PGC2019: THL Joana de Bairros’ Article on Names

The Honorable Lady Joana de Bairros submits an article published in From the Tower in the category “When I am forgotten, as I shall be, and sleep in dull cold marble, … Say, I taught thee.”

This article can also be found on her blog: https://joanadebairros.blogspot.com/

“Creating and Registering an SCA Name

THL Elisabetta Foscari/Joana de Bairros (Tour d’Or Herald)

As you can see from the length of the name above I have recently made some changes. I decided I wanted to create an alternate 16th century Portuguese persona and then use the Persona Gubbins challenge to develop this. I first, however, needed a Portuguese name to attach to my Portuguese work. I felt that writing this article, showing my progression from thinking about a name to formally registering it with the College of Heralds, would be useful for those who are also considering their Society name.

But why Portuguese?

The first step in the creation of an SCA persona is deciding on time and place. For those of you who have known me as a serious Italophile for the past 19 years, you may be wondering what brought this Portuguese fever on? For me this is using the SCA to explore my mundane heritage as my great-great grandfather was from Portugal. Unfortunately he was very keen to Anglicise himself when he moved to New Zealand so we have very little information about him except that he changed his surname to
Thomas and came from the Azores. Your own heritage may be a factor that plays a part in your choice of culture, as may personal interest, which was why I originally chose Italy.

There are a broad range of time periods you can explore in the SCA, up to around 1600. Taking account of your areas of interest may help narrow the field. For me, the 16th century was an easy decision as there are pretty clothes, buf for you, an interest in martial pursuits or a particular type of cuisine may shape your decision as to time. Often people want a name that works across a broad period of time, which is entirely possible, but as you will see below that it is easier to get your registration paperwork done if you focus on a particular century.

Looking for a name

My go to place for name research is the Academy of St Gabriel who have a superb medieval names database organised by culture. This is where making a decision as to culture and time becomes useful. The database links to a wide variety of SCA articles where people have analysed primary source material to find name construction and usual names. I find this is a good place to start looking for a name. I even used it when looking for baby names! Another good resource is the SCA Heraldry name page which is again divided by culture.

If, however, you are looking for something more specific then there are a number of books that will help you. A good place to look for these is the College of Heralds list of books that do not require photocopied evidence for name registration found here. If you want to go back to basics then look for primary sources that include lists of names. These could be tax rolls, census data, funerary monuments, parliamentary records, court documents, parish registers or customs logs, to provide a few examples. Often the articles from St Gabriel are a compilation of evidence from these primary sources which is very helpful to those who do not have the time or access to do so themselves.

Resources for my name

I was lucky when choosing my name that there were two 16th century Portuguese name articles. One was ‘Portuguese Names from the 16th century’ by Juliana de Luna which used letters from the Court of the Portuguese King John (Joao) III. There were few female names listed in this source however, although it did make some interesting points about name construction in that there was no mention of middle names and only 15% had two parts to the surname.

The other article ‘Portuguese Names from Lisbon, 1565’ by Aryanhwy merch Catmael was the most useful article as it had an extensive list of female given names and surnames to choose from. This article is based on a 16th century tax roll. Although I am planning to focus on 1530s Portugal rather than 1560s this is as close as I can get and names that were used in 1565 would have been around in 1535.

Name structure

It is important to consider name construction when creating your name. Some cultures put surnames first, other cultures expect patronymics to be used and others use feminine or masculine word endings for names. The evidence on Portuguese names in both sources was that ‘overwhelmingly’ people had a given name and a surname. There were some examples of two part surnames but these were rare. There appear to be no recorded two part given names. I wanted to keep my name simple so I chose to go with what appears to be the standard practice of a given and a surname.

Given name

When choosing an SCA first name I think it is important to pick a name you feel is you and you are actually going to answer to. When I chose Elisabetta it was because Elizabeth is my middle name and that was an Italian version of it. It is also an idea to run it past a friend and get their opinion on it. Try it out for a while to see if it works for you by saying it and writing it down. Other important considerations are who else in the group has that name or a version of it.

The Lisbon article had a long list of female names to consider. The most popular were Isabel and Maria of which there were 139 examples of each. As I spend a large amount of time with Mistress Isabel Maria I felt that neither of these were suitable choices. Caterina was the next most popular and there are many of those in the Crescent Isles. Inez I liked but it is the Portuguese version of Agnes and I didn’t think it would be a good idea considering how much time I spend with Baroness Agnes. I emailed my short list of names to Baroness Agnes and she commented that Madalena was a bit quieter than me!

In the end I kept going back to Joana so I knew it was the right one. It has a nice correlation in sound to my mundane name of Josie so it should make it easy to recognise. Joana was the thirteenth most popular name on the tax roll with 36 instances of it.

Surname

The information from the tax roll suggests that there were three types of surnames in Lisbon in 1565. One was a patronymic (English examples of these are Robinson, Thompson) which in Portuguese are names like Diaz, Guomez, Mendez. The second is locative (a place name) such as Braga, Estremoz or Lamego which are all towns in Portugal. Many of these are preceded by a de or d’vowel. This indicates that a person is from a place i.e. de Braga is from Braga. The third type are descriptors such as Moreno which is dark skinned, Pinto which is freckled or Veloso which is wooly or shaggy.

As I was unsure what my original Portuguese family surname was, I decided to look for a name that worked with the Joana. I jokingly said to Agnes some time ago that I could document a Portguese name that loosely translated to Joanna Lopez from the Block which was Joanna Lopes de Bairros. The more I thought about this, the more I liked the sound of the de Bairros part . A bairro is a Portuguese word that means neighbourhood or quarter. There is also a town called Bairros between Oporto and Lamego in Portugal. There were 6 instances of varying spellings of de Bairros on the
tax roll, 3 of these were spelt de Bairros.

Most of all I liked the meaning behind de Bairros in terms of developing my persona. When I picked my Italian name I chose Foscari as they are all well known aristocratic Venetian family with one famous 15th century doge, Francesco Foscari, as a member. I wanted to link my Joana persona to my love of being in the kitchen. Elisabetta Foscari would be far too aristocratic to be working in a kitchen but Joana de Bairros certainly would not be. I imagine Joana to be a bit like J.Lo in the Jenny from the Block song, working her way up from a family of fairly humble origins to become the Honourable Lady Joana.

Joana de Bairros it is!

Registering a name

I found deciding on a name more difficult than the registration of it. If you are new to the SCA or would like some reassurance this would be the time I would suggest talking to a herald about how to get your name registered. All registrations do need to go through the Southron Gaard herald so you will need to talk to them about what you want at some point in the process.

The first step towards registration is to see if your name is available as you will not be allowed to register a name that is either too similar to someone else in the Society or of a famous person in period. The place to look at this is the SCA Armorial search engine. You are better to use the Name Pattern Search as this is less sensitive than the Name Search form so will give a better coverage of entries. Luckily there is only one other Joana, a Joana Alvarez registered in 2012 in Gleann Abhann. There are no de Bairros registered so hopefully I am safe.

Your herald will then need to fill in the Name Submission form which can be found in electronic copy on the Lochac herald page. This does need to include evidence of your name. If you are using certain sources you can just mention them by name or provide a page number in a book (see the list above). Name registration services are free in Lochac!

Final Thoughts

There is a sense of achievement in getting your name passed by the College of Heralds and it does make it feel much more like it is yours. Personally I most enjoyed finding a name that I am confident was appropriate to the place and period in time I wanted to be in. Name registration does not have to be frightening if you are prepared to shop around for what feels right for you and it can even be fun.”

Useful links

https://www.s-gabriel.org/
https://www.s-gabriel.org/names/index.shtml
https://heraldry.sca.org/names.html
https://heraldry.sca.org/admin.html#APPENDIXH
http://oanda.sca.org/

https://herald.lochac.sca.org/forms/submissions/

VPC2017: Meisterin Christian and Dona Isabel Maria’s Article About Cupboards & Baldequins

Meisterin Christian and Dona Isabel Maria wrote this article for FTT – it meets the categories An Essay Of A Thousand Words and Those Who Can Also Teach.

Meisterin Christian writes: We decided to write this article because several people asked about the cupboard and baldequin that we put together as part of the decorations at Baronial Anniversary 2017, and we wanted to provide some background and period examples. We hope we can show that the arts and sciences can also support the service / stewarding aspects of our society, and we encourage stewards to do a little research to find ways in which they can enhance their events in a more period fashion.

Nice Little Touches (for event stewarding)
This article is to give you a little historical background to a couple of hall decorating ‘touches’ we have used (most recently at Baronial Anniversary 2017). 


Members of our household had volunteered to steward the event, so as is our custom we looked for ways to support them in that task.  We decided that we’d like to tackle the hall decoration, as between our camping gear and event stewarding kits, we had enough “schmutter” (thanks to Baron Oswyn for the word “schmutter” meaning ‘all that cool stuff in the background that enhances the period feel and atmosphere’) such as curtains, chandeliers, candle lanterns, and so on readily available to dress the hall.


While it takes a fair bit of work to fully decorate a hall (and we’d like to extend our profound thanks to everyone who helped put up and take down the decorations), we believe it’s worth the effort to try and capture the period ambience of the kind of world we strive to recreate in the SCA; in this case, a late period Italian noble’s feast hall.  We also appreciate the kind words of all those who enjoyed the hall dressings.  The hall at Baronial Anniversary this year (Rimu Park) is a tough customer.  No matter the decoration, it’s hard to miss the underlying “airplane hangar” construction, and in summer the glazed roof lets in too much light for candles to be really effective.  On the positive side there are plenty of structures from which to hang e.g. the chandeliers and banners, and the side alcoves can be curtained off to create more intimate areas.  The hall was missing some tables this time so that did make the design a little more challenging than usual and meant we were not able to complete everything we had planned.


Period illuminations and paintings provide a rich source for researching information about decorations for feast halls.  While it is important to treat, especially illuminations, with some caution, the frequent appearance of similar decorations and types of furniture, and in some cases their concordance with extant or later pieces, suggests there are some useful conclusions we can draw from such sources.  A range of 14th to 16th century illustrations featuring feasting scenes can be found below.  The two particular features of decoration we’d like to focus on in this article are the baldachin / baldequin and the “cupboard”.  We have used these before at feasts and events, and we’d like to share a little information about period examples, and suggestions for their recreation in the SCA.


The baldachin / baldequin: The baldachin / baldequin was the canopy that hung over and behind Their Excellencies at the high table at Baronial Anniversary 2017.  You may have seen this at other events, including for example hanging over Their Majesties at 12th Night Coronation Feast (Canterbury Faire) in 2016 (see below). 

The baldachin / baldequin at the Feast at 12th Night / Canterbury Faire 2016..

The baldachin / baldequin at the Feast of Saint Percival in 2009.

In period a baldachin / baldequin (or canopy of state, or cloth of honour) was a ceremonial canopy that was placed over a throne or high table etc as a symbol of authority and status of those who sat beneath.  The canopy was most often made of fine fabric (for example see Figure 1 below; the name baldachin / baldequin is derived from the term for a particular luxurious type of fabric) but later could also be made of various more permanent materials.  Canopies might also be mobile and carried above important personages during processions (as was the case for Baron Sigurd and Baroness Eleonora at their investiture as Baron and Baroness Southron Gaard). 

Of particular interest here are the baldachin / baldequin fabric canopies used in feast halls.  A number of period illustrations featuring a range of styles of baldachin / baldequin can be seen at the end of this article.  These canopies were placed over the highest ranking person(s) at the high table, and comprised a ‘roof’, and ‘wall(s)’ that usually fell behind the thrones or chairs.  The roof often, but not always, had a ‘valence’ around the edge (for example, Figure 2). These canopies most often appear to be made of fabric, and can be decorated with heraldic elements (heraldic colours or motifs) such as those in Figures 2 and 7 below.  How the canopy was suspended is not always clear from the illustrations; some appear to be suspended from above (for example, Figures 1 and 3), others appear to be free-standing with supports that are not visible (for example Figures 2, 6 and 8).  In a smaller number of illustrations an architectural framework frames or supports the canopy (for example Figures 5 and 10).


Our baldachin / baldequin is made from a blue brocade fabric (originally made for a Caidan royal visit), and we later added a (white) trim similar to those in Figures 2 and 8 below which gave the canopy more visual definition and made the blue fabric “pop”.  The canopy is now also decorated with heraldic motifs (white stars) as we modified it for use for Lochac Royalty.   Baron Oswyn painted a beautiful Lochac ‘achievement of arms’ for 12th Night Coronation in 2016, which can be optionally attached to the back drapery.  The canopy is a very simple design: the roof of the canopy is braced and the whole thing is suspended from the roof (or similar structures) of the feast hall by cords. The back drape reaches to the floor and can be optionally weighted, tied down or braced.  We have experimented with a more free-standing baldachin / baldequin, but have yet to come up with an easily portable and erectable design; the canopy really also needs to be suspended from a roof (in the very least as a safety measure in our shaky city) and few halls here have the means to do this safely and conveniently.  We have plans to make another hopefully more elaborate Southron Gaard baldachin / baldequin if we are able to find appropriate fabric.  The (SCA) Kingdom of Aethelmearc recently received a new baldequin in brocade with a heraldic decoration: https://aethelmearcgazette.com/2017/04/30/court-reports-last-court-of-marcus-and-margerite-and-coronation-of-timothy-and-gabrielle/


The baldachin / baldequin helps bring the focus of attention in the room to the high table, and marks out and orients the room to the Royals or the Baron and Baroness.  A sumptuous fabric and / or heraldic decoration can enhance the display.  The canopy also has the advantage of reducing breezes on the back of the thrones, delineating “Royal Presence”, and hiding all manner of poor hall architecture (or modern decoration) as well as practical bits and pieces behind the throne.

The “cupboard”:
The “cupboard” we refer to here is the table or cabinet-top display of fine plates and other metal vessels (which I will refer to here as “fine plate”) that stood by the door at Baronial Anniversary.  You will have seen several of these that we have done before at previous events.  See below for two event photographs.

The “cupboard” at a previous Baronial Anniversary.
The “cupboard” at Baronial Anniversary 2017.

The period names for this and similar types of furniture are somewhat unclear.  

Looking at illustrations of period feasts it’s possible to see a number of different types of shelving or cupboards in feast halls; for example a cupboard with doors (usually described as an ambry), a cupboard from upon which it appears wine was served, the cupboard / table display of fine plate, open shelving units of various kinds, etc.  Our focus is on this display of fine plate. 

These “cupboards” do not appear to have a functional aspect at the feast; food or drink is not served from them as we might serve from a ‘buffet’ today.  The display of wealth and status through the display of expensive metal ware (which is not used for feast service but is only for display) is the key to this piece.  These pieces of furniture have a number configurations and structures throughout time and space, but common elements include a cloth covering the cupboard or shelves (for example Figures 1, 8, 10) and placed upon that a tiered display of fine plate (gold or silver (or perhaps even pewter) plates, dishes and other vessels; for example, Figures 1,2 8-12).

Some “cupboards” even have a little wooden or fabric canopy over the top (for example Figures 2 and 8).  A number of period illustrations featuring a range of styles of the cupboard display can be seen at the end of this article. Carrying about a large purpose-built wooden cupboard is impractical for SCA events, and even our nicest halls have not had furniture that could lend itself to this treatment.  We have therefore used a variety of tables, cupboards, boxes and shelf combinations to construct our cupboards, often cobbled together underneath with clips and tape.  

The unexpected lack of tables at Baronial Anniversary meant we had to be a little inventive in our construction this year.  Baron Richard was also kind enough to make a wooden table top unit for this purpose. Fine cloths (we have used white linen, brocades, and carpet rugs) can add richness to the display, as well as hide an underlying non-period structure.  The “plate” comes from our personal feast and camping gear collections; sometimes we use silver tones, sometimes gold tones, and sometimes both.  Some of the plates are in pretty rough condition, yet look good at a distance and under candle light.  While other items aren’t generally seen on “cupboards” in period illustrations, we’ve used small items that work with the theme of the event, and also candles to help light and bring sparkle to the plate in halls where otherwise we have insufficient period lighting to illuminate such a display.  The “cupboard” is completely decorative and non-functional, but it is a large, strikingly non-modern, decorative element that takes reasonably minimal effort and brings period ambience to your hall.


Both these decorative traditions persist even today in some royal palaces.  Note Figure 13 below from a recent state banquet at Buckingham Palace where a baldachin / baldequin hangs over the thrones, and cupboards displaying golden plate are placed on either side of the hall. 

We’d like to encourage other stewards to take the opportunity to do a little research and find similar interesting period (decorative) ideas for enhancing their events.  We’d also like to encourage the populace to contribute to the period ambience of events; by bringing personal banners, dressing or decorating their tables, bringing candles and other lighting, and so on.  There are a number of categories in the Baronial Challenge that would provide some excellent scope for researching and recreating such items.  For more period examples, you might see our Pinterest pages  https://nz.pinterest.com/amberherthe/ (especially those on Table Settings, Tableware, Houses & Houseware, Lighting, and Wall Hangings and Decorations) for illustrations, ideas and inspiration.

Figure 1. Italy, 15thC. Canopy has elaborate brocade at the back and the front drop is trimmed with a fringe(?).  Cupboard with cloth and silver / pewter vessels, on the right.
Figure 2. French, 15thC.  Heraldic fabric back trimmed in red with red fringed canopy. Cupboard with canopy on the right.
Figure 3. English (?), 16thC.  Elaborately dagged and tasseled baldachin, with back dropped suspended (?) to allow the heat of the fire through to the high table in winter.
Figure 4. Italian, 15th.  The baldachin has a tassled (?) roof, and in this case sides rather than a back, perhaps to take advantage of the heat from the fire.  Cupboard (with fabric canopy?) on the left.
Figure 5. France, early 15th C.  The baldequin has an architectural frame with various fabric drapery.
Figure 6. French, 1420. A brocade baldequin with a particoloured fringe.
Figure 7. French, 14th C.  Three separate hangings with French heraldic motifs.
Figure 8. French 15thC.  Red baldequin with green trim and fringe.  Cupboard on the left (with it’s own built-in canopy).
Figure 9. Florence, 1460.  The cupboard ‘shelves’ are hollow ‘boxes’, and the front and wall behind are covered with draped cloths.  A mixture of dishes and jugs are placed on the board.
Figure 10. French, 15thC. Cupboard in the middle background, the cabinet covered in a white cloth with vessels also on ‘shelves’ above.  Architectural ‘canopy’ over the table on the left.
Figure 11. Florence, mid 15thC.  The cupboard is covered in the same cloth as the feast table, and contains tiers of plates and jugs.
Figure 12. Antwerp, 1523. The cupboard in back left is covered in a white cloth with tiers of plate and jugs.
Figure 13. Recent state banquet at Buckingham Palace with baldachin / baldequin over the thrones and the cupboards displaying golden plates etc on both sides of the hall.