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Undercover at the 2018 Reconstructive & Experimental Archaeology Conference

10 Saturday Nov 2018

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By Elska á Fjárfelli and Chrestienne de Waterdene

My first colonial ale — called Dear Old Mum, a spiced wheat — at Chowning’s Tavern in Colonial Williamsburg. (Photo R. Mazza)

The 8th annual Reconstructive and Experimental Archaeology Conference, hosted by the experimental archaeology group EXARC (https://exarc.net), drew speakers and participants from many parts of the world. The REARC conference once again took place in Colonial Williamsburg in Virginia from October 18 to 20. Mistress Chrestienne deWaterdene and I drove down together to check out the event.

Friday was reserved for the presentation of papers by students and researchers alike, demonstrating the wealth of information and practical skills available within the EXARC community. Saturday was filled with numerous demonstrations in which the conference attendees could participate and museum visitors could watch and learn.

Elska presenting her very first academic paper, which started life as an uncooperative Ice Dragon brewing entry. (Photo S. Stull, occasional SCAdian and a conference presenter)

The presentations ranged from practical recreations like making flutes from bird bones and weaving with captive reed beads to duplicate pottery impressions to the use of recreated objects such as determining if Ötzis’ tools were for hunting or for warfare, and the function of experimental archaeology within different types of classrooms. Some researchers presented a follow-up on previous papers, such as Neil Peterson with his ongoing Viking bead furnace project.

Some might look for resources not yet found; the joy of Caitlin Gaffney after finding a possible source for a reproduction medieval knife to carve her bone flutes was absolutely contagious. And some were looking to network: David Spence asked for additional projects for his experimental archaeology in high school plan and left with numerous contacts and suggestions.

Each and every paper had some unique view, some unusual bit of information; since the practical aspects of experimental archaeology requires a more interdisciplinary approach than traditional academics, conferences like REARC are essential. You just never know from what discipline, from which subject, the answer to the question you did not even realize you had could come from. I personally was amazed to find that the gist of my paper — to not take words at their literal modern definition — was independently repeated in another paper… to have my initial interpretation validated via an independent source right then and there.

The work stations, surrounded by assorted Colonial-era garments being altered or repaired.

During the lunch break, Chrestienne and I quietly excused ourselves and took a quick look at the Annual Open House at the nearby Colonial Williamsburg Costume Design Center. Here, the staff fits, designs, creates, and dresses the area’s costumed interpreters.

The clothes range from silk gowns and caps for the ladies, to cotton and linen wear for the middling sort, to handmade leather gloves and embroidered coats for the male gentry. Ordinarily, the Center is only open by appointment, except one day a year, when it opens the doors for all to show and tell. And we made sure to be there! It was a cornucopia of fabrics and embellishments, and the workstations were to die for…

Talon Silverhorn showing his beaded belt made using Fingerweaving. He also told about how his tribe uses this technique to record and tell stories right up to our modern period.

I also learned that the colonial interpreters do not make nor own their costumes. It is this department that researches, designs, fits, and creates for everyone on the payroll. Except for the Native Americans, it seems. We did not see any Native American wardrobes out in storage or on display, and from talking with Native interpreter Talon Silverhorn we learned that most make their own as part of their tribal community and heritage.

Bill Schindler, experimental archaeologist and co-host of the National Geographic show The Great Human Race. I enjoyed our conversation over a craft beer at the hotel, and even taught him a thing or two about historic mead brewing.

The keynote speaker for this year was Bill Schindler, an experimental archaeologist with Washington College and part of the Eastern Shore Food Labs. His quite-engaging presentation on Fusion: ancestral diets, modern culinary techniques, and experimental archaeology was well received and left the audience with a number of questions to think about.

This paper was perfect for the younger generations now growing up in an environment that might be more hostile to them than they would surmise, and this area of research, experimental archaeology, could help shed light on where to go from here. The connection between human biology and our diet, and the impact industrialization has had on our health to the point where humans and our pets can be both obese and malnourished, is not only fascinating from an academic point of view but relevant to the survival of our species.

This year’s demonstrations were two part: the practice of throwing atlatl and observing and shooting early bows, combined with the technique of smelting and casting bronze and making Viking era glass beads.

Unfortunately, while the weather was absolutely gorgeous on Friday, by the time Saturday came around it had changed to intermittent drizzle and rain. But that did not stop us from having a go at each of the stations and appreciate the added value of tent coverings at the metallurgy and flamework areas. While I would have loved to try the Ötzi replica bow as initially intended, Manuel Lizarralde did not feel comfortable to have it out in soaking rain as it was not yet waterproof.

I did get to shoot a fire-hardened black locust Native American self bow, weatherproofed with bear grease, and even hit the target center. Conference host Tim Messner enjoyed the primitive tattoo kit and extant stone tools that Talon Silverhorn, Native American interpreter, brought to share – and almost talked him into a tattoo demo on the spot!

Fergus Milton, with help from David Spence, melting bronze to do a lost-wax mold casting later in the afternoon.

 

At the station near the blacksmith area, we enjoyed Fergus Milton’s bronze casting demonstrations — with help on the bellows by David Spence — using a small furnace constructed on site from local clay and aerated with a primitive leather-bag bellows.

He began the day by smelting the bronze and preparing two molds, and poured the molds mid-afternoon. Several museum guests returned specifically to witness the casting, after stopping by periodically to keep an eye on the proceedings.

Chrestienne making her first Viking glass bead over a charcoal bead furnace under the expert supervision of Neil Peterson (a SCAdian of old). She’s wearing the loaner sweater Neil provided (available to those wearing flammable man-made fiber fabrics). Wool is a safer fabric to protect against sparks and burning embers.

At the same time Neil Peterson had his coal-fed bead furnace up and running for conference attendees to try their hand at making a Viking glass bead. His station was in continuous use throughout the day and many of the attendees left with a precious homemade bead in their pocket. Surprisingly, participants often had more trouble with the coordination required to operate the bellows effectively, me included, than they had creating a simple bead.

Pouring molten tin into a cuttlefish mold encased in fresh clay as support.

The mold is only able to be used once, becoming burned during use. Although tin is used to demonstrate, it is a softer metal than the master used for the impression.

 

 

 

 

 

 

 

 

 

Finally, before packing up, Fergus Milton did a quick demonstration of cuttlefish casting for David Spence to consider showing to his high school students. He used some tin he had on hand, and as it had a lower melting temperature than the bronze, it quickly became molten and he was able to show how the porous nature of the cuttlefish bone lends itself well to making a quick mold. It takes in a good amount of detail from the master used to press into the material and feels a bit like a dense, fine Styrofoam when pushing a metal object in to make an impression.

To cap off this wonderful experience, the resident founders at Williamsburg had invited Fergus Milton (burgundy shirt) for a special bronze casting demonstration at their shop on Sunday morning. To experience the prehistoric process, so closely followed by the much more refined methods of the 18th century Geddy Foundry, was an appropriate ending to an otherwise perfect immersive weekend of reconstructive and experimental archaeology. We are ready to come back for more next year!

Insistent cow, with bull calf, determined to charm snacks from us! (Photo: R. Mazza)

 

 

 

 

 

 

 

All photos credited to S. Verberg, unless otherwise stated.

For details on the presented papers, see the EXARC site.

See Elska’s blog here.

 

The Importance of Doing Your Research

13 Thursday Sep 2018

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By Elska á Fjárfelli of the Dominion of Myrkfaelinn in the Sylvan Kingdom of Æthelmearc

The Dutch language has a saying for which I have not found an English equivalent: hearing the bell toll, but not quite knowing where the clapper hangs. It kinda-sorta means “close, but no cigar.”

I was reminded of just this during our trip to the Netherlands this summer when we visited the craft brewery Jopen and I ordered one of their historic brews: Koyt Gruitbier.

Beer 1
A nice glass of gruited koyt at the Jopen Brewery
in Haarlem, the Netherlands

I had found out about this beer as part of my research into the early medieval Dutch beer called gruit and was quite curious to see, and taste, this commercial interpretation up close. And my first question upon seeing the label was: why is it called a koyt gruitbier? I asked a resident brewer and the answer was that they used the grain bill for koyt and added bog myrtle seeds (and other undisclosed herbs…) for gruit, to make a historic gruit beer.

To understand why this is historically problematic, and rather ironic to boot, let’s take a look at the beer style koyt, modernly known as kuit. The Jopen Brewery is located in the city of Haarlem in the province of North Holland – a city with a long brewing tradition going right back to the Middle Ages.

To distinguish themselves from other craft brewers Jopen Brewery delved into the archives of their city for inspiration, and the lucky bastards located several beer recipes to help start their brewing business. They chose to redact two recipes for commercial production, a 1407 recipe for koyt and a 1501 recipe for (generic) hopped beer. Naturally, the brewery was not amenable to sharing its sources, but luckily for us the city archive is open to anyone. The following are scans of the original 1407 koyt recipe and the 1501 hopped beer recipe.

Callig 1

Also those who want to brew coyt, they shall brew in the brew barrel no hopped beer within four days, that is to understand, that three or four days would be in between, having brewed with hopped beer. And as well one shall to each brew coyt brew with 12 eightparts wheat malt, eighteen eightparts barley malt and four and twenty eightparts oats malt and of each not less, on the fine of 3 pounds.

This information, combined with the following ordinance about water usage, gives a good idea of a recipe for medieval koyt.

Callig 2

About coyt, which one transports over sea, one shall not brew longer than 26 barrels, on the fine of 3 pounds, and about coyt which is sold domestically, and one shall not brew longer than 25 barrels coyt, and of each not more, or less, of one wants, also fined as regulated.

But wait, there is something missing… what about the hops? And that’s where part of the confusion originated: these ordinances are not recipes, they are grain bills. Hops, and in earlier times the additive gruit, was under its own taxation and was not mentioned in the ordinances, not even in the 1501 Haarlem ordinance for hopped beer (displayed below).

Callig 3

Also it is ordained as well, that a decent brewer or brewster who wants to brew hop beer, in each brew hop beer dumps ten eightparts wheat malt, and thirty-six eightparts oats malt, and thus so may each brewer or brewster exchange, if they want, for each sack wheat malt two sacks spelt malt or sacks of barley malt, and that until three sacks wheat malt and not more, and thus so shall one brew each hop beer brew fourteen stucken and a half long and not longer, that is to say fourteen stucks to deliver and to keep a half stuck for their drinkebeer (small beer), and that one shall not squeeze or push [press] nor brew on a loose bottom, and so who does different, there is the fine of 12 crowns and no work, until one shall have paid as above.
The burghemasters and the court consented, that a decent brewer or brewster may brew hops as well on a loose bottom as differently, and that without a fine.

Was it because of mistaking grain bills for recipes that for decades there was a persistent misunderstanding between kuit (koyt) and gruit (gruyt) beer? Or maybe because the two names sound so alike it was assumed the beers must be alike, or even the same.

So how do we know if koyt really was made with hops, and not gruit, as Jopen Brewery assumes? The answer to that question is actually two-fold. Historic mentions of koyt beer outside of brewing ordinances indicate a clear connection between koyt beer and hops. For instance, the Duke of Burgundy licensed in the year 1455, in favor of the Goudsche (from Gouda) brewers, the hops-taxation on their brew: Goudsche Kuyt(1). Another brewer’s regulation of 1460 mentions that hops-taxation clerks can fine delinquent brewers of large beer and coyten (2). And the History of the city of Gouda from 1817 explains in the 1520 description of brewing “no herb except for hops” was allowed in their brew(3). But even more important in the gruit-versus-hops debate in connection with koyt are their respective time-lines.

In the early Middle Ages in large parts of the Low Countries, which consisted of modern Flanders, the Netherlands, and parts of Germany, the production of commercial beer was taxed through the sale of a product thought necessary to ferment a proper beer, called gruit. The sale of this grain-and-specific-herb-product made a number of families very rich, until a new method of brewing appeared on the horizon.

Not only was this beer, made with hops, able to travel and thus be traded – it did not fall under the gruit taxation! This new hopped beer from the Hansen city-states in not-quite-yet Germany, like the rotbier made in the city of Hamburg, scared the pants off the gruit masters, and import of this beer, and of hops, was quickly banned.

Of course, the Holland citizens – as the Netherlands did not quite yet exist either – recognizing a good thing, were not that easily persuaded. By 1321, the sale and production of hopped beer was officially permitted – and taxed (initially often under the umbrella of gruit). By 1327, Haarlem started the production of hopped beer, as did Dordrecht in 1322 and Delft in 1326, quickly out-competing the traditional gruit ale in the provinces of North and South Holland(4). For some reason the southern parts of the Low Countries persisted in making gruit ale over hopped beer for another 100 years or so – which could probably spawn a quick joke or two about those people from below the rivers, but let’s keep on track.

Bew Kettles
The brewing kettles, flanked by bar and stained glass windows…

Back to Jopen Koyt Gruitbier – a beautiful beer brewed in a beautiful church and touted as a real historic beer. Which it is, although more correctly: it is two historic beer styles rolled into one. This commercially successful beer illustrates the importance of knowing your history. As we’ve seen, koyt and gruit beer did both exist in the medieval Netherlands, and both at the same time, but not in the same regions. By the early 15th century, in the region of northern Holland, gruit ale had already disappeared – outcompeted by the very successful imports of Hamburg beer that were quickly locally produced, and exported, under the name of… wait for it… koyt.

Basically, Jopen Brewery attempted to make a historic gruit, and based it on the beer that had killed it.(5) That’s irony.

On the other hand, a brewery that’s named for a well-known historic beer type but states on its website that its name is inspired by a beer barrel size which historians are not familiar with, might need a sprinkle or two of extra salt when reading their folklore – oops, I meant history.

Although, I nearly reached my breaking point with the following description: “Jopen Koyt is brewed with gruit, a medieval blend of herbs in which sweet gale, picked according to ritual, was essential. Legend has it that, to avoid its hallucinogenic properties, sweet gale could only be picked at full moon by nude witches.” What the …?! I would love to see that reference, and with illustrations.

The moral of this story? Do not believe everything you read on the Internet. Just because someone is proficient in something does not mean they are proficient in everything. Remember, legend sells as Jopen’s gruitbier slogan shows: deliciously risky.

And the biggest irony is that Jopen Brewery could have had three fantastic historic recipes. The Jopen brewer might not be a historian, but he does know how to brew: that gruit ale sure tasted like more!

Sources:
https://www.jopenbier.nl/en/bieren/jopen-koyt/
http://verlorenbieren.nl/extreem-zwaar-engels-bruyn-bier-uit-haarlem/
https://www.witteklavervier.nl/us/history/myths-about-beer/gruyt-and-kuyt
Elska á Fjárfelli (Susan Verberg). Medieval Herbal Ale: Gruit Demystified. 2018 https://www.academia.edu/37346911/Medieval_Herbal_Ale_Gruit_Demystified
Document scans by the City Archive of Haarlem, the Netherlands.
Photography by Susan Verberg, 2018

Footnotes

(1)  Brunel, etc. Groot algemeen historisch, geographisch, genealogisch, en oordeelkundig woordenboek, behelzende zo het voornaamste, dat vervat is in de woorden-boeken van Morery, Bayle, Buddeus, enz…

Netherlands: De Companie Bookverkopers, 1725

https://books.google.com/books?id=_AM_AAAAcAAJ&source=gbs_navlinks_s
https://www.witteklavervier.nl/us/history/myths-about-beer/gruyt-and-kuyt (exerpt)

(2) Jacobs. Korte chronycke van vele gedenckweerdige geschiedenissen: soo in de principaele steden van het hertoghdom van Brabant als in de stadt en provincie van Mechelen, Volume 1. Loven, the Netherlands: Joannes Jacobs, 1747.

https://books.google.com/books?id=vwNBAAAAcAAJ&source=gbs_navlinks_s
https://www.witteklavervier.nl/us/history/myths-about-beer/gruyt-and-kuyt (exerpt)

(3) Cornelis J. de Lange van Wijngaerden. Geschiedenis en Beschrijving der stad van der Goude: meest uit oorspronkelijke stukken bij een verzameld, Volume 2. Van Cleef, 1817.

https://books.google.com/books?id=u5Y6AAAAcAAJ&dq=Geschiedenis+der+heeren+en+Beschrijving+der+stad+van+der+Goude.Meest+uit+oorspronkelijke+stukken+bij+een+verzameld+door&source=gbs_navlinks_
https://www.witteklavervier.nl/us/history/myths-about-beer/gruyt-and-kuyt (exerpt)

(4)  Most of this paragraph is paraphrased from Verberg, Susan. The Rise and Fall of Gruit, 2018. https://www.academia.edu/35704222/The_Rise_and_Fall_of_Gruit. As nearly all the citations are from foreign language sources, I chose to refer to the paper, not the individual sources.

(5) Of course, it’s a bit more nuanced than that, but not by much. In 1374, the grain bill of commercial hopped beer made in Hamburg was updated and part of the oats was exchanged with barley. This Hamburg beer became a very successful export product. Both German products were emulated by Dutch cities: rotbier under the name of hoppenbier and Hamburg beer under the name of koyt, making koyt the daughter of the beer that out-competed gruit ale. Private communication with Freek Ruis, 9/11/2018.

All-Grain Beer Brewing Workshop at Pennsic 47

07 Friday Sep 2018

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Pennsic 47 all-grain class by Alain ap Daffyd, from the Canton of Salesberie Glen, Barony of Sacred Stone, Kingdom of Atlantia (current Royal Brewer) and Aethelmearcian by association with Madoc Arundel.

Written by Alain, photography by Elska á Fjárfelli.

 

Brewing area with plenty of shady seating for the brewing enthusiasts who came and visited throughout the day. The class was scheduled for four hours. Photo by Elska á Fjárfelli

The recipe I used in the class is redacted from The English Housewife by Gervase Markham. “The best March beer” calls for peas and the brewing of three beers, or three sparges of wort from the grain. In the interest of time, I combined the first two sparges for a boil yielding slightly more than ten gallons. The peas were omitted.

Ingredients:
16# Briess pilsner malt
2# wheat malt
2# oat malt
3 oz. East Kent Golding

The pilsner grain is a barley malt, barely lighter than a “standard” two-row, and happened to be what was in my bin for base malt. I used East Kent Golding, as it is a fine English hop, and I was low on Fuggle. Every medieval recipe I’ve read calls for barley malt, oat malt, and/or wheat malt (in some combination) and hops—I have not seen anything more specific than those terms. From some of the discussions of malt (more/less smoky, etc.), I suspect there was variation from malthouse to malthouse, and between any two maltings as well, but I have yet to see evidence of anyone using different barley malts in any proportion in a single grain bill. Thus, I always weigh my malt from a single bag for any one boil.

Copper kettle on propane burner: This Pennsic I chose to use a propane burner for heat instead of a wood fire. The smoky quality added to the wood-fire brew was lovely, but the smoky quality it added to my respiratory system was not. Every period illustration I have seen has the copper on a stone/masonry stand, where wood is added through the front and smoke is carried away in a chimney. I’m thinking of building something similar and trying wood again. Photo by Elska á Fjárfelli

The session begins with adding eight gallons (30 liters) of water to the copper and setting it to heat. All of the grains were combined in a bucket earlier – once the water was on to heat, they were cracked, and put in the tun. The water is raised to approximately 170 degrees Fahrenheit (~77 degrees Celsius), then added to the cracked grain in the tun, using the “pot-on-a-stick.” After all the water is transferred, a paddle is used to stir the mash, making sure all the grain is wetted and with no clumps.

Photo by Elska á Fjárfelli

After stirring, the mash is covered to prevent heat loss. Eight more gallons (30 liters) of water are measured and added to the copper. Once the mash rests for thirty minutes, it is stirred. On this occasion, we used a thermometer to check the mash temperature, and found it to be just over 150°F (66°C). The copper is now heated, bringing the water to mash temp (150°F/66°C). At the end of another thirty-minute rest, the wort is extracted from the grain by dipping it from the tun and straining it through a wicker basket, allowing it to collect in a bucket. Grain is placed in another bucket once the basket becomes full. After all the wort is extracted (~5 gallons/19 liters, more than expected), the grain is returned to the tun, and the additional water from the copper (8 gallons/30 liters) is added.

Separating the spent grains from the mash – the large wood tub hides a fiberglass insulated plastic tub to help keep the mash at temperature. The large stirring spoon and pot-on-a-stick are period tools; the wicker basket is a period tool; the funnel shelf is of home design. Photo by Elska á Fjárfelli

This is where we depart from Markham’s description, as rather than setting the first wort to boil we collected the wort from the second session and added it to the first, doing a single boil rather than two separate boils. We abandoned the third boil entirely, although a taste of the remaining grain did indicate sugar remaining.

Ludwig taste-testing the spent grains for residual sugars. There was enough left for a third mash/sparge, or a small beer. The strained wort tasted very sweet, both from the first sparge and the second (remember, it is still going to be boiled). Photo by Elska á Fjárfelli

The second run gathered just short of 8 gallons/30 liters (as expected), resulting in just short of 13 gallons/49 liters to boil. As my copper only holds 12 gallons/45 liters, we elected to do a longer boil, adding additional wort as it progressed, until all wort had been reduced to approximately 10.5 gallons/40 liters.

Heating up the wort from the first sparge. Photo by Elska á Fjárfelli

Adding the wort from the second sparge. Photo by Elska á Fjárfelli

The hops were measured and put into a small bag, and added to the wort prior to starting the boil.

Starting gravity is 1.056. The wort was pitched with Mangrove Jack’s M42 yeast, with an expected final gravity of 1.010–1.020, or around 5–6% ABV. This should be a dry, malty beer, and I hope to be serving it at War of the Wings.

Surveying the two fermenting buckets with wort cooling off enough to pitch the yeast. Photo by Elska á Fjárfelli

And everyone went home with a nice glass of “something.” Photo by Elska á Fjárfelli

Recipe of Spent Grain Cookies as made by Alysoun (Alison Leister Steele) and served throughout the brewing class:

*Slightly* less-wasted Spent Grain Cookies

• 1.5 cups whole wheat flour
• 1.5 cups spent grain
• 0.5 cup brown sugar
• 2 tbsp. honey
• 1 egg
• 7 tbsp. butter, melted
• 1/4 cup raisins
• 1 tsp. cinnamon
• 1 tsp. baking soda

 

Absalon (Christian Leister Steele) hawking the baking wares of his wife. Photo by Elska á Fjárfelli

1. Preheat oven to 350 degrees.
2. Combine whole wheat flour, spent grains, baking soda, brown sugar, cinnamon & egg in a large mixing bowl.
3. Once mixed, stir in melted butter and honey.
4. Fold in raisins.
5. Spoon onto a greased baking sheet.
6. Bake at 350 for 10–12 minutes, or until edges start to brown.
7. Remove from oven and allow to cool. The cookie are even better the next day (they travel well!).

Find the recipe here.

How Period Is Rootbeer, Actually?

28 Tuesday Aug 2018

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By Elska á Fjárfelli of the Dominion of Myrkfaelinn

As a mother, and brewer, I was unsurprisingly asked (begged) by my kid to help him make root beer. We both quite like the taste of root beer, and the idea of going on a root-and-herb scavenger hunt in the back swamp spoke to both of us! The cunning plan was to have the kid enter his root beer in a brewing competition and thus he had to know at least some of its early history. But – how period is root beer? The two ingredients most often mentioned to make root beer are sarsaparilla and sassafras, so let’s first take a look at those.

Sarsaparilla

Sarsaparilla

Sarsaparilla (Smilax ornata) was introduced to Europe in the 16th century by the Spaniards, first from Mexico and later from Honduras. Mexico, Central America and many parts of northern South America abound in various species of sarsaparilla, valued by the natives for their, more or less, medicinal qualities. The natives value its nourishing and healing qualities so much they would drive their cattle to areas where it grew in abundance in order to feed on the plants and receive its benefits.

Sassafras

Sassafras

Sassafras (Sassafras albidum) was a well-known plant to the natives of the southwestern United States way before the Europeans came around. It had many purposes, including cooking (to flavor bear fat, to cure meat) and medicinal.

The European interest in sassafras brought Europeans into closer contact with the Native Americans during the early years of settlement in 16th and 17th century Florida, Virginia and parts of the Northeast. Early European settlers enjoyed the aromatic scent of sassafras – according to legend, Christopher Columbus finally found land because he could smell the sassafras! As early as the 1560s, French visitors to North America discovered the medicinal qualities of sassafras, as well as the Spanish who arrived in Florida.
Sassafras trees were reported as plentiful at the arrival of the English on the coast of Northeast. Sassafras bark was sold in England and in continental Europe where it was made into a dark beverage called ‘saloop’ – touted to have medicinal qualities and used as a medicinal cure for a variety of ailments. This refreshing beverage was sold in place of tea and coffee, which were much more expensive, and was served in a similar way with milk and sugar.

Sir Francis Drake was one of the earliest to bring sassafras to England in 1586, and Sir Walter Raleigh was the first to commercially export sassafras in 1602. Since the bark was the most commercially valued part of the sassafras plant due to large concentrations of the aromatic safrole oil, the trees would be stripped of their bark – which kills the tree.

This meant that as significant amounts of sassafras bark were harvested, supplies quickly diminished and sassafras became more difficult to find. For example, while one of the first shipments of sassafras in 1602 weighed as much as a ton, by 1626, the English colonists failed to meet their 30-pound quota. Unfortunately, over-harvesting is not a modern invention.

Martin Pring; in his own words (1603):

“In all these places we found no people, but signes of fires where they had beene. Howbeit we beheld very goodly Groves and Woods replenished with tall Okes, Beeches, Pine-trees, Firre-trees, Hasels, Wich-hasels and Maples. We saw here also sundry sorts of Beasts, as Stags, Deere, Beares, Wolves, Foxes, Lusernes, and Dogges with sharpe noses. But meeting with no Sassafras, we left these places with all the foresaid Ilands, shaping our course for Savage Rocke discovered the yeere before by Captaine Gosnold, where going upon the Mayne we found people, with whom we had no long conversation, because here also we could find no Sassafras. De-parting hence 3 we bare into that great Gulfe which Captaine Gosnold over-shot the yeere before, coasting and finding people on the North side thereof. […] Bancroft, following Belknap, identifies Whitson’s Bay with the harbor of Edgartown, Martha’s Vineyard, which is in the latitude of 41° 25g. […]and finding a pleasant Hill thereunto adjoyning, we called it Mount Aldworth, for Master Robert Aldworths sake a chiefe furtherer of the Voyage, as well with his Purse as with his travell. Here we had sufficient quantitie of Sassafras.”

Is root beer period plausible?

What this rather long introduction means is that both main root beer flavors – sarsaparilla and sassafras – were known in 16th century Europe, and at least sassafras was used in a drinkable medicinal concoction in Europe. Unfortunately, it was not (yet) fermented… The tradition of brewing, or fermenting, root beer is thought to have evolved out of other European small beer traditions that produced fermented drinks with very low alcohol content. These were thought to be healthier to drink than possibly tainted local sources of drinking water, and enhanced by the medicinal and nutritional qualities of the ingredients used. For instance, the 14th century recipe Tizanne Doulce (like a tisane, or infusion) uses barley, licorice root and crystal sugar to make a root beer-like beverage.

Le Ménagier de Paris, 1393

TIZANNE DOULCE. Take water and boil it, then for each sester [the sester of 8 pints] of water put in a bowl heaped with barley, and it matters not if it be hulls and all, and two parisis [2 1/2d.] worth of liquorice, item, figs, and let it be boiled till the barley bursts; then let it be strained through two or three pieces of linen, and in each goblet put great plenty of crystallised sugar. Then the barley is good to give to poultry to eat to fatten them. Note that the good liquorice is the newest and it is a fresh greenish colour, and the old is more faded and dead and is dry.

Roots, bark, resin, fruits & flowers

Spicebush

Spicebush

For our recreation, we chose roots, barks and leaves that either grew in the back yard (our property adjoins a New York State Protected Wetland, so plenty of bio-diversity) or we already had in the kitchen cupboards. Even though I met someone via Facebook who lived in the South and had a sassafras tree in his backyard and was willing to ship rootstock, unfortunately, facebook ate the conversation and he was never heard from again… so this time around, at least, no period-correct Southern grown sassafras. We substituted with black birch, as that has a root beer typical wintergreen-like flavor, and spicebush (right). We went on a scavenger hunt and gathered as much as we could from the back yard and surrounding property. Ironically, it is in our modern middle Ages not possible to buy fresh, green licorice, therefore we’ll have to do with the ‘dead’ dry stuff. The kid made name cards to label each baggie of ingredients.

Simon

Our recipe:

0.6 oz black birch bark

0.6 oz spicebush bark

0.3 oz licorice root

0.3 oz dandelion root

0.3 oz birch bark

0.3 oz black cherry bark (included resin)

0.3 oz juniper berries

1 tbs hops flowers

1 tbs ginger root

1 cinnamon stick

2 ½ quart water

1 cup sugar (brown sugar)

1 yeast starter (ale yeast, reclaimed from a perry).

Then it was time to brew! He scraped the bark off the wintergreen and spicebush twigs. He chopped the dandelion root and grated the ginger root. He broke the birch bark, the cherry bark and the dried licorice root into little pieces. He picked the juniper berries from between the greens. And crushed the cinnamon stick. Mom got homegrown hops from the freezer (he’s not touching the hops supply). He measured everything on the scale, and added it all to the big sauce pot. He measured and added the 2 ½ quarts of water. Turned on the stove, and brought it up to a boil. When boiling, it was turned down to a simmer, to simmer for 20 minutes. When done, mom put the pot in the sink in cold water to cool. The infusion was left to sit overnight.

Spice pot

The rootbeer stock, ready to infuse in water.

The next day, he poured some reclaimed ale yeast into a 1 gallon carboy, and poured the infusion – through a filter – into the same carboy. He added 1 cup of sugar, for the yeast. He then shook the carboy well to dissolve all the sugar, and carefully poured the infusion into his recycled fliptop soda bottles. They were left in a warm place to start fermentation. They will stay out for a few days at the most, or until carbonation is visible, and then be refrigerated to stop/slow down the yeast.

Bottling

Ready for bottling!

A table showing the different botanicals that can be used in root-beer (X marks the ones we used): 

 Roots and herbs Spices
Sassafras albidum – roots, leaves, bark Pimenta dioica – allspice
Smilax ornata – sarsaparilla X Lindera benzoin – spicebush (bark/berries)
Smilax glyciphylla – sweet sarsaparilla X Juniperus communis – juniper berries
Piper auritum – root beer plant Trigonella foenum-graecum – fenugreek
X Glycyrrhiza glabra – liquorice (root) Myroxylon balsamum – Tolu balsam
Aralia nudicaulis – wild sarsaparilla Abies balsamea – balsam fir
Gaultheria procumbens – wintergreen (leaves and berries) Myristica fragrans – nutmeg
X Betula lenta – sweet birch (sap/syrup/resin) X Cinnamomum verum – cinnamon (bark)
X Betula nigra – black birch (sap/syrup/resin/bark) Cinnamomum aromaticum – cassia (bark)
X Prunus serotina – black cherry (resin/bark) Syzygium aromaticum – clove
Picea rubens – red spruce (tips) Foeniculum vulgare – fennel (seed)
Picea mariana – black spruce X Zingiber officinale – ginger (stem/rhizome)
Picea sitchensis – Sitka spruce Illicium verum – star anise
Arctium lappa – burdock (root) Pimpinella anisum – anise
X Taraxacum officinale – dandelion (root) X Humulus lupulus – hops (bells/flowers)
Mentha species – mint
Other ingredients
Hordeum vulgare – barley (malted)
Hypericum perforatum – St. John’s wort
X Sugar
Molasses
X Yeast

Note: black birch and the evergreen Gaultheria are both sources for the scent wintergreen.

Note: while in medieval European brewing Juniperus communis was used, as we have several mature trees of Juniperus virginiana we used that instead. Like its European counterpart, Virginian juniper is also used to flavor gin.

Medieval European plausibility of our chosen ingredients: [yes / no]

black birch bark wh eastern North America no
spicebush bark wh eastern North America no
dandelion root wh native to Eurasia and North America yes
birch bark wh native to Eurasia and North America yes
black cherry bark wh eastern North America, Central America no
juniper berries hg native to Eurasia and North America yes
hops flowers hg introduced to northern Europe in the 9th century yes
licorice root cs native to southern Europe and parts of Asia yes
ginger root cs exported to EU via India in the first century AD yes
cinnamon stick cs exported to EU via Africa (Egypt) from Sri Lanka yes

Legenda – wh: wild harvested; hg: home grown; cs: commercially sourced

Observations

  • neither of us liked the licorice after-taste. Next time we’ll also add burdock, and maybe some mint, or anise – and less of the licorice.
  • only add a little bit of lees. There is plenty of yeast in even a little bit to start fermentation
  • when using commercial dry (bread) yeast, a pinch to each bottle is enough.
  • as soon as vigorous carbonation is visible on the outside of the bottles, refrigerate.
  • just in case, have a large container ready when opening the flip-top to catch any overly-carbonated blow-out.
  • fermented root beer will go alcoholic eventually – keep an eye on the brew so the kids don’t get too frisky.
  • alcoholic root beer tastes good too!

And as Sir Kenelme Digby so aptly adviced, in his slightly post-period brewing cornucopia:

“You may use what Herbs or Roots you please, either for their tast or vertue…”

Sources

Cummings, Kate. Sassafras Tea: Using a Traditional Method of Preparation to Reduce the Carcinogenic Compound Safrole. All Theses 1345, 2012. https://tigerprints.clemson.edu/all_theses/1345

Dietz, Birgit and Judy L. Bolton. Botanical Dietary Supplements Gone Bad. Chem Res Toxicol. 2007 Apr; 20(4): 586–590. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2504026/

Gibbons, T. G. Sarsaprilla; a short account of its introduction into Europe; … its medical virtues, etc. 1871 (p. 3) https://books.google.com/books?id=c8QN2oaqyy0C&dq=introduction+of+saraspirilla+into+europe+from+mexico&source=gbs_navlinks_s

Pring, Martin, 1580-1646. The Voyage of Martin Pring, 1603. Burrage, Henry S. (editor). Early English and French Voyages, Chiefly from Hakluyt, 1534-1608. (New York: Charles Scribner’s Sons, 1906). Pages 343-352 (p. 346-47). http://content.wisconsinhistory.org/cdm/ref/collection/aj/id/2523

The recipe is altered from http://nourishedkitchen.com/homemade-root-beer-recipe/

Image of sassafras from: https://commons.wikimedia.org/wiki/File:Sassafras_albidum_-_K%C3%B6hler%E2%80%93s_Medizinal-Pflanzen-260.jpg

Image of spicebush from: https://www.pinterest.com/pin/568790627910099291/

Image of sarsaparilla: A Flora of the State of New York by John Torrey Vol. 1 – Carroll and Cook Printers Albany, NY 1843

https://en.wikipedia.org/wiki/Root_beer

https://en.wikipedia.org/wiki/Saloop

https://en.wikipedia.org/wiki/Sassafras_albidum

sassafras trees for sale

https://www.tytyga.com/Sassafras-p/shasas-sassafras.htm

http://newyork.plantatlas.usf.edu/plant.aspx?id=6276

 

In the Middle Ages You Drank Beer…If You Could Afford It!

22 Wednesday Aug 2018

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By Elska á Fjárfelli of the Dominion of Myrkfaelinn

Contrary to popular believe, it was not beer that was the most common drink of the middle ages: it was plain and simple water. Dependable sources of clean, fresh water – whether it be a running creek, a spring, or a well – would be incorporated into villages and towns as easy access to fresh water makes life better in so many ways. By the 13th century, when urbanization was invented and towns started to expand into cities, early industrialization began to endanger the local fresh water supply. Medieval cities dealt with this in several ways: ordinances dictated where, for instance, tanners and dyers could operate, i.e. down stream, reserving the fresh upstream water for the city’s domestic use. And fines would be issued for contaminating water meant for household, and brewing, consumption.

Water for brewing would be gathered from surface water like spring or creek water, rainwater, well water and by the Renaissance even from conduit water, as mentioned in A Profitable Instruction (1579): “wash [the honey comb] diligently with Conduit or fair Spring water, that you may so have the Mulse or hony water.” Monasteries and towns often had their own well water, and sometimes city neighbors chipped in to finance a private well in their district. Of course, such a well would be forbidden for use by outsiders upon penalty of a fine. Larger cities would build water-supply infrastructure to ensure the populace access to clean water. For instance, the city council of London began construction on the ‘Great Conduit’ in 1236 which brought water from a large fresh spring at Tyburn to the cisterns in Cheapside, and from there fed local cisterns all over London. Small barrels of water would be offered for sale, and while the medieval populace was aware that boiling water before use was a good idea – food poisoning has a quick learning curve – they were less aware of the connection between spoiled water and waterborne diseases.

In 15th century Netherlands, many brewing procedures were also subjected to ordinances, including the ingredients used for brewing beer, the proportions of said ingredients, transport within and without the city, payments of taxation – and keeping the water in the city canals clean. A brewers’ ordinance from 1407, for instance, contains a warning for Zeeland skippers not to dump salt water (either from leakage, or used as ballast) in the canals within city limits. Dutch city brewers often found surface water not suitable for brewing, either from pollution from surrounding craftsmen, especially the textile industry – and from the creeping in of salt from North Sea ocean water into the fresh ground-water supply. Brewers would use water barges to gather clean fresh water, either from local lakes or from the coastal dunes (dune sand acts as a filter). The water barges would deliver straight to the brewery via the city canals, and the clean fresh water would be scooped out of the hold onto a wood gutter designed to transport the water from the quay straight into the brewery building.

An interesting story, uncovered in the city archives of Dordrecht, the Netherlands, follows an allegation of selling undrinkable beer by Brewery De Sleutel (The Key) – a medieval brewery actively producing beer up until the corporation Heineken bought it out and stopped production in 1968.

On August 14th 1577, the head brewer Baernt Lambertsz. and his apprentice Aernt Aerntsz. were called up to the Dordrecht city court to make a statement under oath they used the grain, hops, and malt for the brew of August 1st from the same storage successful brews had been made before. Another apprentice Jan Adriaensz. van der Dussen witnessed that he gathered all the water for the brew from the well himself, as was his custom. The brewers did note that the brew on the coolships had a peculiar scent that they had never smelled before either in the brewery or anywhere they had brewed before. The city officials took the case serious and four days later, on August 18th, other witnesses were heard. The tapper Jan Jansz. remembered his conversation with carpenter Adriaen Lauwen about the quality of the surface water in the Nieuwe Haven, for which Lauwen blamed the dyer. Four beer carriers (beer transport has its own guild) witnessed they had had to return Sleutel beer from several taverns due to being undrinkable. At the request of the innkeeper they tasted the beer and remarked they’d never tasted something so peculiar. Then other beer carriers also tasted the peculiar beer and agreed that they understood why the tappers of the taverns had returned the beer, as no customer would drink of it.

Unfortunately no more information exists on this case; no witness accounts of the accused dyer nor of penalties. The account illustrates industrial pollution is nothing new and protecting our waterways is an age-old practice.

In the middle Ages, alcoholic drinks were not consumed because water was thought to be unsafe, as is often thought now; beer was consumed because it was seen as more nutritious. Not only were the brews often much weaker than their modern equivalents, but they also provided much needed calories to manual laborers, as well as being thirst-quenching and rehydrating in hot and sweaty weather. Ale and beer were a major part in keeping the laborers going, much like our modern Gatorade! Drinking water was seen as part of the four humors, blood, yellow bile, black bile and phlegm, and keeping those in balance achieved good health. [image four humors] Drinking too much water was seen as just as unhealthy as drinking to much of its counter part, a brewed beverage, and a brew often was diluted with water to keep the humors in balance, and to avoid unseemly intoxication. As beer and wine was more expensive, its consumption therefore gave status. If you could afford it, you drank beer.

Images:

Anthonie Beerstraten – Brouwerij De Drie Klaveren, Spaarne, Haarlem 1660
https://commons.wikimedia.org/wiki/File:Anthonie_Beerstraten_-_Brouwerij_De_Drie_Klaveren_Spaarne_Haarlem_1660.jpg

Nooms, Reinier – Een Brouwers Water-Schuÿt (Verscheyde Schepen en Gesichten van Amstelredam; Verschillende schepen en stadsgezichten van Amsterdam, tweede deel) 1652-54.
https://www.europeana.eu/portal/en/record/90402/RP_P_OB_20_539.html

Alchemic approach to four humors in relation to the four elements and zodiacal signs. Book illustration in “Quinta Essentia” by Leonhart Thurneisser zum Thurn (gen. Leonhard Thurneysser). Inscriptions (clockwise): Flegmat, Sanguin, Coleric, Melang. Person is androgyne. 1574.
https://commons.wikimedia.org/wiki/File:Quinta_Essentia_(Thurneisse)_illustration_Alchemic_approach_to_four_humors_in_relation_to_the_four_elements_and_zodiacal_signs.jpg

Sources

Alberts, Leen. Brouwen aan de Eem. Amersfoort, een Stichtse bierstad in de late middeleeuwen. Hilversum: Verloren, 2016. https://openaccess.leidenuniv.nl/handle/1887/32961
Chevallier, Jim. The great Medieval water myth, 11/2013 https://leslefts.blogspot.com/2013/11/the-great-medieval-water-myth.html
Huizinga, Johan. Rechtsbronnen der Stad Haarlem. Haarlem: Martinus Nijhoff, 1911.
Kistemaker, R.E. and V.T. van Vilsteren. Bier! Geschiedenis van een volksdrank. Amsterdam: De Bataafse Leeuw, 1994.
O’Neill, Tim. What Was the Drink of Choice in Medieval Europe? May 21, 2013. http://www.slate.com/blogs/quora/2013/05/21/medieval_europe_why_was_water_the_most_popular_drink.html
Sibly, Belinda, Bruce Gordon, and Ben Paton. Compleat Anachronist 171: Medieval Brewing. Milpitas, CA: SCA Inc., 2016. https://members.sca.org/apps/#Store
Verberg, Susan. Medieval Ale & Beer, 2018. https://www.academia.edu/36051244/Medieval_Ale_and_Beer

For more on Elska’s medieval brewing adventures, visit
https://medievalmeadandbeer.wordpress.com/

Brewing Competition Planned for King’s Crossing Birthday B(r)all

23 Friday Mar 2018

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Monks in Cellar

Monks in a cellar. Joseph Haier 1816-1891, via Wikimedia Commons

The Shire of Kings Crossing has conspired to bring you yet another fun activity hosted at this year’s annual Kings Crossing Birthday B(R)all on October 27th. This event will be tavern-themed, the perfect setting for a brewing competition! The event is held at the Chartiers Community Center, 2013 Community Center Drive, Houston, PA 15342. Site opens at 9AM and closes at 6PM. The day promises to be filled with many other activities including a gold chain tournament, fencing, cut and thrust, archery, thrown weapons, A&S Displays, classes, round table discussions, and the obligatory bar maiden races.

The competition is open to all home-brewed beverages. This will not be a single category, but rather a “best of show” format. All brew types will be judged together under the same rubric, which is the 60 point judging rubric using the AEthelmearc A&S approved brewing criteria. This places emphasis on Documentation, Authenticity, Complexity, Creativity, Workmanship and Aesthetics. An example form can be found here: http://brewers.aethelmearc.org/60ptRubric.pdf. The competition will be actively judged by a panel of judges.

Deadline for entry is October 27th at 11AM. The entry form can be found at the AEthelmearc Brewer’s Guild website: http://brewers.aethelmearc.org/EntryForm.pdf. Hard copies of the form will be available on location as well. Judging will start at 1:00PM sharp.

Detail of People Drinking

Detail of people drinking, from a treatise on the Seven Vices, Add MS 27695, f. 14r

Lord Jodocus “Joost” van Cleeff will be the acting steward of the competition, you may contact him via email (joost.vandekloof@gmail.com) to submit your entry form or any questions regarding the competition

In addition to the brewing competition there will also be a round table discussion geared towards those that are new to brewing, or those that would like to start brewing, but may not have a solid foundation to start.

Below are links to two wonderful documents written by THL Elska á Fjárfella that may help to inspire your entry:

https://www.academia.edu/31052051/Of_Hony_-_A_collection_of_Mediaeval_brewing_recipes

https://www.academia.edu/36051244/Medieval_Ale_and_Beer

A couple of important notes: as per PA state law no distilled beverages are permitted in this competition, and contestants will need to supply their own wine chillers if needed.

We look forward to many excellent entries that exhibit the dedication and craftsmanship of the competitors.

Heer (Lord) Jodocus “Joost” van Cleeff
Seneschal
The Shire of Kings Crossing
The Society for Creative Anachronism
joost.vandekloof@gmail.com

 

Spring Æthelmearc Æcademy and War College Teacher Registration Now Open!

21 Wednesday Mar 2018

Posted by in Arts & Sciences, Autocratting, Brewing, Cooking, Costuming, Event Announcements & Updates, Fencing, Heavy List, Youth Activities

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Have you sensed it? 

A change in the light? A soft smell in the air? A gentle kiss of a breeze instead of an ice-knifed gale? Well, ok, not today given the snowstorm blanketing much of southern Æthelmearc, but it’s coming!

If you are weary of the bite of winter, I invite you to think of the warmer months ahead … particularly June! 

The good folk of the Shire of Abhainn Ciach Ghlais look forward to welcoming you to the Spring 2018 session of Æthelmearc Æcademy and War College, which will be held on Saturday, June 16. Event information can be found here:   http://aecademy.net/spring2018/index.shtml

AEcademy header

The theme for this session will be Adornments, Embellishments, Flourishes, and Garnishes.

We can all find ways to up our game, whether by adorning a garment with intricate embroidery, embellishing a tale, adding flourish to a calligraphed signature, or garnishing a tasty dish.  

Teachers are thus encouraged to offer classes that will inspire others to “kick it up a notch.”

Already, we have classes in:

  • Making turnshoes (An all-day, make-it-and-take-it class!)
  • Protocol for RP events (Helpful tips for Royalty Liasons!)
  • Running an event (Great for autocrats wanting to up their game!)
  • Scandinavian boxes (Spiff up your camp!)
  • Sewing hats (Every outfit is better with a hat!)
  • Short-sleeved Italian gown (Just right for Pennsic!)
  • Viking humor (Who knew?)

Complete descriptions for the classes being offered at Spring AEcademy can be found here:  http://aecademy.net/spring2018/classlist.php

For this session, we will be using two sites: one is a church with typical classrooms;  the other is a fire hall with one large open room.  

Having two kitchens means that those wishing to teach hands-on cooking classes will be able to do so without interfering with lunch prep. The fire hall is especially suited for multi-hour, messy classes.

Brewers will be pleased to learn that the fire hall will allow us to offer a Brewers’ Guild Roundtable. 

For the martially inclined, we have a large, flat open field that can accommodate any number of fighters and fencers.

In addition, Duchess Ilish is already working to line up a stellar slate of classes for our Youth Track. We welcome classes taught by our youthful artisans as well as for them.

I hope you will consider sharing your knowledge, skills, and passions with AEthelmearc by teaching a class (or two!)

To register your class, please visit   http://www.aecademy.net/registration/index.php?submit=+On+to+Registration+ and fill in the requested information.

The class schedules for recent sessions of AEcademy have filled up more than a month before the event. To avoid disappointment, please don’t wait to register your class … sign up TODAY!

Have something in mind that’s a little out-of-the-box? Write to me at   ae.aecademy@aethelmearc.org! 

Yours, in Service to the Arts and Æthelmearc,
Mistress Alicia Langland, Chancellor, Æthelmearc Æcademy

Wolfgang’s Crusader Ale, and Other Anachronistic Brews

04 Sunday Mar 2018

Posted by in Announcements, Brewing, Tidings

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wolfgang
In memory of THL Wolfgang Starcke − a brewer, a teacher, a barkeep − the Æthelmearc Guild of Brewers, Vintners, and Meadhers is hoping to assemble a SCAdian brewing book.

Of you we ask: please share with us your recipes. Help us remember Wolfgang as we hope he would appreciate.

The general idea is to collect recipes and anecdotes (preferably anecdotes to go with the recipes) from all the brewers and others that Wolfgang and his brews have influenced over the years. We’re hoping for a mix from the lowliest Pennsic utility brew to the loftiest of documented Ice Dragon entries.

Show us your recipes, show us your memories, show us your photos, sketches, and illustrations. Share what you know he liked−or not−or what you think he might appreciate. Help make Wolfgang an even more lasting presence in our community, and an inspiration for those who come after – now, as well as in life.

The Kingdom of Æthelmearc Brewers Guild has dedicated a page (also found via the Events & Activities tab) to this endeavor.

Guild_Badge
You can use the link at the bottom of the page to enter your submission, including contact information, your story or anecdote, historical inspiration, if applicable, and modern recipe.

For your inspiration, and to take a sneak peek at previous submissions, we chose to offer you the option of viewing previous submissions. How the final brew book will look like depends on the type and volume of submissions: so let’s all pull together and aim for something BIG!

Yours in Service,
Elska, Maggie Rue, and Madoc Arundel.

A&S at Ædult Swim

24 Wednesday Jan 2018

Posted by in Arts & Sciences, Brewing, Costuming, Fiber Arts, Scribal

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Golden-Haggadah-cropped

All the people, off to the classes at Ædult Swim!

By Lady Margareta le Sayre

This year, Ædult Swim on February 17-18 in Abhainn Ciach Ghlais will be expanding the Arts and Sciences opportunities as we strive to be more “epic.” Keeping with the practice mindset of the original Ædult Swim, we are hosting both structured classes and unstructured time with experts in different fields. If you have been struggling with a work in progress, bring it along! Odds are, you will find someone who can help.

The Garb Workroom will be open all day Saturday for anyone who needs another pair of hands or some outside advice. Sunday will have an open class on making a gothic fitted gown. The Fiber Salon will have experts in weaving, spinning, and nalbinding. In addition, the Scribal Studio is offering both beginner and advanced classes, as well as an open studio space.

An A&S display is in the works with several entries already set. There is no theme or required documentation, just the art you wish to show off! If you would like to participate, contact Lady Syele.

Nearby will be an A&S Consultation Table. This is a chance for artisans to get advice and personalized commentary in relation to the Æthelmearc rubrics for judging in competitions. Those from out of kingdom are welcome to stop by for questions. We can always suggest someone who may have more information if we don’t have the answers.

Offsite, Master Gille will be creating a historical-based beer, brewed on modern equipment. All are invited to stop by to discuss the process, ingredients, and the recipe.

Codex_Manesse_Johann_von_Ringgenberg

What to do when your significant other is getting black and blue? You go off to see the Arts Display or take a class or two!

For those good gentles who would like a more structured setting, there will be classes on SCA topics such as Fundraising and Teaching. There are also classes on working with chocolate and a chocolate-tasting to satisfy those with a sweet tooth. Finally, if anyone has ogled the garb worn by TRMs Æthelmearc, the sessions discussing their 12th C. and Viking outfits will be a perfect fit.

Are you interested in teaching? There is still time to sign up to teach! Click the link for the Teacher Sign-Up Page at the Æcademy Website.

If you have questions about the classes, or are interested in being listed as an Expert on Hand for one of the Workshop areas, contact the Class Coordinator, Lady Margareta le Sayre.

Artisan Exchange Going Strong and Seeks Even More Participants

21 Sunday Jan 2018

Posted by in Archery, Arts & Sciences, Brewing, Cooking, Costuming, Dance, Fiber Arts, Food, Gaming & Fun, Heraldry, Herbalism, Poetry & Prose, Scribal

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By Baroness Katja Davidova Orlova Khazarina (Chris Adler-France)

Grimmy loves his new coat from Baroness Helene. Photo by Baroness Ekaterina.

Come on, you know you want to join the Æthelmearc Artisan Exchange!

Yes, you.

You, creating that awesome, intriguing, engrossing, fun, beautiful art form.

Sign up to make it – whether an art form you’ve been developing for years or something you just started delving into, whether woodworking, sewing, brewing, metal smithing, leather working, cooking, etc. – for someone else.

Then reap the joy of that person receiving it, while you receive a personalized gift in return from another talented artisan in our kingdom.

What is the Artisan Exchange?

Unlike A&S competition, displays, classes, or other common artisan-oriented activities that are often competitive and scary to new artisans, the Exchange encourages artisans of all levels and abilities simply to practice an existing skill or explore a new one while creating something within roughly three months’ timeframe (and with a $25 limit on materials, not including shipping costs) for a fellow artisan in the exchange, at the end of which they will receive a gift in turn from another artisan. As in modern Secret Santa exchanges, only the Exchange coordinator knows which artisans she has matched up until the gifts are mailed and the effusive thanks begin. Artisans of all ages, skill levels, genders, etc. participate and the created items do not all have to be documented period items.

History of the Exchanges

Originally created as a Noblesse Largesse swap in Calontir by Lady Konstantia Kaloethina and HL Aline Swynbrook, those founders encouraged gentles in other kingdoms to use and expand the idea. Baroness Oddkatla Jonsdottir learned about the East Kingdom’s Swap (and then Exchange) while a resident of that kingdom and enjoyed participating in 10 exchanges over four years there: knitting shawls, painting and embroidering messenger bags and a Norman cloak, and sewing a silk banner and a Skoldhammim hood.

When she and her husband, Baron Friderich Swartzwalder, became citizens of Greater AEthelmearc a few years ago and began playing in the Nithgaard/Abhainn Ciach Ghlais area, she wanted to join our kingdom’s Exchange, which had been coordinated in 2013 by Janice Mullins Wagoner.

“I saw the amazing art being made in the East’s group, and knew that AE had or has many very talented artisans,” Her Excellency explained.

Block-printed feast gear bags from Mistress Fredeberg to Baroness Helene. Photo by Baroness Helene.

When Janice stepped down and offered the Exchange to Baroness Oddkatla, she talked to the Calontir founders for guidance with the process and forms and began coordinating the project in Fall 2015, which finished by Kingdom Twelfth Night in January 2016.

“The first exchange was very well received, and we had about 40 artisans participate. I try to have a new exchange start within about a month to six weeks after the previous on ends. Most of the time it works out to be two exchanges a year. Someday, maybe I can get a third one in or have two different exchanges running at the same time.”

At the beginning of each Exchange, Her Excellency asks participants to join the project’s Facebook group and fill out a survey detailing the participant’s home group, persona, color preferences, favorite activities, and art interests. After receiving all the surveys, Baroness Oddkatla randomly matches each artisan with another and privately sends each artisan the survey information for their matched artisan. She checks in frequently with the artisans via the Facebook group (and private emails, if necessary) on the progress and nudges everyone into mailing or personally handing every gift by the Exchange deadline.

The Exchange is primarily coordinated on the Facebook group, but Her Excellency notes that artisans do not need to be a Facebook member to join the Exchange; they can participate via email.

What outcome did you hope for the Exchange – just a fun Secret Santa gift swap or something more?

“When I first thought about starting an Exchange in AE, I had the dream of getting people together in a fun way to make and share art, whether the participant was a new person to the SCA or a Laurel who had years of making and creating art. The fun part (in my mind) was the fact that no one knew who was making the art for you. When I was taking part in the East Kingdom exchange, one of the best parts was anticipating what might arrive in the mail at the end of the exchange.”

How has the exchange changed/evolved since you began this?

“The exchange has grown by leaps and bounds since we first started. The Facebook group has 296 members with more artisans asking to join every swap. The first swap had 40 artisans and the more recent exchange that finished in December 2017 had 70.”

So far, 50 participants have joined the one that is in the survey stage right now. Baroness Oddkatla is hoping for 70 participants.

Woven belt/trim by Lady Zianna for Lady Catherine O’Herlihy. Photo by Lady Catherine.

What has gone well and was has been a challenge?

“The amazing creativity AE artisans have (has gone well)! A challenge has been getting the gifts delivered in a timely manner. One of the things about the exchange that dismays me is the need for extra time at the end of the exchange, as some need more time to finish. One of my goals is to have everyone mail their gifts on the scheduled mailing date. Usually, the extensions are given as an artisan has a “fail” and needs more time to finish. Please don’t misunderstand, most people mail on the date, and only a few need extensions.”

What have been some of the themes of past exchanges and what is the current one?

“Themes in the exchange have been varied. The first one was a Twelfth Night theme, with the gifts being something fancy that could be worn or used at Twelfth night. Themes since then have been “Spring/Camping” where each artisan was asked in the survey if they would like to receive a spring- or a camping-themed gift. The theme of the exchange that we just completed was “Heraldry,” and each artisan was asked to make a gift using their recipient’s arms or colors, or if the artisan did not have heraldry, the recipient’s household or Kingdom arms were used.

“This new exchange is a repeat of a past exchange called a “RED/WHITE” exchange. What this means is that the artisan can pick either the RED or WHITE part of the swap. RED gifts must be made with period methods, have documentation, and the dollar amount for supplies can be more than $25. WHITE gifts stick to the original rules of $25 being the top end of the amount each artisan can spend on supplies and no documentation or period methods necessary. Other than that nothing special needs to be done.”

What are some of the most notable gifts you’ve seen made?

“Every gift that is made is very special! I have a few favorites, from all the different exchanges. Some memorable ones are the amazing painted box Abigail Kelhoge made for Anna Leigh, inspired by an illumination; a blackwork embroidered coif Rhys Penbras ap Dafydd made for Elisabeth Johanna von der Flossenburg; and the angel gift Rynea von Lingen made for Astridr Vigodottir, known as Ashling.

Painted box by Lady Abigail Kelhoge for Countess Anna Leigh. Photo by Countess Anna.

“There are many, many gifts I love, way too many to list here!

“You’re probably wondering what an Angel gift is? An Angel gift gets made when an artisan cannot complete their gift. I put out a call for someone to make a gift, and then when I get an angel, I send them the information they need and they make a gift for the artisan that did not get a gift due to their artisan not being able to finish their gift.

“I make sure that everyone who joins to make a gift gets a gift. I feel that every artisan needs to be able to have something to show for the hard work they have done.”

How much time each week during the exchange do you spend coordinating this and what is involved on your end? Is anyone else involved in the coordination?

“There is a fair amount of work that I do to get the exchange up and running. Starting with writing and developing a survey all the artisans must take to be included in the exchange. After the surveys have been taken and it has been closed, when I have the number of artisans that I need to run the exchange, the real work begins. I take each artisan and give them a number, and then using a blind draw, I assign artisan to artisan. Then I send each artisan an email with their recipient in the email. I ask each artisan to send me an email back so that I know they have received their artisan’s name and survey information.

“At this point, the progress of the exchange is up to the artisans. My part slows down a bit as I just make sure I am a cheerleader to keep people motivated and working. I let everyone know that I am here to answer their questions. One of the rules is that no one contact their recipient. If they need help for something they would like to know, they need to contact me either by email or private message on Facebook.

“I put in about 20 to 30 hours at the beginning getting the exchange started and then about two hours a week answering questions from artisans. When the gifts are due to be mailed, I do a bit more making sure that artisans have mailed their gifts. I ask that they send me a photo of their mailing receipt, so that I know their gift has been mailed; there’s a bit more work if anyone asks for extensions. By the end of the exchange, I’m usually putting in anywhere from four to six hours a week. I am the sole person running the AE Artisan Exchange. I have had people ask if I need help, which I usually thank them for, but decline. “

What are your future plans or hopes for this exchange?

“I hope the exchange will continue to grow, and that AE continues to show how talented her artisans are. “

Quiver by Lord Wladislaw Poznanski.

When is the deadline for the current one?

“Deadline to mail this Exchange’s gift is April 15, 2018. Deadline to withdraw from the Exchange is March 1, 2018, barring last-minute major project failure, for which an extension may be granted. If for any reason you need to bow out of an Exchange it must be done via the Gmail account, not Facebook message.”

What do you say to artisans who are intrigued but unsure about participating?

“I tell people who contact me about participating in the exchange, that they may have doubts about playing with us, but each and every one of us can art. We each have special talents that I know are there, and that all they have to do is fill out a survey, and ask questions. I turn NO ONE AWAY!!! Everyone is welcome, and I will make sure they have help if they think they may not do as well as others that participate in the exchange.”

Anything else you’d like to add?

“This is a lot of fun! I have made many new friends, and encourage all that may have an interest to come and join us!”

Join the Æthelmearc Artisan Exchange group on Facebook.

The GoogleDoc survey is here.

The rules for the exchange are here and the history/explanation of the rules of the Exchange is here. 

Commonly asked questions are here.