Meesteres Odriana vander Brugghe is proud to announce that at this year’s Ice Dragon Pentathlon, she will be awarding Het Bruggetje prize for Research. The prize will be $100 in cash, which the winner will receive when the results are announced in Ice Dragon court.
To win the prize, you must have the best documentation in any category of the Pent.
The choice will be based on the documentation portion of the judging criteria that is included in each category.
You will be entered automatically when you submit your entry to the Ice Dragon Pentathlon unless you would prefer to opt out.
Pentathlon judges will be asked to bring any excellent documentation to the attention of the judges’ panel.
The award will be decided by a panel of five judges drawn from the pool of Ice Dragon judges.
This prize is meant to encourage entrants to submit high-quality documentation along with their entries. If you need more information about the prize, or about how to increase the quality of your documentation, please contact Meesteres Odriana vander Brugghe via email at and she will connect you with resources. While she can not help you directly with your documentation, she would be happy to provide you with direction.
Meesteres Odriana very much looks forward to reading your research, and would be elated to award one of you The Prize! Not sure if you know Meesteres Odriana? Read more in her Populace in Focus article.
Anyone entering the Ice Dragon Pentathlon is automatically entered, you can decide to opt out but no further action is needed by the entrant. For more information on the general Arts & Sciences Pentathlon competition, please visit the Ice Dragon Pent website here.
Over the years I have heard from many SCAdians that they just do not have the skills or patience to sit down and write a research paper and, by extension, write documentation for an A&S project. There appears to be an unfounded fear that documentation, or a research paper, has to be 100 pages long and ready to be published in a peer-reviewed journal. This is not the case. No one in the SCA expects every person in the SCA to spend a year or more writing a paper. But this fear does keep many people from even trying their hand at doing some research and some writing. Huge research papers are nice, but they are not for everyone. Also, large papers are too long to be published in local newsletters, and newsletters are always looking for articles for publication.
My recommendation? Micro-research. Small papers about limited topics.
Writing about the entirety of the Battle of Agincourt would be a monumental task. Writing a half a page describing the pay scales Henry used for his army would be a far more manageable task for a novice writer, and would be a nice glimpse into a very complicated subject. Foot soldiers were paid 3 pennies a day but archers were paid 6 pennies a day. What were the requirements of getting archer pay? Henry had a legal contract describing how ransom would be split; one could certainly write a half a page describing that.
There are a whole host of topics for micro-research; everything from your experience in cooking a single recipe, to the different weights and measures used in the SCA time period, to a bird’s eye view of a battle, to an introduction to a person from history. Researching a limited topic, and writing a page or two about it, should be within the reach of most people. All information is useful and, again, every newsletter would welcome content for publication.
There are some things to keep in mind.
1) Write your paper in your words, even if you are getting your information from a single source. If you are making a thing from a recipe from Medieval Cookery, which provides translations and redactions, write how you made it: what steps you took and why you made any changes. This is your project, please write your thoughts in your own words.
2) While half a page describing Henry VIII’s bowling alley doesn’t require the research standards of a PhD thesis, it should be well-written and include your sources. Please feel free to pester a friendly Fleur or a lovable Laurel for editing and proofreading.
3) You do not have to be the first SCAdian to write about your topic. Do not think that just because Mistress So-and-So wrote a paper on medieval gift wrapping 30 years ago that you can’t add something new. Make sure that you give credit where credit is due.
4) Above all else, the SCA is an educational organization. The fighting, fencing, archery, courts, awards, and pageantry are the showy side of the SCA, but all of it is hollow without the arts and sciences that have been part of the Dream since the beginning. We need to do research and share what we find with others, even if it is just your interpretation of a 1,000 year old joke.
Another thing to consider: micro-research can inspire you, or others, to do a deeper dive into the subject. You might write a page describing Leonardo da Vinci’s sketch of a water-powered automatic saw. This might inspire you to do more research, which might lead you to discover that Leonardo most likely copied the design from the sketchbook of Villard de Honnecourt, who drew it about a century before Leonardo was born. Then you might want to build a scale model of his hydraulic saw. Or, you might be drawn into the exciting world of how artists shared their sketchbooks with one another. Or it might lead you to other water-powered machinery. Writing about small subjects can send you down so many rabbit holes as you do your research.
You might take some pictures of pilgrim badges you found in a museum and then write up a brief paper on what you saw. This might lead you to a longer paper on a wider variety of pilgrim badges. And that might lead you down the rabbit hole towards lead casting and sandstone molds. Anything is possible.
One more consideration: micro-research can be used in larger papers. I wrote a small paper, 4 paragraphs – sort of a “fact of the month” article, on the varieties of sugar available in the middle ages. I can incorporate those 4 paragraphs into any paper I write that involves sugar. I already did the research, the writing, and the bibliography; no sense in re-inventing the wheel anytime I want to explain why I’m using a particular variety of sugar in a recipe. Research that you do for one paper, can be reused in other papers. I wrote documentation for some red wine that I made. In my research I found some very nice references that described how England imported a ton of red wine from France, particularly from Bordeaux. Years later, I was making mustard from an English recipe, which called for wine. But, what kind of wine would a 14th century English-type person use? How about some of that red Bordeaux wine that I already had the research for? Those two or three paragraphs can also be published on their own in my local newsletter.
You can also go through old newsletters looking for A&S articles that inspire you to revisit the topic. Is there more information available today? Thanks to the Internet, reference material is available to us through Project Gutenberg, Google Books, Academia, JSTOR, and other sites. Can you make an improvement to a recipe with a better redaction or more appropriate ingredients? Long ago, when I was the Chronicler of the Hael, I published an A&S issue of our newsletter. I published a recipe for a meat pie that called for pre-packaged bread dough and margarine. I know why the cook used the two (for cost and convenience for the former and dietary restriction for the later), however, if you wanted to make a more period meat pie based on that particular recipe, tell me how you would make it. Again, always give credit to everyone, and their work, that inspires you.
I have in front of me issue #124 of Tournaments Illuminated (Autumn 1997). On pages 24 and 25 is a nice article by Diane Harper (Siglinde Harfinerstochter) titled “Drinking Vessels (Mostly Glass) of the Middle Ages.” It is a nice article and it does inspire me to use Siglinde’s overview on glass cups to do some of my own research. The article includes some crude drawings of drinking vessels with notes that some of them can be found at the Corning Museum of Glass, which is about a two hour drive from my house. I can certainly drive out to Corning and see these vessels for myself and write about them. Siglinde also has a small bibliography to lead me to additional resources to help me with my future research. I don’t know if Siglinde ever thought that anyone would be reading her article 25 years later, but here we are.
In the same issue of the TI, there is a redaction of a 14th Century German recipe by Debra A Hense (Kateryn de Develyn, page 15). The recipe is for marinated veggies that call for balsamic vinegar. Would a 14th Century German use a 17th Century Italian vinegar? I’m not saying that it wouldn’t taste nice, but I don’t think balsamic vinegar would be the best choice to use. I would use cider vinegar. It is perfectly acceptable to springboard off of someone else’s work because you disagree with their conclusion or methods. (Yes, documents describing the vinegar from the Balsamic region of Italy date back to around 1000AD, but I believe that the balsamic style vinegar that we can buy today only dates back to the 17th century. Don’t agree with me, do some research and prove me wrong. I look forward to your article.)
There are a lot of surviving broadsheet ballads from the end of the SCA time period. Find a high resolution image of a broadsheet and transcribe it into modern English (or other languages if you wish). At the very least, convert it into modern spelling. You can also take the time to make footnotes explaining any unusual words or phrases. You might be the first person to transcribe it. I transcribed two broadsheets into modern English, the Case For and Against Coffee. It was a fun project.
Micro-research doesn’t have to be 100% written for a newsletter. Remember, the Æthelmearc Gazette would happily welcome any short articles (ed. note: Yes, please!). Especially if there are nice pictures. There are several late-period manuscripts that explain how men and women should bow and/or curtsy. If you have nice garb and a partner to hold the camera, make a photo spread of the steps necessary to show that one was properly trained to behave in court. Re-create the woodcuts with pictures from multiple angles.
With YouTube, you can make video research “papers”. Do you know how to wrap “viking” leg wraps? Or how to properly roll chausses so that they don’t fall down? Make a video and upload it.
And I highly recommend that you create an A&S blog so that you can keep track of what you work on. WordPress and Blogger are two of the most popular. If you keep your research online, you will be able to, at an event, tell someone, “I know the answer to that. Just go to my blog at www. blablabla.com. and search for medieval pop tarts.”
Here are some ideas that might inspire you; either for a small paper, or for a deeper dive for a broader research paper:
Describe the White Ship.
Who was Black Agnes?
The wheelbarrow was invented in China and Europe at the same time: how were they different? Same with the stern-mounted rudder.
Describe a medieval fire arrow.
Did Shakespeare invent the Knock-knock joke?
Where do “crocodile tears” come from?
Who were the Green Children of Woolpit?
How would you make a given recipe “kosher” for lent?
How were coiners paid?
Describe England’s archery law.
How expensive were spices? Or pigments?
Tell me about Mahometta.
Explain a medieval idiom or phrase. (Were door nails really dead?)
What is the difference between a friar and a monk?
How did Mansa Musa cause an economic disaster in the 14th Century?
What was a mappa mundi?
How much profit could one get by buying sheep and then selling the fleece?
Who was Mayor Nicholas Brembre?
In “Romeo and Juliet”, why did one Italian tell a second Italian that a third Italian fights in an Italian style all the while standing in an Italian city?
I hope that I have inspired you, my readers, to take your first steps on the road of research, and I look forward to reading what you have discovered.
Are you thinking about entering in the Ice Dragon Arts & Sciences Pentathlon this year? Great! It is fantastic to see our Sylvan Æthelmearc artisans get back in the swing of things – although some did not seem at all slowed down with the transition to virtual competitions in the past few years! We have faith next year’s Arts & Sciences Pentathlon will happen in some shape or form – preferably in-person, of course – which means we need to get our act together soon. The entry deadlines are starting to creep up… with the first one being:
Research Paper deadline (category Literary Arts): February 15th
The category Literary Arts includes, but is not limited to: Poetry & prose, Research paper, Musical arrangement & composition. Entries are not to exceed 10,000 words (approximately 40 pages double spaced exclusive of images) and should be sent electronically or via hard copy in the mail.
But what exactly makes a written work a research paper? Ideally, a research paper should do more than simply summarize known information. It should ask a question, make an argument, prove a point or present a conclusion about a topic of interest to those in the SCA. The subject might draw from history, or it might relate to the way in which we attempt to accurately recreate the past in the SCA. The end of the introductory paragraph of the paper usually includes a statement or theory that is put forward as a premise to be maintained or proved (called a thesis) and would offer a neat summary of the main point or claim of the paper. And like the literary arts, research papers come in different types, too.
Research papers can come in different flavors – which one is yours?
A research paper can be Argumentative: this would be a good one for writers presenting a debated topic. First clearly explain and present two opposite opinions on the issue at hand. Then take a position in the paper with your view for one side of the topic. Present facts, data and authoritative opinions in support of your position to persuade and convince the audience and argue against any contradictions. Argumentative papers can be quite fun to read!
A research paper can Compare & Contrast: this type of paper is used to compare two different subjects, or concepts, and how they relate to one another in both similarities and differences. The paper’s statement provides clarity on the contrasts and comparisons throughout the paper. The goal is not to persuade the reader, but to neutrally inform the reader about distinctions between varying viewpoints of related topics or genres.
An example of this would be my comparison of medieval gruit beer with modern gruit ale, using oft contrasting viewpoints to figure out why and how gruit ale changed so much from its historic origins. It was entered in the 2018 Ice Dragon Pentathlon.
A research paper can be Analytical: here, you would focus on facts instead of opinions. It is informational in nature and uses a large variety of viewpoints and sources on a subject without a specific opinion. It provides the reader with as much information as possible, but allow the audience to draw their own conclusions. However, instead of merely presenting the information, you should be able to present a factual analysis of the data you are working from.
A concise example of an analytical paper (research does not need to be many paged to be effective) would be A Brief Survey of SCA Bardic Music by Gwendolyn the Graceful. Another, yummy, example would be Krupnik and the Plausability of Landrace Honey Cordials by Lord Cassiano da Castello, entered into the Kingdom Arts & Sciences Championship, 2021, and smartly accompanied by a practical, sip-able, example.
A research paper can be a Report: Report papers are merely an organized and detailed list of facts about a topic. In many cases the report works to outline details related to a case study or process. The statement of the paper would describe the subject being explored and define the scope of the report, and can include your personal experience related to the topic under consideration. Authors of reports choose a subject, research it, and convey the evidence to the reader using quotes, graphs, tables, interviews, experiments, a summary and appendix
A research paper can show Cause & Effect: These papers guide the reader through a series of “chain of event” scenarios. Such papers work to study results; considered, expected, probable or, perhaps, unexpected. Cause-and-effect papers are not written based on opinion, but on quantifiable evidence with supporting documentation. With supporting evidence, this format can be both informational and quite intriguing for the reader (especially when accompanied by YouTube videos!).
Experimental archaeology, finally! An practical example of a cause & effect paper (I did this, and that happened) would be Experiments with Bone Ice Skates and Their Associated Poles by Master Robert of Ferness, entered as an Applied Research paper in the Ice Dragon Pentathlon 2019.
I hope you enjoyed my TED talk on research papers; for sure a topic close to my heart. Of course, don’t expect all papers to neatly fit into these five broad categories. SCAdian artisans are known for their out-of-the-box thinking and category mash-ups happen just as much in writing as elsewhere, of course. I do admit it took me more days to track down (mostly) appropriate research paper examples, than I did writing this post – so if you know of a better example, let me know. I can’t wait to see – and read – what will be entered in this year’s Pent – you’ve got winter break to start thinking if you have not already… nudge, nudge, wink, wink!
Yours in service,
elska
Want to know more about the Passing the Ice Dragon Arts & Sciences Pentathlon? Look no further, the website is updated with the latest information, including updated deadlines.
The Florilegium is a collection of files assembled by The Honorable Lord Stefan li Rous. The information hails from various sources, starting from when Stefan first joined the SCA in 1989. This includes files from various mail lists, posts in various Facebook groups, as well as articles submitted directly to Stefan by their authors. Be aware of “rabbit holes”… many an artisan found more than they were looking for after finding their way to the Florilegium research vaults!
What’s a “Florilegium”? Literally, it means “a gathering of flowers.” Florilegia were collections of choice tidbits (from Ovid, Aristotle, various popes, church scholars, etc), arranged by topic. Typically, a florilegium is huge, encyclopedic, and contains only choice selections from particular works. For example, Ovid’s Metamorphoses would be too long to include in its entirety and might suggest some of the wrong ideas (from a Church viewpoint), so only those works that offer clear exegetic or moralistic examples would likely be included.
Stefan, on the other hand, is interested in the whole of what the SCA has to offer, and is always on the look out for new articles. If you have written an article that would be of interest to others in the SCA, please send it to him for possible inclusion in the Florilegium. A&S documentation and class handouts often work well, and he is especially interested in research papers submitted as A&S entries.
I hope you find these files useful, interesting, amusing – or all three.
Honorable Lord Stefan li Rous (Mark S. Harris)
The Passing of the Ice Dragon Arts & Sciences Pentathlon has released the judging criteria for its second category, and just in the nick of time! The literary deadline listed for the Ice Dragon Pent, originally scheduled for February 1, 2020, was recently extended to February 14th as the judging criteria were not available ahead of time for this category. The Pent Organizers apologies for this delay, and are happy to share them with you now. To download your own pdf copy, please click here.
If you have not yet sent in your entry, you are welcome to utilize the judging criteria to self-score your work and tweak any areas you feel might benefit. And if you have, not to worry, you can resend – and we promise next year they’ll be out on schedule now the heavy lifting is done.
Hard copy of the research paper Black Parchment – displayed at the AS 53 Pent. Make sure to come and check out the literary art entries, as well as the general A&S entries!
Entries may be sent electronically or via hard copy 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 the Pent coordinator. Please also contact us in advance if you are sending hard copy.
Research Papers are part of the Literary Arts Category, which may include, but is not limited to: Musical arrangement & composition, Poetry & prose and Research paper. A research paper may be written in any style which the entrant chooses (e.g. Chicago, ALA, etc.). The entrant is strongly encouraged to be consistent in the use of the style they choose. The judging of the research paper is to be focused on the research presented, and any theories or conclusions presented. You can read more on the different types of research papers, like the argumentative paper, the analytical paper, the compare and contrast paper, &c., on the A&S Pent/researchpaper webpage.
In the next week or two we will add the remaining judging criteria for Live Performance and Youth entries. Keep an eye on our website and on social media to see all we’re up to. The end of March is creeping up fast, and that pesky Ice Dragon sure is in need of some slaying!
Looking forward to your entries.
– cori
Pentathlon Coordinator
Kingdom Event page on the AS 54 Festival of the Passing of the Ice Dragon. Home page of the Festival of the Passing of the Ice Dragon. Home page of the Passing of the Ice Dragon Pentathlon.
The Florilegium is a collection of files assembled by The Honorable Lord Stefan li Rous. The information hails from various sources, starting from when Stefan first joined the SCA in 1989. This includes files from the Rialto newsgroup (rec.org.sca), from the old fidonet medieval echo conferance area, from various mail lists, posts in various Facebook groups, as well as articles submitted directly to Stefan by their authors. Be aware of “rabbit holes”… many an artisan found more than they were looking for after finding their way to the Florilegium research vaults!
What’s a “Florilegium”? Literally, it means “a gathering of flowers.” Florilegia were collections of choice tidbits (from Ovid, Aristotle, various popes, church scholars, etc), arranged topically.
A “Florilegivm Insulæ Sanctorvm” from 1624
Typically, a florilegium is huge, encyclopedic, and contains only choice selections from particular works. For example, Ovid’s Metamorphoses would be too long to include in its entirety and might suggest some of the wrong ideas (from a Church viewpoint), so only those works that offer clear exegetic or moralistic examples would likely be included. Thus, a florilegium would probably *not* include Nestor’s account of the battle of the Lapiths — the tale pokes fun at Nestor, at old men attempting to claim wisdom solely based upon age, and (less directly) at Homer. A florilegium probably *would* contain the tales of Midas, however, because they provide lessons on the evils of greed, pride, and gossip.
Stefan, on the other hand, is interested in the whole of what the SCA has to offer, and is always on the look out for new articles. If you have written an article that would be of interest to others in the SCA, please send it to him for possible inclusion in the Florilegium. A&S documentation and class handouts often work well, and he is especially interested in research papers submitted as A&S entries.
I hope you find these files useful, interesting, amusing or all three.
Honorable Lord Stefan li Rous (Mark S. Harris)
With the Arabella Stuart doll entry I continue the journey of researching and recreating various period inspired toys, which have inspired me over the past decade. Though by far, my personal favorite has been spending time making dolls. Re-stepping in familiar territory, each project presents new challenges and skills never before attempted. This was one of my first projects in the SCA and its been a joy to finally recreate one as close as possible from a period masterpiece of art. The series of research is meant to be in-depth with the known depictions of dolls in 16th century art. Then it is to be meticulously recreated in period materials and methods. This is the third in a series of 10 dolls from these depictions.
In this article we shall discuss the layers of 16th century court clothing worn in 1577; comparing the portrait image represented to the construction of on the extant doll as previously researched. Observing the creative process and material choices for this project. Plus, discovering more representations of other fashion dolls in art around the world in the 16th century.
Extant Fashion Doll: The only extent one that physically survived the centuries supplies the core research on which all my other depictions are based. The extant doll is housed in the Livrustkammaren Museum (Royal Armory) in Stockholm, Sweden (see image). She is not a display item at this time and would most likely be in storage. So, with a little luck and the internet, I was able to locate some closeup images of the doll from “Isis Wardrobe” a personal internet blog. Some of these images are displayed on other sites like Pinterest, following the trail back to the museum website (see source 3 for the web address). I noticed this doll while turning the pages of my copy of “Queen Elizabeth’s Wardrobe Unlock’d” over a decade ago. This little doll is depicted in black and white, saddened there wasn’t a color picture in the book. Color pictures were not found untill recently on a persona blog “Isis Wardrobe” and subsequently on the Livrustkammaren Museum website.
Looking at the Livrustkammaren Museum Facebook page there is a small reference of the traveling of Fashion dolls “This modedocka, or pandora as they were called after the first woman in Greek mythology, must have been manufactured by Maria of Palatinate, Duchess of Södermanland, married to Duke Karl which eventually became Karl IX. Fashion Dolls were common in the business of fashion until the end of the 17th century and was a way to spread new trends before fashion journalism took its place. “Pandora traveled by horseback (?) to different countries and not just royalty and nobility was reached.” This is also referenced in the Queen Elizabeth’s Wardrobe Unlock’d about how the mode of fashion that traveled with the tailor’s trade. Later in this article the changing mode of fashion is discussed; how these did become a feature in art of children, an eventual evolution as a plaything and found in later inventory of the affluent.
The website of the museum supplied many useful pictures and much information. The recently added full color photos of this doll show at least 19 images in total. I also was able to obtain a list of the materials that the doll is made from, though it is difficult to locate some of them. Since either the type of material is no longer made, it called something else in modern times, or for the sheer translation issues into English. I was able to decipher as much as possible and through looking at prior inventory lists was able to figure out a reasonable kind of material. The doll has a steel wire armature body wrapped in silk and silk thread. (source 3) The extant doll has an elaborately embroidered muff with silver gold threads lined in gold silk. (source 3) Painstakingly detailed gold lace decorates the outer dress of lavender silk, including 3 petticoats; one pink silk lined, one gold velvet lined with silver lace, and an outer gown of purple silk lined gold lace trimmed and blue silk hem. (source 3) (See image illustrating the visible silk fabric, 3 petticoats with decoration and linings, also visible are the thread wrapped wire feet.)
From personal observation it is clear the feet are visible in one of the close-up photos on the blog “Isis Wardrobe”, and they look to be silk thread wrapped; unfortunately, closer inspection blurs the images. Her hands are not visible from any angle due to the muff; I tried blowing up the blog images to see if I could see a peek of something, but to not avail. The face seems to be an off-white or tan colored silk, the face is embroidered on and stretched over the stuffing base with some defining features for the chin and nose, I found by studying the 19 images from the museum website. (source 3)
Portrait of Arabella Stuart: From all this information about the extant doll as a basis then form a real object. Now we also have the portrait painting of Arabella Stuart from 1577 for our fashions for this doll (see close up of the portrait of Arabella Stuart age 23 months. The fashion doll held in left hand seems similar to images of Queen Elizabeth I of the time.) Looking at the image I think the portrait dolls is taller than the extant doll. Therefore, I made my replica about 10” tall. With all the details, I was able to begin the long process of project planning. This entails sourcing materials, pricing and budgeting. Though I also needed to look at the making process of this, how it was going to be done. So also follows; thread wrapping, running stitch, back stitch, couching stitch, whip stitch (wig).
Various techniques like gold-work, wire-work, sewing, and mild embroidery were implemented in constructing my replica. I sourced some handmade bobbin lace in a small enough scale without making miniature bobbin lace. Which I am in the process of learning the skill of making regular size lace. I just gained a book on making miniature versions for dolls. Which during the process would be an undertaking more than I could execute in the current time frame to have the project completed, at least at a semi respectable level. Although it is on the list of learning as my SCA journey continues to develop.
English 16th Century Court Clothing Features: After seeing the extant doll, I knew there needed to be proper preparation for such an undertaking. I noted a few items with major similarity with the extant doll, as the style of the sleeves, gown and fitting of the clothing. I also observed some features that would have been standard in the 16th century, like hair covering and neck ruff, which were not featured on the doll at all. So I made a small survey of the images similarly dressed to the extant doll including the layers that would be proper for the time period. Some of these images were more difficult to find as identifications changed when persons were identified as different individuals contemporary to the time. I identified as many from court life as possible. When I narrowed it down to a 30-year window, a regional trend in fashion became evident. I discovered similarities of a bedecked headdress, neck ruff, and decorated cuffs that were all in the versions of the portrait paintings I located.
I noted all the examples have a fitted bodice, most likely corseted, with metallic trim decoration and flowing pleated skirt. All the gowns are voluminous due to under layers, some split front some closed. All the clothing has decorated long sleeves; some with embroidery. The portraits show a decorated head covering, neck ruff, all have a lace decorated cuff at the end of the long sleeves. This small survey of court fashion over a period of time in the same country, shows there are some similarities between the decoration, style, and accessories about the time the doll would have been made. With such detail as seen in the extant doll photos, there is no way someone would have rushed in putting this together and achieve such quality. Plus, similar court fashion seems to have travelled to other countries similar to the fashions on the Arabella Stuart doll in England at about the same time from 1570’s (see image of Queen Elizabeth I- Pelican Portrait of circa 1575).
The layers of clothing would been as follows: shift (linen); corset (reed/whale bone); outer (silk fabric); petticoats ( silk); padded roll (bumroll); outer gown (red silk taffeta, gold silk slashed sleeves); neck ruff (starched linen); head covering (silk-net, pearls, gold wire); shoes (thread wrapped silk). This is based on the doll and based on the above English court wardrobe and layers of 16th century court dress.
Preparation Materials selection: When making selections for this project, I looked at the material list from the museum website. They are listed on the website as follows: taffeta, wire taffeta, silver wire (tip), silk (embroidery), silk on silk-embroidery, velvet-uncut, pearl velvet, lace, and gold thread. (source 3) Not sure if all of it is translated well enough in detail from Swedish, though it gave me a starting point.
I also looked at the colors and textures from the portrait doll and those influenced my choices: steel wire, twine, air dry clay, red dupioni silk fabric, burgundy tablet woven silk trim, red silk velvet ribbon, off white- silk organza, gold-silk chine, white, red, gold- silk thread, gold gilt wire-hard, smooth purl gold gilt no.8, rough purl gold gilt no. 8, gilt o’s 6mm size, seed pearls, gold embroidery twist, hide glue, gesso and gauche paint, wooden plague, linen fabric, cotton batting, wood and glass display case, doll stand. I looked at the prices and over the first three months of the year (2019) budgeted $300 for the materials, shipping, and sheer cost of some of the materials. I wanted it to really look like something for royalty and using as close as possible materials and not shy away from the precious metals.
And I wanted to address the color choices for this project, compared to the portrait doll. I wanted a deep red silk that had some body to it as based on the pictures. Plus, it needed to address the burgundy tones observed on the photos from the internet. I preferred to use a dupioni silk fabric since it has texture. This one is a very smooth weave, more than normally found easily. I wanted to show which bright colors the doll would have displayed as a new creation in the 16th Century.
The hide glue, also known as gelatin glue, I discovered a medieval recipe in The Compleat Anachronist issue 134 by Maya Heath. I needed glue not to just to secure the hairstyle, the hair needed to be dirty of sorts to behave correctly. I knew this information from having done this hairstyle many times and hair needs some oil and unwashed consistency to stick to itself. This glue was used on the washed human hair procured from a beauty supply store. It could maintain the hairstyle and also protect it from being snagged when sewing the silk hairnet with woven gold wire in it and securing the braids.
The Tudor Child pattern for dolls was used on this project. (source 2) I wanted to try this version, to give a nod to more peg like doll features that represent some earlier styles of fashion dolls. In this pattern there aren’t legs on this doll. Therefore, no stockings, shoes or garters are needed for her. Since I modeled after the Tudor Child doll pattern, this doll uses a wood round base inside the linen lining along with the cotton stuffing to hold everything upright instead. (source 2) Studying the portrait, I wanted to maintain the round conical shape of the skirts. I think there is something more sturdy there than two stuffed wired doll appendages. So that is a distinct difference than the extant in Sweden.
Crafting Process: I began with the accessories first, since they would be smaller and easier to travel with me. I kept the doll itself as a project at home most of the time, although towards the end I took it to work on breaks, lunch, and after work. I found this to be relaxing as well as another way of directing my thoughts to a better place. A therapy of sorts during the day at work.
My process of making the replica doll is as follows:
The body is made of linen fabric, stuffed with cotton batting (see image showing construction). The head and hands are hand sculpted from air-dry clay sealed with gesso (from hide glue and white gauche). The miniature bust is then painted with gauche paint to a natural skin-tone and features. The wig is a strawberry blonde human hair wig made from hair purchased at a beauty supply shop. Although I am still collecting my hair for future dolls.
The hair is styled carefully in a rounded rolled-form with a large netted bun in back, and gold silk twist along with coiled gilt gold wire woven into the head-covering. This took some of the longest to get right like the portrait image. Hide glue attached the wig to the clay head, needing lots of drying time at home. The image to the left shows the process before any accessories were added to the doll, you can see the linen arms wired to the body, and the wig drying. Great to see that the scale was working for the accessories created while at work. This can be problematic and I kept making sure it was still fitting to proportions.
The smaller parts were easy to transport in my purse. I assembled the ruff and cuffs first, then the miniature silk clothing. Added trims and decoration as much as could be done before sewing the clothing to the doll. The under-layers first, the shift, corset, padded roll and embroidered petticoat. From there I sewed the outer gown with back and running stitch, while taking care to not loosen the hair that had been styled so carefully.
The image (image on left with black dress & ruffs) shows the doll before the outer layer gown was added. You see the styled hair, the sleeves, accessories and under-layers. It is all set for the over dress and all the detail for completing the doll. It was a real joy to see all the pieces coming together to form a good quality replica doll. And knowing it is dressed from the skin out properly, even if you cannot see it. This kind of detail makes a good representation of 16th century fashion for the time, and adds to the overall purpose of the dolls as traveling fashion news for that time in history.
The image (image on right of red dress) shows the base decoration of the outer-gown. With beading on the bodice belted accessories, beaded hanging sleeves. You can see the decorated petticoat underneath. The gold silk slashed sleeves show behind the bobbin lace cuffs.
This became a very eye-catching piece, just like the inspirational portrait. Although this is not the end of the journey for me. On the portrait image of the doll there seemed to be a lozenge pattern laid gold-work, beading in those lozenges, and all this seemed metallic gold thread. There was difficulty finding a good quality image from the internet that had clearer details on the outer gown decoration. Recently obtained images show the gold-plated details of o’s that will have pearls centered inside. Also, rows of O’s of 6 mm hammered gold sewed on the skirt, shine when light hits from all directions. The pearl work will be done soon and will be freshwater versions since those are the easiest to obtain in the scale size needed.
I am working on a good laid gold-work twist that will help with the lozenge pattern. The laid work on the petticoat was troublesome in the smaller gauge so I am looking at something in a thicker composition that would be appropriate.
So far so good, and a sturdy based doll with shiny bedazzled gown, appropriate for court of Queen Elizabeth I in the 1570’s has been created. A fashion doll that could make a journey to a distant land to convey fashion, as ordered by Helena Von Snakenborg for her sister (source 1)
Lessons Learned: I definitely plan on many other projects like this again. There were challenges around every turn, I filled many pages of notes, including drawings, scale considerations, materials choices, technique notes, sources, picture details from limited sources. I also need to learn to make a more miniature lace version for future dolls. Although the learning process takes time, I don’t want to make a project without proper techniques represented well, even if not my own. I am happy with the basics I have learned in lace making and will strive to make an ever finer finished product. Luckily period artisans didn’t make every step by their own hand, so sourcing is not out of bounds.
If I had to do it all again, I would like to go to Hardwick Hall and take images of the actual painting instead of relying on the internet. Along with the V&A in London and other museums to see the paintings in person, firsthand accounts are ideal. At some-point in the future a visit to the Livrustkammaren Museum in Stockholm, Sweden is warranted. I looking forward to making the many versions of the dolls as seen on the other period paintings.
The Honorable Lady Mairin O’Cadhla explaining all about her elaborate Arabella Stuart Doll project at the Kingdom A&S Championship.
This article is an abbreviated version. For the complete Documentation please visit Mairin’s blog and click the link “Arabella Stuart Doll” under 16th century Documentation.
Bibliography:
Arnold, Janet. “Queen Elizabeth’s Wardrobe Unlock’d”. Maney, London, England United Kingdom. 1988. Pages 107, 157-158, 248-fig 248 and fig 248A.
Huggett, Jane and Mikhaila, Ninya. “The Tudor Child- Clothing and Culture 1485-1625” Quite Specific Media Los Angeles, Ca-USA and London, England United Kingdom. 2013. Pages 49-50, 150-151.
“Costume Doll “Pandora”. Inventory# 77 (56:15) 260, 2016. Livrustkammaren Och Skoklosters. Slott Med Stiftelsen Hallway ska Museet.
Heath, Maya. “The Compleat Anachronist- A Practical Guide to Medieval Adhesives” Issue No 134. First Quarter 2007. Society for Creative Anachronism. Pp 23-25.
Picture References:
“Costume Doll “Pandora”. Inventory# 77 (56:15) 260, 2016. Livrustkammarken Och Skoklosters. Slott Med Stiftelsen Hallway ska Museet.
Underskirt image from “Meet Pandora: A Fashion Doll of 1600,” 2013.
Portrait of Arabella Stuart aged 23 months- oil on panel, 1577. Artist: anonymous. Located at Hardwick Hall, Derbyshire, UK.
Quince Bread, also known as Quittenbrot, Chare de Quences, or Pâte de Coing, is a confection made from quince apples or quinces. Quince trees, Cydonia oblonga, are small fruit trees in the Rosaceae family. They are closely related to apples and pears. Quinces were grown in West Asia and around the Mediterranean since antiquity. Quinces remained popular fruit trees throughout medieval times.
Image: Roman painting of a quince tree in the Casa die Livia, probably 30BC
Like other pomefruits, quinces do not do not come true from seed. Desirable genotypes need to be propagated by grafting. Grafting was well known to the Romans. At the time of Gaius Plinius Secundus, AD 23–79, better known as Pliny the Elder, many different varieties were grown, several of which Pliny mentions by name in his natural history:
Chapter. 10. (11.)—The Quince. Four Kinds of Cydonia, and Four Varieties of the Struthea: Next in size after these are the fruit called by us “cotonea,” by the Greeks “Cydonia,” and first introduced from the island of Crete. These fruits bend the branches with their weight, and so tend to impede the growth of the parent tree. The varieties are numerous. The chrysomelum is marked with indentations down it, and has a colour inclining to gold; the one that is known as the “Italian” quince, is of a paler complexion, and has a most exquisite smell: the quinces of Neapolis, too, are held in high esteem. The smaller varieties of the quince which are known as the “struthea,” have a more pungent smell, but ripen later than the others; that called the “musteum,” ripens the soonest of all. The cotoneum engrafted on the strutheum, has produced a peculiar variety, known as the “Mulvianum,” the only one of them all that is eaten raw. At the present day all these varieties are kept shut up in the antechambers of great men, where they receive the visits of their courtiers; they are hung, too, upon the statues that pass the night with us in our chambers. There is a small wild quince also, the smell of which, next to that of the strutheum, is the most powerful; it grows in the hedges. (Pliny)
In modern times, various named quince varieties propagated by grafting are available to the gardener. However, quinces also serve commonly as dwarfing rootstock for pears, resulting in the mature pear tree reaching only about 40-60% of the natural mature height. (Elkins, Bell, Einhorn, 2012, Journal of the American Pomological Society 66(3):153-163). These quince rootstocks along with occasional chance seedlings are the source of feral quinces found in the Dominion of Myrkfaelinn. In the work presented here, I compare quince bread made from fruits of a named cultivar, ‘Orange,’ with quince bread made from feral quinces and a third variety that attempts to combine the benefits of both.
Quinces are considerably more heat tolerant than apples, hence their historic popularity in Mesopotamia and the Mediterranean. However, many varieties are cold hardy to USDA zone 5 and thus can be grown successfully in Myrkfaelinn and neighboring Baronies. Quinces do well in sun and partial shade. Unfortunately, Quinces are plagued by two pests. Quinces are extremely vulnerable to Fireblight, caused by the bacterium Erwinia amylovora. Fireblight is the main reason quinces are no longer widely grown. A local apple and pear grower (Ian Merwin of Black Diamond Farm) explained to me that he was avoiding quinces to prevent the likely fireblight infections jumping over onto his pear trees. The round headed stem borer (Saperda Candida) also causes damage to trees. Both of these diseases have caused loss of quince trees in my garden.
Quinces tend to flower later than apples, in my garden at the end of May, which usually protects them from damage by late frosts. Quinces also tend to ripen later than apples. Unlike apples and pears, quinces are self-fruitful. There is no need to grow second variety for pollination. According to the Trinity Encyclopedia compiled by an anonymous writer in the 1400s in England, the quince season starts at Michaelmas (September 29th) and lasts till Martinmas (November 11th).
§62 Chare de quences. Forto make chare de quences. Take þfayre quences in tyme of yeer, as between Mihelmasse and Martynmasse… (Clarke 2016)
In my garden, quinces ripen around Halloween. I found that quinces harvested but not quite ripe yet, can ripen a bit while being stored indoors. However, since quinces can’t be stored much longer than a month, only so much post-harvest ripening can be had. I would advise any quince grower to leave the fruit on the tree, until they have fully changed to yellow/orange color, unless a severe frost is threatening the harvest.
Image: Late medieval rendering of a quince tree, probably 1300-1400, in the Tacuinum sanitatis, by Ibn Butlân
As Pliny the Elder described, the Romans valued quinces particularly for their smell. A single quince can easily fill a small room with its fragrance. Most quince fruits are hard and sour and not delightful, when eaten raw. ‘Aayvay yemek’ or ‘to eat quince’ is a Turkish expression used to describe unpleasant situations. The Mulvanium is a rarity for being enjoyable in raw form. Even today, there are very few quince varieties available that can be enjoyed raw, the best known one is the Russian variety Aromatnaya. I found that after storing Orange quince for three weeks, the pectin in the fruit broke down enough to make the fruit edible raw. The texture was then like a radish and the level of acidity not unpleasant. Attempting to eat feral quince raw was an experience similar to biting into a very hard lemon.
In my kitchen freshly harvested quince last for about a month, before eventually they go bad. The feral quinces appear wrinkled after this time of storage, which makes them harder to peel. The Orange quinces tend not to wrinkle, but the fruit flesh softens and they turn brownish on the inside. Making quinces last longer requires some sort of preservation. Apicius lists two recipes featuring quince in his book De Re Coquinaria Liber. The first one is in the first book and is concerned with the preservation of quinces for future use:
Ut mala Cydonia diu serventur: Eligis mala sine vitio cum ramulis et foliis, et condes in vas, et suffundes mel et defritum, et diu servabis. (Apicius 21)
How quinces might be served later: Select apples without blemish with stems and leaves, and put them in a vessel, submerge them in honey and concentrated spiced white wine (=defruitum), and you will serve them in a long time later.
This recipe is solely about the preservation of quince, not a dessert in itself. Note that the quince is not heated or cored. The emphasis on the stem and leaves still intact is to ensure that no air enters the fruit that could lead to fermentation. Even with the sometimes – from modern perspective – rather strange culinary customs of the Romans, it is unlikely, they would have actually eaten the cores and leaves. It is in a section of the book that describes how to preserve various fruits for later use. (the previous recipe suggests to steep pomegranates in sea-water and hang them to dry for preservation, the following one advises to place a variety of fruits again intact with the stems in honey for preservation.) However, if the fruits were cored, relieved of stems and leaves and actually boiled in honey and spiced wine, this would make for a delicious dessert. If such a concoction were dried, it would pretty much be quince bread. Apicius’ second recipe suggests that quinces might have been boiled in honey for preservation. This recipe is a savory one:
Patina de cydoniis: Mala cydonia cum porris melle liquamine oleo defricato coques et inferes vel elixata ex melle. (Apicius 163)
A Dish of Quinces: Cook quinces with leek, honey, fish sauce, rubbed (?) oil or threw in thoroughly boiled in honey.
The recipe offers two versions to prepare the same dish, either cooking the fresh quinces together with the other ingredients or throwing in the already honey cooked quinces later. The second part of this savory recipe, ‘or throw in [quinces] thoroughly boiled in honey’ might be a reference to conserving quince by boiling them in honey. Potentially this was done to preserve quinces not quite free of blemish. From quinces boiled in honey for preservation to quince bread is only a small step.
Quinces remained popular in Europe into medieval times. Hildegard von Bingen (1098-1179) mentions quinces in her book ‘Physica’ both as food source and for medical use as a remedy for gout, excessive saliva and badly healing wounds.
IV. Quince Tree
The quince tree is very cold and of a subtlety which is assimilated, sometimes usefully, other times not. Its wood and leaves are not of much use for human beings. Its fruit is hot and dry and has good balance in it. When it is ripe and eaten raw, it harms neither a sick nor a healthy person. It is useful, cooked or roasted, for a sick person to eat. One who is virgichtiget (=suffering of gout) should frequently eat this fruit, either cooked or roasted, and it will check the gicht (=gout) in him, so that it does not blunt his senses, nor break his limbs nor leave the person helpless. One who produces much saliva should eat this fruit frequently, cooked or roasted. It will dry him up internally and diminish his saliva. Where there are ulcers or foulness on a person, one should cook or roast this fruit and place it, with other spices, over the wounds, and he will be cured. (Bingen)
The Trinity Encyclopedia from the second half of the 14th century lists a very detailed recipe for quince bread, called ‘chare de quences’, translated as ‘pâte de coing’ or ‘pâte de coing’.
§62 Pâte de coing
To make pâte de coing. Take nice quinces in season, that is between Michaelmas and Martinmas, and cut them equally in two in the middle, and take away the pips with a knife, and the core of them as well, and if there is any part of them that is rotten, pare it away with a knife as well. Then when you have as many as you want to work up at once, cleaned and prepared like that, then put them all in a nice clean pan and add clean water to it so that they lie all submerged and somewhat more, so that they can be seethed well in it. Then set your pan with your quinces over the fire and seethe them well until they are tender enough to be strained. Then when they are tender enough, take down the pan off the fire, and take out your seethed quinces from the water with a dish or with a platter and lay them in a sieve or else on a nice clean table and let the water run out from them; let them lie like that on that table or in a sieve all night still, without stirring. (Clarke 2018 – for the rest of this lengthy recipe, please check the reference)
Like the Roman recipes, this medieval recipe uses honey to preserve quinces. The recipe is from a time when sugar was just about to become available in Europe and therefore had not yet taken a crucial role in food preservation. In the quince breads presented here, I used sugar instead of honey, as the only honey I had available was brown honey from goldenrod and Japanese knotweed, which has a much stronger flavor, than a ‘nice white honey’ asked for in the recipe.
Images: Smooth skinned feral quinces to the left. Fuzzy skinned Orange quinces to the right. Orange quince cut open. The slight browning of the fruit flesh indicates that the pectin is breaking down, making the quince softer.
The first step is to core the quinces and remove all the seeds. Quince seeds – like most seeds in the Rosaceae family – contain some cyanide, so removing the seeds before cooking is a good idea. The cores themselves are very hard. After cooking, quinces were passed through a sieve, thereby removing the hard leftovers of the cores and the skin. When working with feral quinces, I followed the first cooking-then sieving approach, because these quinces proved very tedious to core and peel. With the much larger and softer Orange quinces I found it easier to simply peel and thoroughly core the quinces, before I cooked them and omitted the sieving step. The cooked peeled quince is very soft and can easily be mashed with a potato stomper like applesauce or potato mash, or run through a sieve.
Image: Quince puree ready to be sweetened. At this point it is still yellow.
It is surprising that in this recipe the boiling water is simply discarded. The water, in which quinces are boiled, is very aromatic and pleasantly fragrant. In many modern quince gelée recipes, the main focus is on the boiling water, which then gets sweetened (occasionally acidified) and thickened, while the use of the remaining pulp for the making of quince bread is treated more as an afterthought – some modern cooks apparently simply discard the pulp. This is quite a change in attitude from medieval times. Not wanting to waste the flavor in the boiling water I opted for a change in the recipe, boiling the quinces in much less water, similar to the amount one would use for applesauce and omitting the drip off stage. I found this approach frequently mentioned in German Internet publications, generally citing Hildegard from Bingen as source for the recipe. Unfortunately, none of these Internet publications provide a citation of a recipe written by the Abbess herself.
Image: Quince puree ready to be dried. The color is now orange.
Having omitted the drip-off step, my quince pulp was presumably much moister than the pulp the medieval confectioner, so therefore I only added 1/2 of the pulp weight in sugar. Initially, I followed the recipe evaporating water from the sweetened quince puree on the stove top. However, I found that the sweetened pulp is quick to stick to the pot bottom and burn, even while being stirred. Therefore, I opted for a different approach to dry the quince puree. Once all the sugar was dissolved in the quince puree, I spread the quince puree about 1/2inch deep on a backing sheet and dried it in the oven. The quince puree was still orange/yellowish in color, when I spread it onto the sheet.
I dried the feral quince puree at 220° F. Upon tasting it, I felt I might have heated it too much and therefore dried the other two purees at 180° F. By the time the puree had sufficiently dried out it had taken a red color and a somewhat glassy consistency. The drying process took about two days at the given temperatures.
Following the advice of the medieval recipe I made sure to use nice clean cookware at every step of the process.
The three quince breads presented:
Quince bread made exclusively from feral quinces. This bread has a fair level of acidity to it. The texture is leathery and chewy.
Quince bread made from Orange quince. The bread is very mild with strong quince flavor. The texture is soft, smooth and almost creamy.
Quince bread made from a combination of feral and Orange quince (ratio roughly 1:2). The texture and aroma resemble the quince bread from Orange quinces; however, the color is darker and there is a bit more acidity.
I did not use spices in this work to prevent them from overpowering the flavor differences caused by the quince varieties.
Image: Eadgytha enjoys sharing her yummy samples with the general populace present during the Kingdom A&S Championship.
Bibliography
Apicius Book I; 21. De Re Coquinaria Liber I. Epimeles (about honey, translation mine)
Apicius Book II; 163 Patinae Piscium, Holerum & Pomorum (Dishes of Fish, Vegetables and Apple-Fruit, translation mine)
Hildegard von Bingen’s Physica, The Complete English Translation of Her Classic Work on Health and Healing, (Translated from Latin by Priscilla Throop, 1998, Healing Arts Press, Rochester, Vermont.)
Mark Clarke, The Crafte of Lymmyng and the Manner of Staynyng, Early English Text Society, 2016
Mark Clarke, Tricks of the Medieval Trades, The Trinity Encyclopedia: A Collection of Fourteenth-Century English Craft Recipes. Archetype Publications Ltd., London, 2018
Pliny the Elder, The Natural History (John Bostock, M.D., F.R.S., H.T. Riley, Esq., B.A., Ed Red Lion Court, Fleet Street. 1855.
Images
Exemplar at Villa di livia, affreschi di giardino, parete corta meridionale. From here.
Quince; from the Theatrum Sanitatis, Library Casanatense, Rome. From here.
Process photos by Eadgytha scripsit
Kingdom A&S Championship entry photos by Elska á Fjárfelli
For those research-oriented people who are going to Ædult Swim, we will have a Browsing Library available there, allowing everyone to examine and make notes from the books during the entire day.
All attendees — especially those joining in the A&S activities — are invited to bring their favorite research books to Ædult Swim to share them with others.
We are a Society that believes in researching and in recreating our findings to the best of our ability. Collectively, we have built up an amazing collection of private libraries in our homes. We invite all of you to bring out some of these books to share with a wider audience so that other researchers (especially those who may be new to research in a particular field) can become aware of all of the resources that are around them. Bring out your favorite sources so we all can benefit from them!
If you are interested in participating, please contact Baroness Fiadnata ahead of time (either via Private Message on Facebook or email) so we can have some idea of the space we will need for all of the books. And if you are bringing books and happen to have SCA business cards, please bring along a small stack. We want to connect those who are interested in a particular book with the owner of the book, if possible.
Thank you!
Baroness Fiadnata ó Gleann Àlainn
Royal University of the Midrealm Librarian
How easy it is to “know” something, to know something so well that you grew up knowing that that is the way it is.
But what happens when popular thought turns out not to be so cut and dried, when other alternatives are more appropriate in a different situation?
Myrica pensylvanica, Northern bayberry or wax berry (hence the waxy-grey coating).
Listen to the tale of bayberry, an innocuous shrub from the Myricacaea family and native to American soil. Most familiar to those here is the Northern bayberry (Myrica pensylvanica), especially to Colonial re-enactors and homesteaders, because of the wax coating on the outside of the fruit that can be boiled off and used to make candles. (Combs)
And listen to the tale of bayberries, used by European medieval and Renaissance cooks, brewers, and physicians for their flavor and mild antiseptic qualities.
Now for the Million Dollar Question: what’s with this name?
Take, for instance, the following recipe by William Harrison in his 1577 Description of Elizabethan England. It mentions both “arras” and “bayberries” as botanical ingredients.
[much detail on the different steps of (partigyle) mashing…] Finally, when she setteth her drink together, she addeth to her brackwoort or charwoort half an ounce of arras, and half a quarter of an ounce of bayberries, finely powdered, and then, putting the same into her woort, with a handful of wheat flour, she proceedeth in such usual order as common brewing requireth. Some, instead of arras and bays, add so much long pepper only, but, in her opinion and my liking, it is not so good as the first, and hereof we make three hogsheads of good beer.
Neither ingredient is normally found in a modern kitchen, so more research is prudent.
A quick post in a SCAdian cooking forum came up with the suggestion for the first mystery of orris root, by way of the 1872 A Dictionary of Archaic and Provincial Words “a kind of powder, probably made of the orris-root.”
Other Google hits confirmed this possibility, but also that not even academics know its identification for sure. As the characteristics of orris root (Iris sp.) fit within the function in this recipe − the roots contain myristic acid (Grieve) making the powder mildly antiseptic and thus promote the durability of the concentrated malt syrup (called brackwoort or charwoort) − orris root is a plausible answer.
A similar post in this forum asking about the definition of the second mystery, bayberries, found a different response.
To my surprise, bayberry turns out to be a common shrub in the United States, and to my even larger surprise, it is part of the Myrica family.
I should explain: I recently finished a Compleat Anachronist on the Low Country herbal ale called gruit, which includes both Myrica gale and the berries of the Laurel nobilis, or the berries of the bay, called in Dutch and German bakelaar. The forum discussion suggested that all bayberries like wax berries are shrubs of the genus Myrica, and thus in the case of European sources, the European Myrica, which is Myrica gale, also known as sweet gale and bog myrtle. When I questioned this interpretation because of inconsistencies with contemporary sources, no one in the forum was able to provide further help. It was only because I had just spent a year researching the historic European side of a similar story that my curiosity was piqued.
So, if nothing else, let my ‘obsession’ be a point of learning for you! In the rest of this story, I will walk you step by step through my thought process, which led me to the appropriate answer.
Myrica gale, sweet gale catkins.
Question one: What are the medieval descriptors for the term in question?
When tackling a challenging botanical identification like this I have a found a number of useful sources to check. Since I want to know what the medieval European definition is − not the modern and often American definition given on Wikipedia − I like to proceed in this manner:
The search query ‘bayberr*’ found 45 records in EEBO, a combination of husbandry (veterinarian), chemistry, and medicinal manuals, with a few brewing and household entries. Checking one by one uncovered the following hints regarding its identity:
The 1653 Pharmacopœia Londinensis mentions: “Oyl of Bays. Take of Bay-berries ripe, and newly gathered…” and “Unguentum Laurinum commune. Take of Bay leaves bruised, … Bay berries bruised …”
The 1578 (?) Orders, thought meete by her Maiestie mentions: “An excellent Medicine made without charges.: Take of the powder of good Bayberries, the huske taken awaye from them, before they be dried, a spooneful.”
Pliny the Elder (1634 edition) mentions that “Oliues, Bayberries, Walnuts and Almonds, haue a fattie liquor in them.”
The charitable physitian with the Charitable apothecary of 1633 mentions: “Bayberries the pound 006 Mirtle Berries the pound 010.”
At first, I thought mirtle to mean bog myrtle fruit, although I was confused as to why those would be called berries (they are more akin to seeds or cones). Then I realized another mirtle was meant, the Myrtus from the Bible, with berries quite similar to those of the laurel.
Myrtus communis, Mirtle berries
Conclusion one: This rough check of easily available literature indicates that United Kingdom bayberries are associated with bay (leaves), can be husked before they are dried, contain a fatty liquid, and are listed next to myrtle berries, indicating a probable visual similarity.
Bog myrtle fruits (Myrica gale) are technically not a berry, they are catkins of ingrown flower petals and seed, and cannot be husked. They come pretty much dried right off the bush, do not contain a waxy nor a fatty substance, and have no visual similarity to myrtle berries. On the other hand, the berries of the Laurel fit all these descriptors.
An observation: while the shrub is called bayberry (singular) and many of the herbal ingredients are listed as singular botanicals, bayberries are invariably listed as plural. Linguistically, this suggests it is not a generic term (the bayberry), but indicates a specific part of the plant (the berries of the bay; bay berries). The spelling also varies, from bayberries to bay-berries and bay berries.
Interestingly, when this information was shared with the medieval cooking forum many of the participants were not convinced. The information was found interesting, but bayberry is bayberry, and while I thought the contemporary information was quite convincing, it did not change their opinion. It was time to dig even deeper.
Step two: Check a dictionary. When researching English language words, the Medieval English Dictionary or MED, hosted by the University of Michigan, has proven very useful.
The MED lookups had no hits with “bayberry” or variants, and no hits for sweet gale or variants, but it did have an entry for “laurel.”
(a) The European laurel tree, bay tree (Laurus nobilis); ~ tre; beries of ~, ~ baies, fruit of the laurel, laurel berries; […]
bai(e (n.) Also (error) boi-.
The berry-like fruit of various plants, trees, or shrubs (including the laurel, olive, rose, nightshade).
(a) Specif., the fruit of the laurel tree (Laurus nobilis); ~ berie; (b) the laurel tree; ~ tre; ~ leves, laurel leaves; (c) oil de bai(es [see quot.: a1500]; (d) pouder of baies.
Conclusion two: According to the MED, bai(e) berie is the fruit of the laurel tree. Apparently, bayberry means “berry berry.”
Laurus nobilis, Laurel berries.
Step three: Check the etymology of the word. Etymology Online is a good place to start, and if you have access, the Oxford English Dictionary is even better.
bayberry (n.)
“fruit of the bay tree,” 1570s, from bay (n.4) + berry. In Jamaica, the name given to a type of myrtle (Pimenta acris), 1680s, from which bay-rum (1832) is made.
bay (n.4)
laurel shrub (Laurus nobilis, source of the bay-leaf), late 14c., but meaning originally only the berry, from Old French baie (12c.) “berry, seed,” from Latin baca, bacca “berry, fruit of a tree or shrub, nut” (source also of Spanish baya, Old Spanish bacca, Italian bacca “a berry”), a word of uncertain origin. Extension of the word to the shrub itself is from 1520s. The leaves or sprigs were woven as wreaths for conquerors or poets, hence “honorary crown or garland bestowed as a prize for victory or excellence” (1560s). Bay-leaf is from 1630s. Bay-berry (1570s) was coined after the sense of the original word had shifted to the tree.
The OED gives a little bit more historic background:
Bayberry: (ˈbeɪˌbɛrɪ) [f. bay n.1 2]
1.1 The fruit of the bay-tree.
1578 Lyte Dodoens 688 Called in Latine Lauri baccæ, in English Bay berries. 1747 Gentl. Mag. XVII. 409 Take of aniseed‥bay-berries, myrrh‥of each half an ounce.
2.2 In U.S., the fruit of the Wax-myrtle (Myrica cerifera), and the plant itself, an American shrub that bears a berry covered with a wax-like coating.
1687 in Manchester (Mass.) Rec. 32 The sd. tree being near Vincsons baiberry medow. 1769 Massachusetts Gaz. 21 Dec., Advt. (Th.), Bayberry-wax candles. 1792 J. Belknap New Hampsh. III. 123 The bay berry (myrica cerifera), the leaves of which yield an agreeable perfume, and the fruit a delicate green wax, which is made into candles. 1860 Bartlett Dict. Amer. s.v., The berries when boiled in water yield a fragrant green wax, known as bayberry tallow, used for making candles, etc. 1878 R. Thompson Gard. Assist. (Moore) 657/1 Myrica cerifera, candleberry, bay-berry, or wax-myrtle.—Very near the sweet-gale.
3.3 In Jamaica, the fruit of the ‘Bayberry Tree,’ Eugenia acris, a species of Pimento.
1756 P. Browne Jamaica 247 The Bayberry Tree‥The berries resemble our cloves, both in form and flavour.
Conclusion three: Both etymological dictionaries link the word bayberry to laurel berries (Laurus nobilis) first, followed by the Jamaican bayberry tree (Eugenia acris). The OED indicates a separation of definition by giving a US-specific definition for the fruit of the Wax-myrtle (Myrica cerifera), bringing us back to the Myrica family. And while it indicates the bayberry is “very near the sweet gale,” it does not list it as identical. This connection to Myrica gives rise to my second question.
Question two: What is this connection between bayberry and sweet gale?
When I looked at the easily available sources, such as Wikipedia (Wiki/Myrica), the information seems to be pretty clear:
Myrica /mɪˈraɪkə/[2] is a genus of about 35–50 species of small trees and shrubs in the family Myricaceae, order Fagales. The genus has a wide distribution, including Africa, Asia, Europe, North America and South America, and missing only from Australia. Some botanists split the genus into two genera on the basis of the catkin and fruit structure, restricting Myrica to a few species, and treating the others in Morella. Common names include bayberry, bay-rum tree, candleberry, sweet gale, and wax-myrtle.
At first glance, this seems to indicate a connection between bayberry and sweet gale (Myrica gale). But when the specific Wikipedia page for Myrica gale (Wiki/Myrica_gale) was checked, no such connection was found.
Something that caught my eye was that most, if not all, of the Myrica species with bayberry as a common name are native to the US. And I wondered, maybe those botanists listed in the Wiki/Myrica page are not that far off, splitting the genus on basis of the catkin (a.i. Myrica gale) and fruit (a.i. Myrica cerifera and M. pensylvanica); it seems the name bayberry is not only connected to the US natives but also to the species bearing fruit. In Europe, the only Myrica used in brewing is Myrica gale or sweet gale, which has catkins.
To check American plants, I find the USDA Natural Resources Conservation Service to be helpful. This database also divides the family Myricacea, the family of bayberries, into Morella and Myrica. It only lists two Myricas, Myrica hartwegii as Sierra bayberry (US) and Myrica gale (US & EU) as sweet gale, with no bayberry variants. This matches the Wiki/Myrica_gale information, which lists sweet gale as the US term and bog myrtle as the UK term for Myrica gale, with no bayberry variants.
Conclusion two: In modern US English, bayberry indicates several species of the bayberry family Myricacea native to the US. US bayberries mostly bear fruit, not catkins. While Myrica gale is part of the bayberry family, even in the US, the term bayberry does not apply to Myrica gale. Only Myrica gale was used in European brewing. Myrica gale is called sweet gale in the US and bog myrtle in the UK, and many other names in other countries. In languages such as Dutch and German, there is no confusion in terminology. For instance, in Dutch, gagel is bog myrtle, and bakelaar (historic; from baccae lauri) and laurierbessen (modern) are the berries of the laurel.
Question three: Would bayberry therefore mean something else in modern US than it would in medieval UK?
The information points to a double meaning for the word bayberry. In modern US, the term bayberry indicates several species of Myrica (or Morella) shrubs. In medieval UK, the term bayberries points to the berries of the bay laurel tree.
Another way to check this theory would be to look at the same term (bayberry), in the same era (16th c) used in the same context (the brewing of beer) but in a different language. From my research into medieval gruit ale, I had already come across both ingredients bog myrtle and laurel berries and found that within the Dutch and German sources these ingredients would be indicated with non-matching terms.
Variants for Bog myrtle in Latin, Dutch and German include: custum, costus, Herba Myrti Rabanitini, Gale palustris, gagel, gaghel, Myrtus Brabantica, Brabantsche mirt, myrtenheide (myrtle heather), mirtedoorn, post, possem.
Variants for Laurel berries in Latin, French, Dutch and German include: Bacca laureus, baca lauri, Lauri baccæ, bakeleers, baekelaers, bakelaar, Beckeler, laurus, laurusboom, lauwerbessie, bayes de Laurier, graines de Laurier, laurier, Lorbeerbaum, Lorbeeren.
For instance, Eenen Nyeuwen Coock Boeck (1511) mentions the following ingredients in the recipe To make gruit and gruitbeer: “Neemt tegen eenen pot een koren bakelaer (laurel berries), ende alsoo veel aipoys (much resin), ende wat haveren doppen (some oatbran), ende twee saykens van gagel (two bog myrtle catkins).”
Conclusion: In Dutch and German medieval brewing, both ingredients, bog myrtle and laurel berries, were used side by side; they were both found to have preservative properties in the brewing of beer. It thus makes sense from a technical point of view that the UK word bayberries, used in the same time and in the same context, also is appropriate as the berries of the bay laurel.
The final step: Check the contemporary herbals.
Dioscorides — whose first century De Materia Medica was the basis for all European herbals until the 17th century — seems to be talking about Laurel bay: “Laurus nobilis — Sweet Bay, Laurel, Roman Laurel. L aurinum is made from overripe bay berries (which are ready to fall from the tree) […]”
Bald’s Leechbook, also known as Medicinale Anglicum, is an old English medical text written in Latin and probably compiled in the ninth century. There are various manuscripts of the original text, using various terms and spellings for the different ingredients. The berries of the bay laurel tree are mentioned several times, both as ‘laurescroppan,’ which in Old English could mean either the fruit, or a bunch or cluster (of leaves), and as ‘baccas lauri‘ (as well as baccae lauri, baccarum lauri). The latter term means ‘berries [of the] laurel’ and is the genesis of the middle Dutch and German term bakelaar, and the English bay berries.
Gerard Dewes, in his A Nievve Herball or Historie of Plantes from 1578, has the following to say about the bay laurel:
The bay is called … in Latine, Laurus; in high Douche (High German) lorbeerbaum: in base Almaigne (Low German, Dutch), Laurus boom: in Englishe, Bay or Laurel tree.
The fruit is called in Latine, Lauri baccae; in English, Bay beries; in French Bayes or Graines de Laurier: in high Douche, Lorbeeren: in base Almaigne Bakeleers.
This is also found verbatim in John Gerard’s The herball or Generall historie of plantes, 1597.
Conclusion: In 16th century England, the term bayberries indicated the fruit of the bay laurel.
Summary
In modern US context, the term bayberry means several species of the Myricacaea family, including Myrica cerifera and Myrica pensylvanica.
In medieval UK context, the term bayberries meant the berries of the bay laurel (Laurus nobilis).
It is my suspicion, and the dates of the etymology of the term seem to support this, that European immigrants to America brought the term bayberries with them. With the absence of local laurel berries the term transferred to the next best thing, a native aromatic shrub with berries visually similar and of similar household qualities.
A side note: the juice of the Chinese Myrica rubra is fermented into alcoholic beverages, among other uses. It is not clear to me if, apart from Myrica gale, any of the other Myrica’s are or have been used in brewing beer.
Myrica rubra, also known as Yumberry™
So… what should we take from all this?
I think it is good to be reminded that language is fluid, it changes with the times, and words and definitions change with it.
It was only because of my previous research and my European background that I questioned the definition of this term. While bog myrtle and laurel berries are used for similar preservative properties in brewing, they both have unique flavors which could change the outcome of the final brew.
In our efforts to emulate pre-1600 recipes it would be a shame if our modern assumptions got in the way of our experimental cooking & brewing!
References
Thank you, Baroness Katja Davidova Orlova Khazarina, for double-checking my findings, and finding even more sources.
Meesteres Odriana vander Brugghe is proud to announce that at this year’s Ice Dragon Pentathlon, she will be awarding Het Bruggetje prize for Research. The prize will be $100 in cash, which the winner will receive when the results are announced in Ice Dragon court.
Meesteres Odriana very much looks forward to reading your research, and would be elated to award one of you The Prize! Not sure if you know Meesteres Odriana? Read more in her Populace in Focus article.
I have in front of me issue #124 of Tournaments Illuminated (Autumn 1997). On pages 24 and 25 is a nice article by Diane Harper (Siglinde Harfinerstochter) titled “Drinking Vessels (Mostly Glass) of the Middle Ages.” It is a nice article and it does inspire me to use Siglinde’s overview on glass cups to do some of my own research. The article includes some crude drawings of drinking vessels with notes that some of them can be found at the Corning Museum of Glass, which is about a two hour drive from my house. I can certainly drive out to Corning and see these vessels for myself and write about them. Siglinde also has a small bibliography to lead me to additional resources to help me with my future research. I don’t know if Siglinde ever thought that anyone would be reading her article 25 years later, but here we are.
The Florilegium is a collection of files assembled by The Honorable Lord Stefan li Rous. The information hails from various sources, starting from when Stefan first joined the SCA in 1989. This includes files from various mail lists, posts in various Facebook groups, as well as articles submitted directly to Stefan by their authors. Be aware of “rabbit holes”… many an artisan found more than they were looking for after finding their way to the Florilegium research vaults!
Image: Roman painting of a quince tree in the Casa die Livia, probably 30BC
Image: Quince puree ready to be sweetened. At this point it is still yellow.
Image: Quince puree ready to be dried. The color is now orange.
Image: Eadgytha enjoys sharing her yummy samples with the general populace present during the Kingdom A&S Championship.
