Champion Challenge

When Their Excellencies Concordia selected me as their A&S Champion, I set a number of goals for my tenure in that role. I wanted to continue to grow and learn as an artisan. I wanted to inspire and encourage other artisans. And I wanted to build a network with my fellow artisans--people I could talk to, people who shared my interests or inspired me to try something new.

One of the ways I decided to go about accomplishing all that was to visit A&S displays and interact with the artisans showing their work. I set myself a high goal--500 displays and performances. I had special cards made to leave with tokens at these displays.

My first chance to begin working on this goal came at Pennsic XLV. On Sunday of War Week, I visited the Pennsic A&S Display where artisans from across the Knowne Worlde showed their work. There is SO much talent and knowledge in the SCA--it's really an amazing thing to behold. I've always been impressed with the work of our artisans and enjoyed looking at their displays. This time, though, I noticed a distinct difference: I wasn't just an observer. I was able to engage in intelligent, knowledgeable discourse with so many different people about techniques, materials and research.  I set out to appreciate and encourage others; I wound up inspiring myself all over again.

A handful of the displays at Pennsic, showing a variety of skills and crafts.

There were a few artisans with whom I spent a large amount of time "talking shop"--in particular, two different leather workers and one Viking chain weaver. The was also one artisan from the West--a truly lovely lady who had pottery on display--who was so delighted with the small token I left that she gave me a piece of her pottery in return!

I learned a lot from Brendan about
period leather dying techniques!

This Laurel diadem is gilded leather.
It was so amazingly light and thin!

I also attended the Knowne World Choir and Friends concert on Thursday of War Week, and presented the director of each group with a card and token as well. There really is nothing that compares with live music--it flows into you and through you and moves you in ways that a recording simply never can.

In September, I traveled to South Dakota for the coronation of the SCA's first same-gendered monarchs, Yehudah & Hrodir. There I got to experience a "Sweet and Sour Tastery and Temptorium" as well as enjoy a phenomenal display of the artisans of the Kingdom of Northshield.  There were gorgeous gowns, stunning embroidery, intricately knotted hair nets, delicate ceramics, beautiful woven trim, and of course, Posaments, which I was particularly excited to see again since I took Eithni's class at Pennsic. I was hoping for the chance to geek out with her over my first attempts, but alas I never ran into her at the event.

Posaments on display at the Coronation of Yehudah and Hrodir.

In February, I attended King and Queen's A&S and Bardic Championships in the East Kingdom, where I had the opportunity to speak at length with many artisans about their entries.  I learned about kilns and beads and Italian coats and Tudor toothpaste. I saw how vibrant colors could be achieved with period dyes, disabusing my previously held notion that medieval garments were often pale or faded. I tasted food that had been preserved with salt distilled from the sea. I chatted about how historical events led to the differences in modern Christian denominations. I learned that enamel comes out different depending on what fuel you use to heat it. All of the artisans were SO knowledgeable about their topics, and so very willing to share that knowledge! It really touched me, too, how many of them appreciated my small tokens--one artisan immediately plucked the ring from the card and put it on his finger; another emailed me right after the event to tell me how he had enjoyed speaking with me and thanking me for my support. It was very humbling.

And after I visited the artisans, I had the immense pleasure of listening to the final round of the Bardic competition. A challenge was issued to for performers: they were to prepare a performance (based on their resume) on a theme selected by Their Majesties. They had only thirty minutes from the time they learned their them until the time they performed--I can't even imagine that kind of pressure! All four of them were *amazing*.

A middle eastern umbrella that remains
 parallel to the ground,
regardless of the angle of the stick holding it!

In March, I traveled to the Barony of Nottinghill Coill in Atlantia to attend the Kingdom A&S Festival. I set up my own display, and then spent a considerable amount of time being amazed by the talent and knowledge of others. From hand-embroidered Elizabethan garments (WHERE do they find the patience for that?!) to a period umbrella that may make retainers' lives a whole lot easier to delicious baked treats, the displays were inspiring.

I was especially happy to see Lord Ihone's leatherwork display -- in particular, I noted that he had done a leather "scroll", which is an idea I have tossed around for my protege sister for *years* but wasn't sure how to tackle. I didn't get a chance to chat with him, sadly, but I was delighted when he was named as Atlantia's new A&S Champion!

Ihone's leatherwork display.

In April, I attended Night of the Tartan in the Barony of Lochmere in Atlantia. There were several A&S competitions, an open display, and a competition to select the official Baronial Beverage (which drew twelve entries!). One of the competitions had a Celtic knotwork theme, and the other was a "new-to-you" theme. There were scrolls and trim, and a wooden Viking chair and a hat and a poncho. I also had the pleasure of listening to Laydes Fayre and the Lochmere Vocal Music Guild perform several period pieces.

May brought me full-circle back to Wars of the Roses, where I was in charge of running the competition to choose my successor. The challenge was to create an item that would have been owned or used by any of the "major players" throughout the Wars of the Roses. We had five entrants in the competition, exhibiting excellent craftsmanship. I was personally drawn to Lord John Kelton's leather costrel--I am so excited to know there's another leatherworker in the local group!



Lord John's leather costrel -- winner of the Baronial Champion competition.

Lady Astrid's display -- winner of the Populace Choice competition.

Roses also had close to a dozen entries in the Brewing competition. While I wasn't able to indulge in the taste-testing (I had to drive), I was inspired by the entries and have found new motivation to take the plunge into brewing myself -- a project I have long wanted to tackle but keep putting off for various reasons. No more! Perhaps next year, a bottle of my brew will stand beside the other entrants at Roses?

Turning in my sash and medallion at evening court was bittersweet. I am honored and humbled to have represented Their Excellencies for the past year, and I am eternally grateful both for the faith They placed in me and the opportunity They offered me. I am inspired to strive onward in my arts, to continue learning and growing. I will also carry with me all that I have learned over the course of this quest I set for myself--both the increased knowledge I gained about various arts, and a new approach and purpose as I visit displays and interact with other artisans in the future.

Atlantia KASF 2017

In years past, I have displayed at Atlantia's KASF as part of a group--the first time with my household, and the second time with the Barony of Lochmere. This year, I displayed by myself, as the A&S Champion for the Barony of Concordia of the Snows. Because I'm a champion of the East and not Atlantia, I did not participate in the Inter-Baronial Champions' Competition. Rather, I entered the open display. I received some delightful feedback about my work, particularly from the Baron of Nottinghill Coill (who was also astounded when he learned I had traveled from upstate NY to attend the event!).

Documentation text:

Comparing Copper and Silver as Used in Viking Wire Weave

A few years ago at Pennsic, an old friend sat down with me beneath our baronial pavilion and taught me to make Viking Wire Weave chains (sometimes also called Viking Knit or Trichinopoly). I took to it almost immediately, and began entering pieces in A&S competitions and displays shortly thereafter.

In one such competition at the Feast for St. Brigit in the Barony of Lochmere, I entered two necklaces. These were woven of what had become my go-to material: 26-gauge, dead soft, enameled copper wire. I like that it was inexpensive but still easy to work with – less prone to kinks and tangles than cheaper options at my local Michael's. I also like the array of color options available, because I could achieve a period look (most extant examples are woven of silver wire) or a less-period, heraldic chain, as desired.

Copper was a solid and reasonable substitute for silver, with valid reasons for its selection. On a molecular level, copper is very similar to silver and behaves in much the same way when worked. Additionally, as stated above, it was available in a silver-colored enamel. And, of course, it was far less expensive than actual silver wire.

In her judge's feedback that day, Mistress Mary Isabel of Heatherstone suggested I try working in real silver, even if only once, so that I could gain a deeper understanding of how it differs from copper by actually feeling it as I work, rather than just reading about the differences.

It has taken me two years to work up the courage, make the investment, and take that plunge. I have to admit that I was skeptical before I started. How different could it actually be, anyway? By this point, I had worked with copper in gauges ranging from 20 to 28 and in tempers from dead soft to half hard. I expected this experiment to demonstrate only which temper produced a similar feel, and perhaps to reveal a slight difference in the silver color of the chains.

Boy, was I in for a surprise.

For the purposes of this experiment, I selected 28-gauge, dead soft wire in enameled copper and sterling silver. I used the same mandrel, and wove identical chains of six-loop, double-weave knit. I began with the copper chain.

From the moment I began to weave with the silver, I could feel a difference. Though it was the same gauge as the copper, it felt more substantial in my fingers. More stable, perhaps. It was certainly less prone to kinking as I worked with it. It was somehow smoother, too. It made me think of satin. I was somewhat confounded as I continued to work. How could something be sturdier and softer, at the same time?

Unlike with the enameled copper, I didn't have to worry about friction with the silver as I wove. With the copper, there's a risk that the scraping will damage the enamel finish, causing the color to flake off.

Containing the loose ends of each piece of wire seemed easier with the silver as well. In running my hands along the woven chain, there are noticeably fewer “poky bits” protruding from the silver than from the copper (You are welcome to try that on these pieces, but please slide your fingers lightly and slowly! I wouldn't want you to injure yourself).

For this display, I left the chains incomplete (when finished, they will be necklaces). I drew them through a wooden drawplate for about half of their length, so that I would have examples of the chains both drawn and undrawn.

The finished pieces are all enameled copper, displayed to show the variety of weaves and designs possible with Viking Wire Weave.

I look forward to working more in silver (as finances allow) in the future – it was a true pleasure to work with!

Persona Pentathlon: Can I Pull It Off?

Each year at Atlantia's Kingdom Arts and Sciences Festival, there is a Persona Pentathalon. Artisans create five items that would have all been owned/used by the same person. Three of these five items must fall into different categories. It's a daunting task, requiring artisans to work in multiple mediums.

The next KASF is in March 2017. For the first time in my SCA career, I feel that I may have a skill set that varies enough to consider competing. What to enter, though?

I'm thinking Viking.

The wire-weave chains fall into category six.

The Norwegian-style leather coin purse could be category six or two.

Lampwork beads--which I'll be learning at Pennsic--are category three.

I'm gonna guess tallow candles would be category four--I'll have to double-check that.

Wood-carved spoons--another Pennsic plan--are another entry for category six.

Calligraphy and illumination are category one.

...and a heraldic banner is category seven.

Or I can do something British, which will let me do bookbinding and a blackjack but will leave out the wire-weave chain and the coin purse.

Or maybe not...the Trewhiddle Scourge was, after all, found in England. But that's probably religious. I could do a religious book with calligraphy and illumination and the church obviously would have used candles, too. Hmmmmmmmm....

Fingerloop Braid Experiment

Introduction

Fingerloop braiding was one of my very first art forms in the SCA. I learned the technique from Mistress Annora verch Llwyd Bryneirian during an Arts and Sciences meeting in 2004 in the Canton of Bard's Keep, Barony of Western Seas, Caid. Since then, I have obtained the Compleat Anachronist issue on Fingerloop braiding (issue #108) and attended various classes to learn specific patterns.

However, I wanted to continue to learn and grow in this art form. To do this, I decided I need to better understand how each strand in any given pattern moves. I decided to begin with my favorite pattern from the Compleat Anachronist, “A grene dorge of vj bowes.” When followed exactly, this pattern produces a flat cord with one color running down each side and two additional colors alternating down the center.

My first two examples simply eliminate one of the three colors from the pattern, leaving a single color down the middle bordered by a second color on each side. From there, I have rearranged which colors are placed on which fingers to start the weave, which has yielded some interesting—and beautiful—results.

These cords are all made from cotton crochet thread. In period, silk thread was heavily favored for fingerloop lacings. It is suspected that they were also made of linen to be used as ties for linen undergarments, but no known extant samples have been discovered. I have opted for cotton because it is readily available in a variety of colors and fairly inexpensive to acquire. I chose blue and white because these are the Baronial colors for the Barony of Lochmere, and I intend these cords to be a gift of largesse to Their Excellencies after this display.

Cord variations from a single pattern.

How It Was Done

The original instructions for this pattern are set in a manuscript now housed at the British Library, referred to as Harley Maunscript 2320. This manuscript is believed to be from circa 1450. The original text in English as transcribed by E.G. Stanley reads:

A grene dorge of v[j] bowes: Set 4 bowes of o colouur on B, C ry[3]t and B, C

lyft, and o bowe of anoþer colouur on D ry[3]t, and o bowe of anoþer colouur

on A lyft. Þen take wt A ri[3]t þorow B, C ry[3]t þe bowe of C lyft reuerced. þen

lowe þy bowe of B lift vnto C. Þen schal B lyft take þorow C lyft þe bowe C

ry[3]t reuerced. Þen lowe þy ry[3]t bowes. Þen schal A lyft change wt D ry[3]t,

&cra.

The redaction of the instructions by Lois Zwales as presented in the Compleat Anachronist issue reads as follows:

A green dorge of 6 bowes: Set 4 bowes of one color on B, C right and B, C left,

and one bowe of another color on D right, and one bowe of another color on A

left. Then take with A right through B, C right the bowe of C left reversed. Then

low thy bowe of B left onto C. Then shall B left take through C left the bowe C

right reversed. Then low thy right bowes. Then shall A left change with D right,

etc.

This diagram of the pattern, which I have modified from the one on www.fingerloop.org, shows the original pattern. To read the moves, consider that A is your pointer finger, B your middle finger, C your ring finger, and D your pinky. R is right, and L is left. Therefore, AR is your pointer finger on your right hand, and so forth. This version of the diagram is shown with no colors specified; it shows only the movements each bowe and finger makes.

Now, to create the cord with blue running down the center bordered by white, I set the bowes up as follows:

AL and DR: Blue
BCL and BCR: White

Visually, that looks like this:

To create the cord with a white center bordered by blue, I reversed the color setup.

We can see that the bowes on AL and DR are the only two that make up the center stripe of the cord. The other four, then, create the borders. But how, exactly, do they weave together to make those borders?

I began setting the colors up in random starting arrangements, to see what might emerge.

Variation One

This cord is set up as follows:

ABCL Blue

BCDR White

After move three, the colors have not returned to their “home positions” as they did in the previous cord. Also, because AL and DR are not the same color, we do not find a solid stripe running down the center of the cord.

Variation Two

This cord is set up as follows:

ABL and DR: White
CL and BCR: Blue

Once again the colors are not back at home at the end of the first round of moves, but AL and DR are the same color and so we do see the central stripe emerge along the length of the cord.

Variation Three

This cord is set up as follows:

ABL and CDR: White

CL and BR: Blue

Variation Four

This cord is set up as follows:

AL: Blue

BCL and BCDR: White

For this pattern, the lone blue bowe stays in position until Move Three, when it goes to DL. In the following round, it moves back to AL. This creates the alternating white and blue stripe down the middle of the cord, which when bordered by white as well comes out looking like a row of tiny blue hearts. I think, of all the experimental cords from this pattern, this is my favorite variation.

Conclusion and Where to Go Next

By altering not the pattern of the weave itself but rather simply the starting positions of the colors, we can create a variety of beautiful cords. Was this done in Period? Maybe. I'd venture to say probably, because it's practical—one would only have to learn a single set of movements to be able to create several different cords.

To truly understand where each bowe goes at each step of the weave, I think I need to do one more experiment—one in which each bowe is a different color. While I'm sure the final cord of such a setup will not be visually pleasing in the least, it will allow me to see exactly where the bowe from BL is in the second, third, fourth, and future rounds through the three moves.

After that experiment, I will begin the process all over again with another pattern!

Works Cited

Primary Source:

Manuscript Harley 2320, circa 1450. In the British Library, with scans on the web at http://www.bl.uk/manuscripts/Viewer.aspx?ref=harley_ms_2320_f052r.

Secondary Sources:

Swales, Lois, and Zoe Kuhn Williams. "Fingerloop Braids." Compleat Anachronist, no. 108 (July 2000).

Swales, Lois, and Zoe Kuhn Williams. "Fingerloop Braids." Fingerloop Braids. Accessed February 04, 2016. http://www.fingerloop.org/.

verch Llwyd Bryneirian, Annora. "Beginner Fingerloop Braiding." Lecture, A&S Day, Canton of Bard's Keep, 2004.

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Entered in:
Kingdom A&S Festival, Atlantia--Lochmere Baronial Display