From Her Excellency, a 16th Century sailors hat, for the categories The Neck Best Thing, String Theory and Oh Say Can You Sea.
Tag: Variety Pentathlon Challenge 2017
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 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 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.
VPC2017: Her Excellency Ginevra’s Tiniest Unicorn
This delightful piece of embroidery from Her Excellency Ginevra is for the categories Here Be Monsters, Show Us Your Arms, and Give What You Get.
Her Excellency says:
This depiction of my arms is worked with silk thread, on silk, in split stitch (with thanks to Melissa for teaching me) and is 1.5 inches high. It’s been given to Mistress Rowan, to be part of the Broiderers Guild of Lochac Banner.
VPC2017: Lady Melissa’s Belt With Bone Buckle and Strap End
This belt is an entry from Lady Melissa – she started the project before BA, but this is acceptable for the category Remake, Reuse, Refashion, Reconsider (and it also fits in Show Us Your Arms). I believe this makes Lady Melissa’s fifth project, making her the second person to finish the five projects aspect of the Pentathlon, and earning her a prize to be awarded at a future event.
She says:
I started this project before BA, but it was sitting unfinished due to a number of challenges regarding safely riveting through bone and obtaining a suitable leather (which needed to be blue, as it was for Nathanael, whose device is a white stag on a blue field). I have finished it for the pentathlon challenge!This is a belt with a bone buckle and strap end. The buckle was carved out of cow bone, and the strap end is carved out of sheep bone. The strap is commercially veg-tanned blue leather. The buckle is loosely based on the Borre belt buckle, which features two wolves rather than two deer. The strap end is based on a Jelling-style dragon strap end, modified to represent a stag instead. The belt is slightly less than 2cm wide.
VPC2017: Mistress katherine k’s Baby’s Charm and Teether
This is an entry for the categories Child’s Play, and The Neck Best Thing: a baby’s charm and teether.
Mistress katherine says:
In Detti’s Madonna della Pergola (painted in 1523), a young child holds a light chain which carries a piece of coral, a cross, a token, a coin or pilgrim badge and a dog’s tooth. The coral and the tooth were used as teethers; the remainder were to call upon less physical aid.
This charm from my swaddling days holds coral to ward off the plague, a cross from Rome, an angel, and a pilgrim’s scallop from Santiago de Compostela.
VPC2017: Mistress katherine k’s Ka-Mal – a latitude stick
Another entry of a nautical nature by Mistress katherine k – a latitude stick. This entry is for the categories Oh Say Can You Sea?, String Theory and For Science!
She says:
Arabs and the sea-farers of India use these sticks to determine their latitude while upon the waves. da Gama and the Portugeuse have recently brought this knowledge to our seas. The ka-mal is held out at arm’s length matching the horizon at one end and the celestial centre of the sky at the other. Knots in the string are set for the latitudes of desired ports. Hold the port knot in your teeth and the ka-mal will tell you your required course north or south.
In this case, the knots have been set for the latittudes of the important settlements in the Crescent Isles, and will be tested against the sky during my travels.
VPC2017: Lady Melissa and Lord Nathanael’s Baby Booties
Another combined entry from Melissa and Nathanael, for the categories Child’s Play, Hitting Below The Knee, String Theory, Counting On Sheep, Back To Basics.
Melissa says:
These are naalbound baby booties. Our (non-scadian) flatmates have a baby, who needed warm socks for the winter to keep the chillblains away. Since we had leftover homespun from some other projects, this seemed like a good opportunity! Melissa prepared the fleece and spun the wool, Nathanael did the naalbinding. The booties have a linen re-enforced toe.
VPC2017: Baroness Agnes’ Banner
This entry is Baroness Agnes’ second, a painted banner submitted for the category Show Us Your Arms
She says:
The plan was quite simple: paint the Hous Amberhearthe badge on to one of those big white pieces of fabric I got from Kutwells. The execution was complicated by the intervention of the feline, eventually requiring the white of the ermine border to be painted in due to green pawprints. However, I am pleased with the final effect. In the end the whole banner had about 7 coats of paint! The white was trimmed down, a backing of heavy linen tacked on, sewn, inverted, pressed and hand finished. Pole inserted and braided cord attached.
VPC2017: Baroness Agnes’ Muff
Baroness Agnes presents this muff, which was made as a gift for Baroness Ginevra, for the category Cover Me.
She says:
The plan was to make a muff to keep hands warm at winter events. That got upgraded to make a fancy muff as a gift for Her Excellency with whom I had discussed my muff plans in the past. Muffs become popular in Europe towards the end of our period. They were typically lined with fur, the outer being either fur or some other fabric. I chose some jacquard I knew Her Excellency would like due to colour and pattern, and some black synthetic fur I had already. Embellishments were done in white so that the outer was blue and white, the colours of Her arms. The pattern was a simple rectangle. The outer fabric was beaded first then lined with heavier fabric to give the muff some structure. The fur was pinned on, and the pieces were sewn together, turned out and finished. Buttons were added. These were added a little in from the edge as I have discovered joining the muff at the edge lets the draft in – a little overlap keeps one’s fingers nice and toasty.
VPC2017: Mistress katherine k’s Tudor Lead Sounding Line Scale Model
For Mistress katherine’s seventh entry in the challenge, she has made a scale model of a Tudor lead sounding line, complete with traditional fathom markers. This is submitted for the categories Oh Say Can You Sea?, and String Theory.
She bashed a hollow into the base of the lead sinker to fill it with lard.
