Each year, the Barony of the Rhydderich Hael hosts the Festival of the Passing of the Ice Dragon. One of the largest features of the event is our Kingdom’s premiere Arts & Sciences competition, commonly known as the Pentathlon, or “Pent”. The Ice Dragon Pent Coordinator details the rules and changes to the rules for 2020 here:
Rules Changes
The modifications to the Ice Dragon Pentathlon are continuing this year.
The list of categories HAS CHANGED SIGNIFICANTLY.
**There Are No Sub-Categories**
The rules HAVE CHANGED SIGNIFICANTLY or been expanded upon.
The scoring system and judging criteria are being updated.
Most notably, as stated above, we are removing the sub-category level. Instead, we will be working with the Major Categories only. This in turn changes the rules about how many items you may enter in each. Previously, you could enter two items into each sub-category. The highest scoring item in all the sub-categories won the Major category. There was no “win” for sub-categories. Only your top scoring item in the Major category counted toward your overall Pent score.
The individual arts will still be listed as examples of what you may enter into each Category (Used to be Major Category).
You will now be able to enter up to five items in any Category. The best scoring item will win the Category. Only your top scoring item in the Category will count toward your overall Pent score.
Please read this article completely and address any questions to cori at IDPentGuy@wnysca.org
Judging is also changing this year. There is a summary below and there will be separate articles regarding these changes.
As we did last year, there will be additional competitions, including the 5-in-1 Competition. More information on these will be forthcoming.
PENTATHLON RULES
1. No Kits.
If, historically, an artist would have used tools and material from other sources, this is NOT considered a kit. An example of something that is not a kit is needlework patterns. Another example of something that is not a kit is a paint set or pigments for painting. It is strongly suggested that entrants thoroughly document their resources and work.
2. Proxy Entries will be allowed.
This means that you may send your entry with another person. You will need to download, fill out, and sign the registration sheet (See rule 5).
People may not enter other artists’ work without their express permission in the form of a signed registration sheet.
3. Entrants are limited to ONE cross entry of ONE item only into ONE additional Category. When cross entering you must supply a set of appropriate documentation to be present on the tables for each Category entered.
If you do not have enough sets of documentation for each Category you are entering an item into, this may affect your score if the judges have trouble tracking down your paperwork.
Additionally, appropriate documentation for an item for one Category may not be as good for a second category. The judges are not responsible for tracking down documentation that is not included on the Category table the item is entered in. Be sure to mark the Category on the documentation to lessen the chance that the judge will read the wrong version for that Category.
4. Entrants are allowed up to FIVE entries in each Category.
Example of arts appropriate to each Category are listed for inspiration for our artisans. Except where specifically noted, the final decision to enter any item in a specific Category is the entrant’s. However, the Pentathlon staff is happy to assist in getting items into appropriate Categories. If the judges determine that an entry in a Category is inappropriate, the Pent Coordinator will discuss it with the entrant. Please bear in mind that items in an inappropriate Category will not be judged as effectively and this may be reflected in the scoring and commentary.
Any Category may be deleted, expanded or combined to meet the needs of the entrants and/or judges.
5. All scores will be published after the event.
As we have had people object to this in the past, written permission to publish scores is now a requirement for entry and is part of the registration process. For those sending in proxy entries, you MUST print and sign a copy to go with your entry. For those sending in advanced registration, you will need to sign the form when you check in.
6. We will be using advanced electronic registration again this year.
It is to your benefit to register early as it gives us more opportunity to tailor our judging recruitment.
We are also investigating providing an opportunity to send documentation in advance so judges can read it before the event. More on this to follow.
THE DEADLINE FOR SENDING ADVANCED REGISTRATION IS
***MARCH 14, 2020***
If You Do Not Receive Confirmation That We Have Your Electronic Registration, WE DON’T HAVE IT.
Proxy entrants MUST send a signed form with their entries.
7. Group entries are allowed in both individual categories and in the Grand Pentathlon. Group entries are defined as entries in which each item entered has been worked on by all members of the group with generally equal contributions. For group entries into the Grand Pentathlon, all members must provide generally equal contributions to all items the group enters.
E.G. – Jack, Jill, and Joan work together on a loaf of bread, a piece of clothing, and a song. This is an acceptable group entry.
Jack makes a loaf of bread, Jill makes a piece of clothing, Joan sings a song. This is NOT an acceptable group entry.
An individual’s participation in a group entry may NOT be used as part of the individual’s entry in the Grand Pentathlon.
8. You may not enter an item which has previously WON a CRITERIA-BASED COMPETITION.
This is any competition in the SCA that has an advanced published criteria set or rubric.
Examples:
– If you won the Grand Pentathlon, those five items used to calculate your score should not be entered again.
– If you won the Woodwork Category at Ice Dragon 2019 with chair, do not enter the same chair.
If you won the Culinary Category with your loaf of bread, do not bring the same loaf of bread. (Please do not bring the same loaf of bread!)
However, you may use the same bread recipe and you may use the same set of construction plans for your chair.
Entrants are encouraged to enter and display items in both competitions and in non-competitive venues. Use these opportunities to increase your knowledge and make your entry better. But please leave any items that won previously at home or bring them for the display-only space we will be providing.
9. There are no requirements as to time frames items were created in.
10. The items in the Special Prize 5-in-1 Competition may not be used to enter the Grand Pentathlon.
11. Entries may be handled only by the person entering the item, the judges for that specific Category, and Pentathlon staff as determined by the Pentathlon Coordinator.
Anyone else touching entries will removed from the Pent room. All judges are asked to wash their hands before handling entries and to be gentle when doing so. Gloves will be available for those judges who wish to use them.
12. Absolutely no food or drink in the Pent room other than the entries at the Culinary and Beverage category table.
If you need to eat or drink, you also need a break – step outside and relax for a bit. Wash your hands before you come back.
CATEGORIES
ACCESSORIES
This Category is for mixed media items that you would have on or about your person as part of your ensemble. It is limited to items that, due to a
combination of materials, are difficult to place. Entry in this category is by discretion of the Pent Coordinator.
AGRICULTURE
Farming arts including growing plants or crops, forestry topics, and land management.
ANIMAL HUSBANDRY
Tools of the trade or accessories made for the use of animals
This Category may include, but is not limited to:
Equestrian, Beekeeping, Hunting, Farming, Fishing
ANIMAL ARTS
Items crafted from materials harvested from animals EXCEPT fiber arts (FIBER ARTS) and edible items (CULINARY and BEVERAGES)
This Category may include, but is not limited to: Leatherwork, Bone, Items made from
Parchment, Tanning, Parchment making
APPLIED RESEARCH
Extremely well researched items too simple or modest to compete fairly in a more traditional category. The score would be split between the research paper and the item, with the paper being worth more than half of the points.
The paper/research portion of the entry must be submitted in advance. Entries in Applied Research must be received electronically or postmarked by
*** February 1, 2020 ***
BEVERAGES
A liquid prepared for human consumption.
This Category may include, but is not limited to:
Beer & Ale, Wine & Mead, Cordials, Non-alcoholic beverages
CERAMICS AND GLASS
Items made of ceramics or glass.
This Category may include, but is not limited to:
Pottery, Glasswork, Beadmaking, Stained glass
CHEMISTRY, ALCHEMY, AND POTIONS
Formula or recipe-based items that are not food/beverage.
This Category may include, but is not limited to:
Dyeing, Pigments, Paints, Stains, Cosmetics,
Glazes, Perfumery
CULINARY
Items prepared for human consumption (beverages excluded).
This Category may include, but is not limited to:
Main dish, Side dish, Sweets, Subtleties, Breads, Food preservation, Sauces, Flavorings
CURIOSA
Unique or unusual entries that don’t fit in any of the traditional categories. Entries in this category must be approved by Pent Coordinator in advance.
Deadline for registration in this category is
***March 14, 2020.***
FABRIC CONSTRUCTION
Any items made of fabric
This Category may include, but is not limited to:
Clothing, Accessories, Household items
FABRIC DECORATION
Application of surface decoration on fabric
This Category may include, but is not limited to:
Embroidery, Applique, Fabric printing and painting
FIBER ARTS
The arts associated with making yarn/string or the creation of fabric
This Category may include, but is not limited to:
Spinning, Weaving, Narrow-work, Sprang, Knitting, Netting, Nalbinding, Lacemaking, Felting
LITERARY ARTS
Entries in Literary Arts must be received electronically or postmarked by
*** February 1, 2020 ***
Entries may be sent electronically or via hardcopy in the mail. If you do not receive a confirmation email that an electronically submitted entry has been received within 24 hours of sending it, contact me. Please contact cori in advance if you are sending hard copy.
This Category may include, but is not limited to:
Musical arrangement & composition, Poetry & prose, Research paper [A research paper may be written in any style which the entrant chooses (EG Chicago, ALA, etc.) The judging of the paper is to be focused on the research presented, and any theories or conclusions presented. The entrant is strongly encouraged to be consistent in the use of the style they choose.]
METAL WORKING
Items made of metal or use of metal as a decorative element.
This Category may include, but is not limited to:
Armor, Domestic, Jewelry
PERFORMANCE ARTS
Entries should not exceed 15 minutes unless you have made prior arrangements with the Performing Arts Category Coordinator. As there are time and space limits, the number of longer performance entries may be limited and are at the discretion of the Coordinator.
All entries must be performed in the area where the judging is taking place.
This Category may include, but is not limited to:
Instrumental, Vocal, Physical (dance, juggling etc.), Storytelling, Drama/Comedy/Improv, Oratory, Historic Combat( Entries of artistic endeavor showcasing a martial art of SCA period and/or used currently within the Society. The format is limited only by the entrant’s creativity and safety considerations.)
SPECIAL NOTE: No entry will be accepted if the presentation requires a Marshall or safety equipment to be present. No active combat (by Society definition) of any type will be allowed.
SCRIBAL ARTS
Items that would be made by a scribe. Handwritten and/or painted pages based on documents or manuscripts.
This Category may include, but is not limited to:
Calligraphy, Illumination
STUDIO ARTS
Various visual arts that require a specialized set of tools or space to create.
This Category may include, but is not limited to:
Drawing, Printmaking, Painting, Bookmaking
WOODWORKING
Items made of wood or use of wood as a decorative element.
This Category may include, but is not limited to:
Construction, Embellishment, Turning
The following article was submitted to the Gazette by THL Madoc Arundel, who displayed his Malt House reproduction project at this year’s Ice Dragon Pentathlon:
Historical Background
The malting of grain – converting complex starches into simple sugars – is necessary for the grain to be used in the production of alcoholic beverage. While early malting was crude and rudimentary, experience and innovation improved the process over time. By the middle ages, Europeans were producing malted grain in industrial sized batches. This advancement necessitated the move of the malting process from the campfire and kitchen to an industrial sized building or cavern known as a malting house.
As the process has not changed much in two millennia, so has the structure of a malting house remained similar. Archaeologists have uncovered sites in Great Britain and on the European continent of malting houses dating back as far as the Roman occupation. In general, these malting houses consisted of a grain storage area, a soaking pit, a growing floor, and a kiln. Variations existed; but the linear design of the malting house did not change. A very early version of a malting setup in Roman occupied Bavaria in the second century talks about the layout:
Within an oblong set of stone foundations are arranged—clockwise—a deep well; a water-tight basin at ground level; a kiln with a fire pit and a flue; and a stone-ringed fire place, about 3 feet in diameter. The probable date of the site, according to Dr. Andreas Boos, chief archaeologist at the Regensburg Historical Museum and keeper of the pavilion’s key, is the last quarter of the second century AD, when Regensburg was called Castra Regina, the largest Roman military camp in what is now Bavaria.[1]
While the layout is slightly different in this description of an early Irish archaeological site, the functional portions of the facility meet similar criteria to the Bavarian site:
The kiln consisted of a stone-lined bowl and T-shaped flue as well as a possible stoke hole, and measured 5.75m northeast–southwest and 5.9m northwest–southeast… A significant amount of sprouting barley was also recovered from within the kiln which prompted archaeobotanist Sarah Cobain, to suggest that the kiln might have been involved in the process of malting grain. Malting however requires the prolonged soaking of grain and brewing requires the steeping of malted grain in warm water. A large, sub-rectangular stone and mortar-lined pit was located c. 40m to the south-east of the T-shaped kiln. It measured 3m in length, 2.2m in width and 1.05m in depth.[2]
Illustration courtesy of the Great Dunmow Maltings restoration project
The Barley Store: A loft used for dry storage of the grain to be malted. Barley was delivered in sacks through a loading door at wagon height.[3] The store was at one end of the malting house with access to a street for the wagons. Underneath Nottingham, there are several cave complexes that were used in lieu of malting houses. In these locations, grain was delivered through a cave entrance and stored in a dry bin adjacent to a well or cistern.[4]
The Steeping Pit: A watertight room, a well, a cistern, or a large vat. Generally, the pit would be adjacent or immediately below the barley store, with a chute or trap for transferring the dry grain. The following is a description of a steeping pit at an archaeological site in Balbriggen, Ireland:
A large, sub-rectangular stone and mortar-lined pit was located c. 40m to the south-east of the T-shaped kiln. It measured 3m in length, 2.2m in width and 1.05m in depth. The lining consisted of mortared stone with a thick layer of compact lime and sand based mortar along the base. The stone lining within the pit suggests it was meant to retain liquid. It is likely to be associated with two further sub-rectangular pits uncovered in the immediate vicinity. Both possessed a lime mortar base but no stone or mortar on the sides.[5]
This is a more generic description of the function of the steeping pit, describing the exothermic reaction that assists with the germination process:
The grain was first soaked in a steeping pit or cistern for a day or more. This was constructed of brick or stone, and was sometimes lined with lead. It was rectangular and no more than 40 inches deep. Soon after being covered with water, the grain began to swell and increase its bulk by approximately 25 percent. The cistern was then drained and the grain transferred to another vessel called a couch…[6]
The Couch: A holding bin for barley between the steeping pit and the growing floor. Grain never spent more than a day in the couch. Although numerous archaeological references refer to the couch as the next step, the purpose was to enable a tax assessor to determine the volume of grain to properly assess the Malt Tax. Since the Malt Tax in England ran from 1697 to 1880[7], and there are no references to the couch in continental archaeological records, it is not likely that the couch was a necessary part of the malting process.[8]
The Growing Floor: This was the largest single area, since a great deal of space was needed to spread the grain to various depths. The growing floor was longer than it was wide, as the grain would be moved along the floor towards the kiln as the germination process advanced – new grains in one end and older grains out the other. The wet grain would be spread out, the depth dictated by temperature, but sufficiently deep to encourage vegetation. It was turned at intervals of a few hours to achieve even growth and assure that all grains had equal access to ambient air.[9] The temperature and humidity levels were partially controlled by ventilation using slatted windows, and partially controlled by thinning out the depth of the grain layer.[10] The ceiling was relatively low – six feet or so – to enable more stable temperatures throughout the room. “The flagged stone floor would serve excellently to first heap and then spread the steeped barley on, and with the low-roofed hall to keep down the temperature and prevent the malt being spoiled.”[11]
Drying was either done in the sun or in a kiln, each had its advantages. Sun-drying produced the cleanest tasting malt, but was, of course, dependent upon good weather, and the acrospire might continue to grow to the point where it consumed all the grain’s nutrients, making it useless for brewing.[12]
The Kiln: At times referred to as a grain oven, malt oven, drying kiln, or grain dryer, the kiln has three purposes: dry out the grain, stop the growth process, and caramelize the sugars.[13] The kiln is made up of a drying floor, fire box (consisting of a fire hole and a heat sink), and vent. The fire box had to allow for a gradual increase in the size and strength of the fire, since low heat was required to dry the grain while higher heat was necessary for caramelization. This was accomplished through a stoke hole in the side allowing for placement of additional fuel or for the fire tender to move hot coals around as necessary.[14] Special care had to be taken to avoid roasting the grain, which destroys the enzymes rendering the malt unsuitable for mashing.[15] The heat sink consists of sheets of metal, porcelain, or ceramic arranged to dissipate the heat and spread it more evenly across the underside of the grain bed.[16], [17]
The early furnace was a simple fire basket with a cast-iron sheet above it to disperse the heat. Hornbeam coppice wood was often used as a fuel in Hertfordshire as it produced an intense heat and was said to ‘burn like a candle.’ Later good quality anthracite became the fuel of choice since it creates hardly any smoke.[18]
The Baking and Brew House, Bolton Castle, Yorkshire c. 1379. Sketch courtesy of Jamie Olivers
The barley was moved onto the drying floor (above the fire box), and raked to a depth of about 4 to 6 inches.[19]
Because moist grain spoils quickly in storage, the Regensburg maltsters dried it in the kiln. The kiln walls have a narrow ledge that probably supported a floor made of organic material. An open fire pit and a praefurnium (a work area for stoking the fire) are in front of a covered flue that sent hot air into a hypocaustum (a heat chamber) under the kiln floor.[20]
The drying floor was porous to allow heat and air to circulate through and around the grain. A solid floor would heat up just fine, but would result in simply creating hot, wet grain.[21] The weave had to be tight enough to avoid the grain falling through. “The drying floor was originally a horse-hair carpet but later wire mesh, perforated tiles or iron plates were used. This floor was approximately twelve feet above the furnace.”[22] This distance was necessary to allow for the heat and airflow to reach the barley while preventing or minimizing the risk of a grain fire.
Photograph courtesy of Travis Rupp, University of Colorado Boulder
In 1978, the ruins of a malt house in what is now Regensburg, Germany show us a typical construct for such buildings in the first millennium.
Within an oblong set of stone foundations are arranged—clockwise—a deep well; a water-tight basin at ground level; a kiln with a fire pit and a flue; and a stone-ringed fire place, about 3 feet in diameter. The probable date of the site, according to Dr. Andreas Boos, chief archaeologist at the Regensburg Historical Museum and keeper of the pavilion’s key, is the last quarter of the second century AD, when Regensburg was called Castra Regina, the largest Roman military camp in what is now Bavaria.[23]
Photos and corresponding artist’s renditions courtesy of the German Beer Institute
In this example, we see the foundation which includes access to the fire pit (bottom pictures) for the kiln and the drying floor, and what is presumably the drying area (top pictures.) The drying floor would have been made of porous material, most likely woven straw or flax. The kiln, the oven and the cistern (seen in the near corner of the bottom left) are all made from stone or hardened clay.
The upper level would have been made of contemporary materials.[24] A half-timber or all-wood construction would have been lighter, easier to build, and fully functional. In the artist’s rendition (upper right picture), we see a smooth and level ‘capping’ of the stone structure, which would have been appropriate for a wood framed upper level. For this reason, I chose to make my model using a stone and mortar base with a half-timber upper level. Additionally, the Roman architectural style known as Opus Craticium involves…
…squared timber uprights or arrectaria (8 -12 cm thick) were combined with horizontal transversaria (6 – 8 cm) to form panels measuring between 50 and 80 cm. These were then infilled with concrete and rubble. To provide stability the main structure of the house was also supported by piers of brick and blockwork.[25]
This type of design, with masonry on the ground floor and half-timber on subsequent stories, extended into the construction of non-commercial buildings and homes during the 15th century.[26]
Half-timber construction was very popular in both the countryside and city in Germany in the middle ages and later. The frame of the building was made of timber, usually oak. The timbers were morticed and pegged together. Triangular bracing was used to give additional support. The spaces between the timbers were filled with waddle and daub, brick, stones or plaster. The timber remained visible both inside and outside the building.[27]
Diagram from Jackson’s “The Half-Timber House”
There are heavy timbers placed at strategic locations along a wall, followed with bracing in horizontal, vertical, or diagonal configurations. The gaps between the framing timbers and the bracing timbers is filled with non-load bearing material as a barrier against the elements.[28] The result is a less expensive option than full timber construction, and at times a pleasing aesthetic.[29]
These constructions have walls of granite stone with regular masonry in the corners and major parts. The half timbers with earth found in this region are not used for building the whole floor, which is common practice in other regions in Galacia, but only for small parts of the building which also support the roof structure. The structural wooden frame is made of a weak main skeleton of wooden pillars from the sleeper beam to the roof beam, reinforced half-height with other horizontal pieces.[30]
Timber construction
So then he will begin to chop; now it does not take many hours with an ax, squaring up the trunk of a tree, to learn that it is easier to make one’s timbers large than small. It is as much, if not more, bother to get out a thin plank, than it is a great stick; and so he will save time and use the big timbers. With their great size and strength, he may well space them some distance apart, and fill in between with something or other not so hard to make as planks. For this purpose, he will use a mortar or ‘daub’ made of lime and straw, or clay and twigs, or anything that will stick and harden, and reasonably resist the weather, which is not rigorous or one that makes great demands on building materials. As a groundwork for lathing for this plaster he will weave willow twigs together and make a groove in the sides of his timber to take the ends and make a tighter bond between the filling and the beams, so that if the timber does shrink away there will not be an open crack straight through the wall. Then if he plasters the inside of the wall all over he will be as snug as possible. He may make it a more substantial wall by using as a filling brickbats, small stones or what-not, and covering the whole with plaster.[31]
For the corner posts a baulk was used, cut near the foot of the tree to get the beginning of the sweeping curve where it runs out into the roots. These sticks were turned upside down and the curved end formed the bracket to support the girt for the over-hanging second story, while the crooked branches were used for the curved struts and braces.[32]
In early southern Germany, connecting joints between the frame and the intermediate timbers were most commonly lap joints[33], while later designs increasingly used tenons.[34] Like modern design, windows were framed between a sill and a lintel.[35]
Photo courtesy of Jerzy Gorecki (https://pixabay.com) illustrates completed structure
The Project
Madoc working on the project’s walls.
I created the ground level using a mix of construction mortar and garden gravel. The upper level is constructed of green birch. I used greenwood, as it is likely that was the form used in period construction. As the wood shrinks, the joints tighten contributing to the stability of the structure. The corner joints are half-lap horizontal joins with vertical mortise and tenon posts. Each of the intermediate uprights is mortised into the horizontal beams. While the tenons were cut using a power tool, the mortises were done by drilling an initial hole with a bit and brace, and squaring the hole with a ¼-inch chisel. The documentation above shows that the tenons were pinned with wooden pegs. However, because of the scale of this model, I used metal pins instead.
Detail of the mortises
The half-timber fill is aggregated plaster over lath. One panel is lathed with woven willow twigs, as was common in period, to demonstrate the concept. Due to the thickness of the walls, the lath was applied in a series of three coats, allowing each application to completely dry and cure before applying the subsequent coat. Each layer was scored with a three-pronged stick to ensure that subsequent applications would adhere properly.
Wall detail
Soaking pit construction
The soaking pit is constructed of the same mortar and gravel mix as the ground floor wall. The interior of the pit is lined with clay to ensure that it is watertight. The fire pit and heat sink are constructed of clay lined with cut fire brick for safety. I needed the insulation the fire brick provides as protection from scorching that would otherwise be provided by lack of proximity in a full-size malt house. The chimney is constructed of baked clay. While the period examples I have found were constructed of brick, the size of the model precluded that option. Baked clay is a reasonable alternative to actual brick.
The following pictures show the construction of the fire pit and illustrate its use:
Fire pit floor and vent to heat sink in layout
Forming the fire pit cylinder
Fire pit and heat sink before encasing the pit
Heat venting into the heat sink
Flames from the fire pit come though the chimney – note the glow emanating from the stoke hole
Completed Project. Photo courtesy of Elska a Fjarfelli (Susan Verberg)
Dineley, Merrin (13 September 2014). “Grain dryers, malt kilns & ‘malting ovens’.” Ancient Malt & Ale. Retrieved 9 May 2016 from http://merryn.dineley.com/2014/09/
Dornbusch, Horst (1998). Prost! The Story of German Beer. Boulder: Brewers Publications.
Dornbusch, Horst (1 May 2004). “The World’s Oldest Malt and Brew House.” All About Beer, 25:2.
Duffy, P., Cobain, S. and Kavanagh, H. (2014). “From Skill to Skill: evidence for medieval brewing at Balbriggan.” Journal of Irish Archaeology,XXII: 59-76.
“Fancy a pint? Northampton’s first malting kiln.” Museum of London Archaeology (8 October 2015). Retrieved 9 May 2016 from http://www.mola.org.uk/
Friedman, Donald (). The Investigation of Buildings. New York: W. W. Norton & Company.
Hagen, Karl (1995). “The Economics of Medieval English Brewing.” Unpublished. Presented at the 1995 conference of the Medieval Association of the Pacific. Retrieved 9 May 2016 from http://www.polysyllabic.com/?q=medieval/brewing.
“How they tax common luxuries in England.” New York Times, 26 February 1865.
Howard, Wendy, Kirsten Bedigan, and Ben Jervis (2015). Food and Drink in Archaeology 4: University of Exeter Post-Graduate Conference 2010. London: Prospect Books.
Jackson, Allen W. (1912). The Half-Timber House: Its Origin, Design, Modern Plan, and Construction. New York: McBride, Nast & Company.
Kavanagh, H. and Bailey, F. (2010). Final Report of Archaeological Excavation of Development at Folkstown Great or Clonard, Area 2/308E054, Balbriggan, County Dublin. Unpublished final excavation report prepared for IAC Ltd.
Lomax, Scott C. (2013). Nottingham: The Buried Past of a Historic City Revealed. Barnsley: Pen and Sword.
Sygrave, Jon (2004). “From medieval malt house to 20th century pub: excavations at 9–11 Poplar High Street, London E14.” London Archaeologist, Spring 2004, pp. 215-222.
Tiles by Lord Ian Campbell of Glen Mor, from the 2016 Pentathlon. Photo by Lady Aine ny Allane.
Greetings all and Happy New Year from the Ice Dragon Pent Staff!
We’re just popping in to remind everyone that there are 95 days left before Ice Dragon! It’s not too late to start working on those Pent entries! Make a Pent entry your New Year’s resolution. You’d complete it in the first quarter of the year and have another 9 months to tell your friends about it while they are still clearing their clutter and making those trips to the gym!
Please take a minute to look at the Ice Dragon Pentathlon page on Facebook and watch for further announcements. We have some new and categories and opportunities this year that should offer a little something to everyone from beginner to master craftsman. Here are just a few of the ways to be a part of the fun…
Judging the culinary entries. Photo by Tiercelin
**In the culinary category we have added a new subcategory just for breads! Hit those cookbooks, do your research and get creative. Your trial and error work should be delicious.
**Historic Combat is new this year. There are so many avenues to explore here. Research the texts and use your imagination to being some aspect of period combat alive for our judges. This category is for entries of artistic endeavor showcasing a martial art of SCA period and/or used currently within the Society. Entries in this category can take a variety of forms. The format is limited only by the entrant’s creativity and safety considerations.
**Don’t forget the 5-in1 Project category. Any ONE item that can qualify for entry in a minimum of 5 of the above listed main categories. This item may also be cross entered into ONE main category to count toward the grand Pentathlon Prize.
**From our Baron and Baroness of the Rhyddeich Hael we offer the special theme prize category. This year Their Excellencies have chose the theme “All Things Welsh” This is one more opportunity for people to use their imagination and creative skill without boundaries.
*Have you ever thought about being a judge, but didn’t know where to begin? We have a opportunities for shadow judging. Learn the ropes first hand from a seasoned Pentathlon judge in real time and space.
Photo by Master Fridrikr Tomasson.
**Would you like to take part but aren’t sure how exactly? Offer to help on our new docent staff. Enjoy the added bonus of seeing all the entries hours before we open the doors to the rest of the populace.
We’re looking forward to a nice turnout for 2017! Come to the Ice Dragon event and find your fun, so many ways to participate and so many people to enjoy!
Over the next several weeks, more information will be forthcoming on this Group/List, as well as in the AEstel, and on the Facebook Page. Questions can be directed to me by email.
I remain in Service,
Jenna MacPherson
2017 Pent Coordinator
The designs for the Queen’s Favors for the upcoming reign are due by April 2 at Ice Dragon. We will have a table set aside for this in the Pent Room – you may bring them anytime during the day until 2 pm. For more information, see the previous Gazette article.
Do not forget to bring back all your scroll cases! We will also be collecting these either in the Pent Room (drop them off at the registration table) or at the backlog scroll display.
And lastly, if you are entering the Pent, please take the time to go to the Pent website and become familiar with the registration requirements, especially if you are cross-entering items. You must have photos of the item to place on the tables for the extra categories, and an extra set of documentation for each cross-entry. You can find all the details here – the photo requirement is applicable whether you are entering it in five categories or just one extra one. Save time and download the entry forms here.
Looking forward to seeing all the wonderful items!
The Ice Dragon Pentathlon is fast approaching and we know you are all busily working on projects. Visit the website for information on everything Pent, as well as information on Princess Ariella’s Favors.
Take a minute to pre-register. Pre-registration has changed slightly for this year in that you do not have to list our your projects, only your personal registration information and the approximate number of entries you will be bringing. It’s easy and will only take a short time to do. Thanks to all of you who have already registered; it will speed up your time on the morning of the event! Pre-registration is open until March 15.
We are still looking for judges. Please visit the judging page here and sign up today; judging will take less time this year so you will still have the day to enjoy Ice Dragon.
We are looking forward to seeing beautiful works from all of Æthelmearc’s artisans!
Tonight at midnight (March 5) is the deadline for Literary Arts category entries for the Pent!
The LITERARY ARTS category consists of the following:
Lit1: Research Paper
Lit2: Musical Arrangement & Composition
Lit3: Poetry & Prose Written Entries
Entries in Literary Arts must be received by the Pent Coordinator no later than March 5. Entries must be sent electronically to carnabyservices at yahoo dot com (email link also here). If you do not receive a confirmation email within 24 hours of sending, contact the Pent coordinator. You may attach your entry as a Word document or as a pdf.
Please make sure your name IS NOT on the entry itself.
Send the following information with your email and use “Pent Literary Entry” as your subject line:
SCA Name
Legal Name
Email
Phone Number
Address
Title of Work
Category Entering
The works will be assigned an entrant number (for blind judging purposes) and then forwarded to the judges. If you are entering the Literary Arts Category, we will automatically pre-register you and assign your general entrant number; this number will also be used for any other entries you have for the event.
General Pent information can be found on the Pent website. You can pre-register for the Pent on the Pent website as well – save some time that morning!
Greetings from the Ice Dragon Pentathlon Coordinators!
The Pent deadline for the Literary Arts category is March 5!
The LITERARY ARTS category consists of the following:
Lit1: Research Paper
Lit2: Musical Arrangement & Composition
Lit3: Poetry & Prose Written Entries
Entries in Literary Arts must be received by the Pent Coordinator no later than March 5. Entries must be sent electronically to carnabyservices at yahoo dot com (email link also here). If you do not receive a confirmation email within 24 hours of sending, contact the Pent coordinator. You may attach your entry as a Word document or as a pdf.
Please make sure your name IS NOT on the entry itself.
Send the following information with your email and use “Pent Literary Entry” as your subject line:
SCA Name
Legal Name
Email
Phone Number
Address
Title of Work
Category Entering
The works will be assigned an entrant number (for blind judging purposes) and then forwarded to the judges. If you are entering the Literary Arts Category, we will automatically pre-register you and assign your general entrant number; this number will also be used for any other entries you have for the event.
General Pent information can be found on the Pent website.