A place for Drachenwald's scribes to hang out, learn, discuss and critique each others work.

Sunday, September 20, 2015

An indenture for Genevieve and Aodh

I entered this in the Michaelmas muster A&S display, so I wrote up some documentation for it.

Document research and calligraphy: an indenture between a peer and a dependent for Society use

Full indenture

Some pics on Flickr of the top half of the indenture: it was written out twice then cut in half, at our ceremony at Raglan.

Medieval originals

An indenture is a legal agreement between 2 people, written in duplicate, and cut in 2 pieces so each person gets a copy. The earliest form of this type of document is a chirograph, where the space between the two copied texts has 'CIROGRAPHUM' written in large letters, then cut through, showing that any 1 piece was 1 of 2 copies.i The earliest surviving English example dates to 9th century.

The British Library has a cirograph example from 13th century, and indentures continued throughout the period of Society studyii. There's a copy of a chirograph viewable online (an irony, since the point of a chirograph is that the 2 people concerned have their own copies...)

The 2 copies are sometimes cut with a wavy or 'indented' edge to deter forgery, hence the term 'indenture'.

Text research

This indenture is a contract between 2 Society members covering the conditions of service and patronage between a Pelican and a dependent. Robert de Canterbury drafted a very similar document for a knight and squire, which served as modeliii.

The original sources for the text are:
  • a 14th c indentureiv between 2 noblemen that covered their term of services, rate of pay, and benefits - essentially their terms and conditions for going to war.
  • a late 14th c statutev that controlled who can give livery (clothing identifying their followers), in an attempt to prevent certain nobles raising private armies; and requiring that those dependents would not then pursue nuisance court cases against their patron's opponents.
  • a 14th c gild ordinancevi that states that gild brothers and sisters must admonish each other charitably (possibly suggesting they keep internal grievances between themselves rather than going to the courts).

Tailoring text to recipients

While based on medieval examples, the terms and conditions of work for a Society peer and dependent accommodate the kinds of work Genevieve and Aodh do. The details written for them include:
  • 'dalta' is an Old Irish term for 'student of the bard' chosen as suitable for Aodh's early Irish persona. A dalta might (or might not) eventually become a bard, but at minimum got a solid education.
  • 'in peace and in war' means that Genevieve expects Aodh to continue to shoot, and to authorise in armoured combat, for the defense of the principality, just as she trains in art of defence
  • 'charity and hospitality' refers to the typical work of a Pelican: making people welcome, ensuring everyone is fed and clothed, organising activities, building community
  • 'admonishing charitably' refers to the role Genevieve plays as the patron for Aodh

Indenture text

This indenture being made between Genevieve la flechiere, Viscountess and peer of Drachenwald by letters patent on the one part and Lord Aodh O Siadhail on the other part, testifies that the said Lord Aodh stall stand in service to the said viscountess for peace and for war for the term of one year and one day following the date of this document
The lord Aodh having the estate of dalta, and being retained with the said viscountess of the ancient house of Sylveaston for the said term by indenture without fraud or evil device, shall be accorded all the customary rights and privileges, vis of livery, maintenance, counsel, instruction, advancement and defense against unjust harm.
The lord Aodh shall in turn accord the said visountess with service in matters of charity and hospitality at such occasions and tourneys as they shall be mutually conveniently present therat.
The lord Aodh shall also afford the viscountess Genevieve support in matters touching court, law and custom, and the management of her estate as are within his normal competence.
He is bound not to be a maintainor, instigator, barrator, procuror or embraceor of quarrels and inquests in the country in any manner, and shall not know or understand of any manner thing to be attempted, done or spoken against Viscountess Genevieve's person or honour but he shall let and withstand the same to the uttermost of his power.
Should the lord Aodh be in any error or found in any detestable crime, as soon as Viscountess Genevieve knows it she must admonish the lord Aodh charitably that he may gain from it.
Done before noble witnesses this nones of August AS 50, at ffair Raglan.

Document and calligraphy

  • Base: heavy pergamenata, 10”x14”, landscape orientation, pounced with cuttlefish bone, gum sandarac, and pumice powder, then ruled 3mm writing line & 4mm spacing.
  • Ink: Roberson's logwood black
  • Pen: dip pen with gold plated nib, sized for the line height
  • Hand: proto-Gothic, known in England from 11th to 14th c, the hand I find easy and fast for long texts.
The pergamenata, pounce, ink and pen are my typical choices for Society writs and all produce reliable results for me.

I buy pergamenata in large sheets, and then cut it to standard paper sizes, to make them easy to frame.

The biggest challenge of this project was spacing, because it was a long text I had to write twice. I'm accustomed to long texts, but usually only write them once. I'm so used to this that I didn't do a test piece to measure my spacing.

A careful calligrapher takes a small test piece, rules it with the selected spacing and sees how many words fit into a few lines, and then calculates how many lines the text will take. In this case I needed 2 copies of text plus a large space in the middle for the indented cut.

Without a test piece, I made 2 false starts before choosing the spacing that would allow all the text and a space for the indent.

Lesson learned: don't be lazy. Do a test piece and save time.


i. Lowe, K.A., 'Lay Literacy in Anglo-Saxon England: the Development of the Chirograph' in Anglo Saxon Manuscripts and their Heritage, ed. by P. Pulsiano and E. Treharne (Aldershot: Ashgate, 1997), pp. 161–204. Courtesy https://en.wikipedia.org/wiki/Chirograph

ii Brown, M.P., A Guide To Western Historical Scripts From Antiquity to 1600, British Library, 1990, pp. 78-9.

iii Indenture by Robert de Canterbury: http://forsooth.pbworks.com/w/page/34953753/Vitus%20and%20Katherine
From Clifford J. Rogers (ed.), The Wars of Edward III: Sources and Interpretations (Woodbridge: Boydell Press, 1999).

v Statute of maintenance and liveries, dating 1390. Select documents of English constitutional history; by Adams, George Burton; Stephens, H. Morse, McMillan & Co, 1901.

Tuesday, August 11, 2015

Viscounty promissory for Nasr ibn 'Isa

This post is a stopgap, til I get a chance to write more fully about this project.

Short version: I delivered 2 promissory notes at Raglan ffair last weekend.

One was on a wax tablet: a promissory text for Countess Eleanor d'Autun, for her viscounty scroll. When it's actually done, I can reclaim the tablet. :-)

One was a scroll, long planned in collaboration with HG Sir Garick von Kopke, 6th king of Drachenwald; he wrote the beautiful text, and translated it into Arabic so I could copy it, based on a 12th c exemplar.

Because I learned a lot in the process, by the time I finishe the work, I wasn't happy with it and wanted to start all over...but of course, was up against a deadline and could not take the time to do so.

So I offered the first work as a promissory; committing to do the clean copy by Crown, hopefully to submit in A&S at the same time.

In the meantime, I can summarise the project as:

  • get bright idea
  • get help with bright idea
  • do initial research on bright idea
  • discover just how much work bright idea entails, what was I thinking??
  • be too stubborn to give up bright idea
  • get brilliant text that deserves writing and beautiful 12th c exemplar to work from
  • start practicing text and get feel for it, realise why Arab calligraphers are rare and cherished
  • start scroll because of self-imposed deadline
  • finish scroll within self-imposed deadline but unhappy with finished work, now that I know more about how to do it better
  • decide it's a promissory because I can do better

I've put some pictures together on Flickr. I'm not a very good photographer-in-process, so this isn't complete - just some highlights.

Parsing Arabic into mostly-equivalent-Latin letters, in 2 different fonts...with some help:

Helping me study

My desk, with copies of exemplar, my ductus, my text...and a long G&T:
Creating a ductus

Desk view: the calligraphy, the text with parsing, and the ductus:
Layout of text, ductus and work

The finished piece, with flash:
Finished promissory with flash

What I want to share most, though, is the text that HG Sir Garick composed, as a tale of Sir Nasr's time as prince. It's written in the style of the early Arab histories (comperable to tales about Saladin, for instance) and took a bare list of events and turned it into something beautiful.

HLady Lyonet SanzMerci read it in court with all the flair I expected.

It is as follows: what Robert called The most excellent History of the Deeds of the Emir Nasr Ibn Isa Abu Haroun, May he rest always upon the Divan of Peace.

Men marvel at the deeds of ancient kings and princes.  One such was Nasr Ibn ´Isa, known among his confidants as abu Haroun.  In the ancient days the Islands of Dragons, it was held that the most powerful warrior was most fit to lead the army in time of need.  

Thus did Prince Duncan  and his Lady Eibhlin hold a great contest of combat in the far northern portion of the greatest island of his realm.  Some say that he choose this location and the time in the deep of winter that it serve as a test of will, limiting the contest to only the most hardy and worthy.  Others say that he simply choose this time and place as it was in his nature as a native of the northern lands, but god alone knows all.  What man knows is that Nasr was among those who strove in that great combat, and did great honor to the Lady Eleanor.  Thus was he named as captain of the host, and in due time he and his lady did ascend to the seat of justice when Duncan and Eibhlin retired.  

Many are the tales told of Nasr, Prince of men.  Of the epithets given him , the most apt was “far traveler.”  More lands did he visit than there are stars in the sky or sands on the beach.  Not enough for him was to roam the lands, settled and wild, of Insulae Draconis, no.  He traveled by steed and by ship, visiting far islands of his governerate and the wild island of ice and fire in the middle of the great ocean.  

He attended the great fair of Raglan, where he led his troops in mighty battles and displays of arms. Outnumbered and meeting experienced warriors on the field, his troops took heart and were loyal. They thrived under his wise guidance and were faithful to the last fighter, and together lived to fight again. At length he came even to the mighty meridian lands, where he strove in combat and in council on behalf of his King and his people.  

Yet for all this, he was best known in the heart of his holdings for his justice, and his for love of the hunt.  His skill with the noble bow and the art of falconry were on the lips of all, and those of his lady the Princess turned up in joy at the sight of him.  It was his justice that most benefited the land, for on all of his travels he held court, dispensing unto all that which was their due.  The scrolls bearing his seal of witness yet hang from the walls of the mighty to this day, in every stretch of the dragon islands.

At length Prothal, the King of Kings, noting all that Nasr had done for the land and for the people, did grant him great honor, gifting him robes and naming him Companion of the Noblest Dragon.  These gifts were among His Majesty's final act upon the great seat of rule.  Inspired by Duncan and Prothal's example, and in thankfulness to the granter of mercy, Nasr too found it right to end his time before the people and to pass on the burden of governance to another.  

Thus he too held a great combat, with his Princess by his side, and found for them most noble heirs, the true decendants of the first King and Queen to rule the lands, in the the most ancient times when the dragon island had been but a small town in the south of the great isle.  Well pleased with their heirs, Nasr and Eleanor determined to leave the seat of struggle to them and to retire to the divan of rest.

In token of all that he had done of justice and of councils and of striving in tournament and in war, Prince Elfinn and Princess Allesandra Melusine did grant unto the noble Nasr ibn 'Isa a coronet of silver and did raise him up among the exalted nobles, naming him “Viscount” after the manner of the Franks.  

It is said that at this time, twice in two weeks did stars rain down from heaven, and the astronomers did proclaim that the first of these rains was granted by god in honor of Viscount Nasr and his lady for all that they had done, and the second was in honor of Prince Elfinn and his lady in recognition of the justice of their proclamation that was in accordance with god's will.  But as for abu Haroun, done was he with the trials of such mighty signs, and he simply lifted his falcon high in salute and laughed with his lady as he rode to the hunt.

Wednesday, March 11, 2015

A wonderful surprise

Hello fellow scribes,

some time ago I finished one of my backlog assignment. Vrank von Attendorn's Dragon's Bowle. When it was signed by the King and Queen that handed out this award, I sent it off to the recepient. Now last week I recieved a little package and when I opened it I found a thank you note from Vrank including a personalized medieval fire starting kid. I was so wonderfully surprised I thought I would share.

And that's what I sent to him:

More pictures can be found here: http://kunst-stueckchen-kalligrafie.blogspot.de/2015/03/medieval-faces-mittelalterliche.html

Now I just have to figure out how to start a fire! ;-)

Wednesday, March 04, 2015

I've finally got around to updating my web album of scrolls - I really am lax about that! The last one (really short, "Fuit Homo") is a "thank you" for Tom McKinnell / Antonio di Rienzo's father, for help (much more than mere "translation") with the text for the scroll before, which is in Old English with a Modern English gloss.

Saturday, January 24, 2015

A calligraphy set for novice scribes

At Kingdom University just past I hosted a round table show-and-tell: scribes, bring your tips and tricks, and new scribes, if you don't have any yet, bring your questions.

This proved an excellent way to spend an hour chatting about our favourite topics, and demonstrated clearly to me that when you put 3 chatty scribes together you get 4 different ways to draw a straight line.

It was delightful.

Lady Tamara asked an excellent question about 'what basic tools do I need to start?' She was interested in both calligraphy and illumination. Sure enough, she got different advice from different people, but it's still a useful starting point.

SO: I'm posting my idea of a complete novice's kit for Western European calligraphy, that you could buy online for less than £25 or around 33 Euro.

I shop in the UK, so this list relies on UK supplier examples, but I'm hoping folks in Germany, Sweden and Finland can comment on their favourite shops and any special terms in other languages to look for.

Two notes:

  1. This post doesn't cover items like rulers, pencils and erasers. They too are important tools and you can get wonderful specialist versions to make scribing easier, but you can start with whatever pencil, eraser and straight edge you have in the house. 
  2. I used a dip pen to learn calligraphy. While I've tried fountain pens, I prefer my dip pen as an adaptable flexible tool, and teach others the same way.
    It's closer to the quill, which is the ideal medieval tool but isn't for everyone. Your mileage may vary.

Nibs: lots to choose from

For starting calligraphy look for edged nibs, described in English as 'round hand' or 'Italic' nibs: these have a square end, in varying widths. Nice explanation on Scribblers blog. You can get nibs cut on an angle for left-handed scribes, but a lefty can use a square nib, and turn the page to get the correct angle.

Pointed nibs are for copperplate and 'spencerian' (18th and 19th c) calligraphy, and for medieval penwork and flourishing, but not typically for the writing-letters part.

Nibs are about 60 to 80p each. You can buy a single brand's set plus reservoir for about £8. You won't need all of them for scribing SCA scrolls, but it's easiest to learn with a wide nib and work your way 'down' to a small one.

Rerservoirs are small clips that attach to the nibs, to help the nib hold more ink. Find the ones that fit your brand of nib.

Nib holders

Strictly speaking you only need one holder and can keep changing nibs, but that's not much fun.

I do recommend buying solid plastic or wood penholders (the Speedball holder at £1.60 is the best I've found), rather than the standard round penholder, at £1.85, or a lot more) which has an insert that rusts on first use. Don't be seduced by pretty coloured handles!

If you want a holder for every nib, buy a pack of wood penholders 12 for £10.

hexagonal (£3.90) or triangular (£2.10) holder gives you 'edges' to hang onto - these can help you keep control of the angle of the nib, but cost a bit more.


Portentially very confusing because of the range available from traditional to modern.

Here's an example page from a UK shop with a range of inks.

Important terms (in English) to look for:

Inks for calligraphy, for dip pens. Drawing ink is usually thinner and runnier than calligraphy ink and doesn't give the same dense, opaque lettering. However, just to be confusing, some inks are described as suitable for both drawing and calligraphy.

Waterproof  (sometimes called permanent) and non-waterproof: waterproof ink usually has shellac or a hardener in it. If you spill it, it will not come off your clothes, furniture, pets or children.

Non-waterproof is a water-based ink without a hardener: if you spill it you can still mop it up while it is wet. It may become permanent when it dries but you have a hope of getting it off the tiles and table if you catch it when it spills. Ask me how I know...

Personally I prefer non-waterproof inks because of this very reason. While any ink will build up on your pen nib and you need to clean the nib periodically, non-waterproof washes off with soap and water, while waterproof needs a solvent.

Indian, Chinese, or Japanese ink: these terms usually describe an opaque black ink, fine for calligraphy. But it can still vary whether they are waterproof or not, so check the bottle. Chinse and Japanese inks can come in a stick you have to grind and mix yourself, something I've not tried yet.

For beginners I recommend non-waterproof liquid ink for calligraphy, so you spend more time doing letters and less time preparing materials.

Iron gall ink or oak gall ink are excellent medieval-style inks and I use them a lot.

Cornelissen has a nice selection of 'traditional' inks that I've tried: my favourites are the Hax Ink, the Scriptorium Oak Gall, and the Roberson Logwood black.

Be aware that oak and iron gall inks are slightly acidic so they can damage your pens if you let the ink dry on them. Always clean your pens thoroughly.

Acrylic inks have beautiful colours, but acrylic is a completely modern material. I recommend using the available plausibly-period inks rather than acrylic.

If you spend about £5 on pen nibs, £2 on a holder, £5-8 on ink, you still have money for


Pergamenata is my preferred material for scribing: it's a type of artificial parchment from Fabriano that takes ink and gouache well and that I can scrape, a little, like parchment.

It comes in 2 weights (230 grams per square metre, gsm, and 160gsm). The heavier weight is good for scrolls, the light one for 'letters' or cards - it's a bit light for scribing for me.

It comes in large sheets, £2.26 each, that can make between 4-8 scrolls depending on what size you want: 3 A4 scrolls, and 3 smaller ones, plus scraps. That's a lot of scrolls.

Another good paper is heavy watercolour paper, made by Arches or Fabriano. Look for a watercolour block, where the paper is stuck together in a solid block. Watercolour artists can use this as a portable drawing board; usually scribes slice off the top page with a craft knife to use one at a time.

It's 300gsm, where typical printer paper is 75-100gsm.

The hot press (HP) paper has a smooth surface good for calligraphy; the cold press (CP or NOT, meaning 'not hot press') is rougher and while it's good for painting on, it's harder to calligraph. I can't scrape my mistakes off paper, but I can paint over them.

High-quality paper, made with linen or cotton rag not plant fibres, is more expensive than pergamenata (putting me over my ideal budget), but is easier to find.

Any craft has its own special vocabulary and scribing and fine art is no different. Part of learning an art is learning the language and terms for its special tools and materials, and these are not always explained in the shop.

Some reading: 

Please comment on the tools that you think are the most important for new calligraphers to use. These examples are my opinion and I'm happy to hear others!

Cheapest and cheerful-est guide to calligraphy I've found

I had the happy chance to visit Cornelissen & Sons art supplies this week.

This week I found a gem: a small guide to calligraphy written by William Michell Calligraphy, just 12 pages long. Mistress Bridget had shared pages of it with me before, but I'd never found the whole guide.

Reading it all I think it's the best short introduction to calligraphy in English that I've found.

There's some instructions on painting Lombardic capitals and Roman capitals 'signwriter fashion' - using a brush, not a pen, with the brush hand leaning over and supported by your off hand - which is a method I'd not seen explained really well before.

Some gaps in the text: not a lot about line heights, not a lot about layout.

But you could do a lot of calligraphy armed only with this work and a set of line height guides.

I don't know when it was written - sometime after 1925! otherwise I'm uncertain. There's no copyright date or ISBN.

It cost me £4.95.

The Wm Mitchell company has it displayed on their website, but I think this site is intended for trade, not individual shoppers.

Unfortunately I cannot find it in the Cornelissen's catalogue, but you can email them for info.

On line heights:

Scribblers.co.uk have a line-height generator, for printing out a half-page of lines at specific line heights, which is a boon. (Check your printer settings to make sure it prints as-is, and doesn't resize the page between A4 and 8.5x11".)

If you shop at Cornelissen keep your eyes open for a copy.

Friday, December 19, 2014

Great manuscript blogs and tweets

I've been a fan of the British Library for years. I'm very impressed by their digital presence with  new books now available blogs and tweets too.

Through Twitter I've found nifty other blogs and tweeters:

My new favourite, though, is someone who draws on the French national library a lot:

Today's tweet from Jesse made me deeply happy: there's something about the style, the colour and the fineness of execution of this Romanesque C that warms my heart just looking at this image:
Graduale cisterciense.
Link to original: Graduale cisterciense. XIIe s. (3e quart, avant 1174)

If there are more sources of good commentary, images and manuscript geekiness you love, please leave a comment!

Saturday, December 13, 2014

Redeeming a scroll


This Coronet past I did a Fox for Constanza of Thamesreach, based on this initial here .  It started out badly:  the gilding was poor; for the first two lines of callig the ink and nib would NOT cooperate.  But then it got better and the calligraphy turned out very well, as did the sheep.  So I spent an hour with the scalpel and got it back to pasing the arm's-length test.

I made it landscape instead of portrait for focus reasons.  I wanted people to see the initial and then the sheepie as an after-reaction, which was succesful.  I used silver paint instead of silver leaf because of time constraints and because of the tarnish factor.  I think this was the wrong choice, sadly.

The hand looks like pretty standard Caroline, but the Rs and Ss look transitional from insular minuscule.

Friday, December 12, 2014

Interlinear glosses in medieval manuscripts

At ID coronet two weeks ago, my evil twin was made a member of the Orden des Lindquistringes, and I had the privilege of doing her scroll. My exemplar, Oxford Bodleian MS Auct. D.4.6., had a large font with a lot of space between the lines, which spaces were filled up with a gloss in a much smaller font. In my interpretation of this, I wrote the text in Latin and then "glossed" it in English -- a proper gloss, part translation, part commentary. I posted the scroll to the SCA Scroll Gallery group on FB, and in commentary on it, someone asked for evidence for similar bilingual interlinear glosses. In the course of rounding up examples, I decided the thing to do was the write a blog post about them.

It's easy to find monolingual interlinear glosses; my exemplar was one. Introduction to Manuscript Studies by Raymond Clemens & Timothy Graham, has a number of other examples, as well as discussion, on pp. 39-43 and pp. 182-183. It took a bit more digging to find bilingual ones, but the results are fascinating:

And while not exactly about glosses, this has some lovely examples of bilingual texts.

For further reading, consult:

  • "Latin and Vernacular Glossing", ch. 1 of Teaching and Learning Latin in Thirteenth-century England: Texts by Tony Hunt.
  • The Culture of Translation in Anglo-Saxon England, by Robert Stanton, starting at p. 34
  • "The Aldhelm Glosses" in The Intellectual Foundations of the English Benedictine Reform, by Mechthild Gretsch.
  • "Syntactical Glosses in Latin Manuscripts of Anglo-Saxon Provenance", by Fred C. Robinson, Speculum 48, No. 3 (Jul., 1973), pp. 443-475.

Thursday, December 04, 2014

More Romanesque inspiration

I can always rely on 12th century manuscripts to lift my spirits and make me say, 'Yes, that's what I want my work to look like'.

Recent AoA given at Coronet tourney in Insulae Draconis:

The original is part of Arundel 91, one of my go-to sources.

The original is f.145.

I'm still searching for The Perfect Red(tm); the red that matches the red in the manuscript, which is bright without being vermilion, and is slightly translucent.

I've shopped around...and am still trying to find my perfect match.

It was these recent AoAs that prompted me to ask if scribes would be happy filling in armory and blazons in existing scrolls, and the response so far is overwhelmingly yes. I'm heartily glad of it.


BE IT KNOWN that We, Leif and Morrigan King and Queen of Drachenwald, finding Ourselves in receipt of good reports on the work of Our noble servant
Mícheál of Dun in Mara

concerning his service at shire events, his work in our kitchens, and his commitment to the defense of our lands, do award him Arms.

In witness whereof We have set our hand this 29th day of November, Anno Societatis XLIX  in the second year of our reign, at Insulae Draconis tournament of succession and Yuletide University.


Beautiful series of Romanesque capitals

The Bibliotheque nationale de France's online resources have improved greatly since I started surfing the intawebs.

Courtesy of Manuscript Art blog: some lovely fluid Romanesque capital letters in Greek and Latin. For the hard-to-find Ks, Ws, Xs, Ys and Zs in your life.

Pontificale Senonsense, dated 1175-1300.

In Greek:

Pontificale Senonense.

...and in Latin

Pontificale Senonense.

Monday, December 01, 2014

AoA for Sela de la Rosa

A favourite style, with new touches

This is an AoA given this past weekend at Insulae Draconis Coronet tourney.

I've done several scrolls modelled on the same manuscript, a copy of Chaucer's translation of Roman de la Rose Hunter 409, at UGlasgow.

I love it because it is mostly calligraphy, the illumination is very light, and there's lots of white space.

Example of original, f 19:
Manuscript - full page

For this scroll, I used a quill throughout for the calligraphy. The quill softened a bit through the work, so the lettering isn't as crisp at the bottom as at the top.

I also gilded the initials rather than using gold gouache.  I'm (still) using a modern gesso, so it is not mirror-polished as it should be, but it held up well.

I'm more comfortable handling gold than I was when I started using this MS as an example; it doesn't scare me anymore.

The grubbiness in the image is from the scanner, not the scroll!

I'm also happy with the whitework and penwork: saving it til the morning, and doing it before my coffee, really does make a difference.

Here's the text of the scroll, based on one of my favourite sources, Castiglione's book of the courtier: his appendix includes a list of virtues in a courtier and in a waiting gentlewoman, explaining what a literate Renaissance man thought were important character traits. In the text, letter Y stands in for the 'thorn' letter.

From ye prince and princess to whom these presents show God grant you good health & peace be upon you.  
Having heard ye goodly reports of ye gentlewoman Sela de la Rosa, to wit – being well born, of a good house and wel brought up, having the vertues of the minde, being learned and havinge a sweetenesse in language and a good uttrance to entertein all kinde of men with communicacion woorth the hearing, devisinge verses and poesie to the joy of the companie, she apparail herself so in meete garmentes that best become her of some darkish and sad colour, not garish. 
In our sight she hath made her self beloved for her desertes, amiablenesse, and good grace, not with anie uncomelie or dishonest behaviour, or flickeringe enticement with wanton lookes, but with vertue and honest condicions.  
Therefore that alle these facions, skills & virtues may be commune to a greate many we Nasr and Eleanor, prince & princess of Insulae Draconis, do award her armes with Alle rights and priveleges, etc.  
Done this xxix day of Novembre AS XLIX at Yuletide University.

Tuesday, August 12, 2014

lots of flowers

This scroll was done ages ago as a blank and then the Signet of ID asked for scribes. I thought this would be a good scroll to use.

Gouache and oak -gall ink on pergamenata. Took about 40 hours to do this scroll which was way over my initial estimate but the tiny shading takes a log time especially as it is all layers upon layers.

Thursday, July 31, 2014

Macclesfield Fun!

After my first attempt copying from the Macclesfield alphabet, I was hooked. Now I want to do All The Macclesfields! But for a recent project, I restricted myself to nine, seven of which are here:


Friday, June 06, 2014

Making of Baron Marcus' Stormarn Court Barony and Mistress Bridget's Sigilum Coronae

Hello fellow scribes,

For Double Wars XXVII I had the honor and worry to do two scrolls for two people very dear to my heart! Mistress Bridget's Sigilum Coronae and Baron Marucs Court Barony.

It was quite challenging to do both of them for different reasons. you can read and see more of the making of on my blog http://kunst-stueckchen-kalligrafie.blogspot.de/.

Please feel free to chritique either here or on my blog!

Wednesday, April 30, 2014

A new year

I would like to remind all scribes that as of May1st we are welcoming in a new Anno Societatis year. It is now AS 49 or XLIX.

Happy New AS Year!

Monday, April 28, 2014


Because it's always good to be reminded of just how much whitework improves a piece:

pre post

You can read more about this scroll here.

Tuesday, April 08, 2014

Books for free from the Getty

Getty Publications Virtual Library

Free digital backlist titles from the Getty Publications Archives


Lots of titles can be downloaded as pdf files for free. Have fun!

Margaret de Mey's Pelican scroll.

Margaret de Mey is one of Drachenwald's treasures. This past weekend she was elevated to the Order of the pelican. this was the scroll. If you wish to see a WHOLE lot more pictures and read up about the making of then hop on over to my other blog and check it out but be warned it's super image intensive.


Friday, March 21, 2014

Early medieval faux marble

Spending some time browsing the British Library catalogue, I came across this 11th c work, that I hadn't seen before.

What caught my eye this time was the colour of the columns in the canon tables (pages I usually skip over). It's the attempt to show the beautiful colours of marble that was so nifty. Look at the glorious purples, periwinkles, reds, greens!

This book isn't that large - about 7x9", close to the size of a trade paperback now. But just a joy.

Egerton 608: Four gospels
Possibly painted in what is now Luxemburg

f 8 - large version

Canon table

f 9v - large version

Canon table

f 15 - large version


Tuesday, March 04, 2014

On the subject of assignments.


So it has come to my attention that there has been some unhappiness about the lack of work being assigned. This is due purely to the small amount of awards being given out and not anything else. Since Coronation there have been a total of 20 assignments done by a total of 16 scribes. Some scribes including myself have had multiple scrolls to do because of time crunches or because one scribe did the illumination and one scribe did the calligraphy.

The main reason for the small number of awards is the lack of recommendations being received by the Crown and that fact that we now have 2 principalities that also award AoAs for their own people by their own royals so that on a Kingdom level there are fewer entry level awards being assigned.

If people have issues with the Signet office (me) or questions about how things are being run then please email and ask because it is easier to address issues or explain the situation if I actually know there are problems.

I try really hard to spread the work around so that ALL active scribes get a chance to show off their work and sometimes that means that people might have to wait their turn again. Currently on the roster I have close to 60 or so active ( in varying degrees) scribes so as you can imagine sometimes that means not everyone gets to do work all the time. Also if I get an award request from the King and Queen and it comes with a suggested scribe then, unless there are other circumstances, that scribe will be asked first if they wish to do the scroll, whenever it is possible.

I would also encourage people to take this opportunity of quiet time to finish their backlog assignments as there are many still open-assigned scrolls on the current OP and it would be nice to see them get cleared up and the recipients receive their scroll. If you are unsure if you have a backlog assigned to you then encourage everyone to go and look at the online OP as now all assigned backlogged scrolls will have the scribe's name publicly listed.


So as soon as more work becomes available I will let you know and if you know people who you think are deserving of an award then please send the King and Queen a recommendation through the proper channels.


Mistress Bridget Greywolf OL