On Unusual Charges - Part II: Harpies Displayed

The Field is Azure, an Harpey displaied, Crined, Crowned, and Armed, Or. These are the Armes of the noble City of Norenberga, which according to some Authors is sitituate in the very Center of the vast and spacious Country of Germany. The Harpey (saith Upton) should be given to such persons as have committed manslaughter, to the end that by the often view of their Ensignes they might be moved to bewaile the foulnesse of their offence.

This is rather a good entry in the competition for 'charges which should never be shown displayed' by John Guillim in his 1611 Display of Heraldrie.

On Project Plans: The Book of La

My previous book-related project (still somewhat ongoing) is the Book of La, a music book for bardic occasions. The first version has already been... I won't say finished, but released into the wild perhaps? But it certainly won't be the last.



The Book of La started at the College of St Aldhelm, after we developed the habit of singing at the pub after our weekly meetings. Initially, we were using the very fine The Known Words, but the problem we encountered in that environment specifically was that with so many inexperienced members of the SCA, many of the songs we would otherwise love to have sung weren't known to most (or even any), and songs are quite difficult to sing without tunes.

The solution I hit upon was to make our own book, with those favourites of ours, with the tunes included, and some other songs we thought would add to the experience, including several of the College's songs. The result was the College of St Aldhelm Book of La (College War XVIII Edition), which was put into print with funding from the College, and given out at the College War event we hosted that year. It was a reasonable success, and only a few heartbreakingly-obvious typos to point out...

My current place with the project is to fix up the errors, polish the product, and give the College a version to put on their website. That's nearly done, but I'm easily distracted, as this blog may be taken as testament to.

After that, my plans are to expand on the Book of La with more songs, as best as I'm able to find tunes for (which is really the difficulty). It may take some time before the next edition is ready, but that's inevitable.

As I'm withdrawing from the College to allow the next generation to make it their own, I had to decide whether to pass the Book of La on to the next Seneschal to improve, or keep it as a project of my own. Considering the varying workloads required of students, and the specialised techniques that went into its creation, and I freely admit a decent level of emotional involvement, I've decided to carry the Book of La project myself, removing the College labels from the next edition (though I'll keep the College of St Aldhelm songs in there... perhaps I ought gather some songs from the other Colleges around Lochac, too, for balance).



The Book of La itself is largely presented in a modern style, with modern sheet music, for the sake of readability and usability. It's in a somewhat large-print format, so that it can be read by candlelight or firelight in a bardic setting, or printed at half-scale for portability.

On Unusual Charges - Part I: The Fiber

R. beareth Verte, a Fiber, Argent. This beaste, Animal est emphibion, because he can live bothe on the lande and in the water, and maketh houses or dennes, arraied with wonderfull crafte, in the brinckes of Rivers, and waters, as Plinie saithe. He is also named Castor, à castrando. For he geldeth him selfe, when he perceiveth that he is persued of the hunter, and bitinge of his stones, which are marveilously good in medicines, layeth them in the sighte of the hunter, knowinge by nature, that he is hunted for the same, and so he escapeth deathe. The whiche Cicero in Scauriana affirmeth: sayinge, that he ransometh him with that parte of his bodyfor whiche he is moste pursued. Juvenall also saithe, that he geldeth him selfe, for the desire he hath to escape. This beast in shape is wonderfull, for his tayle onely is fishe, and all the other deale of his body hathe the fourme of a litle hounde. His hynder feete be as it were feete of an hounde, wherewith especially he goeth on the lande : and his twoo forefeete bene as it were the feet of a Goose, and therewith he chiefely swimmeth in the water. In runninge his is very slowe, Ob ventrem tumidum, & ad terram dendentem. His skinne is full pretious, and properly white.

Are you glad you're not a beaver in period? John Bossewell doesn't have a good life ahead for you...

On Projects Plans: A Heraldic Treatise

"Someone should really do X..."

The above statement is unhelpful. I have a personal rule which states that it should always be followed by "...and that someone is me!" if you want to be a contributing member of society.

How is that particularly relevant? Well, I found myself, some years ago, reading through period heraldic treatises (the many results of which may be found throughout this blog), and thinking to myself, "Someone should really write one of these for SCA heraldry..."

It took a few minutes for that inadvertant volunteering to sink in.

This isn't an upcoming project, rather an ongoing project that's been bubbling away. The research phase started in earnest in July 2011, and the actual pen-to-paper (as it were) phase began in November 2012. It's currently at approximately twenty thousand words (of an estimated forty to sixty thousand), and approximately ninety pages (of an estimated two to three hundred). The length will jump quite a ways when I start adding illustrations, rather than simple text. This is just the first draft, mind, so it's not a third of the project done, by any means.

There are various areas to be covered in the treatise, including both book and voice heraldry, as well as precedence and thoughts about the society, as the period treatises I've studied have had varied topics contained within, from simple coat-armour to complex musings on the nature of knighthood and nobility, and diverse other things.

I've been away from the project for several months, because of study commitments (hmm, should I spend time writing the treatise, or my many essays and assignments?). I've returned to the project this week, and have been revising a lot of the earlier writing and choices to match the later study I've done, as a way of refamiliarising myself with the work. Some of the things I've noticed along the way have reinforced to me the scale of the project I've put myself in for.

Many of the things written on this blog will likely be a springing point (or central reference) for sections of the treatise, as various parts overlap. For instance, the court heraldry section of the treatise will likely be based largely on my Court in the Act article.

On Augmentations in Period - Part IV: Simplified Upon The Chief

Another interesting variation on the augmentation of arms seen in A Display of Heraldrie is that of using a chief (which is fairly standard), but with a simplified version of the royal arms.

The Fieldis Topaze, two Barres Saphire, a Chiefe quarterly, Iupiter and Mars on the first two Flowre de Lices, Sol : the second Charged with one Lion passant gardantof the last, the third as the second, the fourth as the first. This Coat belongeth to the right Honorable the Earle of Rutland, Lord Rose of Hamlake, Trusbut and Beluoire, which was giuen in augmentation to this Family, they being descended of the blood Roiall from King Edward the fourth. This also is a forme of bearing of a part in a part : for heere is abated one Flowre de Lice of the Armes of France and two Lions of the Armes of England, and borne on the Chiefe part of the Escocheon.

This provides a fascinating model for augmentations in the SCA, where a Kingdom may have a complicated coat of arms (Much as Quarterly France and England doesn't fit a narrow band well), and a populace badge which doesn't quite fit the arms properly, and thus it may be desirable to bear a reduced form such as this,

On the Importance of Looking at Period Heraldry

In the new versions of the rules which govern heraldic registrations in the SCA - SENA (the Standards for the Evaluation of Names and Armory) replacing the RfS (Rules for Submissions) - there is a greatly increased focus on matching period style in new arms. As this topic will be one of the foci in the class I've been asked to give at an event in a few weeks' time, I thought it might be useful to explore the issue of why this matters at all, as much to get my thoughts in order as to illuminate the respected reader.

So, why is it important that our coats of arms are a faithful reproduction of the style of arms which would be found in period? Leaving aside the obvious matters of the fact that the rules encourage and require it.

Firstly, as much as people may like to debate the importance of authenticity, if you accept any part of the importance of authenticity in our game (which I emphatically do), then having arms which are authentic in style to period should be a goal. It will (hopefully) end up on banners, tabards, furniture, feasting gear, stationery, and every good thing, and having a modern design on otherwise lovely period-style items rather spoils the effect.

Also, one of the major emphases of period heraldry (with a couple of notable exceptions) was to focus on simplicity of design. A simple design is more visually striking, and allows for more artistic variation over one where the elements are so layered and crammed that they seem to fight for space. Also, the simpler the design, the more likely you are to put your arms on something, which in turn increases the amount of heraldry on display - my device, as shown above, can in fact be tablet woven, and I have plans for armour straps and fittings in full heraldic style.

There also advantages to looking at period examples of heraldry, and a range of types of sources available.

When looking at period heraldic treatises, such as I make frequent reference to, you can get an understanding about how heraldry was thought about in period, including the meanings of charges, interesting colour theory, and some fanciful and unusual arrangements which aren't seen in more modern (read: Victorian) works and treatises.

Period rolls of arms show the great variety of period heraldry, and can be a wonderful source of ideas when trying to design something. They can also be a wealth of examples of arms which don't match the "Core Style" of SCA heraldry - and one of the advantages of the new rule set is that there are specific and somewhat simpler requirements when documenting exceptions to the standard rules, where before it was left as a judgement call every time, resulting in inconsistent and difficult results.

On Augmentations in Period - Part III: A Badge Upon The Canton

The next in the set of augmentations shown in the 1611 Display of Heraldrie is of the form accepted in the SCA as standard, being a charged canton, but in this case, a canton charged with a badge of the Sovereign, rather than the royal arms.

He beareth Azure, the Wheele of a Watermill Or. This was the Coat-armour of that worthy Gentleman, Nicolas de Moline, a noble Senator of the Magnificent State of Venice, who being imployed by the most Noble Duke and the State in Abassage to the sacred Maiesty of our dread Soveraigne, King Iames, upon acceptable service by him performed both to his Maiestie and to the said State, it pleased his Highnesse not only graciously to remunerate him with the dignity of Knighthood in an honourable assembly of many noble Peeres, Ladies, Knights, and Gentlemen ; but also for a further honour by his Highnesse Letters Patents under his great Seale of England, to ennoblish the Coat-armour of the said Nicolas de Moline, by way of augmentation, with a Canton Argent, the Charge whereof doth participate of the Royall Badges of the severall Kingdomes of England and Scotland, viz. of the Red Rose of England, and Thistle of Scotland, conioined Palewaies

Also quite interesting is the fact that this augmentation was granted by the King of England to a foreigner under his employ, not just to a subject.

The use of the royal badge of England and Scotland here gives good credence to the prospect of using the populace badge of a Kingdom of the Society, as they follow most closely in that practice.

On Augmentations in Period - Part II: The Fess

Returning to the subject of bearing the Sovereign's arms in augmentation, and again to John Guillim's Display of Heraldrie of 1611, we next find the fess used to bear the augmentation, in this particular case while surrounded by a bordure on the fess.

The Field is Topaze a Fesse of the Soueraigne Ensignes within a Bordure Gobonated Pearle and Saphire. This Coat-armourappertaineth to that most noble and truly Honourable, Edward Earle of Worcester, one of the Lords of the most honourable priuy Counsell, Master of his Maiesties Horse, Knight of the most Honourable Order of the Garter, and one of his Hignesse Commissioners for the Office of the Earle Marshall of England, a noble Peere, whose great vertues are euery way correspondent to the greatnesse of his place and honour.
Recalling the various fanciful systems of naming tinctures occasionally used in these treatises, we see a field Or, with a bordure gobonated argent and azure.

This form of augmentation would adapt marvellously to most Kingdom's arms, but perhaps not so well to the arms underneath: in most cases, applying a large and well-endowed fess over other arms would obscure the arms beneath in many cases. Nevertheless, a fascinating option for those who wish it.

On Sideways Tabards

So, you may have come across the quaint and curious practice of some heralds wearing their tabards sideways. Do not adjust your set, you are seeing correctly. No, ma'am, they aren't drunk*. Please, sir, do not try to correct them. Especially not physically**.

In short, wearing tabards sideways - or athwart, colly-westonwards, or several other silly names - is a mark of a herald holding a certain rank. In the Lochac College of Heralds, there are three ranks: Macer, Pursuivant, and Herald (with a capital H). A tabard athwart is, as in period, the mark of a Pursuivant. Lochac Heraldic Policy says simply this:

5.3. A Pursuivant wearing a sleeved tabard should have the sleeves front and back (i.e. rotated 90 degrees).

 Note that it says "should", rather than "may".

In period, Pursuivants were something along the lines of journeyman heralds, who hadn't quite finished their training, and so wore their tabards sideways as a mark of "not quite there yet". In the Lochac College of Heralds, Pursuivant is the middle rank, and the first which is earned by actions (more than the action of deciding to be a herald in the first place). Macers wear their tabards "properly" because they're just beginning, and shouldn't have things complicated for them any more than is necessary, and Heralds wear their tabards straight because they're fancy and in charge.

The practice varied in period as fashions changed, ranging all the way from being entirely absent, to being enforced with punishments. And so too in the SCA has it varied, though not to the point of punishments. Wearing a tabard athwart is something of a herald's fancy, and as such usually requires explaining to the general public when they get confused by what they see as things being done weirdly or wrong. I've even had people quite condescendingly try to explain to me that that's not how you wear a tabard. But, we should see that as a place where we can see a wonderful educational opportunity, rather than as a reason not to try.

And finally, one practical note about wearing a tabard athwart: Some tabards, of particularly fine construction, with layers of brocade, velvet, and satin, while beautiful, are not appropriate for wearing on a particularly hot day. With the extra ventilation of wearing athwart, however, it's much more comfortable (experience from a Fighter Auction Tourney at Rowany Festival, where all four of the Rowan-made words of tabardy art were worn at once).

For more information on the wearing of tabards etc, see What Did Heralds Wear? by Eirìkr Mjoksiglandi Sigurdharson.

* Probably. I suppose there's a chance, but they shouldn't be drunk on duty.
** Yes, that did happen to me. They meant well, but grabbed at me without warning when I stopped for water.

On Some Interesting Finds in The Blazon of Gentrie

When reading a heraldic treatise, one can often find some interesting heraldic motifs, designs, or elsewise which are not found in SCA heraldry. While reading the 1586 treatise The Blazon of Gentrie, by John Ferne, I found the following interesting snippets that I thought I should share.

p.184 - "The feeld is Gewles, three Barrulets, the first in chiefe, the second in fesse, and the third in bast Or."

This one is interesting to me as it presents a different arrangement of three like horizontal charges than is normally found, where the usual would be to have them evenly spaced or grouped together in the middle of the field.

p.190 - "He beareth Or mouchette de Gules, a plaine crosse, in baste, sable."

This one is interesting as it shows an ordinary, which would usually be throughout the field, or else fully coupled, taking up less than half of the field and simply squashed and cut off. The field treatment is also interesting, and not one I have seen before. Of this mouchette, the author says this:

"The charge of the fielde, the french call mouchette, that is to saye peeces of fleshe torne of, as a hauke doth in her feeding when she tyreth upon her pray, it were more fit for a Faukner, as it seemeth by the french Armoristes."

The spots, which seem almost to be inverted ermine spots with a bloody past, are not one I can recall ever having seen in SCA heraldry.

p.191 - "Azure, a staffe reguled truncked, in bend Argent : in chief two Cantones dexter and sinister : the firste Or, semie de graines de blede froment G. the seconde, is of the foure Beanes verte."

This coat features both the unusual feature of two charged cantons on one device, and also a gules canton on an azure field (The "G." in the blazon refers to gules, as may be seen in the illustration with a small "G" inside the sinister canton).

p.196 - "The field is Or : on a chefe Gules, a right arme extended purpure, portant un fanon Ermynes, brochant sur le toute"

This coat is interesting for its use of purpure, and for the cloth hanging from the arm extending from the chief and onto the field.

p.235 - "This Sheld is Azure three Trowts brased in triangle Argent, borne by the name of Trowtbeck."

I simply love this trout-quetra motif, and the delicious cant.

On Project Plans: A Herald's Tabard

Now that there opens something of a gap in my schedule (hello, end of undergraduate study), my thoughts turn to the sewing projects I've been putting off for one reason or another. The first of these is my own spiffy herald's tabard.

I've had possession of a great many types of tabard, from the Politarchopolis Baronial Court Tabard, a confection of velvet and brocade with a satin lining - guaranteed to make winter courts toasty warm and summer courts brief, to the standard crossed trumpets and green, both the quick cotton drill versions to the somewhat nicer appliqued damask.

So, in deciding on this plan, there are a few things to decide: Shape, design, and material.


For shape, I've found a few examples in period illustrations of tabards which are joined under the arms, just a little way, such as in this illustration, or this one. I think this is a wonderful idea, especially given the number of times I've had to herald in a windy situation. Some shaping will be required around the arm holes and shoulders, and I'll probably flare the body out a bit, to give more room for display.


For the design, I am quite set on using the Lochac royal arms - not the populace badge, and certainly not the crossed trumpets.

As for the question of using the royal arms on a tabard, the argument is simple: As a pursuivant in good standing of the Lochac College of Heralds, I serve the Crown of Lochac in all heraldic business. In period, a herald of any rank wore a tabard of the arms of the noble they served. Often the king, but sometimes other varied nobility who chose to have them in their employ. There were freelance heralds, with a variety of designs, but I do not consider myself one of their number.

The populace badge? I certainly have the right to bear the populace badge of Lochac (the royal arms sans crown and wreath) as a member of that fine Kingdom, but for a herald's tabard? That would be rather like seeing a herald in the English College of Arms wearing a tabard of the cross of Saint George. Such tabards did exist, certainly, but they were worn by crusaders, not heralds.

And as for the trumpets... Heralds wearing the arms of the College of Arms is a distinct oddity. I can think of no real circumstances where I might, as a herald, want to identify myself as being in service to the College of Arms or of Heralds. Perhaps, if presenting College business in court, I may wish to do so. However, when going about the business of the College in the service of the Crown? That is rather like an English herald wearing a tabard of "Argent, a cross Gules between four doves, the dexter wing of each expanded and inverted Azure." (the coat of arms of the College of Arms of England).


Finally, for the materials, I am planning on having the main body of it pieced together - the field and cross each joined together at the edges - with the crown, wreath, and stars affixed using appliqué. For the basic fabrics, I believe that a nice damask or brocade, of the appropriate colours, would be the best. Each side of the field should be the same, of course. The cross would be best in a contrasting textured fabric, possibly a satin or velvet. The charges, then, all in white, would be best in a contrast to the cross (as most of them are on there). Velvet, or satin, depending on which was used for the cross.

There will also be an interlining (possibly of a light canvas) to make it drape better, onto which the other layers will likely be quilted - a thin layer of padding over the canvas would highlight the quilting to great effect. Behind this, a lighter backing - most likely black, to seal it in and hold things together.

I would also aim to have some level of affixed pearls as decoration, given my late period preferences and love of sparkly objects (my household badge, currently under design, features a corvid). Edging the charges with strings of small pearls is one possibility. The crown, in particular, could have jewels attached, possibly in the style of those of the true Lochac crown. The laurel wreath, as well, could actually be formed almost entirely of pearls and other beading, as an alternative to such fiddly appliqué.

In all, I think the deciding factor on these materials will be what I can find, and what I can afford. Given the level of work involved in making the tabard, I'd like to start from as fine a base as possible.


These are my plans, and may take any amount of time from a few months to the rest of forever to complete. I'm aiming for somewhere within a year, though, depending on other projects and available energy.

On Augmentations in Period - Part I: The Bordure

The incorporation of the sovereign's arms into one's own heraldry was used in period, and is still used in the Society, as a display of great honour bestowed on an individual. The most common forms are by placing it on either a canton, a small square or rectangle in the dexter chief corner of the shield, or an inestucheon, a smaller shield placed somewhere on the shield.

However, in Display of Heraldrie (1611), Guillim gives an example of another method: the bordure.

He beareth Argent a bordure quarterly, as followeth: The first, Gules enury of three Lioncels passant guardant, Or. The second, azure, verdoy, of as many Flowers de Lices, Or. The third as the second : The fourth as the first. Such a Bordure did Henry Courtney Earle of Devon, and Marquesse of Exceter, beare, (who lived in the time of King Henrie the Eighth) environing the Royall Armes of England, which he received as an augmentation of honour.

 

This form of augmentation would adapt well to some SCA kingdoms. For example, the populace badge of Lochac would fit quite well, being quarterly with a cross, and four charges on the cross. Caid, on the other hand is very well-suited to a canton, being a single charge on a coloured field (however, a bordure semy of the Caidan cross would be quite good).

On Personae

Following on from my previous discussions of selecting a name, we come to the subject of personae in general. For many people, their persona may never be developed past selecting a name (or even as far as that), but when done well, it can allow for quite an interesting set of insights into medieval life, and enhance the feel of the Society at large.

The basic parts of creating a persona are to choose a time and a place. This can be as general as a rough range of centuries, and a specific quarter of Europe - think of your generic 'Viking' persona, or get as specific as a specific year in a specific town or city - Worcester in 1540, for example. This gives you a general guide for clothing, names and other such things, and in general, the later within the SCA's period it is, the more finely you can narrow down what these things would have been for a specific year or town. There are scant few real resources on how Scandinavian clothing varied between the range of Norway to Finland or the many centuries which constitute the Viking age, but we can track fashions as they spread through England over the individual years of the 16th century. That isn't to say that you shouldn't be as specific with earlier periods as with later, just that there is somewhat more fluid answers to some of the questions.

Some people choose to develop this further, sometimes to a somewhat scary extreme of research. Baron Modar Neznanich has compiled a list of Research Questions for Developing a Persona, which can be used as both a guide for working out which areas you could research for your persona development, and for finding a coherent order in which to record the various aspects you've discovered.

An interesting alternate method for persona development, rather than creating a fully-formed medieval person who just so happens to have been transported to the strange Kingdoms of the Known World, is to create a persona based on your real story. For example, those who have read my 'About the Author' page will have noticed that my persona, while culturally rooted in the 16th century lands of England, was born in the lands of the Barony of Politarchopolis, in the fair Kingdom of Lochac, and is well traveled within that sun-baked realm (my own having moved about through various parts of Australia, translated). This allows me some flexibility in some things - for example in dress. While I aim to keep each outfit internally consistent as to time and place, there are some things which I've adapted from those around me, most notably a 15th century tellerbarret (big wide hat) with my 16th century garb. This is, largely, for practical reasons, as being a field herald wearing a Tudor bonnet which offers no sun protection would be a bad idea in the Lochac summer. I saw a style of hat which would serve my purposes admirably, and like any good Englishman, I stole the idea (there is a period book which depicts the various national fashions, and the Englishman is nearly naked, but with a bolt of cloth and pair of scissors).

Once you have a persona, what can you do with it? Firstly, it can be used as a guide for your development of other things, including garb, camping gear, feastware, &c. Each culture has its own ways of adding personalising touches to personal possessions or outfits, from the heraldic painting of western Europe to the excessive personal adornments of gold of the steppe cultures (in a nomadic setting, having all of your wealth as items to wear made it much easier to transport and show off). It can also add to the roleplaying side of the Society, with the curious interactions between people of the various cultures (so long as it's kept civil) and the differing perspectives they bring to various matters.

Finally, a brief note on what *not* to do. There is a temptation, and sometimes a tendency, to create a persona which explains every little odd combination of clothing you wish to experiment with and every other weirdness you'd like. You can, if you particularly wish, be a viking who was kidnapped by gypsies, then escaped and joined a pirate crew, before winding up in the court of Elizabeth I. Temporal problems aside, this is... well, in short, silly. You can do it, and you can also show up to SCA events dressed as Captain Jack Sparrow. Both are equally silly, in my opinion.

On the Nine Virtues of Chivalry

John Ferne's 1586 Glory of Generositie (part of The Blazon of Gentrie) gives the following 'Nine vertues of Chivalrie'.

Torq. I was never daintie of my cunning : of these nine vertues, foure of them beene called spirituall, and five temporall, the foure vertues spirituall be these.

1 He shall honor his father and his mother.
2 He shall not oppresse the poore.
3 He shall shew mercie where mercie is due.
4 He shall fight for the defence of the sacrifice of the great God of heaven.

Now follow the five vertues temporall.

1 He shall not turne his backe to his enemie, with intent to flie.
2 He shall truly hold his promise to his friend, as to his foe.
3 He shall be free of his hospitallitie.
4 He shall defend maidens right.
5 He shall uphold the cause of the widow.

On Selecting a Name

The process for selecting a name in the Society is one of the first encounters with book heraldry that most people have (along with designing a coat of arms), and thus is one of the areas where there can be the greatest confusion. To be registered with the College of Heralds, the name must be documented as being a plausible name to be borne by a real person in period.

Why register your name? Firstly, to have a coat of arms registered, you need a registered name to go with it. Secondly, when your name is registered, it is yours, and uniquely yours, forever. A side-effect of this is that if you don't register your name, and then someone else (maybe on the other side of the Known World) registers the same name, then it's theirs, and uniquely theirs, forever.

Essentially, there are two ways that selecting a name is usually undertaken, of which... one is more problematic.

The problematic method is to create a name, and then try to document it. The problems with this are, largely, that it's an unreliable and difficult way of coming up with things. Some names simply didn't exist in period, including ones from so-called medieval fiction, and some elements aren't compatible with each other (for example, those too far separated by time or by culture, or by gender). Some modern given names were surnames, and some modern girl's names were male. For many names, this process can work. It can be more problematic, and certainly trickier to research. But, it can work. I'd not recommend it, however.

The better method is to first, pick a time and a place. This is, when it comes down to it, the first part of developing a persona. Once you've selected that, it's time to start researching what names were found in that culture. For most of the cultures in the SCA's period and geography, you can find many great sources on the College of Heralds site and the Academy of St Gabriel. These sources are largely articles on name constructions, and lists of names garnered from period sources. Other websites, and also many books are also acceptable, but care must be taken that they've not modernised the spellings (which will present an obstacle to documenting names accurately).

When reading through lists of names, you can find some great names that have died out, or been modified beyond recognition, in the passage of time, from Lettice to Lancelot (both 16th century English). There are opportunities for amusing names, like Ralph de Pukehole, too (though be careful - if you pick a funny name, you still have to live with it).

By looking at what names were actually used, and then crafting something with a good personal significance from there, you'll end up with both a more medieval, and also more human, name than you would otherwise have found.

On Tinctures in Period - Part VIII: Tenne and Sanguine

Going beyond the regular Tinctures, there are those strange creatures of tawny or orange, and of blood red, known in Blazon as Tenne and Sanguine respectively.

Dame Juliana Berners - Boke of Saint Albans (1486)

St Albans gives the tinctures of termed "brusk" and "sinamer or sanguine"

Tercius lapis

And this stone is calde brusk colore in armys

The thirde stone is calde an Ametisce a dusketli stone brusk hit is calde in armys. The vertue ther of is : that he the wich berith in his Cotearmur that stone. fortunable of victori in his kinges batayll shall be. the wich stone is reserved to the virtutys crowne that was fortunable and victoriows in his kyngs batail of heven whan they faught with Lucifer.


Quintus lapis

A loys is calde sinamer or sanguine in armys

The . v . stone is calde a Loys . a sanguine stone or sinamer hit is calde in armys. The vertue therof is : the gentilman thatt in his Cotearmure this stone berith myghtifull of power in his kyngys batayll shall be . the wich stone was reserved in domina cionys crowne that was myghtifull of powere in his kyngys bataill of hevyn whan thei faught with Lucifer.

It is interesting that these tinctures are given positions three and five, of the nine (with Purpure between them).

John Bossewell - Workes of Armorie (1572)

Orenge Tawney, termed Tenne, is compared to the Dragons Head, and to the Jacinthe.

The Jacinth is taken to be medecinable, and to give vigor or strength to the Lyms, to encrease the Synewes, and to provoke quite & sound sleape.

Murrey, termed Sanguine, is compared to the Dragons Tail, and to the Sardonix.

The Sardonix saieth Isidore also is three coloured, black about the botom, white in the middest, and redd at the toppe. [...] The Lapidarie sayeth , it is bredd & borne of the Sardye, which is father to him, & Onyx. [...] In workyng it maketh a man lowlye, & shamefaste in his doinges.

In the second table of tinctures, Tenne and Sanguine are excluded from mention (indeed, Purpure only just barely scrapes a mention).

Of the 9. diverse coulours, planettes, and precious stones before rehearced, which be assigned for the fielde of Cote armoure. There be moste usually used in the blazon of oure English ensignes, but 6.

John Ferne - The Blazon of Gentrie (1586)

In the table of diverse systems of blazon, Ferne has omitted Tenne and Sanguine, by good cause. However, they are given place in the table of tinctures to angels (as there are nine orders of angels, so a rounded nine tinctures may be of use here.)

It is even so, you shall know that Purple was called Plumby : Tawney was named Bruske : and Sanguine was blazonned by the name of Synamer.

Bruske, alias Tawny, is compared to the Powers, fortunate of victory. Synamer, alias Sanguyne, is compared to the Denominations, mighty of power.

Edmund Bolton - The Elements of Armories (1610)

I have found no mention of Tenne or Sanguine in Bolton's writing, who only barely admits to the possibility of Purpure in arms.

John Guillim - Display of Heraldrie (1611)

Tawney (saith Leigh) is a Colour of worship, and of some Heralds it is called Bruske, and is most commonly borne of French Gentlemen, but very few doe beare it in England. In Blazonit is knowen by the name of Tenne. It is (saith he) the surest colour that is (of so bright a hew being compounded) for it is made of two bright colours, which are Red and Yellow : neither shall you have any Colour so made among all that may be devised ; and not to be stainand.

The last of the seven mixed colors, we doe commonly call Murrey, but in Blazon, Sanguine, and is (as most truly saith Leigh) a Princely Colour, being indeed one of the colors appertaining of ancient time to the Prince of Wales. It is a colour of great estimation, and very stately, and is of use in certained roabes of the Knights of the Bath. Some Heralds of approved judgement do hardly admit these two last mentioned for Colours of Fields, in regard they are reckoned Staynand Colours. Yet some Coats of Armes there are, and those of reverend antiquitie, whose Fields are of those Colours, for which respect they have beene allowed for Colours of Fields, as Sir John Ferne in his Glorie of Generositie noteth. THis kinde of bearing, Leigh doth instance in two English Gentlemen of ancient Houses, that have of long time borne Tawney in their Armes: the one of them he nameth Hounzaker, and the other Finers.

This is a much higher estimation of these two tinctures than may be found in any of the other sources save St Albans.

In his table of the names used for the tinctures and their order, Guillim gives Tennè the eigth place, the stone of Iacynthe, and the planet of Dragons head, and gives Sanguinethe ninth place, the stone of Sardonyx, and the planet of Dragons taile.

On the Importance of Heraldry

Some days, it can seem as though heraldry is almost everywhere in the Society, between the various forms of book and voice heraldry. But why, exactly, should it be so ubiquitous? I believe (as may be deduced from most of the other posts here) that heraldry is important, though the reasons vary between the various forms of heraldry.

Let us begin with the obvious, that of arms as seen in the banners, pennons, standards, and other flags which are flown at events, and the shields and tabards of fighters and heralds, and painted on any number of diverse items. This side of heraldry is important to the Society partially because it was so important in period. A great many tourney scenes and feasting halls may be seen hung with a great many banners, and the inclusion of such things can quickly add a good period feel to an otherwise dull (or even unattractively modern) venue. Arms also still fulfill their original purpose, of identifying the bearer (either individually, or their affiliations in the case of group arms). And thirdly, the decorating of various objects with coat-armour is a relatively easy (or potentially greatly complex) way to make an object unique to the individual, and also make it uniquely theirs.

Continuing with the other side of book heraldry, being the creation of period-accurate (or at least period-plausible) names, I feel the importance here is again largely in changing the feel of our society, including by encouraging people to explore other cultures than the medieval equivalent of their native culture, and by encouraging the development of a separate persona that may be used as an escape from the modern world. While not everyone will go further into persona development than selecting a name, most will complete at least this basic step.

As for voice heraldry, the most commonly visible role is that of the field or tourney herald. Their value lies largely in adding flair and pageantry, and in communicating to both the participants and the audience what is actually happening, and what is about to happen. By calling the names of the fighters, and leading the salutes, the audience is more able to be involved in what can be, for those not actually involved or specifically following a fighter, a rather repetitive if noisy event. Also, by making sure that the participants know who's fighting who, and in what order, without having to come and directly check with the list keeper, the tourney is made to flow more smoothly.

The next form of voice heraldry is court heraldry, which is valuable in that it allows the ruling nobles, be they Baron and Baroness or King and Queen, to take the centre of attention without straining their voice, thanks to the court herald taking the role of loudpseaker system, or having to be constantly fiddling with or hiding behind paper, thanks to the court herald having the full schedule and guiding the court through it, and having the text of the various ceremonies easily to hand.

Finally, there is duty heraldry, making the announcements at an event. The value here is simply as a mobile public address system, making sure that the announcements are made and heard, whenever needed. This is perhaps the least exciting form, and is usually best kept the least fanciful, but it is a necessary task for the smooth running of the other excitements.

On Tinctures in Period - Part VII: Purpure

The seventh and final of the Tinctures found in period treatises and allowed in the SCA is Purple or Violet, known in Blazon as Purpure.

Dame Juliana Berners - Boke of Saint Albans (1486)

St Albans gives a "plumby" colour, which I have placed with Purpure because of Ferne's explanations given below.

Quartus lapis

And this stone is calde plumby in armys

The . iiii . stone is calde a Margarete a clowdy stone Plumby hit is calde in armys . The vertue ther of is . what gentilman that in his Cotearmure that stone berith grete govenawnce of chivalrie in his kyngys batayll he shall have . the wich stone is repued in the potestatis crowne that was chevalrius of govenaunce in his kyngys batayll of hevyn whan thay faught with Lucifer.

John Bossewell - Workes of Armorie (1572)

Violet, termed Purpure, is compared to Mercurie, and to the Amatiste.

The Amatiste his force or vertue avayleth agaynst dronkennesse, it keepeth a man wakyng, and dryveth awaye ill thoughtes, and sharpeneth the understanding also.

In the second table of tinctures, purpure is not included in the list of four colours, with the following note:

Purpure, may bee addedd to make the 5.coloure, but it is rare in use with us.

John Ferne - The Blazon of Gentrie (1586)

The last of the 7 tinctures detailed by Ferne.

The 7. cullor is composed of white, blew, & red, and is called purpre, it signifieth in

1 - Planets. - Mercury.
2 - Precious stones. - Amethist, Opall, and Hyacinth.
3 - Vertues. - Temperancie and prudence.
4 - Celestiall signes. - Sagittarius and Pisces.
5 - Months. - November and February.
6 - Days of the week. - Wednesday.
7 - Ages of Man. - The age of gray heares, called canasenectus.
8 - Flowres. - The Violet.
9 - Elements. - Water and earth.
10- Sesons of the yeer - Winter.
11 - Complexions. - Flegmatique with some choller.
12 - Numbers. - 7. 12.
13 - Mettailes. - Tinne.

Purpure is the only tincture to be given a complexion of a combination of two, rather than a single humour on its own.

In the angelic system given later in the book, Purple is given to Vertues, with the virtue Knightly of governement. In the leadup to the angelic system, Ferne gives the following:

It is even so, you shall know that Purple was called Plumby : Tawney was named Bruske : and Sanguine was blazonned by the name of Synamer.

Edmund Bolton - The Elements of Armories (1610)

The rankings of tinctures given by Bolton hold Purpure as one of the lowest, with Upton placing it fifth, after Gules, Leigh and Scohier relegating it to seventh and last, after Vert or Sable respectively, and Bolton's own throne of colours placing it last, sharing the fourth tier with Vert.

There may also be found this conversation on why purpure has sunk from honour in our estimation:

A. I affect not the maintenance of forced paradoxes in matter concerning them , neverthelesse before I entered farther I would gladly that purple were restored to the owne place.

E. Indeed I marvayle seeing the best , and most ancient Authors speake of purple,as of an Imperial, and most reserved colour , peculiar to the Ceasars , and other Soveraigne Princes, how it hath lost the præcedence ?


A. You may wel say it was peculiar indeed, when in the phrase of Iustinians Code , the shel-fish wherein it grew is called sacer murex , and the crime of using it in cloak, or other garment by an imperiall edict dated at Constantinople equalled to treason, and the appropriation thereof to them of the bloud only, is honored therin with no meaner, nor lesse holy a word as the Dedication, which yet is but according to the Analogie of the whole use, if the colour were sacred, nay; if I forget not greatly, the State therein grew so precise, that to use but guards, laces, or strings dipt with that die wascapitall, though the great and glorious Emperour Iustinian remitted the rigour of those Edicts made by his prædecessors.

The reason why it hath loswt præcedence is because he have lost the colour it-selfe, since (as som thing) he Turks have come into possession of the fishings at Tyre, and other places where the Welks or Shel-fish grew in which purple was found, or beacause though the fish bee not extinguished, yet the Art it selfe of drawing, and keeping it is utterly perisht: For it is not (God knowes) that bastard die which is in Grocers turnsol, a mixture of vermillion, and blew-byße, or cynaber, or the colour in violets, but a most pretious, bright and admirable; which (saith Pancerollus) is now to bee onely ghest at in the Italian ielliflower, & seemes not in some judgements to bee that of the Amethist, but that of the Rubie, Pyropus or Carbuncle, or (as saith Bartolus) of Elementall fire, or rather of the Empyræan heaven it selfe.

If the true, and Tyrian purple were not lost, I perceive you would not feare to advance it in dictitie above white and yellow, that is above the metals in Armories, goldand silver.

A. I durst certainly. But forsomuch as those colours are in the Court of honour exempt from the name, and nature of colours, beeing the vegetative soules of Armories, and so reputed, wee put them apart as agreed uppon for the purpose of Armorie.

John Guillim - Display of Heraldrie (1611)

Purpure is a Colour that consisteth of much Red, and of a small quantitie of Blacke [...] Cassaneus having formerly handled those former six Colours, viz. White, Blacke, Red, Yellow, Greene, and Blew, saith, that of them all (being compunded and mixed together according to proportion), this Purpure Colour is raised. This Colour usually hath no other name in Blazon.

In his table of the names used for the tinctures and their order, Guillim gives Purpure the seventh place, as Purpure. Amethyst. Mercury.

On the Herald's Staff

5.9. Any herald on official business may carry a small white stave to indicate they ought not be interrupted.

9.2.3. When announcing a multi-field, multi-herald tourney a herald’s white stave may be raised when speaking to assist in prevention of overlapping calls.

The above are quotes from the Lochac College of Heralds official policy. It is rather brief on the point, giving it as simply a method of stopping interruptions during calls. However, there are a great many uses for the herald's staff, and they are currently greatly under-used by heralds in my experience.

The most useful area of heraldry in which a staff can serve well is in tourney heraldry. At the start of a bout, the marshal indicates each fighter as they're introduced, and each fighter usually indicates the other with their weapon. If carrying a staff, the herald can join in on this. At the end of the bout, one fighter is again indicated, the victor, and if carrying a staff, the herald can help with this. Also, the staff can be raised to call for attention. In a multi-field environment, this attention is, as indicated in the Lochac policy, quite useful from the other heralds present. In a single-field environment, raising a shining white staff can raise the visibility of the herald, particularly if it's crowded.

Outside of tourney heraldry, a staff has some other very important uses for a duty herald. Firstly, it increases the visual impact of a herald in their tabard, adding to the style and pageantry of the event, which is, after all, one of the important roles of the herald. Secondly, it gives the the herald's hand something to do, rather than fidgeting or scratching (though, be careful not to drop it too often once you inevitably start twirling your staff).

Finally, when making an announcement in a hall, or calling for the beginning of court, a stout staff banged on the floor before your 'Oyez' makes it slightly more likely to get attention, and on top of that, adds an interesting note of class.

On Tinctures in Period - Part VI: Vert

The sixth of the Tinctures to be viewed in period treatises is Green, known in Blazon as Vert.

Dame Juliana Berners - Boke of Saint Albans (1486)

Secundus lapis

The secunde stone is cald Smaragdus a gravely stone signifiying vert in armys.

The secunde stone is calde Smaragdus a graveli stone. & vert it is calde in armys. The vertu ther of is : that the gentylman the wich in his cote armure it berith kene and hardy in his kyngs batell shall be. the wiche stone is reserved in tharchangelles crowne that was kene and hardy in his kyngis bataile of heven whan thei faught with lucifer.

John Bossewell - Workes of Armorie (1572)

Greene, termed Vert, is compared to Venus, and to the Emeraude or Smaradge.

The Smaradge passeth both the leave and boughe of anye tree or plante, his colour is so freshe and greene, and in this poynite triumpheth all alone, neyther ys the Sunne by his sunne Beames any left or hynderance to this his shewe. There is no greater refection to the eyes, than the sight of this excellent Gemme.

John Ferne - The Blazon of Gentrie (1586)

The sixt cullor is greene, and is called Vert, it signifieth in

1 - Planets. - Venus.
2 - Precious stones. - Smaragd or Emeraud.
3 - Vertues. - Loyalty in love, curtesy & affabilitie.
4 - Celestiall signes. - Gemini and Virgo
5 - Months. - May and August.
6 - Days of the week. - Friday.
7 - Ages of Man. - Lusty green youth from 20. till 30. yeeres.
8 - Flowres. - All maner of verdures or green things.
9 - Elements. - Water.
10- Sesons of the yeer - Spring time.
11 - Complexions. - Flegmatique.
12 - Numbers. - 6.
13 - Mettailes. - Quicksilver.

In the angelic system given later in the book, Vert is given to Archangels, with the virtue Keene & hardy in battaile.

Edmund Bolton - The Elements of Armories (1610)

Upton and Leigh place Vert sixth on their orderings of tinctures, after Purpure or Sable respectively, while Scohier places it fifth, after Azure. In his own throne of colours, Bolton places it sixth, sharing the fourth and lowest tier with Purpure.

John Guillim - Display of Heraldrie (1611)

This Colour is Greene, which consisteth of more Blacke, and of lesse Red [...] This color is blazoned Vert, and is called in Latine Viridis, à vigore, in regard of the strength, freshnesse and livelinesse thereof; and therefore best resembleth youth, in that most vegitables, so long as they flourish, are beautified with this verdure, and is a colour most wholsome and pleasant to the eie, except it be in a young Gentlewomans face.

What a lovely image Guillim presents us with, a young woman with green in her face...

In his table of the names used for the tinctures and their order, Guillim gives Vert the sixth place, as Vert. Emerald. Venus.

On Adapting Modern Stories

Previously, I have spoken on the subject of entertainment at events, and in particular mentioned that modern stories can be adapted for telling at events, with a few (relatively minor) changes. There are often many stories which seem to be impossible to tell without their modern details, but almost always, this is not so, it just requires some care.

Let us take the example of speaking of an interesting morning before the feast you are now attending. For a modern audience, you may mention speaking to your sister on the phone, driving to various shops before driving to the event, with some car troubles on the way (let us say a blown tyre). The phone, the car, and other such small details, can all seem rather pivotal to the story, but it isn't so. Speaking to your sister is possible without the phone, just so long as you also don't mention how far away they currently are. Likewise with the car, what is important to the story is that you travelled, not how, so just leaving out that it was a car will do. Period wagons often had wheel troubles, and a cracked wagon wheel may be quite like a blown car tyre.

Most of the modern details of such anecdotes are really a sideline to the real action, and can usually be left out. For those which absolutely can't? Perhaps this is not a story that needs telling at an event. For example, if you are a computer technician, and there was a particularly engrossing problem which required your attention, you may either discuss it in general terms and focus on your frustrations, or leave the story for another time.

One thing I would beg you to avoid, however, are those gross circumlocutions which are more appropriate for a fantasy novel or LARP. If you would avoid the word "toilet", then "privy" is acceptable (some period English alternatives are "Jakes" - the predecessor to "John" I suppose - and "House of Easement" - which sounds downright relaxing). Please avoid "the Shrine of Our Lady of the Swirling Waters". Likewise, "car" may be replaced with "wain" or "wagon", but never "dragon".

On Tinctures in Period - Part V: Sable

The fifth in the series of Tinctures in period treatises bring us to Black, known in Blazon as Sable.

Dame Juliana Berners - Boke of Saint Albans (1486)

Octavus lapis

This stone is blake and it is called Sabull

The . viii . stonn is a Dyamond a blake stone . Sable it is calde in armys . The vertue therof is . what gentilman that in his Cotearmure thatt stone berith : durabull & unfaynt in his kyngys batayll he shall be . The wich stone was reserved in the cherubyns crowne that was durable & unfaynt in his kyngys batayll of heven . whan thay faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Blacke, termed Sable, is compared to Saturne, and to the Diamonde.

Diascorides sayth, that it is called the Stone of reconciliacion and love: for (sayth he) That woman that hath withdrawne her love from her husbande, by this, is brought to love him anewe: yea it goeth further: for it is saide to give proofe, whether she be chaste or no. For if she be say they, she shall whilest she is in sleape embrace her husbande, through the workyng of this Stone, yf not, she shall flye, and go backe from him. Sir Thomas Eliot in his Dictionarie, saith, that Adamas is the Diomonde, and that Magnes the lode Stone, that hath vertue to drawe Iron unto hym, is of some unproperlye called the Adamant.

John Ferne - The Blazon of Gentrie (1586)

Ferne continues on form with his table of the significance of colours.

The 5. cullor is black called Sable, & signifieth in

1 - Planets. - Saturne.
2 - Precious stones. - Diamond, Agate, or Chelydoin.
3 - Vertues. - Prudence, Constancie.
4 - Celestiall signes. - Capricornus and Aquarius.
5 - Months. - December, January.
6 - Days of the week. - Saturday.
7 - Ages of Man. - Decrepit or crooked old age.
8 - Flowres. - The Aubifaine.
9 - Elements. - Earth.
10- Sesons of the yeer - Winter.
11 - Complexions. - Melancholic.
12 - Numbers. - 5. 8.
13 - Mettailes. - Iron and leade.

In the angelic system given later in the book, Sable is given to Cherubins, with the virtue Unfaint and durable.

Edmund Bolton - The Elements of Armories (1610)

There is quite a range of rankings for Sable in the orderings of tinctures: Upton places it last of all, while Leigh has it fifth, after Azure, and Scohier places it sixth, superior only to Purpure. Bolton's own throne of colours considers Sable much higher, being placed third, sharing the second tier of the throne with Argent.

John Guillim - Display of Heraldrie (1611)

Guillim considers black as being one of the two Simple colours, opposing white and making the creation of all other colours

Blacke is a color contrary to White, having little participation of light [...] Whereby it is apparent that blacke is of lesse perfection then white. This colour is called in blazon Sable of the latine word Sabulum, which signifieth , gross, sand or gravell, in respect of the heavy and earthy substance, wherein it aboundeth above all others. And this colour is reputed farre inferior in dignity to white, and is likened to darkeness [...] Note that the rest of those speciall colours before mentioned, besides white and blacke, are called Colres medii, that they have their primary Essence from these, either by an equall or unevenfor concorporation or mixture of these two together: and in regard of these two extremes from which they have their being, cannot properly be called Colores, nifi per participationem.

In his table of the names used for the tinctures and their order, Guillim gives Sable the fifth place, as Sable. Diamond. Saturne.

On Entertainment at Feasts

In the modern world, when an event is held, the organisers may well be expected to provide the various entertainments that will keep the attendees from growing restive. This receptive form of entertainment is a rather new development, caused by the radio and television infiltrating our homes.

Until the 20th century, the evening's entertainment could logically by expected to spring from those around you, and from you to them, and this is the model most often followed by SCA events. There are of course exceptions, such as theatrical performances planned and presented, or dance events (though even this is debatable, for the performers in these situations will be your fellow SCAdians).

"But," I hear you cry (in my imagination and for sake of illustrating the point), "I can't sing or dance or tell stories! How am I supposed to entertain?" This hypothetical objection is understandable, but not insurmountable. For one, if you insist that you can't do something, and never do it, then you shall never learn how. Also, there are a diverse range of ways to make your evening, and that of those around you, more interesting.

The obvious entertainments which may be engaged are the performing arts. Singing, playing instruments, telling poems or stories (and with so much of period art, the line between these is blurred). All of these take some practice, and some preparation, but the level of skill required to improve the feel of an event is not as high as you might thing. If you have some minor proficiency in an instrument (such as being able to play it without unpleasant screeching), then take a small book of simple period tunes, find somewhere slightly out of the way, and practice. You don't need to draw a crowd, but some background notes can improve the feeling of the hall, and your own confidence will build as you play in company more often.

One thing to remember is to match your entertainments to the feel of the event in general. A beautiful Elizabethan madrigal will feel somewhat out of place at a rowdy Viking revel, as much as a bawdy Elizabethan popular song (and believe me, they exist) will be out of place at a stately high-court event.

As for the bard's art of reading poems and weaving tales, it is perhaps better to consider that you don't need to perform for the whole hall, just those few around you. A short quip in conversation, or fond recollections of the past, can soon give way to longer stories and the like, and those who wish to listen will come to you, rather than feeling like you've imposed yourself on the whole room.

You may find that it is useful to carry a small selection of stories, written in a handy form to remind you if your memory slips (unless you should choose to dedicate the years of work that a period bard would spend learning their various sagas and tales). And these need not be all written in period, many modern tales can be adapted by removing or modifying a few simple details.

Beyond the performing arts, there are a number of ways to entertain those around you. The simplest of these, and often the most engrossing, is through games. There are a great many boardgames, from the simple such as Glückhaus (roll two dice, do something with the numbered square they say), to the strategic such as Nine Men's Morris, to the complex such as Chess. There are diverse dice games, most all of them designed to be gambled over, and card games (both using an early form of the modern deck, or the original form of the Tarot deck (yes, it was for gambling with)).

If you mean to gamble, it is a good idea to bring a supply of tokens, such as small glass pebbles, so that people aren't gambling for real money (this has legal implications, and can cause rather unfortunate fallings out).

Games are often simple to make, or easy to buy, and a travel set of one or two games, stowed in your basket or bag, is a fine way to stave off silence, as during the lulls in the conversation, the game itself may be discussed.

On Tinctures in Period - Part IV: Azure

In the fourth entry in the series on the description of Tinctures in period treatises comes Blue, known in Blazon as Azure.

Dame Juliana Berners - Boke of Saint Albans (1486)

Septimus lapis

A blue stone it is & it is cald asure in armys

The . vii . stone is calde a Saphyre a blew stone Asure hit is calde in armys . The vertue therof is . the gentilman that in his Cotearmure berith that stone : wyse and vertues in his werkyng in his kyngs batayll shall be . the wich is reserved to tronus crowne that was wyse and vertues in his kyngys batayll of hevyn whan they faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Blue, termed Azure, is compared to Jupiter, and to the Saphire.

The Saphire, is a Gemme skye coloured or Blewe, like to the Skye in the most faire wether. Amongest all the kyndes of Gemmes, it is one of the noblest and most royall, and therefore mete to be morne onely upon Kynges and Princes fyngers. Nothing in the worlde doth more recreate or delight the eyes then the Smaradge, & Saphire doe. It is mervelous effectuous agaynste all venyme. Wherefore, yf thou put a Spider into a Bore, it beyng shutt, & upon the mouth thereof thou layest the true Saphire, and do kepe the Spider within the same but a very short type, the Spider beyng vanquished and overcome by the vertue thereof, dyeth sodenly. [...] The Saphire for his soveraignetie, is called of the Lapidarie, the Gemme of Gemmes. In olde tyme in was consecrated onely to Apollo.

John Ferne - The Blazon of Gentrie (1586)

Once more, Ferne provides a listing of all those things which Azure can be compared unto.

The 4. cullor is lighte blew, called Azur, and signifieth in

1 - Planets. - Jupiter.
2 - Precious stones. - Saphyre.
3 - Vertues. - Justice and loyalty.
4 - Celestiall signes. - Taurus and Libra.
5 - Months. - Aprill and September.
6 - Days of the week. - Thurseday.
7 - Ages of Man. - Puerillitye or childishe yeers, (from 7. til 14. yeeres.)
8 - Flowres. - Blew Lilly.
9 - Elements. - Ayer.
10- Sesons of the yeer - Spring time.
11 - Complexions. - Sanguine
12 - Numbers. - 4. 9.
13 - Mettailes. - Copper.

Yet again, a tincture is compared to the Sanguine humour, the name of the attempted murrey coloured stain.

In the angelic system given later in the book, Azure is given to Thrones, and the virtue Wise & vertuous in working.

Edmund Bolton - The Elements of Armories (1610)

In the ordering of tinctures given by Upton, Azure ranks third, below the metals, while in the orders of Leigh and Scohier, it ranks fourth, below Gules. On his own 'throne of colours', he places it fifth, standing on the third tier of the throne together with Gules.

John Guillim - Display of Heraldrie (1611)

In Guillim's estimation, blue is a colour mostly composed of red with some white, where modern colour theory would consider that to be the combination to create a light red or even pink.

Blew is a Colour which consisteth of much Red, and of little White, and doth represent the colour of the Skie in a cleere Sunne-shining day. This in Blazon is termed Azure.

In his table of the names used for the tinctures and their order, Guillim gives Azure the fourth place, as Azure. Saphire. Iupiter.

On Small and Informal Events

The diversity of the SCA means that there is a great spectrum of events, from the exquisite formal Crown events, where the finest garb and arts may be shown off to great effect, to the intimate, informal events, with a much more relaxed feel. The bigger events tend to get a lot more of the attention (as is natural), but there is great value to the smaller events that is sometimes overlooked.

What does a small event bring to the SCA? There are several things which can be brought forth from such situations, including a very different feel bigger from the larger events (with several benefits), and a wonderful opportunity for training people in the various roles.

A small, informal event has a very different feel from the larger, more formal events. While formal events let us show off the best of our works, the expectation of being at our best can make the preparations somewhat more involved. Given this, and the more regulated schedules that are necessary when there are multiple things to get done, mean that an informal event can have a much more relaxed atmosphere.

One of the effects of this more reduced atmosphere is that, for new members, it can make those in authority (such as the local Baron and Baroness) more approachable than they would be at a formal event.

The team required for a formal event includes a large number of roles, including steward, kitchen crew, heralds, listkeepers, gate staff, and more. An experienced crew can help to induct inexperienced members into these, but at a formal event, there can be the impression that it's too hard to start out. Those who've been running events for longer than a Collegian has been alive make it look almost effortless. At an informal event, it can be less intimidating, and if the group's culture has a focus of encouraging people to "have a go" at their smaller events, it can build a skills base among the populace.

Take the example of the Politarchopolis Baronial Sunday for a training occurrence. The steward's job is made simpler and less intimidating, as the hall is already arranged, no kitchen crew is required as it's a pot-luck event, and being a theoretically-monthly event, there is at least a small group who can be reasonably expected to be in attendance every month. If a tourney runs, the list-keeping and field heraldry jobs will be available, and with nothing particularly at stake, it's less nerve-wracking than it otherwise might be (heralds are particularly guilty of deep-end training: I've seen people use Crown Tourney as their first field heraldry experience). The regular constables can have their numbers boosted by those who wish to train as gate keepers. As for the kitchen crew training, a pot-luck feast is a great way to build some experience with cooking period recipes, and gives a captive and willing testing audience for new recipes.

One of the inevitable effects of being good at running events is being asked to do so more often. This can be stressful, and possibly lead to a particular crew becoming burned out from the load. By training more people to help, it can spread the load about and decrease burnout.

Finally, by having a good collection of smaller informal events, interspersed around the larger formal events, there are more opportunities to get into garb, and enjoy an event, without the massive increase of workload on event crews as having such regularly-occuring events on the formal scale. More activity is good.

On My First Ensemble Experience

This weekend, I had the distinct pleasure to attend the St Vitas Dance and Music Weekend in Politarchopolis. This is the third time I've attended this fine event (every year since I joined the Society), and every year brings some new learning and some new experiences. This year's fancy new learning was some excellent breathing technique advice for singing and wind instruments, but the new experience for this year's St Vitas is what I'd like to talk about with today's post.

During the course of Saturday, there were various occasions where the people in the music classes brought out their recorders, for various reasons, and luckily I had also brought my cheap little descant recorder along. When the "Ball Music Practice" session came up, I timidly admitted that I might be able to play a few of the simpler dances with them. They were kind, they were welcoming, they... encouraged me to practice the easier line in whatever they were practising.

I was somewhat intimidated by the prospect, but tried my best. I'd never played in a recorder ensemble (or in any ensemble, other than one concert in year 6. I rocked that glockenspiel) at any level, and going straight into a public performance with it was rather daunting. I'd also never played for dancers, which also changed things rather dramatically. I will freely admit, I was barely keeping up (if at all) while we practised. But, when the ball started, I decided that I would make my seat with the musicians, and at least try for most of the songs.

There were a lot of missed notes, a decent amount of wrong notes, and a fair few songs where I couldn't keep up and had to drop out, but the feeling of being surrounded by excellent musicians, and feeling like I was at least earning my seat in the middle of them was, quite literally, euphoric. I was rather nervous at places, especially the few times when I found myself holding the main melody line on my own while the more experienced players played the bottom lines, but it all seemed to work out reasonably well, and all of my slip-ups and drop-outs were covered by the others.

I left the ball with a lot more confidence in my abilities, and a lot more drive to practice and play the recorder, and a rather fat folder full of sheet music, as much as I'll ever require for almost any ball, and also a deep gratitude for everyone who helped me through my first time playing in an ensemble.

If only I'd thought ahead and gotten contact details for them...

On Tinctures in Period - Part III: Gules

In the third in the series on Tincutres as described in period treatises, we see
Red, known in Blazon as Gules.

Dame Juliana Berners - Boke of Saint Albans (1486)

Sextus lapis

And thys stone is calde gowlys in armys

The . vi . stone is calde a Ruby a redly stone . gowlys it is calde in armys . the vertue therof is . the gentylman that in his Cotearmure that stone berith hote and full of corage in his gyngys batayll shall be . the wich stone is reserved in the principatis crowne that was hote brinnyng as fire in his kyngys batayll of hevyn whan thay faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Red, termed Gules, is compared to Mars, and to the Rubye or Carbuncle.

The Carbuncle, so warreth with the eye sight, that it sheweth manyfolde reflexions. It is founde in Libia.

John Ferne - The Blazon of Gentrie (1586)

Yet again, we are given a great range of comparisons for the tincture of Gules, along with a diversion into the metal known as Latten, which is a catch-all term for copper alloys including brass.

The 3. cullor is vermillion (called Gewls) and signifieth in

1 - Planets. - Mars.
2 - Precious stones. - Carbuncle, Ruby, and Corall.
3 - Vertues. - Charity and magnanimity.
4 - Celestiall signes. - Aries & Cancer.
5 - Months. - March, June, July.
6 - Days of the week. - Tuesday.
7 - Ages of Man. - Virillity or mans age, (From thirtie yeeres, til 40.)
8 - Flowres. - Gillofer and red rose.
9 - Elements. - Fier.
10- Sesons of the yeer - Sommer, and Harvest.
11 - Complexions. - Choler.
12 - Numbers. - 3. 10.
13 - Mettailes. - Latten.

This mettaile of Latten was of such estimation with the old Romaines, before they had found the use of gold and silver (as it is still with the barbarous and unnurtured people of Ameryca, which weare the same in Earerings & Bracelets) that the Romaines did also make rings of it, which were put on the fingers of their valiant souldiours, as some marke and reward of their valoir. By the commaundement of the old lawes of Armes, none might use this cullor of vermillion (representing in robes Scarlet) except he had beene prince, or thereunto licensed by the Soveraigne.

In the angelic system given later in the book, Gewles is given to the Principallities, with the vertue Hote of courage.

Edmund Bolton - The Elements of Armories (1610)

In the ordering of tinctures given by Upton, Gules ranks fourth, below Azure, while in the orders of Leigh and Scohier, it ranks third, subordinate only to the honoured metals of Or and Argent. On his own 'throne of colours', he places it fourth, after Sable, standing on the third tier with Azure.

John Guillim - Display of Heraldrie (1611)

Guillim gives red as the colour of an exact mix of the two simple colours, black and white.

That Colour which is said to bee exactly compounded, doth participate of the two Simples indifferently, in a just proportion, as Red ; which Scribonius thus defineth : Rubedo est color æquali simul Albedinis & nigredinis combinatione constans. This colour representeth Fire, which is the chiefest of the Elements, and the lightsomest and cleerest, and in blazoning is termed Gules.

In his table of the names used for the tinctures and their order, Guillim gives Gules the third place, as Gules. Ruby. Mars.

On the Writing of Award Recommendations

The critical factor in award recommendations in the SCA can be summed up by the text of a typical Award of Arms scroll in the Kingdom of Lochac:

...whereas it has come to Our notice that through diverse, great efforts you have considerably enriched Our Kingdom, it is thus Our pleasure to reward you...

Those first few words tell you why award recommendations are important: "whereas it has come to Our notice". Despite Their wisdom, Their Majesties are not omnipotent. They rely on the members of Their populace to provide them with recommendations of those whose achievements and activities have made them worthy of recognition. The same applies for Their Highnesses, your territorial Prince and Princess (if you are a member of a Principality), and Their Excellencies, your local Baron and Baroness (if you are a member of a Barony).

So, you've decided that someone needs to be recommended for an award. You can either recommend them for a specific award, or you can simply give your reasoning to the relevant Crown or Coronet and leave the decision up to them. If you decide to recommend them for a specific award, you'll first need to work out which award that is. Each Kingdom will have the list of awards made available in a different way. In Lochac, the best source is the Canon Lore website. When you've worked out which award it is, you should also make sure that they don't already have it (in Lochac, this too is done via the Canon Lore website).

There are a multitude of ways in which you can deliver your recommendation to the Crown, but of all of them, I'd recommend two things. First, do it in the way that's preferred by the recipient, because having it in Their preferred format makes it easier on Them, and if They're in a better mood, They're more likely to be receptive to your recommendation. Second, unless They've specifically requested otherwise, it should most likely be done in writing, because They already have enough things to remember, and your recommendation might be easily forgotten.

When writing a recommendation, remember to focus on the positives, describing the good works done by the individual. It can be tempting to point out that they've been skipped over, perhaps muse upon politics causing them to be ignored... but this is more likely to do harm than good. So too with expressing negative opinions about the fact that they've yet to receive this award, whatever it is. Extol their virtues and fields of endeavour, and convince the Crown that they are worthy of whichever award you've chosen to recommend them for.

Finally, remember that you don't actually need to have received the award in question before submitting a recommendation for someone else to receive it. Indeed, you don't even need to have received an Award of Arms before recommending someone to the Peerage - however keep in mind that the Peerages, along with any other Polling Orders which may exist in your Kingdom, are a complicated matter, and one on which I am yet to qualify to speak in any great detail. The shorter version is that the members of an Order consider possible candidates, and recommend them to the Crown. Recommendations from the populace for the Peerage are more akin to suggestions to that Order that a particular individual may be worth considering.

On Tinctures in Period - Part II: Argent

In the second of the series on Tinctures in period treatises, we look at Silver or White, known in Blazon as Argent.

Dame Juliana Berners - Boke of Saint Albans (1486)

ixus lapis

A shinyng stonn and is calde Silver in armys

The . ix . stone is calde Carbuncle a shynyng stone . Silver hit is calde in armys . The vertue therof is : what gentilman that in his Cotearmure this stone berith . full dowghti glorious & shynyng in his kyngys batayll he shall be The wich stone was reserved in the Serophyns crowne : that was full doughti glorius & shining in his kings batayll of hevyn whan thei faught with Lucifer

John Bossewell - Workes of Armorie (1572)

Silver, termed Argent, is compared to The Moone, and to The Pearle.

Pearles, were the onely meate, wherewith the Jewes lived long, havinge nothing els to eate, when the Citie of Jerusalem was besieged by Tytus, as witnesseth Josephus.

John Ferne - The Blazon of Gentrie (1586)

As with Or, Ferne treats the reader to a thorough treatment of the varied meanings.

The 2. cullor is white, & signifieth in

1 - Planets. - The Moone.
2 - Precious stones. - Margeuerit or pearle.
3 - Vertues. - Hope & innocency.
4 - Celestiall signes. - Scorpio and Pisces.
5 - Months. - October & November
6 - Days of the week. - Monday.
7 - Ages of Man. - Infancy. (The first 7. yeeres.)
8 - Flowres. - Lily and white rose.
9 - Elements. - Water.
10- Sesons of the yeer - Autumne.
11 - Complexions. - Flegmatique.
12 - Numbers. - 10. 11.
13 - Mettailes. - Silver.

In the angelic system given later in the book, Argent is given to Seraphins, with the virtue Full doughty & glorious.

Edmund Bolton - The Elements of Armories (1610)

In all three orders of tinctures, by Upton, Leigh and Scohier, silver Argent ranks second, subordinate only to golden Or, while Bolton concedes that as colours, white is superior to yellow, being the purer of the two. On his own 'throne of colours', Argent ranks second, standing on the second tier alongside Sable.

John Guillim - Display of Heraldrie (1611)

Guillim considers white to be one of the two Simple colours, "to which black is contrary".

The colour white is resembled to the light, and the dignity thereof reckned more worthy then the blacke, by how much the light and the day is of more esteeme then darknesse and the night, whereunto blacke is likened. Furthermore white is accounted more worthy then blacke, in respect of the more worthy use thereof. For men in ancient time were accustomed to note things well and laudably performed (and esteemed worthy to be kept in memorie) with white, and contrarywise whatsoever was holden reprochful or dishonourable, was noted with blacke.

In his table of the names used for the tinctures and their order, Guillim gives Argent the second place, as Argent. Pearle. Luna.

On the Care and Feeding of Field Heralds

The field herald is a skittish and sometimes cantankerous critter, but with proper care and feeding, they can give you years of shouting. There are a few tips to help you care for your field herald, and get the best performance out of them.

Diet

Make sure that your field herald has access to plenty of water while working. Alcohol should be saved for an after-tourney treat. At the very least, water should be available nearby, and even better is if an attendant makes sure they have as much water as they desire, so that they can avoid causing breaks in the schedule.

Some field heralds prefer to eat before a tourney, or during, or after. If food is being served, it can be preferable if the field herald has easy access to some (again, so as not to cause too large a break in the schedule).

Shelter

Your field herald will require shelter while watching. In cases of sun, a broad-brimmed hat will usually suffice, though sunscreen can also be quite useful for encouraging their usefulness in the long term. In cases of inclement weather (but not so inclement that the tourney itself is cancelled), a place out of the wind from which they can still make their diverse calls effectively can be of great use.

Somewhere for them to sit between periods of activity can also be good. This can be near (but not obstructing) the List table if preferred, and should be sheltered from the day's conditions if possible, to allow their recovery.

Company

The field herald is a social animal, as may be seen from their boisterous calls. If possible, try to keep them at least in pairs (so that they may share the load of the tourney). This will keep them happier, and more energetic, and allow them to operate for much longer than the two might if kept separate.

Finally, as a sensitive and social creature, any spare words of thanks you may have lying about after the tournament would be appreciated by your field herald, to keep up their spirits and encourage a repeat performance.