So a few weeks ago I received an assignment for a Silver Crescent and I -almost- said no, because I was in the middle of the last of the Winter Backlogs I took on and I was stressing delivering them (I've only had them since middle of February, but still. Five is a lot and I want them out of my desk.)
But I vaguely knew the person receiving it and knew that the event was going to be very special for her and I wanted to be a part of that, even if just in a little way.
Here is the source, and more to the point, this Membrane of the Heptarchy. (Which is now my new favorite word to say.) I felt this piece (close in place and time to what I could discover of her persona) was really appropriate because of how she was to be stepping up that day as the new Baroness of the Barony Beyond the Mountain - taking on that legacy, both of protection of the land (symbolized, to my mind, by the heptarchy/description of the lands) and becoming part of the baronial heritage (the rest of the source is all about the previous monarchs of England)
But I vaguely knew the person receiving it and knew that the event was going to be very special for her and I wanted to be a part of that, even if just in a little way.
Here is the source, and more to the point, this Membrane of the Heptarchy. (Which is now my new favorite word to say.) I felt this piece (close in place and time to what I could discover of her persona) was really appropriate because of how she was to be stepping up that day as the new Baroness of the Barony Beyond the Mountain - taking on that legacy, both of protection of the land (symbolized, to my mind, by the heptarchy/description of the lands) and becoming part of the baronial heritage (the rest of the source is all about the previous monarchs of England)
The original measures in at about 9 inches wide, which was small enough that I was concerned about fitting in the calligraphy for the words I had written (obviously I could have edited the words, if need be, but I was really happy with where I ended up.) that I beefed it up to 12" proper. And then I proceeded to cut an entire poster sheet of Bristol Smooth incorrectly -twice-. I had some large hot press watercolor paper from a previous project and I cut that with 4 inch borders because I was DETERMINED to not mess it up a third time.
And then came a few practice passes at the calligraphy in circles - which was interesting. I made up a very simplified ductus for the hand (which luckily for me was remarkably similar to the last hand I had worked on!) and did what I could. I ended up using my new Windsor-Newton ink for the calligraphy, size 4 nib (pretty sure it was 4 at least... I'll dig through my papers and see if I can find the notes later).
And then of course came the plotting out of arranging the circles.
The bottom two circles I reserved for her arms and the Silver Crescent badge. After polling my private audience of friends over which way to display the text, it was decided far left, clockwise made the most sense. The original Heptarchy is describing the seven kingdoms that made up England at the time. If you look at the original you can make out names of places in England that (I'm pretty sure) are still around today. I'm still very new to calligraphy, but I'm pleased the piece is tidy and readable. I'm working right now on bettering my spacing and maintaining consistency throughout a piece.
I ended up rearranging how I'd written the practice piece - so if something seems off in the pictures comparing the two, that's why. I ended up cutting them out so I could use them as shields during painting later.
Next came laying down the miniatum for the gold leaf. I ended up using the Kolner miniatum ink, because I didn't want the large raised appearance that normal Kolner miniatum can achieve, because I couldn't make out much dimension in the original. I'm still new to gold work, but I enjoy the physicality of it.
(Later I ended up adding more circles of gold for more sparkly, since I didn't have anything clever to fit into the small circles on the border.)
Then of course, began the painting and blocking out. I'm still using a mix of Reeve's and Windsor-Newton Gouache paint (breathe easy fellow scribes, after this scroll was done came Mother's Day and I was gifted much more Windsor-Newton, so now I can phase out my Reeves entirely.)
I chose to change some of the animals to sheep, due to the recipient's work with demos at fiber shows across Barony Beyond the Mountain, and cats because of her heraldry (And really, who doesn't love cats? And sheep just scream "Wales!" to me too, which is part of her persona.) I kept the rabbit because it was adorable. I did changed the faces of kings to her and her husband Mark, hoping to keep some resemblance. It was all so much fun.
I chose to change some of the animals to sheep, due to the recipient's work with demos at fiber shows across Barony Beyond the Mountain, and cats because of her heraldry (And really, who doesn't love cats? And sheep just scream "Wales!" to me too, which is part of her persona.) I kept the rabbit because it was adorable. I did changed the faces of kings to her and her husband Mark, hoping to keep some resemblance. It was all so much fun.
The words read as such -
"Unto All and Singular, hear these words and commit them to memory: To be chatelaine is to be an ambassador to all, a teacher to those not familiar with our ways, and a warm smile to the weary traveler. The Barony Beyond the Mountain is blessed to have a Lady such as this Gwenllian ferch Llewellyn ap Henry, who is both welcoming and tireless in her service. It is a hard task to work, when the fruits of your labors are not something to be bought and sold, but are instead the promise of a Dream and a Community. Such sacrifice and hospitality by diligent hand, for a harvest that may not come in, should reap reward. Therefore at the request of the Companions and at Our Wish do we, Brennan and Caoilfhionn, Emperor and Empress of the East, do induct Gwenllian into our Order of the Silver Crescent and further do grant her the exclusive right to bear these arms XXXXX by her and her alone. Done by our hand at the Barony Beyond the Mountain Investiture, on the Feast of St Dunstan, the 19th of May Anno Societatis 53."
I added an East Kingdom blue tyger!
Close up of the little minstrel boy...
All together before I added the white work...
My camera and my desk lamp fight and the only loser is the photos I have to take.
So I have to add that the white work is where I feel I could have done better. Oh, it looks nice, but it stops feeling medieval in some parts. I could only make out the white work patterns in a few sections of the original - not enough to recreate it for the whole piece (and obviously changing some of the animals inside would also affect those lines). Some things you get an eye for with time a practice - and this kind of white work in the spaces between is definitely one of those things.
So I have to add that the white work is where I feel I could have done better. Oh, it looks nice, but it stops feeling medieval in some parts. I could only make out the white work patterns in a few sections of the original - not enough to recreate it for the whole piece (and obviously changing some of the animals inside would also affect those lines). Some things you get an eye for with time a practice - and this kind of white work in the spaces between is definitely one of those things.
All finished. Gold makes it hard to photography things and my scanner was a bit wonky - but I feel like this gives you a pretty good idea.
Special shout-out to Baroness Fortune St. Keyne of the Courtesan Courier Service for delivering it for me when I could not attend the event.
Oh! One other thing.
Transporting a scroll is something where a lot of us fall short. Transporting a scroll (especially one with gold leaf on it) can be difficult. In my memory, the scroll, with border, measured about 18 inches square. I had intended to cut up and put together an elaborate cardboard/tissue paper folder for transport when I was suddenly struck with where I had seen large, thin, square boxes before. My local pizza shop. So I drove down, bought some snacks and asked if I could buy their largest pizza box (Sal's Pizza sells 19" pizzas at their largest) sans pizza. The cashier was unclear if she had to charge me so she called over the manager (a very pleasant gentleman I see working there all the time) and he asked me, amused, why I needed one. I told him to transport art. He said I had to promise to always eat Sal's Pizza. I told him I already did, basically. He laughed and handed me the box for free and I went along on my way.
The scroll fit exactly. In between getting the scroll to Fortune and this, I was at my desk when I remembered I was supposed to be filling in a badge on a scroll blank for Master Harold, my Laurel. I began to search my papers for the blank and could not find it. I looked for the padded envelope it had been in previously and could not find it. I began to worry as I suddenly remembered my mother getting rid of the envelope since it was leaning against my desk, next to my rubbish bin, I ASSUMED I had taken out the blank before placing it there. I begin to panic and start digging around everywhere I may have safely tucked a blank away. Eventually, I found it in the original pile, the third time through. This horrible incident inspired me. CLEARLY labeling envelopes and boxes so that there is NEVER any confusion about where a scroll may be hiding is now standard procedure. I taped some paper onto the pizza box, stating "THIS IS A SCROLL. NOT A PIZZA." My dip pen of course dribbled everywhere enough that I didn't take a picture since the calligraphy was horrendous yet still readable.
Oh! One other thing.
Transporting a scroll is something where a lot of us fall short. Transporting a scroll (especially one with gold leaf on it) can be difficult. In my memory, the scroll, with border, measured about 18 inches square. I had intended to cut up and put together an elaborate cardboard/tissue paper folder for transport when I was suddenly struck with where I had seen large, thin, square boxes before. My local pizza shop. So I drove down, bought some snacks and asked if I could buy their largest pizza box (Sal's Pizza sells 19" pizzas at their largest) sans pizza. The cashier was unclear if she had to charge me so she called over the manager (a very pleasant gentleman I see working there all the time) and he asked me, amused, why I needed one. I told him to transport art. He said I had to promise to always eat Sal's Pizza. I told him I already did, basically. He laughed and handed me the box for free and I went along on my way.
The scroll fit exactly. In between getting the scroll to Fortune and this, I was at my desk when I remembered I was supposed to be filling in a badge on a scroll blank for Master Harold, my Laurel. I began to search my papers for the blank and could not find it. I looked for the padded envelope it had been in previously and could not find it. I began to worry as I suddenly remembered my mother getting rid of the envelope since it was leaning against my desk, next to my rubbish bin, I ASSUMED I had taken out the blank before placing it there. I begin to panic and start digging around everywhere I may have safely tucked a blank away. Eventually, I found it in the original pile, the third time through. This horrible incident inspired me. CLEARLY labeling envelopes and boxes so that there is NEVER any confusion about where a scroll may be hiding is now standard procedure. I taped some paper onto the pizza box, stating "THIS IS A SCROLL. NOT A PIZZA." My dip pen of course dribbled everywhere enough that I didn't take a picture since the calligraphy was horrendous yet still readable.
The rigid pizza box was an amazing transport box and I fully intend to grab another to transport numerous pieces at once later.
Here's a picture someone else took of it at the event, being shown off by King Brennan. (Facebook tells me Angel Lundell and Bifrost Studios.)
And that's the story of Gwenllian's Silver Crescent scroll.
Vivat, Baroness Gwenllian! May your term be a happy one!
