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The Æthelmearc Gazette

~ Covering the Kingdom of Æthelmearc of the SCA

The Æthelmearc Gazette

Tag Archives: Queen’s Prize Tourney

Court Report: A&S Faire/Queen’s Prize Tourney, AS 57

04 Monday Sep 2023

Posted by aethgazette in A&S Faire, Event Reports

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A&S Faire, Nithgaard, Queen's Prize Tourney

Here begins the report of the Court of Andreas Morgan and Kallista Morgunova, Second of those names, 50th King and Queen of Æthelmearc at A&S Faire and Queen’s Prize Tourney held within the Shire of Nithgaard, April 29th AS 57. Po Silvertop, Jewel of Æthelmearc Herald reporting, with the assistance of Baroness Miriel du Lac and Baron Salvadore De La Torres.

Their Majesties welcomed all those who attended and bade them enjoy the day.

Their Majesties invited all the newcomers present to come forward. They were given gifts of mugs made by the artisans of the Kingdom.

Their Majesties called forward the youth of the Kingdom present- and then chose Simon as the day’s sacrificial “runner of the toychest.”

Their Majesties requested the presence of the Autocrat, Baroness Elena de la Palma who thanked everyone for coming and thanked her staff for assisting in making the event happen.

Master Hrólfr Á Fjárfelli was invited before the Throne to conduct the Sponsors presentations to the competing Artisans.  Master Hrolf announced the populace choice/ballot winners: Baron Snorri and Baroness Oddkatla. Their Majesties revealed Their chosen Artisan was Lady Avatorria.

Their Majesties permitted the approach of Master Caleb Reynolds, who had requested the opportunity to renew his oath of fealty, upon doing so Their Majesties asked him about his “Mad Cheese Research” and suggested that for that research (amongst numerous other research) he might sit vigil and contemplate Elevation to the Order of the Laurel. Writ by Mistress Sophie Davenport upon a text by Master Caleb (unknowingly) himself, with revisions by Some Guy in a Hat.

Master Madoc Arundel was invited before the court to discuss the brewing competition. He spoke at length about the artistry and enjoyment of the competition and declared Master Robert of Ferness to have been the winner and thus the Kingdom’s first brewing champion.  Master Robert was invited to join Their Majesties’ court.  Their Majesties also complimented Master Madoc for his long years of service in multiple ways to the Kingdom, and invited him to chose a date to sit vigil and contemplate Elevation to the Order of the Pelican.  Writ by Master Kieran.

Their Majesties noted that Lady Aurelie of Nithgaard had recently celebrated a birthday and invited her into court to receive a cupcake and a rousing rendition of the birthday song, performed not only by the entire court, but specifically by the Order of the Fleur d’Æthelmearc to which Their Majesties then inducted her for her incredible skill with fabric, thread and needle. Scroll by Lady Murdia Drusilla Vettia Portia, upon a text by Baroness Nuzha bint Saleem.

Their Majesties invited Mistress Phiala O’Ceallaigh to appear before them to discuss a developing issue with her apprentice THL Oribe Tsukime; to whit, that the Honorable Lady had not only learned all that Mistress Phiala could teach her, but had gone on to continue beyond that point in the research of all things Japanese.  After hearing this, Their Majesties invited forward the Order of the Laurel and issued a writ for the Honorable Lady to choose a day to sit vigil and contemplate elevation. Writ by Dame Zosia.

THL Cassiano de Castello was invited into court to discuss additional aspects of the Kingdom’s brewing community and upcoming brewing competition opportunities.

Their Majesties invited all Scribes to come forward and receive gifts of appreciation for their efforts.

Their Majesties also invited all Heralds to come forward and be recognized for their service to the Kingdom.  After thanking those Heralds present, Their Majesties requested  one remain behind: THL Edith of Winterton. The Crown spoke at length of her Service to the heraldic community and to the Kingdom, as well as her labors as Tollner and Exchequer, requested that she meet with the Order of the Pelican and contemplate Elevation at a future date. First scroll by Christofano upon words by Mistress Sadira, second scroll by Baroness Amalie Reinhardt.

Her Majesty then spoke of the difficulties of parenting solo at events and named  Baroness Antoinette de Lorraine as Her inspiration for the day.

Their Majesties thanked all for attending and making the day wonderful.

Jewel Herald put forth a request for donations of scroll cases.

Here closes the court report…

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Behind the Scenes: Richard of Foxmoore Shares His VQPT Entry

21 Tuesday Jul 2020

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

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Queen's Prize Tourney, virtual A&S

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

Screenshot_2020-07-07 fabric arts_2

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

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

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

What inspired you to make your entry?

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

What is your intention with your entry?

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

Did the entry throw up any unexpected issues?

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

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

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

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

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

Is there anything you would like to add?

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

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

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

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Behind the Scenes: Serena Milani shares her VQPT entry

19 Sunday Jul 2020

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

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Queen's Prize Tourney, virtual A&S

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

serena finished scroll

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

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

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

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

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

What inspired you to make your entry?

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

serena headshots

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

What is your intention with your entry?

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

Did the entry throw up any unexpected issues?

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

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

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

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

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

Anything else you would like to share?

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

serena group portrait

The proud recipient of her Fleur d’Æthelmearc scroll.

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

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

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Behind The Scenes: THL Julianna Woolworth Discusses Her VQPT Entry

13 Monday Jul 2020

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

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Queen's Prize Tourney, virtual A&S

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

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

copy-image-1366x1536

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

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

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

What inspired you to make your entry?

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

What is your intention with your entry?

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

Did the entry throw up any unexpected issues?

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

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

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

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

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

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

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

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

12 Sunday Jul 2020

Posted by aethgazette in A&S Competition and Display, A&S Faire, Arts & Sciences

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Queen's Prize Tourney, virtual A&S

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

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

birka-reproduction-tortoise-broaches

Birka Reproduction Tortoise Brooches made from pewter based on extant finds

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

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

What inspired you to make your entry?

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

What is your intention with your entry?

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

Did the entry throw up any unexpected issues?

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

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

I would not procrastinate creating my documentation.

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

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

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

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

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

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

05 Sunday Jul 2020

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

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Queen's Prize Tourney, virtual A&S

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

white-scarf-scroll-1536x1152

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

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

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

What inspired you to make your entry?

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

What is your intention with your entry?

It has been mailed out to its recipient.

Did the entry throw up any unexpected issues?

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

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

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

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

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

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

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Behind the Scenes: THL Maggie Rue Shares her VQPT Entry

04 Saturday Jul 2020

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

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Queen's Prize Tourney, virtual A&S

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

torturing4

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

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

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

What inspired you to make your entry?

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

What is your intention with your entry?

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

Did the entry throw up any unexpected issues?

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

torturing5

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

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

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

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

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

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

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

 

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Behind the Scenes: Lisette la bergiere Talks About Her VQPT Entry

30 Tuesday Jun 2020

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

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Queen's Prize Tourney, virtual A&S

Today’s article in our series on the Kingdom’s Virtual Queen’s Prize Tourney is about an intriguing 14th Century Aumoniere or Alms Purse, made by artisan Lisette la bergiere. As we do not have the ability to converse with our entrants face to face, the Virtual Queen’s Prize Tourney now offers the opportunity to drool over images and read the documentation right there on the Kingdom Ministry of Arts & Sciences website – even to leave feedback! And to learn a little more about the artisan and their thoughts behind their entry, the organizers decided to broaden our traditional entry of object and documentation with personal interviews.

alms-finished

This project piece was made for the AEthelmearc Artisan Exchange group in the Spring of 2020. It is a silk alms purse, decorated with silk embroidery in the recipient’s Arms, with finger loop laces for drawstrings and carrying cord.

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

I am known as the Honorable Lady Lisette la bergiere. Having found the SCA more than 20 years ago while a student in Misty Highlands, most of my experience comes from my time in Atlantia as a Minister of the Lists. I currently reside in the Shire of Kings Crossing, having moved back to Æthelmearc a few years ago with my family. My persona is a late 15th- early 16th century French woman of the Loire Valley. Alms purses were a popular and useful accessory during the 13th-15th centuries across several countries. While my persona is at the end of that time frame, I still would have used an alms purse, or aumoniere, but this wasn’t for me.

What inspired you to make your entry?

I had signed up last winter for the current round of the Æthelmearc Artisan Exchange group. Mistress Oddkatla does a fabulous job of running the exchanges and matching artisans and recipients together. This round, the theme was what we do best and my recipient was Lady Isabetta Orsini from the Barony of the Rhydderich Hael. I like to sew (as well as many other things) and knew I would be sewing and embellishing some accessory for the exchange. As I have not had the pleasure of meeting Lady Isabetta, I could only rely on the information provided in the exchange survey, including a picture of her heraldry, to design and create a gift for her. I have recently been doing more with finger loop braiding and wanted to incorporate those skills in the gift. After learning that she favored period-appropriate fabrics and Italian accessories, I began my research to find something that would fit those several parameters. I found a few extant examples of alms purses from 14th century continental Europe and began designing.

What is your intention with your entry?

My intention was to make an item that would be useful, using period-appropriate fabrics and embellishments for Lady Isabetta’s persona. With the caveat that my materials were limited to what I had on hand currently. I, ashamedly, did not begin working on the project until well after the plague arrived, which prevented any acquisition of new materials. The feedback that I received from Lady Isabetta indicates that she is most pleased with the alms purse. I hope that she intends to use it. An alms purse is worn looped on or over a belt by the carrying chord (the white and black cord in the picture).

Did the entry pose any unexpected issues?

While the final construction of the silk bag, the tassels, and braiding of the finger loop cords took little time and went mostly to plan, I vastly underestimated the amount of time necessary to hand-embroider the front panel with Lady Isabetta’s heraldry. This was the first project that I have ever embroidered. Between learning the stitches and putting them to use, it took far longer than I had hoped.

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

I highly recommend artisans to consider joining the Æthelmearc Artisan Exchange! It provides a wonderful opportunity to ‘meet’ other artisans in the Kingdom, which was great for me, since we have not been participating here very long. I love seeing all of the creations that people have made at the end of the Exchange. It is also a great opportunity to stretch yourself artistically to try new skills or techniques. I learned a great deal about embroidery that I hadn’t known before, but I also learned that I have not yet mastered time management.

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

All of the above? Is that a valid answer? I hope someone may be inspired by my work; to try new things and to enter A&S. I entered mostly because the time was right; I finished the project in mid-May and had already gathered the research during the planning phase. I don’t have a lot of experience in entering A&S tourneys. Before I had submitted the entry, I did ask Lady Isabetta if I could share the project since the alms purse is now hers. With events and gatherings being cancelled, this opportunity to share art, in any form, is a way for people to connect. I don’t have the courage to enter something like Ice Dragon (one day, I would like to work up to that), but this Virtual Tourney seemed like a good idea.

Anything else you would like to share?

I encourage everyone to try something new and I hope to meet people soon!



Thank you
, Lisette la Bergiere, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Lisette’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. We have a few more days to peruse, enjoy and interact with the entrants. Make use of the opportunity, if you can!

Would you like to enter your own project? The deadline for entering the Virtual Queen’s Prize Tourney is June 30th, TODAY, and you can find all you need to know on how to enter on the KMOAS website.

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Behind the Scenes: Lady Thalia Papillon shares her VQPT Entry

28 Sunday Jun 2020

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

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Queen's Prize Tourney, virtual A&S

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

finishedblkwk1

The piece I have been working on is the Polychrome counted thread embroidery from the Jane Bostocke sampler, year 1598. I chose one portion of the sampler to work on.

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

My involvement with the SCA began when I was living down in western Virginia in the Charlottesville area in the Kingdom of Atlantia with a small local group the Shire of Isenfir. My first SCA event I attended was the Kingdom of Atlantia Arts and Science Championship. I participated in monthly archery practices, took classes in Arts and Science, and attended weekly dance practice. I moved to Buffalo and joined the Barony of the Rhydderich Hael in 2016 and Ice Dragon was my first event I attended in Aethelmearc. The persona I chose was Viking as the style of garb with apron dresses and strings of beads which I found particularly interesting.

What inspired you to make your entry?

The inspiration for making my entry is my love for doing needlework as I have been doing cross stitch since I was kid which I learned from my Aunt. After entering several arts and science displays, making largesse to donate to the Kingdom, as well as entering completed cross stitch work into competitions including the Pentathlon, I received encouragement from peers who saw my work with cross stitch to branch out to trying to black work because of the skill I already had with needlework to move towards doing work that is representative of the middle ages period. I found myself being open to trying a new skill as I have the basics down with doing needlework and felt that I had the ability to be able to branch out to try a different form of needlework.

What is your intention with your entry?

The intention with my entry to showcase my work and be able to gain feedback with how I can improve / expand with doing black work as I am currently in the beginning stages with doing this method and this piece that I am sharing is only the second piece I have completed. I would like to grow this current piece and explore ways to incorporate using different materials and work towards how to utilize black work as was done in the middle ages period according to the research that I have done while working on this piece.

Did the entry throw up any unexpected issues?

As I started working on the entry, due to the nature of the pattern being a chain like pattern I chose to inquire with a peer what would be the best area of the pattern to start with and the length of thread to use and how to loop it in on the other side so as not have too many loose ends of threads on the other side as it is custom in black work for the work to look identical on both sides of the fabric. I am accustomed to starting in the center of the fabric when working on cross stitch so that the design is centered. I found it a bit challenging to start on a different area of the pattern other than the center only because that is what I am used to doing with cross stitch and had concerns about the design not being even or centered. I had to pay particular attention to the reverse side of the fabric to make sure stitches were going in the same direction as the ones on the other side so that both sides would be identical. I was able to grasp this concept to some degree, however, I would have to continue to work on ending the stitches on the other side so that there would less thread tails showing which would take some time and continued practice.

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

This piece was my first venture into stitching a project using a pattern from a period sampler. Something different that I would do is continue to work on pieces that are of a period reference and have historical significance. I would also like to spend time exploring black work to look for other patterns to work on and do additional research of how black work was utilized in the middle ages time period.

What motivated you to enter the Virtual Queens Prize Tourney?

I chose to enter the Virtual queen’s prize tourney for several different reasons. I would like to have opportunities to showcase my work and to be able to share with others because before coming to the SCA, the pieces that I worked on were only shared with a few close people in my life. I would like opportunities for feedback / guidance as I have taken the first steps towards branching out in different type of needlework as encouraged by peers. I find that being able to create things with needlework to be very satisfying and uplifting. I have also had the personal satisfaction thus far with seeing how my work can be appreciated by others and that items that I have had made with cross stitch for largesse have been shared and appreciated by others. I would like to continue in this path be able to learn more and gain experience with Black work.

Thank you, Lady Thalia Papillon, for sharing your wonderful work with our Kingdom’s artisans and populace!

If you would like to see Lady Thalia’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. We have a few more days to peruse, enjoy and interact with the entrants. Make use of the opportunity, if you can!

Would you like to enter your own project? The deadline for entering the Virtual Queens Prize Tourney is June 30th, JUST A FEW MORE DAYS, and you can find all you need to know on how to enter on the KMOAS website.

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Behind the Scenes: Ilaria of Delftwood talks about her VQPT Entry

27 Saturday Jun 2020

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

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Queen's Prize Tourney, virtual A&S

Today’s article in our series on the Kingdom’s Virtual Queens Prize Tourney are about three beautiful Early 15th c. Bourrelet Headdresses, made by artisan Ilaria of Delftwood. As we do not have the ability to converse with our entrants face to face, the Virtual Queens Prize Tourney now offers the opportunity to drool over images and read the documentation right there on the Kingdom Ministry of Arts & Sciences website – even to leave feedback! And to learn a little more about the artisan and their thoughts behind their entry, the organizers decided to broaden our traditional entry of object and documentation with personal interviews.

bourreletnoir-1529x2048

Ilaria’s entry consists of research into the development of the early 15th c padded roll headdress (bourrelet) in Western Europe, and includes construction of three different versions.

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

I’m still fine-tuning my persona because I find it so hard to choose! I’m focusing on Northern Italy, 15th-16th centuries. Although I focused on French sources for this project, there are enough similarities during this time that my persona could plausibly wear these styles of hats.

What inspired you to make your entry?

I am always fascinated by all kinds of headwear: how it’s made, how it stays on, what it symbolizes, how it affects demeanor. I’ve always been drawn to projects small enough to sit down and hold in front of me, so I usually have a hat project going on. This one was a chance to try some earlier styles.

What is your intention with your entry?

This entry is for my own use. I’m interested in how headwear styles change over time, and I’d like to have that chronology reflected in my wardrobe. This is the start of a longer term exploration of 15th century French aristocratic women’s headdresses. Ultimately I plan to have a representative style for every decade or two of the 15th century and early 16th.

Did the entry throw up any unexpected issues?

In my documentation I have a description for each hat, and how I changed the construction each time in order to change the shape. Covering the red bourrelet was actually very tricky because of its horned shape. It took a lot of adjusting to get the velvet to lay smoothly.

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

I would say that when making very structured hats, especially for the first time, it is important to work on the structure first and be flexible about covering and embellishment.

What motivated you to enter the Virtual Queens Prize Tourney?

It is my honor to represent Delftwood as Baronial A&S champion. Which is difficult when we’re all far apart, so thank you for running this!

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

If you would like to see Ilaria’s entry, follow this link. And if you liked her work, have a question to ask, or a tip to share – please leave your comments with her entry! You can “Leave a Reply” at the bottom of the entry’s page. We have two more weeks to peruse, enjoy and interact with the entrants. Make use of the opportunity, if you can!

Would you like to enter your own project? The deadline for entering the Virtual Queens Prize Tourney is June 30th, and you can find all you need to know on how to enter on the KMOAS website.

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