A&S display is open to anyone who likes to showcase their work. No requirements, no theme, no pre-registration required.

The Queen’s Prize Tourney is intended to provide a platform for anybody to receive constructive feedback on their work in a friendly and non-competitive environment and to stimulate enthusiasm and motivation within our A&S community by sharing our art. It is an excellent opportunity for up-and-coming artisans to show their work and get to be known by more experienced artisans, as well as an opportunity for more experienced artisans to gain meaningful feedback about their projects.

Sponsors

The populace enjoying the A&S Faire and Prize Tourney entries, this one the Kievan Rus outfits by Lady Aurelie de la Rose, at Blackstone Raids 2022.

Participants in the Queen’s Prize Tourney must register ahead of time and must be sponsored by a Laurel or Fleur (or the equivalent to the Fleur from another kingdom), who should provide meaningful mentorship to the entrant. This can take many forms, and is dependent on the entrant and their sponsor. Some entrants seek a mentor who is much more engaged, with regular check-ins leading up to the Faire. Some entrants may not feel the need for in-depth engagement. This should be discussed before a sponsor/entrant agree on the sponsorship.

If an artisan wishes to enter but does not know of a sponsor to approach, we are glad to help match them up; likewise, if anyone would like to be a sponsor and is seeking an artisan(s), we will work to pair folks together.

Each sponsor is asked to bring a gift for each entrant they sponsor, so that each entrant receives a prize.

Entrants

Queen’s Prize Tourney entrants are allowed up to three items which should show a cohesive body of work. Entrants will have one or two groups of reviewers, scheduled for one hour each, who will ask questions about the item(s), documentation, the research process, etc. After each review session, the entrant will receive feedback forms from each reviewer. Written documentation is encouraged, but not required. To facilitate multiple advisors per review session, we ask that entrants bring three copies of their documentation. We encourage entrants to sit with their display for most of the day to give Their Majesties and the populace a chance to chat with them as well. We ask you to register via our online entrant form and to securely upload some basic info, some photos, and your documentation.

Youth artisans are highly encouraged to enter the display and/or the Queen’s Prize Tourney! The comment sheets for youth entrants will be different from those for adult entrants, designed with their age group in mind. Ideally, a youth entrant should be able to express how much of the project they did alone and how much they had help with, what the project is, how it works, and what they believe they learned throughout the process.

Advisors

We will need advisors for a successful A&S Faire. Advisors must be Fleurs or Laurels and are expected to spend a good part of the day in face-to-face advising of the entrants. In order to prepare for the day and match advisors with entrants, we ask that advisors preregister. Likewise, we ask sponsors to sign up via our form.

THLady Astridr vigaskeg chatting virtually with advisor and fellow cook Mistress Katja, at the Blackstone Raids A&S Faire and Prize Tourney, 2022.

Feel free to approach us with any questions you may have by email or by finding us online. The registration deadline for in-person entry, advising, and sponsoring is April 27. The registration for online entry, advising, and sponsoring is April 20.

We hope to see many of you at the Arts & Sciences Faire and Queen’s Prize Tourney!

In service,

Hrólfr and Elska
Kingdom Ministers of Arts & Sciences

New Competitions at A&S Faire Announced

01 Saturday Apr 2023

Posted by in A&S Faire, Arts & Sciences, Bardic, Brewing, Poetry & Prose

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The autocrat for the A&S Faire in Nithgaard on April 29th has announced two new competitions in addition to the already scheduled Arts & Sciences display, Queen’s Prize, rapier tourney, and heavy weapons tourney.

The Beer Pit Tourney

This contest will occur after the rapier and heavy weapons tourneys are completed. Judges are requested; we will need at least one judge for every six entrants for reasons that will become evident.

Each entrant is expected to being a six-pack of some potent potable and a designated driver. One can/bottle will be given to the judge. Contestants will then consume however much of the remaining five bottles or cans they desire while they regale the judge and the audience with tales of their derring-do, martial prowess, and ability to best the other entrants. While alcohol is expected to be consumed, this is not actually a drinking contest. It is a storytelling contest, lubricated by some adult beverages. Points will be awarded for a good story, good kit, and good contributions to the judge’s cup. Extra points will be awarded to entrants bringing their own home brew.

While telling their tale, contestants may swing a stick to demonstrate their smooth striking, their majestic might, or their focused fury. However, actually striking another contestant or the judge will result in immediate disqualification.

Designated drivers will then be available for both the contestants and the judges.

Asked about this new competition, Master Morien McBain said “It’s about time that we had a contest recognizing both bardic and drinking prowess!”

New A&S Category

A prize will be awarded for the best entry that was completed on the car ride to the event. This will include the drive from wherever you slept the night before to the site, or for larger projects the drive from your home to wherever you crashed the night before the event. Entries must be accompanied by an attestation from the driver of the vehicle in which the entry was completed. Drivers are not allowed to enter physical items as we do not sanction unsafe driving. Spoken word or sung entries may be entered by drivers, but they will need an attestation from a passenger that they heard the driver rehearsing their entry.

THLady Fede di Fiore lauded this new contest as right up her alley, but lamented “The drive from my house to the event site is too short to get much of anything done, especially with the baby wailing in the back seat. Why couldn’t they have held it at Ice Dragon?” Her husband, THLord Cassiano da Castello, grumbled that brewing in a car would be quite hazardous, but agreed that this was a competition whose time has come.

The autocrat, Baroness Elena de la Palma, hopes contestants and spectators will enjoy both of these new activities.

Transforming the Living & the Dead: An Interview with THL Beatrice de Winter, CA Author

26 Wednesday May 2021

Posted by in A&S Faire, Arts & Sciences, Esoterica, Interviews

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Photo by Master Cerian Cantwr

Author Honorable Lady Beatrice de Winter talks to the Gazette about her Compleat Anachronist #191: Transforming the Living and the Dead: Evolving Thoughts of the Afterlife:

Tell us about you. Name, title, persona, etc.

THL Beatrice de Winter – my persona is a medieval coroner (which, as well as determining cause of death, was a tax collector). I have a passion for educating the populace about death and the dead to provide context for many of the artifacts of the period being recreated by artisans of the Known World.

Death is such a unique subject to study, especially in the SCA. What got you interested?

I have been interested in the topics of death and death culture since childhood. My bus stop was next to a cemetery, which I think may have kickstarted my thoughts about it. I’ve always thought it was odd that people didn’t think of death as a part of life. Looking back, there have been a number of death-related topics I’ve gravitated towards: the Titanic, the Civil War, Harry Houdini and his fight against spiritualism, just to name a few. My first masters thesis is on fatal fire investigation. It’s not too surprising, then, that I’d gravitate towards the topic in the SCA as well.

At my first Pennsic (2005), I took a class on death practices that I just loved and never forgot. That was “Death Becomes Us,” taught by Elianora Mathewes.  Another early influence was Baron Hamish MacLeod, who shared my love for the unusual. He was well known for his classes on hangmen and headsmen, which naturally also lead to my first class on capital punishment: “Hangmen, Headsmen, and Other Fun Ways to Die”. I’ll add that my Laurel, Master Cerian Cantwr of the Mid, was extremely supportive of my change in focus from bardic to death. 🙂

What’s your favorite tidbit that you learned in your research?

That’s hard! I think my favorite tidbit has to do with the idea that during the Middle Ages, bodily resurrection was reassured even if one’s body was eaten by a fish or cannibals, because apparently human beings are “non-natural” food. Thus, they cannot be absorbed by another human being.

It’s complicated, but essentially for resurrection, both the body and the soul had to be available. The guy who wrote the initial work on bodily resurrection was very concerned with making sure there were no inconsistencies in his theory. So, that’s how he explains it.

It makes me chuckle.

What’s the most surprising thing you learned?

I think the most surprising thing I learned is that while indulgences really are all about the money in some ways, it wasn’t the church who typically reaped the core of those benefits, but a third party such as a hospital or other charity.

Is there anything in your research that we can apply in the SCA (persona, rituals, etc.?)

I think basically most things we do in the SCA can benefit from the context in which it would have happened and there’s no exception here. So, if you’re a scribe, you should know what something like a Book of Hours was actually used for and why it was so important – beyond the (often) stunning visuals. It wasn’t just used for prayers like how we’d think of in a contemporary Church. It was used specifically to mimic the monastic lifestyle at home, to a certain degree, in an attempt to limit the soul’s time in Purgatory. It was a BIG deal.

No matter what your persona is, prior to the reformation, what I discuss would have impacted both how they lived and how they died. (Caveat: assuming your persona is during the typical SCA time period in Western Europe. There are some exceptions, but generally speaking it’s pretty far reaching.)

Death is one of the esoteric areas of research, which can be hard to display/talk about in traditional SCA A&S formats. Do you have any advice for those interested in researching esoterica?

I would encourage people to research esoterica, frankly. We need more of it out there to help provide additional context and details about what it was like to live during that time. We know a ton about clothing, armor, and art works, which is fantastic! But what about, you know, everything else?

I think the key is just to find something that intrigues you, regardless of what that might be, and start digging. Let other folks know what you’re researching so that if they come across something related, they can pass it along.

You have to think outside the box in terms of displays or other presentations of materials. I created science fair type boards to show off how death culture was connected to many things in the SCA. Mistress Luceta created these amazing little models out of skeletons and clay representing apotropaic (deviant) burials.

It seems like the way we do A&S competitions in the SCA doesn’t lend itself well to the type of research/art you and others do. Any thoughts or suggestions on that front?

There’s no way to easily “compete” with non-traditional ideas. Research papers are of course a possibility, given the right circumstances, although often they’re not a good option. However, I encourage displays! That’s what I did several times: non-competitive opportunities to display my stuff.

I think it would be wonderful if we could find a way to focus on the context for “things” rather than just on the “things” themselves. One suggestion for more of a context competition (that I haven’t seen in practice) would be perhaps giving a presentation on an esoteric non/physical object topic as a way to “compete” rather than offering up a “thing” and it could be judged on how well you impart your knowledge to the audience, how deeply you understand the material, handle questions, etc. We always say that a huge part of A&S is teaching and giving back, so it seems like that might be a more fair way to judge that kind of thing.

I’m actually taking this idea to this summer’s Queen Prize Tourney, one of our Kingdom’s premiere A&S showcases. I’ll be entering by presenting a topic essentially as a proposal for how we might be able to incorporate this sort of thing into our competitive structures.

The Compleat Anachronist is such a fantastic resource for people across the known world. How did you become interested in writing one?

I became interested in writing a CA when I wrote an article about Richard III and his two interments for Tournaments Illuminated, though I’d had several people suggest it to me over time. The TI editor encouraged me to take my ideas further.

What would someone have to do to submit to the Compleat Anachronist? 

Really it’s just a matter of reaching out to the Editor and telling her that you have an idea for a CA. All of that info can be found here: https://www.sca.org/publications-officer/ca/

Thank you so much!

You’re welcome! Delighted to be involved!

If you don’t have a subscription to the Compleat Anachronist, you can buy THL Beatrice’s issue, “Transforming the Living and the Dead: Evolving Thoughts of the Afterlife,” from the SCA Marketplace for $7.50 here (search the title or 191).

Arts & Sciences Virtual Queen’s Prize Tourney

05 Wednesday May 2021

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It is with great pleasure that the Kingdom Office of Arts & Sciences can relay that Their Sylvan Majesties King Maynard von dem Steine and Queen Liadain ni Dheirdre Chaohamnaigh are pleased to announce the second installment of the Arts & Sciences Virtual Queen’s Prize Tourney!

The Prize Tourney will be run similar to last year, see the website for details. After the resounding success of Kingdom’s Champ, the Kingdom Office of Arts & Sciences is happy to offer face to face discussions between the candidates and their advisors.

Three Early 15th c. Bourrelet Headdresses [Best Documentation] by Lady Ilaria of Delftwood.

The intent of the Queen’s Prize Tourney is to provide a platform for anybody to receive constructive feedback on their A&S work in a friendly and non-competitive environment and to stimulate enthusiasm and motivation within our A&S community by sharing our art. Therefore, the Tourney is not a traditional competition. Instead, you be meet with a panel of advisors to share and discuss your entry to help you in grow your skill and knowledge… and helps us teach something new about your passion.

La seconde estampie royal, from the Manuscrit du Roi, on a vielle by Tiffany of Myrkfaelinn

With travel restrictions easing and small meetings with the proper recommended precautions being a possibility, we strongly encourage any and all entries that need to be sniffed, tasted, or quaffed for proper feedback! The online nature of the Tourney also gives us a chance to share your bardic entries and gives us the unique opportunity to give research papers the attention they deserve.

As is traditional, Their Royal Majesties will pick Their favorite entries. Additionally, to show our appreciation to those artisans who go the extra mile to document their projects in such depth and detail that not having them in hand does not seem a handicap, the Kingdom Office of Arts & Sciences will again sponsor an extra prize for documentation that went above and beyond the usual.

White Scarf Scroll [His Majesty’s Choice] by Gesa von Wellenstein.

Prior entry in another competition or display also does not disqualify you from entering: we love to see continued progress on existing projects.

Their Sylvan Majesties and the Kingdom Office of Arts & Sciences are all looking forward to inspiring new and existing work from our A&S community!

Details can be found here
Like last year, prospective participants are asked to fill out a web form with some basic info and (few) photographs of their work and their documentation. The main site has a link to the form or you can find it directly from here

Behind the Scenes: Richard of Foxmoore Shares His VQPT Entry

21 Tuesday Jul 2020

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Today’s article in our series on the Kingdom’s Virtual Queen’s Prize Tourney is about a beautiful entry titled Fabric Banners, made by artisan Richard Foxmoore. As we do not have the ability to converse with our entrants face to face, the Virtual Queen’s Prize Tourney now offers the opportunity to drool over images and read the documentation right there on the Kingdom Ministry of Arts & Sciences website – even to leave feedback! And to learn a little more about the artisan and their thoughts behind their entry, the organizers decided to broaden our traditional entry of object and documentation with personal interviews.

Screenshot_2020-07-07 fabric arts_2

Banners I have made for the people of the SCA from device/ awards pictures they sent me. I use duct cloth and embroidery thread.

Could you tell me a little about you, your persona.

I have not yet determined a specific time period. For the time being, I am more or less encompassing an overall “generic medieval” persona than anything else. Sometimes it leans more to Viking, sometimes Norman, and sometimes Pirate. I feel my entries falls sometime between the late 12th, early 13th century to the early 16th century modern days.

What inspired you to make your entry?

My journey in this field started as just wanting to learn a new skill. As with most things I do. I dove into it using the learn as-you-go along with the trial and error method. All this as I made my first banner for a friend. As the banner was seen by others, they requested their own banners, and so the ball started rolling.

What is your intention with your entry?

My intentions with this entry is to simply have it noted and to field comments I can use to improve my skills and my finished projects ( It is my hope that my work will be viewed by a laurel who would perhaps consider me as a candidate for apprentice). While I have made many banners as gifts or at cost for close friends, I have begun to sell them as well.

Did the entry throw up any unexpected issues?

Each banner or project I do is its own unique challenge. They are all so completely different and yet have commonalities as well. It is the combining of the unique with the common that makes the challenge of each banner its own journey. I have long had a love of doodling or drawing. I think this artistic streak in me helps make the creation of each project exciting.

Did you learn something specific, something you would do differently, or would recommend others to do again?

While traveling down the road that has led me to making my entry, I have learned that there are many arts within the SCA. In the past the bulk of my participation was as a fighter, however, as life progressed and time and age changed things, I have found there are still many venues and paths open to me to grow and expand my knowledge within the society. I suppose the motto is, its never to late to start a new journey on a new path.

What motivated you to enter the Virtual Queen’s Prize Tourney?

I entered the VQPT to take a chance on something new, share my new skills with others, and hopefully inspire others to be open to try something new. Although I began learning embroidery about a year ago, I did not start making banners until 4 months ago. I will be the first to say the quality of my work is not ideal and can always improve. I don’t expect it to be the best work of art out there, but I do challenge myself to produce the best product I can and over the last 4 months , I have seen an improvement and refinement in my work.

Is there anything you would like to add?

My philosophy would be that if you see something that someone else has displayed at an event and like it, then try to make it for yourself. Your initial attempts may hit roadblocks and may result in failure. Also, remember every ” failure ” is really just a lesson learned and each such lesson improves your knowledge of your craft . With time you will see your effort pay off and it will result in something outstanding. You may even find yourself with a new respect for ” handmade ” things once you see exactly how much time, effort and work goes into making one. When you succeed you will have new skills to share with others, and a lifetime to continually improve those skills. Enjoy what you do and be most proud of all that you try.

Thank you, Richard of Foxmoore, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Richard’s entry, follow this link. And if you liked his work, have a question to ask, or a tip to share – please leave your comments with his entry! You can “Leave a Reply” at the bottom of the entry’s page. Their Majesties announced the winners in Virtual Court at the Æthelmearc Æcademy on July the 11th, and the winners are listed in the Virtual Queen’s Prize Tourney website.

Behind the Scenes: Serena Milani shares her VQPT entry

19 Sunday Jul 2020

Posted by in A&S Faire, Arts & Sciences, Scribal

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Today’s article in our series on the Kingdom’s Virtual Queen’s Prize Tourney is about a beautiful entry titled Italian Humanism: White-Vine Illumination on Vellum, made by artisan Serena Milani. As we do not have the ability to converse with our entrants face to face, the Virtual Queen’s Prize Tourney now offers the opportunity to drool over images and read the documentation right there on the Kingdom Ministry of Arts & Sciences website – even to leave feedback! And to learn a little more about the artisan and their thoughts behind their entry, the organizers decided to broaden our traditional entry of object and documentation with personal interviews.

serena finished scroll

The scroll is a recreated Italian white-vine illumination that is gilded and painted with homemade pigments on a sheet of sheep vellum. It was created for a Fleur d’Aethelmearc recipient with collaboration from Nichola Beese who created and provided the sheep vellum, from Jehan LeBlanc who provided the words, and Magdalena Txoperena for doing the beautiful calligraphy.

Serena’s scroll is a recreated Italian white-vine illumination that is gilded and painted with homemade pigments on a sheet of sheep vellum. The scroll was created for a Fleur d’Aethelmearc recipient. The 11” by 14” sheep vellum is crafted by Nichola Beese. The homemade pigments (ultramarine blue, red ochre, bohemian green earth, and zinc white), gilding (with 24k gold) and illumination, done in the Italian white-vine style, is created by Serena Milani. Later on, words, created by Jehan LeBlanc, were calligraphed by Magdalena Txoperena.

Could you tell me a little about you, your persona.

My persona, Serena Milani, is influenced by the real-life female artist known as Artemisia Gentileschi. During the renaissance, in the area modernly known as Italy, the arts flourished and trade with foreign cultures was prosperous. There my persona lives…

Serena Milani is an aspiring scribe and painter from Milan who moved to Florence to study art. During her time there, she is learning how to make her own paints, gild, and paint beautiful works of art. Recently, she was commissioned to create a scroll for the noble and most honorable Lady Fede di Fiore with calligraphy assistance from Magdalena Txoperena. The scroll was completed and presented on time and the recipient is pleased with the piece.

What inspired you to make your entry?

When I found out that THL Fede di Fiore was to receive her Fleur d’Aethelmearc, I was thrilled to do the illumination. I asked Nichola Beese for sheep vellum, Jehan LeBlanc for words, and for Magdalena Txoperena to do the calligraphy. THL Fede di Fiore was one of the first individuals in the SCA to welcome me and to teach me sewing. She taught and assisted me with creating a beautiful Tudor dress to wear for my first Æthelmearc 12th night in the shire of Abhainn Ciach Ghlais. It was a dream come true! Fede’s skills as a seamstress are remarkable and her art is magnificent. I am very honored to illuminate her Fleur d’Aethelmearc scroll.

serena headshots

THL Fede di Fiore (on the right) assisted me with creating a beautiful Tudor dress to wear for my first Æthelmearc 12th night in the shire of Abhainn Ciach Ghlais. It was a dream come true!

What is your intention with your entry?

My intention with this piece was to create it as historically as possible, in a safe manner. It is based off of Italian humanism: white-vine illumination. THL Fede di Fiore’s persona is Italian, so this style fits her persona perfectly. I created my own pigments and paints. Those were ultramarine blue, red ochre, green earth, and zinc white. I gilded the sheep vellum using homemade gesso and 24k gold leaf. Once the scroll was calligraphed by Magdalena Txoperena, it was framed and then presented to THL Fede di Fiore in person during the virtual Æthelmearc Æcademy Court on 7/11/2020.

Did the entry throw up any unexpected issues?

Overall, this project went very smoothly and came together in a timely fashion. The most challenging aspect of the illumination was designing and creating the knotwork in the Italian white-vine. Knotwork can be tricky. After practicing and drafting, the knotwork turned out lovely. It is fun to follow the vines with your eye.

Did you learn something specific, something you would do differently, or would recommend others to do again?

I really enjoy gilding. I love the aesthetics of gold. I want to continue improving my gilding skills. Furthermore, if I could, I would have loved to use the historical pigments of vermilion and lead white. However, crafting those pigments are dangerous and not safe because of the mercury in cinnabar, which is used to make the pigment vermilion, and lead in lead white. Additionally, I do not live in an environment in which I could safely paint with those pigments.

What motivated you to enter the Virtual Queen’s Prize Tourney?

I entered the Virtual Queen’s Prize Tourney to share my love of the scribal arts. I also want to demonstrate my progress as an artist and receive feedback. I am honored if anyone is inspired by me to create their own historical scribal pieces. Furthermore, the timing worked out well in my favor.

Anything else you would like to share?

I would like to thank Nichola Beese for creating and providing the sheep vellum, Jehan LeBlanc for the words, Magdalena Txoperena for doing the beautiful calligraphy and painting the device and badges at the bottom of the calligraphy and the scribal college for being supportive and teaching me illumination. Ultimately, I want to thank THL Fede di Fiore for being a wonderful teacher, enabling me in the arts and for her friendship.

serena group portrait

The proud recipient of her Fleur d’Æthelmearc scroll.

Thank you, Serena Milani, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Serena’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. Their Majesties announced the winners in Virtual Court at the Æthelmearc Æcademy on July the 11th, and the winners are listed in the Virtual Queen’s Prize Tourney website.

Behind The Scenes: THL Julianna Woolworth Discusses Her VQPT Entry

13 Monday Jul 2020

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Today’s article in our series on the Kingdom’s Virtual Queen’s Prize Tourney is about an fascinating entry called Tudor Rose, made by artisan Julianna Woolworth.

As we do not have the ability to converse with our entrants face to face, the Virtual Queen’s Prize Tourney now offers the opportunity to drool over images and read the documentation right there on the Kingdom Ministry of Arts & Sciences website, as well  as leave feedback. To learn a little more about the artisan and their thoughts behind their entry, the tourney organizers decided to broaden our traditional entry of object and documentation with personal interviews.

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I was inspired by the anniversary of The Field of the Cloth of Gold to find a Tudor rose to represent our wonderful kingdom. It’s not finished yet; I plan on filling in the flowers and leaves when time permits.

Could you tell me a little about you, your persona.

I live in the Barony of Endless Hills, I’ve been the seneschal in the past and our Barony’s A&S Champion twice. I am mainly a cook and feastocrat. I work with my husband Tufa in the area of pickling vegetables. My persona is middle to late Tudor. I am a working class woman so I tend not to stand out, which suits me just fine. My persona would definitely use my entry, either on a fancy apron or I would make a pair and add them as a decoration to a sleeve for a dress.

What inspired you to make your entry?

Well, since food wasn’t allowed for the obvious reasons, I needed to come up with something that I know how to do.  I wanted to try something different, so that’s why I went with the blackwork. Whenever I enter a competition or an artisan exchange, I try to teach myself something new. I’m always trying to learn and broaden my knowledge.

What is your intention with your entry?

My intention was to showcase my needle work. I’ve always used food, but I wanted to try something that although I have been taught to do. I had no clue about blackwork. So it was a very quick learning course that I undertook. Of course it’s not how I planned it out to look, but I am very happy with the results. When I finish the piece I intend to use it as a personal gift.

Did the entry throw up any unexpected issues?

I had no idea that it was due today until 48 hours ago, so although I already had the material and the design, I got it done in the last 24 hours of the tourney because I’m a procrastinator. The design itself gave me some issues, I really needed a light box but I made due with what I had on hand and thank the lord that my mother-in-law is a crafter so she had several items that I needed to make it work.

Did you learn something specific, something you would do differently, or would recommend others to do again?

Next time I need to find out the due date much more in advance when I agree to compete in any competition.

What motivated you to enter the Virtual Queen’s Prize Tourney?

My motivation was to make not only my Barony but my Baron and Baroness proud of their decision to appoint me their Arts and Sciences champion. Exposure is nice because it will help me learn, everything is a learning opportunity to me. Plus, I can’t wait to give over the finished project to it’s intended because I think that she will love it.
If you need anything else, please just let me know. Thank you.

Thank you, Julianna Woolworth, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Julianna’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. Their Majesties announced the winners in Virtual Court at the Æthelmearc Æcademy on July 11.

Behind The Scenes: Lady Otilia von Passaw Shares Her VQPT Entry

12 Sunday Jul 2020

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Today’s article in our series on the Kingdom’s Virtual Queen’s Prize Tourney is about an fascinating entry called the Birka Reproduction Tortoise Brooches, made by artisan Otilia von Passaw.

As we do not have the ability to converse with our entrants face to face, the Virtual Queen’s Prize Tourney has been offering the opportunity to drool over images and read the documentation on the Kingdom Ministry of Arts & Sciences website as well leave feedback. In order to learn a little more about the artisan and their thoughts behind their entry, the tourney organizers decided to broaden our traditional entry of object and documentation with personal interviews.

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Birka Reproduction Tortoise Brooches made from pewter based on extant finds

Could you tell me a little about you, your persona.

My persona I play is a Viking in Birka, Sweden at about 970s Common Era. The tortoise brooches are something I would use.

What inspired you to make your entry?

I was inspired to make my brooches as a challenge to myself to make my kit closer to extant pieces and knowledge. I have been working in pewter for only a short time and find that it is pleasurable. In mundania, I have been a dental hygienist and assistant for more than two decades and have the understanding of negative/positive impressions and the tactile knowledge for carving. There is always a need for Viking brooches as new folks are putting together their kits. I plan on making several more sets of these to give out. This pewter project was my fifth but also the largest and most complex that I have undertaken.

What is your intention with your entry?

My intent in making my entry first was to give them away for the Æthelmearc Gift Exchange as I had all of the supplies and this put me within the money parameters for the exchange. I do wish to continue to make and refine these.

Did the entry throw up any unexpected issues?

No, unexpected issues arose during the making of my entry that increased skill won’t take care of.

Did you learn something specific, something you would do differently, or would recommend others to do again?

I would not procrastinate creating my documentation.

What motivated you to enter the Virtual Queen’s Prize Tourney?

I entered a Birka Viking wallet several years ago and had a great learning experience. I appreciated the SCA members who have been creating for much longer than I have. I will admit seeing all of the creations in person at an event was phenomenal. Our virtual format is what is required at this time and can reach many more people. This, too, is a noble undertaking and appreciate those that set this up. I have had no down time as a nurse, so this was made around my COVID-19 work schedule.

A giant thank you again to all that have been instrumental in allowing the Queen’s Prize Tourney to continue with all of the constraints.

Thank you, Otilia von Passaw, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Lady Otilia’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. (Their Majesties announced the winners in Virtual Court at the Æthelmearc Æcademy on July 11.)

Behind the Scenes: Gesa van Wellenstein talks about her VQPT entry

05 Sunday Jul 2020

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Today’s article in our series on the Kingdom’s Virtual Queen’s Prize Tourney is about a beautiful entry titled the White Scarf Scroll, made by artisan Gesa van Wellenstein. She also entered a second entry featuring Royal Horse Barding, which unfortunately is not discussed here but can be read about in detail on the Queen’s Prize Tourney website. As we do not have the ability to converse with our entrants face to face, the Virtual Queen’s Prize Tourney now offers the opportunity to drool over images and read the documentation right there on the Kingdom Ministry of Arts & Sciences website – even to leave feedback! And to learn a little more about the artisan and their thoughts behind their entry, the organizers decided to broaden our traditional entry of object and documentation with personal interviews.

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Back Log scroll based on J. Mayer’s book cover “Gruendliche Beschreibung der freyen ritterlichen unnd adelichen Kunst des Fechtens.”

Could you tell me a little about you, your persona.

My persona is German, but I do not have a specific time period as I am playing in different groups. I belong to a Celtic mercenary group called ANGLESY. As a Celt I get exposed to various cultures, but primarily I identify myself as a high-born German Lady who had the privilege to be trained as a mounted warrior.

What inspired you to make your entry?

For many moons I have been fascinated by Albrecht Durer’s woodcut prints. Over time I tried often to replicate them, but often failed to do the masters justness. I recently got an electronic copy of Joachim Meyer’s book “Grundtliche Beschreibung der freyer ritterlicher unnd adlichen Kunst des Fechtens,” as I started earlier this year to indulge myself with exploring the art of long sword fighting. Each time I read this manual I looked at the cover and thought I should try to create a blank scroll from it. Having some extra time over the past months, allowed my to play with different ink and nibs on various paper. What you see in the picture is the resold of many try and errors, which ended up in a White Scarf Scroll.

What is your intention with your entry?

It has been mailed out to its recipient.

Did the entry throw up any unexpected issues?

No, as I did not start the scroll with the intention to submit it for a competition. I was just one of many scroll blacks I played around with.

Did you learn something specific, something you would do differently, or would recommend others to do again?

Yes, I learned a lot about different nib qualities, flexibility and how frustrating a very pointy nip can be, especially if the paper is not smooth.

What motivated you to enter the Virtual Queen’s Prize Tourney? I had something completed in time of the deadline. Are you interested in the exposure? Not really, I never submitted my art before. It appeared to be time to try something new. The feedback? Only positive ones. Lol. Provide inspiration to others? Modeling, inspiring and supporting for others is always one of my priorities. Needed a little me-time to create something beautiful in these unusual times? Being creative is my coping skill from everyday problems. I struggle sitting still, and craft, painting, sewing and scribal work keeps me occupied. I often work on multiple projects. The COVID-19 shutdown allowed me to finish many projects as well as getting into very time consuming projects.

Thank you, Gesa van Wellenstein, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Gesa’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. We have until Æthelmearc Æcademy on July the 11th, when Her Majesty will announce the winners in Virtual Court, to peruse, enjoy and interact with the entrants. Make use of the opportunity, if you can!

Behind the Scenes: THL Maggie Rue Shares her VQPT Entry

04 Saturday Jul 2020

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Today’s article in our series on the Kingdom’s Virtual Queen’s Prize Tourney is about an fascinating entry called Torture as Display, made by artisan Maggie Rue. As we do not have the ability to converse with our entrants face to face, the Virtual Queen’s Prize Tourney now offers the opportunity to drool over images and read the documentation right there on the Kingdom Ministry of Arts & Sciences website – even to leave feedback! And to learn a little more about the artisan and their thoughts behind their entry, the organizers decided to broaden our traditional entry of object and documentation with personal interviews.

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THL Maggie Rue had created a miniature torture chamber for Ice Dragon; included is a “scold’s bridle” and documentation for what was created. For the Ice Dragon Project, the torture display was supposed to be interactive, with both the rack and the strappado capable of being used by visitors.

Could you tell me a little about you, your persona.

Generally, as Rue, I am a “go-to” person behind the counter of an apothecary: a “Mr. Smith or Johnson”, in game terms. People come to me, ask a few questions, and I procure what they need. While my entry would not be something I would use, I would likely be very familiar with the items in question as well as the officials in charge of the prison, the actual guardsmen and torturers, and I would know whose hands to grease in the event of influencing a verdict. In the event of poisonings and treatments, I might even be asked by the officials themselves for items, as seen in documentations by the medieval Venetian Council of Ten. So, I would definitely know of such things and would be doing my best not to be IN one of them.

What inspired you to make your entry?

I had this great idea for the Ice Dragon Pentathlon to create an interactive display where people could actually turn the wheel of a rack and hear the snap of the cords in the shoulders and thighs of my cloth victims. Same with the scolds’ bridle and the strappado, etc. I wanted to do a miniature because I couldn’t imagine bringing in a full-sized rack up to Ice Dragon (maybe for a local event). I was working on the cordial when I read a passage in one of the torture books about applying cordials until a victim was revived, so thought it would be awesome to incorporate it as well. The cordial is waiting until the end of the epidemic to be sampled, but Master Madoc was able to check it out before the pandemic began in full, so he would need to be contacted to see how successful I was. As for the subject matter, I’ve been wanting to do a focus on the strangeness of the torture culture that seemed to be such a public phenomena in period, and learn more about the people behind the designs.

What is your intention with your entry?

I’d like to display the pieces as learning tools, maybe work with metal to create a larger display with manacles, a metal scold’s bridle, keys…. I could see making parts of this as part of an event (a jailbreak scenario) that could incorporate heavy armored combat, rapiers, and even archery….

Did the entry throw up any unexpected issues?

There were problems getting everything into an online format because I am so tech-inept. References—I suck at them. I started having an issue sewing the scold’s bridle together with my hands and elbow getting strained; the elbow is still injured. The rack was too small for the doll so the joints didn’t snap in the end… etc.

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The scold’s bridle was capable of being displayed on a “victim.”

Did you learn something specific, something you would do differently, or would recommend others to do again?

I learned a lot actually. I appreciate the gruesome, but the technicalities of how these items were created and, really, the amount of effort some people put into making torture devices is mind-boggling. There’s a lot more information to be gathered: how different regions altered the same design, how government officials manipulated the word of the law, etc. Certainly there’s room for improvement on what I did.

What motivated you to enter the Virtual Queen’s Prize Tourney?

I knew it was nearly completed and I luckily found a few moments to put it together. I think, though not pretty, it is an important, fascinating aspect that should be shared for those who are interested. When we all get back together, I look forward having a display at certain places where people can satisfy their morbidity, should they have some, in a safe, non-threatening manner.

Thank you, Maggie Rue, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Maggie Rue’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. We have until Æthelmearc Æcademy on July the 11th, when Her Majesty will announce the winners in Virtual Court, to peruse, enjoy and interact with the entrants. Make use of the opportunity, if you can!