I was honored to collaborate with Lady Clara Brauer and Lady Kaaren Valravn on Thea de Nes (“Aunt Nessie”)’s Pearl scroll. Clara did the majority of the illumination and all of the calligraphy, Kaaren painted the portrait and the cherubs, and I wrote the text. You can find more pictures on Kaaren’s site.
Endless delight is found in pearls: precious prizes, their gentle beauty is formed through great toil. Know that We, Cuan and Signy, King and Queen of Atlantia, have found such a pearl in Thea de Nes. Crafting wonders from fiber, pen, paint, and bead, she shares them freely; her generosity warms Our hearts and soothes Our spirits. Thus do We induct Thea de Nes into Our Order of the Pearl. Done this 8th day of February, A.S. LIV, at Bright Hills Baronial Birthday in the Barony of Bright Hills.
Text: Fires dwell in opals and light Our way! Such fire burns in Muriel MacArtur, so We, Michael & Seonaid, King and Queen of Atlantia, must induct her into our Order of the Opal. Given 3 March A.S.XLIX
In addition to sewing Mistress Ysabeau’s Laurel cloak, I spun the wool for her vigil shawl. Ysabeau has made several vigil shawls for other people, so my friend Lucy (Lucy of Wigan) and I decided that we must make Ysabeau her own. Unfortunately, I don’t have any pictures of the yarn-in-progress. The wool was off-white merino from Paradise Fibers, and it was an utter delight to spin. Once the yarn was spun up and washed, I threw together a simple triangular shawl pattern, did a tab cast-on, and passed it off to Lucy to knit. Once she was done with her beautiful knitting, we blocked it together.
Before Gideon ap Stephen was Laurelled at Ymir 2020, Mistress Rosalind asked me to translate the poem she had written to release Gideon from his apprenticeship into Old English. I happily did so — I love translations and find it a great challenge! Below is the text that I sent her; I also sent her a (very rough) recording for pronunciation. While I usually don’t use ċ (/ch/) or ġ (/j/) in my translations as they are entirely a modern conceit for transcription, I included them here to help indicate the pronunciation differences from c (/k/) and g (/g/) for performance.
Breostsefa = mind or heart, literally “the mind in the breast”
Cyneword-cempa for þære cuþre worulde
Cyneword-cempa = champion of fitting words
Rof for reþnesse in randgebeorh eadmede-folces
Randgebeorh = protection such as that afforded by a shield
Seldlic in feaxe stefn geofon-sidu
Seldlic = rare, strange, wondrous, extraordinary, having unusual good qualities Sid = wide, broad, spacious, and is specifically usually applied to the ocean, world, and universe
þurh wordcræft ond woþcræft þin gewald þu geseþe
Syntax of second half-line is “your prowess you show” wordcræft = the art of speaking and writing woþcræft = the art of poetry or song gewald = power, mastery (I chose it for the latter meaning)
Ure gomenwaþu to-gædere on geongum ond byrum
Syntax of second half-line is “of travels and times”; I chose to make plural because there was presumably more than one Byre has many meanings, but I particularly like the translation of “an event, a favourable time, an opportunity”
Nihtlangum leoþurunum listum ond sceaftum
Syntax of second half-line is “craft and creation” nihtlang = night-long leoþurun = counsel conveyed in verse (I thought this meaning was appropriate!) list = art, skill, cunning, craft, artifice
When Baron Hamish MacLeod found out that his wife, Baroness Ysabeau ferch Gwalchaved, was going to be surprised with her Laurel at Bright Hills Baronial Birthday in February 2020, he asked me to create her Laurel cloak. Now-Mistress Ysabeau is a spinner, weaver, and sewer who handsewed garb for one of her first events 32 years ago (in a time and place when handsewn garb was actually looked down on — how far we have come!) so I knew I had to pull out all the stops I had.
At some point in the murky past (that is, 2019), Kaaren, Adelaide, and I made a joke about how we’re the three Fates. I am, of course, the spinner Clotho, Adelaide the measurer Lachesis, and Kaaren the inflexible/cutter Atropos. When we discovered that we all had bought (or wanted to buy) the same grey linen, we decided to make Fates-themed garb in our preferred styles (we also managed to be chronological as well!). For a deadline, we set Twelfth Night 2020.
Because I was doing early period English, I felt a little guilty that my garb wouldn’t be as complicated and require as much hard work as Adelaide and Kaaren’s. So I decided to make everything I wore.
After taking a class on natural dyeing using different yellows and indigo in May 2019 at Maryland Sheep and Wool, I decided it was finally time to dye the Romney fleece I bought in 2017. However, I wanted to test sun-colorfastness first, as I had noticed some garments that I dyed with commercial dyes were fading significantly after 2 years of SCA wear and washing.
I decided I wanted to test weld, madder, and indigo (the great triumvirate of medieval dyes) plus cochineal; I also wanted to test these dyes in combination.
For this competition, I entered items from a natural dyeing class I took in May 2019, a silversmithing class I took in June 2019, a fingerloop braiding class I took in July 2019, and a lyre I am still trying to complete (as of January 2020). Because these are all either from classes or small/unfinished items, I do not have individual posts for them. However, you can read about my next silversmithing exploits under my Spinner of Fate (Clotho) garb and my next dyeing adventure under the Great 2020 Dyeing Experiment, Part 1.
In early 2019, Master Eldred Ælfwald requested that Lady Kaaren Valravn create his court baron scroll (scroll information here). In turn, she asked Lord Ishmael Reed to write an original poem and me to translate the poem into Old English. Ishmael wrote the poem in the style of the 14th-century alliterative revival, which I then translated into Old English alliterative verse.
In May 2017, right before I joined the SCA, I purchased my first-ever fleece at the Maryland Sheep and Wool Festival. I chose a pretty Romney with long locks and nice crimp, and decided to wash it lock-by-lock. However, when I washed it, I noticed that most of the locks had at least an inch of canary stains (yellowing that weakens the fibers starting at the tips). I decided that I should try dyeing it for tapestry, but because of that decision, it sat in storage for two years.
Fast-forward to May 2019, when I took a natural dyeing class at Maryland Sheep and Wool, and I decided it was time to finish processing that fleece (which gave me an excuse to buy another while I was there). With the help of some Dawn soap, tap-hot water, an assembly-line-style set-up, and a three-day weekend in the fall, I finally got the whole fleece washed and stored.