The

Scribes’Handbook

This handbook is made possibleby a generous grant from

The Barony of Three Rivers.

Edited byConna ingen Úi Chearbhaill

Falcon Signet

A.S. XXXIX (May 2004)

The Calontir Scribes’ Handbook is a publication of the Scribes’ Guild of Calontir of the Society forCreative Anachronism, Inc. It is not a corporate publication of the Society for Creative Anachronism, Inc.,and does not delineate SCA policies.

Contents

PART IMaking a BeginningWelcome 3The “Calontir Way” 4Preprints 101 5Glossary 8Badges of the Orders of Calontir 10

PART IITaking Things a Step FurtherHow to Make a GOA Scroll 15Scribe Equipment List 18Calligraphy Basics 20Gouache G-What? A Modern Substitute for Period Paints 23Medieval Manuscript Production: Scribes, Illuminators and Their Methods

of Work 27Whitework in Medieval Manuscript Illumination: A Brief Overview 33Heraldry for the Scribe 35Helpful Hints 43

PART IIIAdvanced TechniquesVellum Preparation 51Gold Leafing 52Making Your Own Quill 59Walnut Ink 64Going Back in Line 66To Be a Royal Scribe 97

PART IVMiscellaneousThe SCA Calendar 107Royal Lineage 108Practice Sheet 112Calontir A&S Criteria 113

PART I

MAKING A BEGINNING

1.1 Welcome 3

1.2 The “Calontir Way” 4

1.3 Preprints 101 5

1.4 Glossary 8

1.5 Badges of the Orders of Calontir 10

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WELCOME

First, thank you for your interest in the scribal arts. Volunteering as a scribe is a greatway to serve your Kingdom. In these pages, you’ll find what you need to get starteddown the scribal path. This volume is not intended to be a stand-alone source, but abeginning.

Scrolls are a way for the Crown to recognize an individual’s elevation to an order.A scroll is not required to receive an award. A scroll functions as a remembrance giftfrom the Crown. It’s a nice way to commemorate an elevation, but it’s not required tomake an elevation official.

Even though scrolls are not necessary, they’re awfully nice to have. They addmagic to our courts and make the recipients feel special. The scribes of Calontir endeavorto create scrolls that bring honor to our Kingdom. All of our Grant of Arms (GOA) andPatent of Arms (POA) scrolls are original works of art, and our Award of Arms (AOA)scrolls are originally painted.

Many of our Kingdom’s scribes got their start from painting AOA scrolls for theKingdom. I suggest that you also begin with AOA scrolls as a beginning venture intoyour scribal career. The next page covers the information needed to get you started onAOA scrolls.

The following pages in Part I cover some of the basics of being a scribe. Part IItakes things a step farther. The articles in Part III cover some advanced techniques. Inaddition to this handbook, please gather information from other sources, especially fromthe Kingdom’s scribes themselves. Ask to see copies of their scrolls or ask about theirpersonal favorite styles or sources of suppliers. These scribes are among our Kingdom’smost valuable resources.

This handbook is designed to be kept in a three-ring binder with the idea thatfuture class notes and handouts can be added along the way. In addition to RUSH classes,which are held several times a year, Calontir typically has a Scribes Symposium once ayear. Calontir is also lucky enough to be the location of several non-SCA workshops andacademic gatherings on the topics of calligraphy and illumination. Many towns have acalligraphy guild. And I encourage you to attend the St. Louis University Conference onManuscript Studies (http://www.slu.edu/libraries/vfl/events.htm), typically held annuallyin October.

Happy Scribing!Conna ingen Úi ChearbhaillFalcon Signet

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THE “CALONTIR WAY”

The Kingdom of Calontir has an award system that consists of three levels. The first ofthese levels is the Award of Arms (AOA), and it will be our focus in this section. Theothers are covered in Part II of this handbook.

In Calontir, each reign creates an original set of AOA scrolls. Often, the scrollstyle matches the monarch’s time period and country. This means that approximatelyevery six month, the scribes of the Kingdom have a new set of AOA scrolls to work onand a new style to learn. This has been a wonderful way to become acquainted with manydifferent styles within a few years. (Many Kingdoms use the same scroll texts over andover again.)

Each Crown chooses a Royal Scribe, who, among other duties, creates theoriginal set of AOA scrolls. These scrolls have blank spaces for names, dates, and places,but otherwise the calligraphy is complete. They also have the outline of a design. Thesescrolls are copied onto high-quality cover stock paper. For most reigns, we use Skytonewhite cover, manufactured by Georgia Pacific.

These copies of the AOA scrolls (often called preprints) are distributed among thescribes of the Kingdom, who volunteer to paint (illuminate) them. Some of the largergroups in the Kingdom sponsor scriptoriums—gatherings for people to get together andwork on scrolls in a group setting. Some scribes are lone wolves and paint alone. Eitherway achieves the goal of painted scrolls for the Kingdom. Occasionally, scribal tables areset up at Kingdom events. These tables are always open to newcomers, and I highlyrecommend joining in the fun at these tables. It’s also a great opportunity to try out thematerials and gather advice from more experienced scribes, too.

After the scrolls are painted, they are returned to the Royal Scribe, who fills in thenames and information of the intended scroll recipients, as supplied by the Crown. TheCrown then hands out these completed scrolls in Their courts around the Kingdom.

A note about other Kingdoms. Some Kingdoms do not use copied AOA scrolls;they attempt to use only completely original work for all of their scrolls. This goal ismuch to be admired. Calontir uses copies in order to avoid “promissory notes,” which areoften handed out in court if the scrolls are not completed in time. Our preprints allow usto give every AOA recipient a hand-painted work of art, without the burden of a“backlog” of uncompleted scrolls.

Conna ingen Úi ChearbhaillFalcon Signet

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Preprints 101by H.L. Conna ingen Úí Chearbhaill

Painting AOA scrolls is a great service for the Kingdom. Their Majesties have a need forscores of AOA scrolls during Their reign. No one scribe should carry the burden ofpainting that many scrolls. To that end, many hands make light work.

Here’s what you need to get started:

AOA scrolls (distributed by the Falcon Signet or Royal Scribe)BrushesPaint

Sounds simple, right? It’s intended to be very easy to get started. Some people havebegun painting scrolls with leftover paints and brushes that they’ve had laying around thehouse for years. There’s nothing wrong with that, as a beginning. But there is a betterway. Here are my suggestions for putting together your scribal supplies.

PAINTBegin with good paint. I suggest using Windsor & Newton gouache. Gouache is a type ofwater-based paint. It is more opaque that watercolors. It comes in a tube and is ready touse with the addition of just a little water. When it dries on your palette, you canreconstitute it by adding water. No waste!

Watercolors are serviceable, and if you already have them, please use them. Butremember to add much less water than normal; this will help to simulate the more periodlook that we achieve with gouache. Oil paints are not recommended because they cansoak into the paper and leave an undesired “halo” effect. Acrylics are also notrecommended; they tend to have a plastice look once dried.

If you look at the local art supply store or online catalogs, you’ll find brands ofgouache that are much cheaper than Windsor & Newton. In this regard, you get what youpay for. These are often inferior products. Some may cause you to wonder why yourpainting skills are so poor. In this instance, I would suggest that better equipment helpsmake better artists. It might not be your skills that are lacking, but rather the form of yourpaint itself. The better paint is worth the money. And keep in mind that the small tube ofpaint will likely last for years.

So now that you’re ready to buy some paint, what colors should you look for?Some of it depends on the current reign’s style. If the scroll style is Celtic, it will call fora quite different set of colors than a French style. However, most scribes can get by quitenicely with a small set of basic colors. I suggest the following Windsor & Newtongouache paints to get you started.

Ultramarine blueSpectrum redSpectrum yellowZinc whiteGold (Holbein-brand rich gold)

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The rest of the colors you need can be mixed from these colors. If you can afforda few more tubes of paint, I suggest these:

Windsor greenSpectrum violetIvory blackBurnt umber (brown)

Note that I’ve actually suggested a gouache that’s not of the W&N brand. I’vehad lots of good luck with Holbein-brand gold. It’s shiny without being brassy, and canbe burnished (polished to a high-shine finish).

I use an eyedropper to add water one or two drops at a time to the paint. Try toachieve the consistency of a heavy cream. Add water to one paint at a time. Many peoplesuggest using distilled water, to avoid impurities. I have to admit that I freely use tapwater.

BRUSHESEveryone has a favorite size and brand of brush. Please use whatever feels comfortable toyou. Brushes come in numbered sizes; the larger then number, the smaller the brushpoint. I rarely use anything larger than size 000 brush, and most of my brushes are muchsmaller than that. (The more zeros, the smaller the brush. 0 is small, but 20×0 isextremely small.)

Brushes are available in a variety of animal hairs, from domestic to exotic, whichare wonderful to work with, but there are synthetic and student models that also workquite well. Don’t feel that you have to start out with the best; find something serviceableand work up from there. In brushes, the more expensive is not always better.

SCROLLSContact the Royal Scribe or the Falcon Signet office to obtain AOA scrolls to illuminate.The Royal Scribe changes with each reign. Any member of the current Crown’s retinueshould be able to point you in the right direction. We also have an active Yahoo Group tostay in contact. Information is available athttp://groups.yahoo.com/group/CalontirScribes.

Now you have everything you need to paint scrolls for the kingdom. Now comes the hardpart—begin painting. If you’re concerned that you’re not yet good enough to paintscrolls, keep in mind that every journey begins with the first step. There’s no better wayto get practice and become a better scribe than by simply painting lots and lots of scrolls.Begin by painting your first scroll, and keep on going!

THINGS TO KEEP IN MINDYou are a volunteer. If you don’t want to paint a scroll, don’t do it. However, if you’vemade the promise to supply a scroll, please honor that promise. And do the best jobyou’re capable of doing. No one would ask more than that, but the Kingdom expects noless. Use the best supplies and talent that you’re able, for the sake of the recipient, forwhom this might be the only scroll ever granted.

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Some scrolls have the badge or totem of the order within the design. Please paintthese in the colors called for by the badges’ heraldry. These are explained in the nextsection. Some beautifully painted scrolls have, unfortunately, gone unused because thebadges were painted in inappropriate colors.

If you take scrolls, do what you can to complete them in a timely manner, or passthem along to others to paint. The expensive paper used for scrolls is paid for out of theKingdom budget. Try not to waste. And because each reign has individual scrolls, it isbest to complete them within the first three months of a reign. The most pressing need forscrolls is during the first month. Typically, the Royal Scribe has enough completedscrolls to coast out the last month or two of a reign.

Please, please, please sign the back of your work. Let people know that you’vevolunteered your time and talent to make that special scroll. Write your name lightly inpencil on the back of the scroll. The best place to put your name is at the top or middle ofa scrollp; write it lightly in pencil. Some reigns choose to fold up the bottom of scrolls aspart of the sealing process (a very period practice). This means that a signature on thebottom would show when the back is folded to the front.

EXTRA SUPPLIESNow that you’re hooked, you might be ready for more supplies. Here are somesuggestions for extra goodies.• Extras:

• Books (see a separate section on book suggestions)• Easel or clipboard• Light table• Eye dropper• Gold leaf• More paints• Better brushes

RESOURCES• Web sites. Start at www.sca.org and visit the A&S page. Be sure to check out the home

pages for other Kingdoms’ C&I groups.• Catalogs for materials

dickblick.comaswexpress.comjohnnealbooks.compaperinkarts.com

• Calontir scribes list (http://groups.yahoo.com/group/CalontirScribes)• Falcon Signet office (contact information is available on the Calontir home page)

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Glossaryby Conna ingen Úi Chearbhaill

This is a brief (and very incomplete) list of common terms that you may encounter.

Acanthus Stylized rendering of acanthus plant foliage.Anglo-Saxon Period from c. 500 to 1066.Bas-de-page Literally, “bottom of page.” Unframed images, common to Gothic

illumination from 13th century on.Book of Hours A book used for private devotion. A medieval “best seller.”Border An illuminated border that can be donated to the Crown; calligraphy can be

filled in at a later date by the Royal Scribe to complete the scroll.Burgundian Style that flourished under the Duke of Burgundy, primarily in Flanders

from late 14th to mid-16th century.Burnishing Polishing gold to a shiny and smooth finish with a smooth, hard stone (e.g.,

agate), bone, or dog’s tooth.Byzantine Early style characterized by iconography of Biblical scenes and used of flat

gold backgrounds.Calligraphy From Greek for “beautiful writing.”Carolingian Dynasty established under Charlemagne (emperor 800–814), which lasted

until late 10th century.Carpet page Ornamental page (no text) seen in insular manuscripts.Decorated initial An enlarged capital letter with decorative elements that add interest

to the page and acts as a way for the reader to find the beginning of a section (veryimportant in the days before indexes).

Diaper pattern From French diapré (“variegated”), a repeated pattern, often geometric,used as a background, especially in Gothic illumination.

Drollery Humorous grotesque figures. Used throughout period.Exempler An original book from which other books are copied.Gilding The application of thin leaves of gold or silver to the surface of a page.Girdle book Tiny book that can be attached to a girdle or belt. Most often books of

hours or books of devotions, especially popular in 15th and 16th centuries.Gloss Commentary on or translation of a text, often written in the margins or between

the lines.Gothic Period beginning around 1300, used decorative initials, borders, and

backgrounds. Secular (rather than monastic) book production began during this time.Grisaille Monochronistic illustration (French gris, “gray”). Especially popular from

1350 through 15th century.Grotesque Humorous or imaginative figure, often in the margins. Popular from 13th

century on.Headpiece A heading or ornament used at the beginning of a text.Historiated initial A capital letter that contains a scene from the text. Borders can also

be historiated.

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Humanistic Style of script and design begun in Italy in late 14th century and wasimportant during the Renaissance.

Icon Greek for “image.” Religious illustration that was venerated.Illumination From the Latin illuminare “to enlighten or illuminate.” To embellish a

manuscript with color, usually including gold or silver.Insular c. 550 to 900. Style reflected by regions of Ireland and British Islands; isolated

from the continent.Marginalia Latin for “things in the margin.”Model book A book used by artists to catalog original designs and those from other

sources, too; a place to store ideas.Paper Manufactured in Italy as early as 13th century from cotton or linen rags. Used in

low-grade books from c. 1400.Parchment Animal skin prepared for writing. Some people use parchment for sheep

and goat skin and vellum for calf skin. The flesh side is smoother than the hair side. Inbooks, the layout was planned so that flesh side pages were set together make aspread, and the same with hair sides. Pounce is used to decrease the greasiness andhelp ink and paint stick better.

Pen-flourished initial Capital letter decorated with colored ink flourishes made with athin pen; also called littera florissa. Typically red or blue; green was used in Anglo-Norman manuscripts and purple was found in 14th and 15th centuries. Rarely usedafter 1200.

Pigment The material that provides color in paint, often ground minerals or extracts.Pounce A pumice or mildly abrasive material used on parchment to remove some of

the greasiness to help ink and paint stick.Preprint AoA-level scrolls that are drawn and calliged (except for names, dates, and

locations) by the Royal Scribe, copied onto good cardstock, and distributed to thekingdom’s scribes for illuminating.

Rubric A heading written in red ink.Scriptorium A place where scribes and illuminiators work; typically used to describe a

monastic setting.Whitework Fine white decorative linework painted on top of bars, borders, or initials

(typically red or blue). Common from 13th to 15th centuries, but found much earlier.

PART II

TAKING THINGS

A STEP FARTHER

2.1 How to Make a GOA Scroll 15

2.2 Scribe Equipment List 18

2.3 Calligraphy Basics 20

2.4 Gouache G-What? A Modern Substitute for Period Paints 23

2.5 Medieval Manuscript Production: Scribes, Illuminators and Their Methods

of Work 27

2.6 Whitework in Medieval Manuscript Illumination: A Brief Overview 33

2.7 Heraldry for the Scribe 35

2.8 Helpful Hints 43

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HOW TO MAKE A GOA SCROLLby H.L. Conna ingen Úi Chearbhaill

If you ask a dozen scribes to describe the process of making an original scroll, you’dreceive a dozen answers. I encourage you to ask around to discover other methods. Thereare lots of good ideas and tricks of the trade running around out there. In the meantime,the following is my process.

1. Receive the assignment. (Talk to the current Royal Scribe, Falcon Signet, otherscribes. Bug the text writer until you receive the text.)

2. Do your homework. What period and style are the text and the current reign? Digthrough books for ideas (see the book list for reference suggestions). Talk to thetext writer about the research that went into the text. Look the recipient up in theCalontir Armorial, if you want to include the device.

3. Block out your paper. Use a heavy, acid-free paper (unless you can affordvellum). I use Strathmore Bristol (available in two different finishes: vellum andplate; for the smoothest finish, use plate) because it comes in standard sizes and isoften on sale. I also like Pergamenta heavy paper; it feels a lot like vellum.

a. If possible, I try to supply a mat to go with the scroll, to give a little protection(and out of fear that the recipient won’t think to get a mat, which holds thepainted surface away from the glass). Be considerate: I try to stick to standardframe sizes, so that it won’t cost a fortune to have it framed. Sturdy, niceframes can be found inexpensively in these sizes: 8 x 10, 11 x 14, 16 x 20, 18x 24.

b. Block out the general areas for calligraphy and illumination. You might wantto practice the lettering on scrap paper to determine your spacing; this willhelp you determine how many lines you need. Be sure to remember to leave aminimum of a 1-inch border, for framing.

c. Find out if Their Majesties are using some sort of seal and be sure to leaveenough space for it and Their signatures.

4. Line the calligraphy area lightly in pencil. I use an Ames Lettering Guide and adrafting table or T-square.

5. Do the calligraphy. (I’m still shaky with a dip pen, so I use a Rotring cartridgepen with nib size 1.1. I think it’s the best pen on the market.) When I do this part,it helps me to create a mood. I usually listen to period music, but onlyinstrumentals. Anything with words will usually lead me down the path ofrepeated letters or skipped words. If the cat jumps on your working desk, repeatsteps 3–5 as needed.

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6. Sketch in your illumination design lightly in pencil.

7. Outline the design in black ink, as necessary. I use Micron 0.05 or ZigMillennium 05 pens. They’re waterproof, lightfast, and acid-free. They come indifferent thicknesses, too. I prefer the tiny tips, but sometimes a thicker line givesa more pleasing look. Look for these pens in the scrapbooking section of craftstores.

8. Erase all the pencil. Be very gentle. And wait at least overnight before erasing thelines from your calligraphy area; depending on the type of ink used, it will smear.I use Staedtler Mars, but any white artist eraser should work just fine. If you’reprone to accidents, you might want to tape (with magic tape—the type that liftsoff without ripping the paper) a piece of plastic or heavy paper over yourcalligraphy. This will help protect it from the smears your hand on the paper willproduce.

9. Now’s the time to apply gold leaf, if you’re using it.

10. Paint. Yay!

11. Re-outline any areas that need refreshing (see Step 7). This will help give it acrisp, clean look, and will help to cover any rough edges to the painted areas.

12. Sign your masterpiece and deliver it to Their Majesties’s chamberlain or othertrusted retinue.

a. Be sure to deliver it in a timely fashion; it will still need to be sealed andsigned.

b. Be sure to transport it safely protected in cardboard or some other method;don’t rely on the Crown to safeguard it. They’ve got a lot on Their minds.Make sure the cardboard carrier finds its way to the recipient, so the scrollcan make it safely home.

c. Provide a typed version of the text taped to the back of the scroll, so theherald can read the text easily in court.

d. Provide a short report of your research for the recipient.

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Suggested Basic Books for Research

GENERAL ARTA History of Illuminated Manuscripts by Christopher de Hamel (Phaidon Press,

1997). Great overview of our time period. Covers just about everything you’llneed. Terrific photos and interesting text.

Codices Illustres: The World’s Most Famous Illuminated Manuscripts 400 to 1600 byIngo F. Walther and Norbert Wolf (Taschen, 2001). Absolutely gorgeous.Another really great overview book, but larger and more expensive than deHamel.

SPECIFIC ARTPainted Prayers: The Book of Hours in Medieval and Renaissance Art by Roger S.

Wieck (Pierpont Morgan Library, 1997). Goes into great detail about the form ofBooks of Hours. Also by this author, Time Sanctified.

The Lindisfarne Gospels by Janet Backhouse (Phaidon Press, 1999). This is an authoryou can trust. She’s written a lot on the subject of illumination.

CALLIGRAPHYMedieval Calligraphy: Its History and Technique by Marc Drogin (Dover). This book

has everything you need to get started, and the price is right.The Art of Calligraphy: A Practical Guide to the Skills and Techniques by David

Harris (DK Publishing, 1995). This is my personal favorite. The color illustrationsmake each stroke clear. But it’s pricy, compared with Drogin.

SCA PUBLICATIONSCompleat Anachronist # 47: Primer in Calligraphy and Illumination.Compleat Anachronist # 43: Palette of Period Pigments.Compleat Anachronist #61: Education of a Scribe. (Note: This is particularly good for

layout information.)Crossed Quills, published by Folump Enterprise. Available at Pennsic. Great

examples of SCA scrolls.

SUPPLIERSArt Supply Warehouse (www.aswexpress.com). Cheapest prices, but they don’t carry

everything needed.John Neal, Bookseller (www.johnnealbooks.com). Order a catalog. Great for

calligraphy supplies.Paper & Ink Arts (www.paperinkarts.com). Order a catalog. Amazing stuff!Dick Blick (www.dickblick.com).

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SCRIBE EQUIPMENT LISTby Duchess Alethea Charle, O.L.

PENS AND INKS

1. Speedball dip pens. The handles fit most nibs and are cheap. The nibs are cheap andtend to work very well for new and experienced calligraphers. I recommend C-5 andC-4 nibs. Avoid slanted or rounded nibs. The nibs should be straight across at the tip.The only thing less than optimal about these nibs is that they are one piece (they cannotbe taken apart to be cleaned). Therefore, if you intend to use colored inks in yourcalligraphy you will need to designate a different nib for each color.

2. Mitchell dip pens. These pens can be dismantled for ease of cleaning, however thenibs are small and special care needs to be taken not to lose the reservoir portion of thenib.

3. Cartridge pens. I am fond of the Osmoroid cartridge pen. It has a nice flow of ink anda sharp edge. I don’t recommend its use for the more intricate calligraphic hands (orany other cartridge pen for that matter). It is difficult to do the necessary flourisheswith a cartridge pen because it doesn’t have the same flow as a dip pen. But it is easierto tote around for emergency or “at event” usage.

4. Inks. I recommend a non waterproof brand. Waterproof ink may be nice for notbleeding when rained, sneezed or perspired on, but it is terrible for a fine delicate handand murder on your pen nibs. It is difficult to clean out of nibs, even with theappropriate solvents, especially those that don’t break down into smaller parts forcleaning (like the speedball), and it will ruin your cartridge pen. The colored inks aremost often waterproof, and difficult to use for fine work, however, if you want to havea different color of ink in your manuscript, and don’t want to hand paint eachindividual letter, you’re stuck with them. The inks I do recommend are: HigginsPermanent Ink (it comes in a square plastic bottle which has a tendency to leak afterit’s opened—I recommend transferring some of it to a glass bottle for traveling, orputting it in a ziplock bag); and Quink Ink (which is made to use in cartridge pens). Idon’t recommend Osmoroid Ink because, although it flows nicely and is notwaterproof, it has a tendency not to dry completely and will smear easily.

PAPER

1. Watercolor Paper. (not the kind on a pad) Watercolor paper is heavy enough, and hasa tight enough bond, to take both ink and paint well. I recommend using the back sideof the paper because it is smoother/has less texture. Texture is not a good thing whenyou are trying to do calligraphy. If you can, aim for a paper with a slight buff tint toit—it looks more natural. It is a little more difficult to do gold leafing with this kind ofpaper because the size (glue) soaks into the paper, and the gold takes on the texture ofthe paper instead of remaining smooth.

2. Bristol Board. (this comes in a pad) Bristol board is an extremely tight paper, withpractically no texture. It is wonderful for ink, paint and gold leafing. It behaves themost like vellum, which is what was used in the Middle Ages. Be careful, though, itdoes pick up every little smudge. When using this paper it is best to cover any part of it

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you are not working with directly, to avoid smudges, drips and perspiration frommessing up your work.

5. Card Stock. This is what most scrolls for AOA’s are done on these days. Many colorsare available, but parchment colored is recommended. It takes ink and paint relativelywell, and if doing a smaller GOA or above scroll would be suitable to use and cheap toacquire.

6. Vellum. While this is not paper, it is technically the best surface to write, and paint on,if you are going to be recreating the middle ages. It needs to be prepared for usagebefore you can do anything to it (but that’s another class). Once you have actually usedvellum it is difficult to go back to using paper, except for a couple of things: First, it’sexpensive and does need to be prepped to use; and Second, it warps like crazy in theMidwest humidity. In the Middle Ages vellum was not used for pictures to be framedon the wall. It was in a book, with solid covers and a latch. This was to minimizewarping and protect the document. I highly recommend each scribe use it at least once,it’s an experience you shouldn’t miss out on. And, if you plan to do a book someday,definitely use vellum and do it right.

PAINTS AND BRUSHES

1. Paints. I recommend gouache paints. They have the same opacity as period pigments,are water-soluble and can be mixed and blended much easier than latex or egg temperapaints. There are vast ranges of potential colors, all of which can be mixed by thescribe at the time of need and saved for another time. Once dried they can bereconstituted as needed by simply adding water. And, they won’t poison you if yousay, accidentally, licked your brush to bring it to a nice point. The best colors to startwith are White, Black, Spectrum Yellow, Spectrum Red, and Indigo Blue. Withthese colors you can mix almost any color you like. I don’t recommend getting carriedaway when buying paints, as these paints are not particularly cheap. They will,however, last a long, long time. You will also need several plastic palates to keep yourmixed paints on. Be sure to store them in an enclosed space when you are not usingthem, because they are great dust magnates.

2. Brushes. You should use whatever you feel comfortable with. I prefer natural fibers.For scrolls, the smaller brushes are what you need. I rarely use anything larger than a 1or 00 round, for use in covering larger spaces. My favorite brushes for fine detailingare 10/0 spotters. A special mention should be made that if you start doing Goldleafing on your scrolls (which, like vellum preparation, is an entire class of it’s own)make sure that you NEVER use your painting brush to put the size (glue) on yourpaper or vellum. It will be totally ruined for anything other than applying size. I alwaysset aside a special brush just for applying size.

This list and commentary are for the new scribe to use as a reference. It is not the be alland end all, only that which I would recommend to a new scribe, for starters. If you talk toother, experienced, scribes you may find that they have discovered some tools andtechniques of their own, which work very well. My advice is to just get started and find outwhat works best for you. Remember, there are very few people who were exceptionallygood at this craft when they first started doing it. It will take a lot of time and practicebefore you will perform at the level of an experienced scribe. When you do reach thatlevel, however, the feeling is wonderful. Good luck and above all, have fun.

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GOUACHE G-WHAT? A MODERNSUBSTITUTE FOR PERIOD PAINTS

by H.L. Slaine ni Chiarain

I put this information together because there seemed to be no one good place to learnabout gouache. Even when I took a college illustration course we were told very littleabout how gouache works. This is based on things I've read in books, on lists, and frommy own experience.

What Is Gouache?Gouache is like watercolor paint in that gum arabic is used as the binder and pigmentsprovide the color. Whereas the white of the paper provides the light for watercolors, thebrilliance of gouache comes from the pigment. Some brands of gouache use chalk tomake the paint opaque; the better brands use more pigment.

Gouache is often used by illustrators because it has such a velvety smooth surfacethat it reproduces well. Because many commercial works only have to last until they arephotographed, the artists are not concerned about permanence of the paint. Some uniquecolors were created that have a very low permanence. On Windsor & Newton paints, AAmeans very permanent, B a little less permanent, etc. Always check the permanence ofthe tubes of paint you buy.

Kinds of GouacheThere are many different brands of gouache. The ones that I have been able to find mostoften are Windsor & Newton and Daler-Rowney, both of which I like to use. Otherhighly rated brands mentioned in Rob Howard's Gouache for Illustration are Holbein,Schmincke, Da Vinci, and Turner. (He didn't like Daler-Rowney, oh well.) Differentbrands of gouache can be safely mixed together.

There are several brands of "student-grade" gouache. Remember, you get whatyou pay for. I started with what my college bookstore had—Pebeo gouache from France.It was okay. The colors seemed to be somewhat muted by the addition of white, and thetexture was a lot rougher. Savoir Faire and Reeves are two other student-grade brands.

Acrylic gouache uses acrylic as a binder instead of gum arabic. Because of this itdries quickly and cannot be rewetted. It has been observed that because of this, acrylicgouache is in this more like egg tempera. To my eye, the colors of acrylic gouache aremore plasticy looking. However, the finished surface of acrylic is much more durable. Itis a good substitute when painting something that will be handled, like a box or a waxtablet. I have used Jo Sonja acrylic gouache. I've seen it at Art Mart and Michaels. Goldacrylic gouache cannot be burnished.

According to Windsor & Newton's Web site, you can make their regular gouachewater resistant by adding small amounts of their Acrylic Matte Medium.

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Where to Find ItGouache is easier to find than it was just 10 years ago. I've found it at art supplies storeslike Art Mart, Dick Blick, and at university bookstores. I even bought some in an auctionon e-Bay.

How to Use ItWhen fresh out of the tube, gouache is much thicker than you need it. Add water a dropat a time until you like the consistency. (Like heavy cream.) Dispensing water with a bulbsyringe (one of those bulb things moms use to clean baby noses) is useful.

When you open a new tube, a little clear liquid comes out. That is not necessarilythe binder settling out. Glycerin is used to fill the last space in a tube and keep the paintfrom drying out. Discard the clear liquid.

I've read that one should use distilled water rather than tap water. I guess itdepends on the minerals in your water supply. I also read that it's a good idea to use onejar of water for cleaning brushes and one for wetting your paint.

Special Qualities• Rehydrates—dried up gouache in a palette can be rewetted and used again. If the

surface of repeatedly dried gouache becomes chalky, the surface of the finishedpainting will be chalky and more likely to smudge. Adding a drop of gum arabic willextend its life. Too much will make it shiny and more sticky.

• Putting wet gouache in an airtight container to keep it moist can lead to smelly biologyexperiments.

• If applied too thickly, gouache can crack and flake off.• If applied thinly, it can be used like ink. In other words, you can use red gouache

instead of red ink.• The color can shift dramatically as the paint dries. Usually it gets lighter.• Don't tip your brush with your mouth. Modern commercial gouache is not supposed to

be toxic. But if you ever plan on working with ground pigments, it would be wise tostart practicing safe habits now.

• Permanent white and titanium white are more opaque and are good for doing whiteworkand highlights.

• Zinc white is more transparent and better for mixing colors. Also it does not diminishthe colorfastness of the colors it’s mixed with.

Like Medieval TemperaOver the past couple years, I have had an opportunity to see several period manuscripts.The rich matte colors of gouache are very similar to the appearance of many of them.That being said, there is no hard and fast rule that says every paint used was opaque. Inearly period manuscripts the paint looks thinner, more transparent. Is this wear, chemicalchanges, or what the artist intended?

Ways to Make Gouache More MedievalUltramarine—put a little metallic gouache in it to simulate the sparkle of lapis. Too muchgold can change the color of ultramarine and make it head toward green. A drop of goldin yellow gouache might make it look more like orpiment, but I haven't tried this.

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With period pigments, lead white did not react well with the copper commonlyused for green. “Whitework” on green is often done with yellow paint

Since egg tempera dries so fast and is not re-wettable, medieval artists had topaint in small hatch strokes. Each stroke is a slightly different color that adds up to theintended color and shading

Gold gouache can be burnished to smooth out its appearance. Like gold leaf, goldgouache should be done before any other colors are applied (but after calligraphy). Mix itto a consistency like heavy cream and apply it to the paper so that it looks like mercurysitting on the surface. I find it useful to put a fat drop of gold in an area and pull it withthe brush into nooks and crannies. When the gold is completely dry, carefully rub it witha smooth stone or glass piece. A piece of glassine paper between the gold and theburnisher will protect both surfaces. (The transparent envelopes that postage stamps comein are made from glassine paper.) Sometimes you have to do a second layer of gold to getgood coverage. Acrylic gold gouache is too flexible to be burnished.

What Colors to BuyThis is a highly individual. If money is an issue, buy a cheap student set and add a tube ortwo of a high-quality brand as you can. If you plan on working on scrolls from severalperiods and regions, I recommend buying a spectrum red, blue, and yellow, and black andwhite so you can mix the shades you need for each project.

For late-period scrolls, I used an awful lot of ultramarine, madder carmine,Windsor green, titanium white, and yellow ochre. I hardly ever use black paint

For early-period scrolls, especially Celtic: aquamarine, indigo blue, rose, brightyellow.

From Windsor & Newton’s site: three designated primary colors: primary yellow,primary blue, and primary red. If using a six-color mixing system we would recommendlemon yellow, permanent yellow deep, Winsor blue, ultramarine, scarlet lake, andalizarin crimson.

Here's another list: ultramarine, cadmium yellow pale, alizarin crimson, zincwhite, olive green, jet black, vandyke brown, and gold.

And another: cadmium red pale, cadmium yellow deep, ultramarine blue, zincwhite, lamp black, purple lake, and middle green.

BIBLIOGRAPHY

Howard, Rob. Gouache for Illustration: Materials, Techniques, and Studio Secrets forToday’s Fine Artist and Illustrator. Watson-Guptill: New York, 1993. ISBN 0-8230-21-65-3. A wonderful book. All the basics of gouache plus a great deal of color theory.Unfortunately, it is out of print. Amazon.com found one for me but it took a while.Another book by Rob Howard, called The Illustrator's Bible, has only a few pages aboutgouache.

Mayer, Ralph. The Artist's Handbook of Materials and Techniques. Viking: 1991 (5thedition). The bible for all visual artists. However, only a few pages are dedicated togouache.

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Metzger, Phil. The North Light Artist’s Guide to Materials and Techniques. North LightBooks: Cincinnati, Ohio, 1996. ISBN 0-89134-675-9&-9. This is a great book. Chapterseven gives a good basic description of gouache as well as egg tempera. It has lots ofpictures and references and, best of all, it is in print and widely available.

A good basic description of gouache http://www.theblueprinter.com/artcolony/gouache.htm

Daniel Smith Artist Materials technical leaflet about gouache. http://www.danielsmith.com/leaflet-gouache.html

Windsor Newton's Q & A about gouache.http://www.winsornewton.com/Main/Sitesections/EncycloSctn/CommonQuestions/commqstnsetgouache.html

This site has a good comparison between student and professional grade gouache.http://www.artpaper.com/TrueBlue/teckwc2.html

Cyber-Scriptorium: http://www.geocities.com/Athens/Forum/2963/A Scribes Bibliography: http://www.thibault.org/sca/scribe/biblio.htmlDscriptorium: http://www.byu.edu/~hurlbut/dscriptorium/dscriptorium.htmlMedieval Manuscript Leaves: http://wally2.rit.edu/cary/manuscripts/index.htmlTexts, Manuscripts, & Paleography: http://ccat.sas.upenn.edu/hot/mss.html

This is my mnemonic for how to spell gouache"All the vowels except 'i' and no 's' "

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Medieval Manuscript Production:Scribes, Illuminators andTheir Methods of Work

by Duchess Alethea Charle, O.L.

Medieval manuscripts were made during a period of about 1500 years between the lateRoman Empire and the high Renaissance all over Europe and in many varied placesranging from hermits’ cells in the mountains to commercial production lines in the cities.

• As Christianity advanced across Europe in the Dark Ages, it brought with it theMediterranean skills of reading and writing. The rule of Saint Benedict, around the 9thcentury, encouraged monks and nuns in the use of books, and the monasteries andreligious communities needed libraries. Teaching children to read was one of theparochial duties of the church.

• Until the 11th or 12th century, most manuscripts were probably made in monasteries.Monks sat in cloisters copying and studying texts, but monks had other duties as well.Attending chapel up to eight times a day and taking turns with other tasks around themonasteries, schools, kitchen, guest house, and garden. Some monastic manuscript-making projects could extend over years. An 11th-century scribe might achieve three orfour moderate-sized books a year.

• There wasn’t much private ownership of books at that time, and religious communitiessimply produced manuscripts for use by themselves and their dependants. They couldhope to have a fairly comprehensive collection with only a few hundred books.

• By 1100 the number of texts were increasing, and the monks were having some troublekeeping up. They began to employ secular scribes and illuminators to collaborate inmanuscript production in order to keep their libraries up to date.

• In the 12th century early universities in Paris, Bologna, and Geneva introducededucation, which was more or less independent of the monasteries, causing an increasein the number of authors writing books. It became impossible for the monastic librariesto keep up, and it became more and more common for people to want to own books oftheir own—from students seeking textbooks to ladies wanting to own beautiful Booksof Hours.

• By 1200 there is evidence of secular workshops writing and decorating books for sale tothe laity, making new books as well as trading in second-hand books.

•By 1300 it was exceptional for monasteries to make their own manuscripts. They boughtfrom the booksellers like everyone else, with the exception of the Carthusians and someof the religious communities in the Netherlands.

• By the 15th century if a layman wanted a Book of Hours he went to the booksellers andcommissioned one. He then subcontracted with scribes, illuminators, parchmentmakers, and binders—all of whom were paid by the work, not by the hour, and wereoften members of guilds. A 15th-century scribe could write one book in a matter ofdays. (Giovanni Marco Cinico, often referred to as “Velox,” or speedy, boaster that he

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could complete a manuscript in 52–53 hours.) An illuminator could complete 2 to 3miniatures a day. Remember, a professional artisan who knows his job and repeats itthroughout a lifetime can often work extremely fast.

THE ILLUMINATED BOOKStrictly speaking, an “illuminated” manuscript contains gold or silver, which reflects thelight, as opposed to a “decorated” manuscript, which only has painted designs. The scaleor lavishness of decoration was usually determined by the importance of the text. Majordivisions were generally more elaborate and lesser ones less so. Types of books that wereoften decorated or illuminated:• Bibles

Gospel Book (the first four books of the New Testament)Psalters (Book of Psalms)Apocalypse—more in demand around 1000, 1260, and 1500.

• Breviary—this book included all the services of divine office.• Missal—a liturgical manuscript to be read at the altar.• Choir books• Pocket Bibles—became more popular in Paris in the 13th century.• Book(s) of Hours—books of Psalms of penitence

- became more popular in the second quarter of the 14th century.- production increased in the 15th century for the use of the middle class.

• Secular and vernacular texts—these were histories, stories of travel, poems, etc.; seenfrom the 12th century on.

• Romances—e.g., Arthurian legend, romance of Alexander, etc.• Beastiaries, herbals• Advice to women• Geneology• Student texts

MATERIALS USED• Techniques and materials used in the production of medieval manuscripts did not

change much throughout the centuries.• We can determine the kinds of materials used by physical examination and

spectrometry as well as from period instruction manuals (master manuals). Three suchmanuals are:

- Theophillis—12th century- Cennino Cennini—late 14th century- Gottingen manuscript—mid-15th century

These had instructions on everything from preparing the parchment for use to how tomake quills, inks, pigments, gesso, and apply gold leaf.

PARCHMENTPapyrus was used in the production of scrolls prior to the use of parchment or “vellum.”Parchment, which is made of animal hides, was discovered around the end of the 1stcentury A.D. and was made popular by the Christians. It was found to be preferable topapyrus in the production of books because it could be folded and bound into the more

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compact and durable “Codex” (book form we use today). Papyrus was used to makescrolls because it was too brittle to make a proper codex. Whereas the use of papyrusscrolls lingered until the 7th and 8th centuries, parchment was used almost exclusively bythe 4th century on.

As stated before, parchment is made from the skin of an animal. The process oftransforming the animal skin into a clean, white material suitable for writing medievalmanuscripts was the task of the “parchment-maker” or parchmenter. These professionalsexisted throughout the Gothic period and probably back into the Romanesque andCarolingian ages.

The earliest documentary evidence of book production in Oxford is a land charterdating from not long after 1200, witnessed by a scribe, three illuminators, and twoparchmenters. In the late middle ages, parchment makers were among the artisans andtradesmen of every town.

In normal usage, the terms parchment and vellum are interchangeable. “Thatstouffe that we wrytte upon: and is made of beesties skynnes: is somtyme calledparchment somtyme velum” (William Horman, early 16th century).

The word parchment is derived from the city of Pergamum, where it is said tohave been invented in the second century B.C. during a trade blockade on papyrus. Theword vellum has the same origin as veal. In other words, calf; and it is strictly the writingmaterial made from cow skin. It is practically impossible to tell the prepared skin of oneanimal from another. I doubt that medieval scribe and readers of manuscripts either knewor cared what the animal had been when it was alive (though different animals anddifferent hair types could produce different colors of skins).

Parchment is more durable than leather and, properly prepared, is soft and velvetyand easy to fold. Within moderation, a bit of handling is said to be good for parchmentbecause, like leather, it responds well to movement and can lose suppleness if untouchedfor centuries.

A brief description as how to prepare parchment is as follows:• Wash it for a day and a night in clear running water.• Soak it in lime water for 3–10 days for the hair to rot and fall out.• Scrape the sides clean of hair and flesh.• Soak in lime water again.• Scrape it again.• Rinse in clear running water for 2 days.• Stretch it and scrape and scrape and scrape.• After it’s dried, sand it, pumice it, then it can be written on.• The flesh side of the parchment is whiter than the grain side. The pages in each

book were arranged so that flesh side faced flesh side and grain side faced grainside.

PAPERPaper was invented in the orient around the 2nd century B.C. The knowledge of itsmanufacture and use came through the Arab world to the West. The term paper wasderived from the word papyrus, although it is not made from the same material. Medievalpaper was made from linen rags and was much stronger and more durable than modernwood pulp paper. After it was made, sizing was added by dipping it into a pot of animal

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glue, which was made by boiling down scraps of vellum. Sizing made the paper act muchlike vellum, preventing ink from running or bleeding into the paper.

There were established paper mills in Spain and Italy by the 13th century, inFrance by 1340, and in Germany by 1390. Paper was primarily used for the production ofsmall, cheap books, because it was considered inferior to parchment. It was the inventionof printing in the 1450s that transformed the need for paper. By the 15th century, it was somuch cheaper than parchment that it was used for all but the most luxurious of books.

PENSQuills were made from five or so outer wing pinions of a goose or swan. If a scribe wasright-handed, he would use feathers from the left wing—they made a better curve.

A brief description of how to make a pen:• Pluck feathers fresh from the bird.• Trim the barbs.• Harden them by soaking them in water and plunging them into heated sand.• Scrape away the outer leather.• Pare away the tip.• Slit the tip.

A good scribe needed several pens available. He would sharpen a pen up to sixtytimes a day. Scribes wrote with the pen in the right hand and a pen knife in the left. Theknife served the purpose of not only sharpening the pen, but correcting minor errors andholding the parchment down, because it tends to warp with humidity.

MEDIUMSA medium was used to thicken, suspend, and help both pigments and inks adhere to theparchment surface. There were several kinds, but the two most commonly used were eggglair and gum arabic. Egg glair is made from rotten egg whites and is waterproof. Whenglair is dried, it is impervious to air and water; therefore, it was used to seal toxic ortarnishable pigments (e.g., a lead was often applied before and after the paint was appliedto prevent interactions). Gum arabic is sap obtained from the acacia arabica tree andrefined by boiling it like our modern maple syrup. Gum is not waterproof. Gum water wasprobably the most used for illumination up to the 15th century, and it could be made fromresins of the cherry, plum, or almond trees as well as the acacia tree.

GESSOGesso was used as a glue for the application of gold leaf. The making of gesso wasdescribed at some length by both Cennino and the Gottingen model. Gesso, by thesedescriptions, was made of a mixture of slaked plaster of paris, white lead, a littleArmenian bole (for pink color), sugar or honey (which attracts moisture), gum, egg glair,and water. It was applied with a quill or brush and allowed to dry for a day. It was thenreactivated with a hot breath before applying the gold leaf. It was considered best to applythe gold leaf on damp days.

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GOLD LEAFGold leaf was made by beating gold nuggets into gossamer thin leaves. It was said that agood “gold beater” could make 145 leaves from one ducat. Gold leaf was rarely used priorto 1200, with the exception of lavish, princely documents. One reason could have been thefact that monastic cloisters were open to the wind. A proper sheet of gold leaf is so lightthat one little puff of air can send it floating across a room. Gold leaf was applied beforeany painting was done because it would also stick to the medium used to suspend thepaints. “Shell gold” was also used to illuminate manuscripts. Shell gold is made ofpowdered gold suspended with gum. It was cheaper and could be applied with a pen orbrush. Shell gold allowed for finer detail and could also be applied after paint had been.Both were burnished with a burnishing tool, which was traditionally made from a dog’stooth. Burnishing brought the gold to shine.

PIGMENTSMedieval pigments, like many other modern pigments, were made of organic materials,minerals metals, and bricks. Many were poisonous, and their preparation was alsopoisonous. I could go on and on describing the many different pigments that were used inthe middle ages as well as the process used to produce them, but in interest of time andspace, I will only cover the most popular/favorite ones of the time.

Purple was an extremely valued pigment (in the early middle ages, it was considered aroyal color) and it was extremely difficult to obtain and process. It was made from thebodies of shellfish obtained from the shores of Phoenicia. The process was long, arduous,and odorous, and it took several pounds of material to make just a few ounces of dye.There were other methods of obtaining purple dye, like mixing a blue with a red, but theywere not as brilliant and were not well suited for use as pigments.

Blue or ultramarine was the next most popular pigment, or color of choice for themedieval illuminator. Ultramarine was made by grinding lapis into a fine powder,separating the different colors from the stone by hand and mixing it with various binders.One could obtain different shades of blue by doing this. There were basically two distincthues used by medieval painters: a light (warm) shade and an intense (cool) shade. Thewarmer shade was used for clothing, sky, etc. The cooler, more rare, shade (almosttending toward purple) was used for royal or divine robes or for decorative backgroundsthat were embellished with gold.

Red There were several sources for red pigments, but the two most popular were orangetetroxide and red mercuric sulfide. Both were chemically manufactured and both werecalled by the name “minium” (after which the term miniatures was obtained). Orange leadis made by roasting powdered white lead in an uncovered iron pan until it turns yellowand then orange-red. It tends to tarnish. Orange-red was used most frequently in earlyperiod illumination. Red minium, or mercuric oxide, was much preferred and was morecommonly known as vermillion. It was made by cooking mercury and white or yellowsulfur in a clay flask surrounded by a charcoal fire. The smoke coming from the flask iswatched until it progresses from a yellow to a red color—then it is done.

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Yellow There were many sources for medieval artists to obtain yellow pigments. The termochre is usually used to refer to a golden color and was usually obtained from naturaldeposits, such as hydrated iron oxides and clay minerals. The favorite yellow of medievalilluminators was “orpiment,” which is a sulfide of arsenic. It is a clear, lemon yellow incolor. It occurs naturally and can be made by alchemists. Orpiment can react unfavorablywith other pigments and can turn black from exposure to air. It was recommended totemper it with size (rabbit-skin glue) to prevent these things from happening.

White The most common form of white was “lead white.” It was made by exposing leadsheets to vinegar or urine for several weeks in a warm, dark casket, preferablyunderground. The white produced in this manner was extremely opaque and mixed easilywith other media, but it was highly reactive when exposed to air and other pigments,especially orpiment. It is also very poisonous, especially when grinding. Gypsum (plasterof paris) and lime were also popular sources of white, but the process of “slaking” them islong and tedious, taking up to three months before they are usable.

Ink and Black Pigments Ink is a liquid pigment that is thinner than paint. Inks arebasically composed of a dark pigment mixed in a liquid medium, and they are organicrather than mineral. Carbon inks can be made from a variety of burnt substances (charcoal,bones, rags, wood) or from lamp soot that is produced by burning an oil-lamp flameagainst a piece of glass (linseed oil seems to work best). Carbon inks are opaque anddense, but need to be tempered to make them stick to the page. Otherwise they flake offlike dust when the water dries. Oak galls, when prepared appropriately, make an excellentink. They make a fine, dark permanent black. Walnut hulls produce a warm, dark brown toblack ink, which can be made darker by adding carbon black. Both of these are producedby crushing and grinding them, boiling them in water, and allowing them to ferment forseveral months. The most popular colored inks were red and blue and some green. Theywere used to highlight the beginning of important phrases.

IN CONCLUSIONI have tried to give an overview of manuscript production in the middle ages. I havecovered a little about its history, the people, and the materials involved in producing them.I want to stress, however, that this is only the tip of the iceberg. There is a wealth ofinformation that I did not even being to cover. I would take much more time than we havehere. If you are interested in pursuing this field of research, I have listed a few books inmy bibliography, which I am sure that you will find very helpful. Thank you, and enjoy!

BIBLIOGRAPHY “A Palette of Period Pigments.” The Complete Anachronist #43.Medieval Craftsmen–Scribe and Illuminators. Christopher de Hamel, 1993.Scribes, Script, and Books—The Book Arts from Antiquity to the Renaissance. Leila Arvin,

1991.Understanding Illuminated Manuscripts—A Guide to Technical Terms. Michelle P.

Brown, 1994.The Medieval Book. Barbera A. Shailor, 1991.Bibles and Bestiaries—A Guide to Illuminated Manuscripts. Elizabeth B. Wilson, 1994.

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WHITEWORK IN MEDIEVALMANUSCRIPT ILLUMINATION: A BRIEF

OVERVIEWby H.L. Cassandra Peverell

What is whitework?Whitework is a decorative technique employed in medieval manuscript illumination tofill blank spaces of color.

In what time periods was whitework found?Generally, whitework is found in manuscripts dating from the 13th through the 15thcenturies, although examples of its use can be found as early as the 9th century inCarolingian manuscripts. It was used sporadically in early period as a border filler, butdid not come into frequent practice until sometime in the later 13th century. With art andmanuscripts progressing toward realism in the late 15th century, the practice of usingwhitework as a filler started to die out.

Where in manuscripts can whitework be found?Because whitework was used primarily as a filler, it can typically, though not exclusively,be found in borders and in capitals. It is also sometimes found in the fillers or spacerswithin the body of a text.

What are the typical characteristics of whitework?In the 13th through 15th centuries, the period wherein whitework was typically utilized, itcould be found in many styles. Usually simple lines and shapes were employed to fillspace, although in some instances the lines became more elaborate and were even shaded.The background for whitework was almost exclusively a true red or blue, though inearlier periods more muted colors were used. It is also most often employed inassociation with gold leafing of some sort, especially during the Gothic era.

What materials do you need to do whitework?Different artists, as I’m sure was the case in period, employ different methods forpainting. I use gouache paint as a substitute for period pigments due to its accessibility,ease of use, opacity, and texture. Windsor & Newton is my preferred brand, as I havefound other brands grainy, and a grainy base paint makes whitework all the moredifficult. The colors I have found to most closely simulate those of medieval manuscriptsare ultramarine, spectrum red, and zinc white. As far as brushes are concerned, forespecially fine lines, I use an 18/0 or 20/0 natural hair “liner” brush. For shading andblending, I use a harder synthetic 10/0 “spotter” brush. When starting out in whitework orillumination, I would recommend experimenting with your brushes to determine whichones work best for you.

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How thin or thick should I make my paint?Again, this is subjective to each individual artist, but consistency of paint is the mostimportant and one of the most difficult aspects of good whitework. If the white paint istoo thick, it is difficult to create a line of any length and it will often come out “smudgy”and inconsistent. If the paint is too thin, the line will not be dark enough and will bethicker than it should be. It is best to play with the consistency of your paint to find thatperfect balance of paint and water. Experiment with your lines on both blues and reds.The white pigment will interact differently with each color. For example, the white willnot be as vibrant on the red as it is on the blue, so a thinner paint, while it may be visibleon the blue, will be completely lost on the red.

How much pressure should be applied to the brush when painting whitework?Practically none. If you find that you are having to use a bit of pressure, then your paint istoo thick. When I do whitework, I can’t even feel the paper under my brush. The paintshould flow easily enough so that the merest touch of the brush will make an impression.

What should the lines look like when they are painted?Ideally, the lines should be thin, consistent, and as delicate as a strand of hair—Ideally!Don’t fret if yours doesn’t look perfect at first. Whitework is very much a learned skillfrom much practice. Once you get the hang of your paint and the amount of pressure touse, all will fall into place. But don’t expect it overnight! And practice, practice, practice.

What styles or what type of lines should be used in whitework?Here, I recommend doing some personal research. There are tons of different styles outthere that you can employ. Doing your own research is invaluable in any type ofillumination that you may want to do. In every culture and time period there can be foundsomething unique with regard to illumination, and whitework is no exception. The goodnews, though, is that with whitework, you can generally apply any design you find intoGothic illumination. So once you pick up a style, you can use it again and again.

Some tips:1. Generally, if you see something you like in a border, you can modify it to work in a

capital.2. Circles, dots, and simple lines make great space fillers when you can’t figure out what

to do or when nothing else will fit.3. Squiggles are perfectly acceptable.4. If you screw up, gouache is forgiving and can easily be painted over. Try new things

without fear of failure!

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Helpful HintsThe following are the collections of “Helpful Hints” and “FYIs,” given in the FalconSignet letters to the Kingdom during the term of Duchess Alethea Charle. These writingswere supplied by Alethea, Countess Margarette de St. Martin Sur Mer (Maggie) andMistress Tatiana Dieugarde.

A.S. XXXIV—April’s Helpful HintWhen writing with a dip or cartridge pen, it is preferable not to use waterproof ink.Waterproof ink will clog your pen and it is difficult to clean off of the pen. It is glossyand does not flow nearly as well as a non-waterproof ink will. This is especially notablewhen you are attempting to reproduce a hand with a lot of flourishes. In short, it can ruinyour pen and make it hard to use.

A.S. XXXV—May’s Helpful HintOne of the secrets to a beautiful, medieval, calligraphic hand is the even size, spacing,and vertical lines of the script. This is a very difficult thing for our modern hands tomaster. I suggest purchasing graph paper on which to practice writing. Depending on thesize of your nib, you may want paper that has 8 squares to the inch (using one square forthe body of your letters) or 10 squares per inch (using 2 squares for the body of yourletters). Allow the vertical lines to guide you in making all of your letters straight up anddown. When writing on an actual scroll, I draw a graph on my paper/vellum (which Ierase later) to help make sure my letters are as nice as I can make them.

A.S. XXXV—June’s Helpful HintMedieval manuscripts were primarily done on parchment (vellum) or, in later period, andfor lesser-valued manuscripts, paper. These days, vellum is often cost prohibitive for ourscribes to use in the production of scrolls. Therefore, we tend to use paper. I recommend,when choosing your paper, to look for one of a heavier weight. This will keep the paperfrom buckling when paint is applied. Watercolor paper works well, but often has a roughtexture that makes calligraphy difficult. Avoid using watercolor paper that comes in apad, and if using watercolor paper, use the backside, as it is often much smoother. Myfavorite paper to use is “Bristol Board” (this does come in a pad, and you want to use theone labeled “smooth”) because it is heavily sized and very smooth. It is the best paper Ihave found to most closely approximate the feel of vellum. It causes the colors of yourpaint, the ink, and the gold leafing you apply to leap off the page at you. A parchment-colored “card stock” can also work very nicely and is most often the paper used for AOAlevel scrolls.

A.S. XXXV—August’s Helpful HintMany of the pigments used for paint in the Middle ages were toxic as well as difficult tomake/obtain. To be honest, many of us are not able or interested in going to the trouble of

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making them in order to paint a scroll. Therefore, we look for modern equivalents thatlook like the ones used in period, are affordable, and non-toxic. I recommend gouachepaints. They have the same opacity as period pigments, are water-soluble, and can bemixed and blended much easier than latex or egg tempera paints. There are vast ranges ofpotential colors, all of which can be mixed by the scribe at the time of need and saved foranother time. Once dried they can be reconstituted as needed by simply adding water.And, they won’t poison you if you, say, accidentally licked your brush to bring it to anice point. The best colors to start with are White, Black, Spectrum Yellow, SpectrumRed, and Indigo Blue. With these colors you can mix almost any color you like. I don’trecommend getting carried away when buying paints, as these paints are not particularlycheap. They will, however, last a long, long time. You will also need several plasticpalates to keep your mixed paints on. Be sure to store them in an enclosed space whenyou are not using them, because they are great dust magnets.

A.S. XXXV—October’s Thought for the MonthThe following was a note from an 8th-century scribe:“O lucky reader, wash your hands and thus touch the book, turn the pages gently, holdthe fingers far away from the letters. He, who does not know how to write, cannotimagine the work involved. O how hard is this writing: It clouds the eyes, squashes thekidneys, and at the same time brings pain to all the limbs. Three fingers write, the wholebody suffers . . . .”

A.S. XXXV—November’s Helpful Hint[From Maggie.] When doing a piece that includes both calligraphy and illumination, it iswise to complete the calligraphy first. It is much easier to correct painting errors, such asstray paint that has dripped off of your brush or a paint stroke gone awry than it is to haveto start a piece all over again because you left the recipient's name out of the text or yourpen decided to start spewing ink all over the page. In the next two issues, I will discusshow to correct or hide some common calligraphy and painting/illuminating mistakes.

A.S. XXXV—December’s Helpful HintCorrecting Calligraphy Mistakes[From Maggie.] If you make mistakes while doing calligraphy, you may be able tocorrect it without starting over. If you spill a drop of ink, there are a few techniques youcan try:

1. If it's a small drop and in a relatively translucent shade, you can try taking a wetpaintbrush and brushing out the spot by using water to thin it out. Don't use too muchwater though, or you'll end up with a warped page. This is only safely done on a partof the page that isn't too close to other text, or else you run the risk of causingadditional ink bleeding. You may try several thin coats of water, as well, allowing thepage to dry completely between each coat.

2. For thicker, more opaque inks, you may try very delicately chipping the ink off withthe tip of an exacto-knife or straight razor blade (exercise caution!). The scraping

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should be done very gingerly, as to avoid scraping completely through the paper. Oncedone, run a soft eraser over the area to remove any paper lint and create a smoothsurface. If you are only able to remove some of the ink without causing furtherdamage, you may also opt to try removing the rest of the ink using the first techniqueabove.

3. Cover the mistake up with paint that you've carefully mixed to match the color of thepaper. Combinations of white, browns or yellows will usually yield colors similar tovellum or parchment. You will have to experiment using a scrap of the same paper or asmall area on the back of the page to match the color. Remember that most colorschange a shade or two as they dry.

4. Ignore it! Mistakes such as misspelling a word or leaving a word out are period. Youwill have to use your best judgment to determine whether the mistake, even if it's adrop of ink, warrants tossing a piece out the window and starting over or whether itadds character.

A.S. XXXV—January’s Helpful HintCorrecting Painting Mistakes[From Maggie.] Stray paint does not have to mean doom to a piece of artwork you'vebeen working on. Here are some suggestions for correcting or hiding such mistakes:1. Cover it up. As with calligraphy mistakes, you can mix paint to match the color of

your paper, if the mistake was made with a relatively light color. Apply the paintyou've mixed over the mistake in thin layers (probably 2 or 3). Be sure to let the paintdry completely between layers.

2. As with ink mistakes, you may try gently scraping the paint off, using an exactoblade or straight razor (very carefully!) once it has dried completely. Theeffectiveness of this technique will depend on the type of paint you use and itstendency to "soak into" the page.

3. Hide it! Incorporate the mistake into the existing artwork/design. Nobody but youwill ever know that it wasn't intentional. For instance, you could turn a drop of paintinto a flower or a beast.

Be creative!

A.S. XXXV—March’s Helpful HintThere has been some discussion on the scribe’s list regarding the lines on bible pagesseen in period and how to duplicate them on the scrolls we make. My answer to the listwas as follows:

In the Middle Ages "ruling" was placed on each page of a book being calliged andilluminated. These are the lines placed prior to painting and calligraphy and are used tomake the text more uniform. They are pretty much the same on every page. The scribesthen used the ruling to not only guide the calligraphy but to help block out the artwork (Ifyou look closely you can see where the artist painted directly over the previously placedruling). The calligrapher became very adept at writing exactly between the ruling. If youwill notice the calligraphy rarely touches the lines. And, if it does, only the ascenders anddescenders do. In the SCA these lines are sometimes placed in the scrolls we do, usually

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on the more specialized scrolls and scrolls done by more experienced artists. It takes a lotof practice to write in the exact center of these lines, so if you are wanting the effect butaren’t up to doing it from scratch, try this approach: Rule/line your page and do thecalligraphy as you usually would. When you have completed it, erase the pencil lines youused and then, with a red, blue or gray colored pencil, lightly redraw the lines in the exactcenter between each line of text. Remember to include rules/lines to each side of yourtext and to extend the rules/lines on the side a little above and below your text. Look at aMedieval manuscript closely and you will see what I mean.

A.S. XXXV—April’s Helpful HintAre you having difficulty getting your calligraphy to look the way you want it to? Areyou missing words and letters and, sometimes, entire sentences? Are the words “practice,practice, practice” getting very annoying? Well, here are a few more pointers that mighthelp you out.

First, never drink caffeine or alcohol before sitting down to work on your scrolls.They will either make your hands shake or make you lose some fine motor control, whichis necessary for the constancy of your lettering. Also, try not to exercise, especially withthe upper extremities, before doing your calligraphy. Muscle fatigue will make yourhands shake.

Second, try not to listen to music (with lyrics) or the TV while doing yourcalligraphy. It is too easy to lose your place or substitute words or letters where you donot want them. Someone talking with you will do the same thing.

Third, try typing the text in large type and copy from that. Place a piece of paper overthe typed version. This will cover the words of the lines you are not working on. Then,cross out the words (on the typed version) you have already written. It helps keep youfrom losing your place or writing something over again. Often times we are concentratingso hard on getting the letter shapes correct that we lose track of what we are actuallywriting.

A.S. XXXVI—May’s Helpful HintThis is taken from the information HE Tatiana gave to the Calontir Scribe’s list:In designing the preprints AoA scrolls for the upcoming reign I drew from the Book ofKells, the Lindesfarne Gospels, the Book of Durrow, the Book of Durham, and thePsalter of Ricemarchus. There is also one that is based on Viking stone carvings.

Take heart budding illuminators! The generic 'Celtic' style is one of the easiest topaint as a preprint because it's all flat washes. No shading involved. If you can colorwithin the lines, you can paint these preprints. Adding red dots around the illuminatedletters like in the Book of Kells is also an easy way to dress up these scrolls.

The biggest trap when people are first starting out is choosing the wrong colors.When I'm teaching, I tend to limit people to a few colors. For Celtic, I stick with primary(red, blue, yellow) and secondary (green, orange, purple) colors. Sure you can findexamples of peach and turquoise in the Lindesfarne Gospel, but I would save it until youare more sure of what you are doing.

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A.S. XXXVI—June’ Helpful Hint—actually it’s more of a FYI Did you know that gold leaf was made by beating gold nuggets into extremely thinsheets? It was said that a good “gold beater” could make up to 145 leaves from one ducat.Gold leaf was rarely used prior to the 13th century, with the exception of the most lavishdocuments. One possible reason is that the monastic cloisters were open to the wind. Aproper sheet of gold leaf is so light that one little puff of air can send it floating across aroom.

A.S. XXXVI—August’s Helpful Hint (FYI)Ever wondered what your favorite manuscript colors were made of in the Middle Ages?Or why we prefer not to use them in their period form? In the next few installments I planto illuminate you. (Clever play on words wouldn’t you say?)

Let’s start with purple. Very Calontir, but not a particularly common color to be seenused in the Middle Ages. Ever wonder why? Well, it was considered a Royal color in theearly Middle Ages, to be used in only the most expensive and important manuscripts, andit was very difficult to obtain and process. The most valued color of purple was madefrom the bodies of shellfish obtained from the waters surrounding Phoenicia. It was avery long, difficult and smelly process to get the purple dye. In fact, it took severalpounds of material to obtain just a few ounces of the dye. There were several othermethods of obtaining purple dye, like mixing a blue with a red, but they were not asbrilliant and were not well suited for use as pigments.

A.S. XXXVI—September’s Helpful Hint (FYI)Last month we discussed the color purple. This month I want to talk about the medievalscribe’s next most popular pigment. As you may have noted the color blue, orultramarine, is used a lot in the most valuable of manuscripts. It is an intense, beautifulcolor, and like purple, not so easy to obtain. Ultramarine was made by grinding the stonelapis lazuli into a fine powder. The different colors were then separated by hand andmixed with various binders. One could obtain different shades of blue by doing this.There were basically two distinct hues used by medieval painters: a light (warm) shadeand an intense (cool) shade. The warmer shade was used for clothing, sky, etc. Thecooler shade was more rare, and almost tended toward purple. Not surprisingly, this colorwas used for royal or divine robes, or for the more decorative backgrounds which werethen often embellished with gold.

A.S. XXXVI—October’s Helpful Hint (FYI)I believe we have been discussing colored pigments in this latest series. We have coveredPurple (every Calontiri’s favorite) and Blue. This month we will be discussing myfavorite color, RED.

There were several sources for red pigments, but the two most popular were orangetetroxide and red mercuric sulfide. Both were chemically manufactured and both werecalled by the name “minium” (after which the term miniature was obtained). To make thecolor orange-red, powdered white lead is roasted in an uncovered iron pan until it turns

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yellow and then orange-red. This particular color tends to tarnish. Orange-red was usedmost frequently in early period illumination. Red minium, or mercuric oxide, was muchpreferred and was more commonly known as “vermilion.” It was made by cookingmercury and white or yellow sulfur in a clay flask surrounded by a charcoal fire. Thesmoke coming from the flask was watched until it progressed from a yellow to a redcolor. That is how you knew it was done. Sounds fun doesn’t it?

I hope that these writings have been helpful and informative, and that in some way theyhave inspired people to want to learn more, and perhaps give being a scribe a try.

SCROLL LAYOUTSCROLL LAYOUTSCROLL LAYOUTSCROLL LAYOUT

By Duchess Alethea Charle, O.L.

First let us talk about AOA level scrolls. Usually this means you have agreed to be the Royal Scribe, or are assisting the Royal Scribe with design of the masters. Before starting anything you will need to talk with the Coronet/Crown or Their representative:

1 What are they envisioning? 2 What time period do They want the scrolls for Their reign to be done in? Do they

have a preference for the type of artwork (country(s), specific badges/animals to be included, etc.), or calligraphy styles?

3 Do They want bible pages, writs with illumination or just writs? 4 What size do they want? There are definite benefits to having the scrolls being 8.5

X 11 inches (printing and framing being a couple) but half sheets are also nice. You should also think to yourself whether you are up for all that They want. For example, is the calligraphy style something you are comfortable with, or are willing to learn, or will you need to get someone to be your partner in designing the scrolls. Hey, this is period, you know, so you don’t need to feel bad about it. (This will also apply to doing GAO and POA scrolls.) Here I will be referencing a previous paper already published in your Scribe’s Handbook; “To Be a Royal Scribe”. (Don’t worry, I wrote it, so I can do that. ☺) “Make the Masters – By this I mean design what the scroll will look like. The original copy of any preprint is called a “Master”. One to two will be made for each AOA level award given out during the next Reign. There are a few ways of going about making a master, but I am going to tell you the way I prefer to do it.

a. Decide on a graph paper that fits your pen’s nib size. This paper is already ruled and makes the alignment of your text and artwork much easier.

b. The calligraphy and the artwork can be done separately and then cut and pasted together or done all at the same time. The cut and paste method will allow you to make more mistakes, or change your mind, in the initial drawing stage without having to redo everything. This also allows you to have someone help you with the artwork or calligraphy. (I advise that you remember… a preprint will seem more like an original if the person who did the calligraphy on the “master” is also the one who fills in the names as the Reign progresses). If a cut and paste method is chosen, remember to leave the appropriate space on your paper, when doing your calligraphy, for the artwork to be added in later. For example: I’ve been asked to do Celtic knot work on the scrolls this reign. I can do the hand just fine but designing knot work makes me crazy. I give a rough size estimate to my buddy Tatiana and ask her to draw up some designs for me, which she agrees to do. After I have received the drawings, I then block out the necessary space on my graph paper and proceed to do my calligraphy around it. Ok, so maybe I had to do it a couple of times to get it right, but

that is no problem, I haven’t actually added the drawing yet. When I have the calligraphy to my satisfaction, I then cut out the drawing (or a copy of the drawing if I want to use it in another scroll) and tape it onto my graph paper in the appropriate place. I make another copy of that and now I have a “master” from which to make the preprint.

c. When doing the calligraphy on your master you may want to spend some time before hand writing down some of the more common reasons for awards and some long and short names that you know. Measure how much space these names take up and leave that much space on your “master”. For example: do one “master” for the Torse scroll with enough space for a short name and a short reason, and another with enough space for a long name and reason. It is also helpful if you can arrange for one or the other to be at the end of a line. If you do that you can use a “filler”, if the name/reason is not long enough, to complete the line and flesh out the scroll.

d. Your preprint will not have graph lines on it after the copies are made. At least it shouldn’t if you have been using the correct graph paper and your copy center knows what it is doing. You will need to pencil in some lines in the open areas to serve as guides when adding in the names, reasons, dates and places (BTW, I like to leave the date and place area completely blank if they come at the end of the text. It is easier for me to callig in a complete sentence than to fill the awkward spaces left for days, months and groups. In case you haven’t noticed none of these things need the same exact amount of room and the scroll starts to look sloppy when you try to make the words fit in the wrong sized spaces.). Here’s a hint on how to get your penciled-in lines straight and even: leave a small mark (more like a dot) on your “master” at the end of each graphed line (You know, the ones you will be adding the pencil line to after the copies are made.). These marks will show on your preprints, but that is all right. They will act as a guide to line up your ruler. After you have no further need for them, scrape them lightly with an exacto knife, to loosen them, and then simply erase them away.

e. You can actually make a “master” of artwork only for some of the GOA level scrolls if you like. These pictures can be painted by anyone and then you can callig in the text later. This is a technique best used when you have willing painters who can’t draw, or when you want to have a larger picture available to add a last minute text to, for the last minute award. If colored ink is used for part of the text no one will know that the entire thing was not an original scroll, made just for them.”

GOA and POA. Again, talk with the Crown or Their Royal Scribe. You need to know the following things before starting: 1 Who is the recipient and what persona is the scroll to be done in? Is this a Crown

preference or the persona of the recipient? For example: some Crowns have decreed that the AOA and GOA scrolls be done in the persona of the Crown, while the POAs were to be styled after the persona of the recipient. Also, some people haven’t developed a persona yet, in which case you may be given leave to just do what makes you happy.

2 Is the scroll to be done on paper, vellum or some other substance? If it is to be on vellum, who is supplying the vellum/providing the money for it? I can’t emphasize enough that you not take this upon yourself unless the recipient is a really good friend and you are giving it as a personal gift. Vellum gets very expensive. As for other substances, you might be surprised. (I have done scrolls on bunny fur and real sheepskin, with the fur still attached – I don’t advise it)

3 When is the scroll due? 4 Do they have a text ready for you? If not, how long will it be until one is available?

This is important to know because sometimes the amount of time left until the scroll is given out is not enough to actually do a scroll, or at least to do it as nicely as you might wish. This is a good time to split your efforts and do a separate picture with a writ as the main document. Which, as you may have discerned, is a more period way of doing it, but not always the easiest? You can get an earlier start on the picture and do the writ when the text is available.

5 Finally, how are They planning to seal and sign the scroll, and how/when do They want it delivered? This is important to know because it will influence how you lay out the scroll, how much room you leave for the signatures and seal(s) and how quickly you need to get it done. For example: Lead seals will mark the paper, beeswax will melt on the paper, no one wants to finish a beautiful piece of artwork only to have the seal covering a good part of it, and some writs will have multiple seals used along with the signing.

Now, for the layout/design: First you do the research. You can do this online or use the old fashioned book. I like to find multiple examples of the style/time period/country of origin you are planning to use. This is the best way to help decide how much detail you will need to include, what color scheme you need to use and how the scroll should be laid out. Remember, we are trying to do medieval recreation. For several reasons it is very tempting to put a lot of modern elements into the scrolls you make. First, several of us have had modern training in the arts, which is hard to get past. Second, we really want to put people in the artwork; People who look like the recipient; People with pink skin (you won’t find much of this in the medieval manuscripts, by the way). And, third, it is often difficult to find examples of period works that fit what it is we want to create. This is where the research comes in very handy. Finding several examples of what we are trying to recreate helps us find ways to include those personal touches without deviating too far from the period feel we are trying to recreate. If you can make copies of all the pieces you have found and keep them handy while you are working, you can also refer back to them frequently to remind yourself of the colors, shapes and designs used in the middle ages. It keeps you from veering off when you least expect it, if you know what I mean. You may want to consider the final size of your piece and whether it is going to be easy or difficult to frame. There are a number of standard frames out there, which can be matted for effect or allow for the scroll to be floated. If your scroll is of an odd size a custom frame

may be needed. If the piece needs to be matted, say because it is on vellum and will warp if not secured, keep in mind how much space will be needed around the actual document/picture. But, hey this is a once in a lifetime event for the recipient. They may want a special, custom frame anyway. Finally, before I start with the actual layout information, think about what it is you are good at doing and how long it usually takes you to do it. If you are good at ivies and acanthus leaves, but not so good at faces, perhaps you should concentrate more on the ivy or leaves. If you have only two weeks to complete a scroll, perhaps you shouldn’t try for a full page from the Grande Houres of Duc du Berry. I am not saying you should not try something you haven’t done before or that you have some problems with. The only way to get good at something is to give it a try and practice. What I am saying is, it is always more fulfilling to give someone a scroll you wish you could keep. A scroll that is beautiful and still keeping with your abilities.

LAYOUT WRIT This type of document is really handy when you have a long (by this I mean really long) text. It can be done with or without a decorated first letter. Many also have the first line of the document fancified with more elaborate flourishes on the ascenders of the letters (especially in the later period examples). It is a pretty simple layout with four important things to take into consideration: 1) Writs in period were not done in the more formal book hands we are used to seeing in the manuscripts we reproduce. They were completed in more of a secretarial hand, sometimes even in the cursive form of the day. Do a little more research on the type of calligraphy done on writs of the time period you are working in and you will see what I mean. You do not want to use the more formal quatrata, or textura,or even uncial hands when penning the writ. This even applies for the more important documents in history. For example, look at the Magna Carta. It is a simple (if very long) document, in a fairly common hand and with no decoration. 2) You will need to leave enough room around the top and sides of the document for the piece to be matted and framed. Depending on the size of the document, I recommend an inch and a half to two inches at the top of the document, and 1 ¼ to - 1 ½ inches on each side. The bottom needs to be big enough to allow the page to be turned up and then have signatures and a seal added. I recommend 2 ½ - 3 inches. If your text is so long that turning up the bottom, and still having room for the text and signatures, is not possible, you can do it with 2 inches, but make sure you are using a heavier paper which is able to support the weight/strain of the seal(s). I know this is a lot of wasted space, especially when using vellum, but it is also less than was often used in period and still allows the piece to look right.

3) Decorated letters are a lot less common, in period, than we would like to think. When they are used on writs they are usually pretty simple. Now, don’t get me wrong more complicated letters can be found, but if you intend to also paint a lovely picture, or have some other piece of artwork made to accompany the writ, keep it simple and spend more of your time on the accompanying picture/item. Remember, just like when you make a master, you need to block out the area for the decorated letter and then do the calligraphy. Come back later to complete the painting/gold leafing of the first initial. 4) Signing the writ. It is our tradition in the SCA for the Crown to sign all of the legal documents in addition to placing Their Seal. In period this was not done. The Seal is the Crown’s (or their representative’s) signature. The scribe, however, did at times sign the writ. The writs I have found with examples of this all have the signature of the scribe placed along the bottom of the turned up portion of the parchment, usually in the lower right corner. BIBLE PAGE It has become the norm for most of our scrolls to be given in this format. It gives the scribe the opportunity to do both illumination and calligraphy. It also encourages us to expand our skills, learning not only the calligraphic book hands of the different time periods, but also the different styles of drawing and painting throughout the middle ages. And lets face it, when done well, they are darn pretty and a thing of beauty to display in the recipient's home. Many medieval manuscripts have painted and/or rubricated letters or fillers that are interspersed amongst the text, as well as at least one historiated or decorated initial. There may also be ivies or knot work you want to work around your text. Also, most bible pages have evenly spaced lines, columns, and pages, which end with columns that match in length. Our texts do not always lend themselves to accomplishing this look, and we often make do by placing the text in a box in the center of our page. We end the text with uneven lines. We don't put a lot of the nicer elements into the text that are needed to really make the work look like the bible page we are trying to reproduce, and we encourage the Crown to sign directly in the center of the page. Also, we tend to use a lot more capital letters than were used in the bible, and we break things up into paragraphs, which they did not do. To avoid these problems there are several things we can do: If you can, talk to the person writing the text. We in the SCA tend to like starting texts with "Know all", or "This day", or "Let it be known"... If you notice, there is not a round letter in the bunch. For a really nice historiated initial, you really need a round letter, like a "P" or an "O". Encourage the writer to start the text with a letter of your choosing. One you frequently see in the manuscript you are reproducing. It makes planning your first decorated or historiated initial much easier. I have, at times, changed the wording myself (with the Crown's permission, of course) to allow for a more optimal first letter.

I encourage you to remember that the hand used really needs to match the style of artwork you are reproducing. For example: If I am attempting to reproduce a bible page from the Grande Houres and I have perfected the actual painting and illumination, I really need to use a quadrata hand (the same as was used in the original and other manuscripts of that time). I would not be doing the piece justice by using an uncial or carolingian hand, or one of the later period italics or bastardas. Also, I avoid most of the capitals in the original text and never do separate paragraphs. After determining which elements you plan to use, from the various manuscripts you have researched (preferably from the same region and time period), you will need to block out your page. Do this on a separate piece of paper. I like to use the same graph paper I use when designing masters. I know it is a lot more work, but you will be much happier if you do. First, go though the text and circle all the letters you would like to highlight (decorate, color in, historiate, rubricate, etc). Decide which ones would allow themselves to be made into something a little more special (beginning of a paragraph, name of the recipient, name of the Crown, name of the Order... you get the idea), and then decide on how big you would like that letter to be. Note whether the manuscript you are reproducing has the majority of it's decoration on the left, right or middle of the page and what the approximate size of your manuscript is. It is possible that you will need to do more than one page in order to keep the scale of your work appropriate. We love long texts, but they don't always work well when doing this sort of work. Trying to put too much text on one page can destroy the look you are going for by making the page too big, the text too small, or by limiting the amount of artwork you can include and still fit onto the medium you are working with. In order to determine how much space you need, outline the basic area the first letter will take, and any other decoration the page will have (ivies, etc.) and block out how wide you want your columns to be. The drawing can be added and perfected after the calligraphy has been blocked out, so don't dwell on making it pretty. Now start writing the text, stopping to block out where you want the decorated letters to go. Some manuscripts use a lot of fillers, and this can be wonderful thing for you. You will need to keep most of your columns even, which may mean that you are abbreviating, or cutting off your words on one line to start the next line with what is left of the word. Fillers can end a sentence before the letter you are wanting to use, allowing you to place it at the beginning of a line, and they can even out a line when you are reluctant to break up a word (say like the name of the Crown, or the recipient -- that would be poor form). Fillers are also ideal for paragraph breaks. After doing most, if not all of the text, you will get a good idea of how much space/length you will need to allow for your page. You can decide where to break in order to start the next column and still end up as close to even as possible. Now writing out all of the text can be a very good thing. Not only does it allow you to determine where to put the decoration, break up words and end columns, and decide how big a piece of paper or

vellum you will need, it allows you to get really good at the hand you have chosen. OK. I think that is most of what you need to know about the layout portion of making a bible page style scroll. Now, all you need to do is do it. Easy. That part is up to you. ☺ Finally, the Crown needs to sign the page. I can tell you from experience that most Crown's really do not want to sign in the middle of a beautiful piece of artwork. It can destroy the look of the page and our writing is nowhere near as nice as the calligraphy you do. Leave a place at the bottom of the page, spaced slightly down from the artwork. Leave room for the seal (as per the Crown's preference) and draw a fine line on which they can sign. You may want to include the words "King" and "Queen" at the end, or under, each line but that is not always necessary. Talk with the Crown and see what they would prefer. PICTURE This part is pretty easy (the layout that is). Look at your research, determine your size and what elements you want to include, and start gilding and painting. It can be anything you want it to be, and as simple, or complicated, as you want it to be. Your picture doesn’t even have to be a picture. It can be an item of significance, done by yourself or someone else. Remember, when done this way, the writ is the actual document and the accompanying picture, or item, is a gift to show the recipient the Crowns’ appreciation of all their efforts.

PART III

ADVANCED TECHNIQUES

3.1 Vellum Preparation 49

3.2 Gold Leafing 52

3.3 Making Your Own Quill 59

3.4 Walnut Ink 64

3.5 Going Back in Line 66

3.6 A Collection of Diaper and Bar Patterns 77

3.7 To Be a Royal Scribe 97

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Vellum Preparationby Duchess Alethea Charle, O.L.

Hello, and congratulations on your new acquisition. Let me give you a little adviceregarding the care and upkeep of the vellum you have just purchased.

Before you attempt to use your vellum you will need to prepare the surface you workon. Vellum has a hair side and a flesh side. The flesh side is rougher. The hair folliclescan be seen on the hair side, which is much smoother, and the side I prefer to work with.Of course, medieval calligraphers worked with both so you may choose to practice withboth. If the surface is not prepared properly, paint and ink will tend to bead up and bevery difficult to make stick.

To prepare the vellum you will need to take a piece of 400 or 600 grit, wet/drysandpaper (or pounce if you prefer to do it the period way) and sand the surface to bringup a nap. Sand side to side and then top to bottom. Avoid sanding in a circle. The vellumwill feel soft and velvety when you are finished. You will need to be careful not to sand ittoo much (you’ll see why), and be very diligent to remove the dust left behind, as it willclog up your pen if you don’t.

Once you have practiced using vellum it will never again be that scary surface you’vealways been afraid to touch. In actuality it is much more forgiving than paper and a lottougher. Its one drawback is that, like all other leather products, it is not happy when inthe presence of moisture. Be sure to keep it flat and pressed between heavy books whennot in use or it tends to warp.

Enjoy!

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Gold Leafingby Mistress Enid nicEoin

MATERIALSCotton-tipped swabs or makeup applicatorsScissors dedicated to cutting goldTweezersGesso (for raised effect only) (see recipe below)Glare or gloss (for flat or raised) (see recipe below)SizeGoldPaint brushesBurnisherGlassine paperPaper of parchmentPen and ink

PROCESS STEPS0.1. Prepare design—pencil or ink exactly where gold is to go1. Prepare materials and work area2. Apply each under-layers as desired, allowing each layer to dry before adding the nextlayer

a. Gesso (Optional)—to raise goldb. Glare or gloss as a smooth surface for gold and in some cases as a sizec. Size or other source of adherence for leaf

3. (Optional) Shape raised surface by burnishing or layering4. Repeat as necessary for complete coverage5. Apply gold

• cut leaf pieces roughly size and shape of areas to be covered• breathe lightly on dry size; humidity from breath will enhance tackiness• set gold in place and press lightly for adherence

6. Burnish7. Brush away access leaf8. Repeat steps 5–7 as needed9. Outline gold in ink or dark paint

Gesso Recipe4–6 t. Slaked plaster—see below for recipe1–1.5 t. Fish (Mucilaginous) glue0.5–1 t. Sugar or honeypinch Armenian bole or red ochre gouacheWater (distilled)Dab of ear wax if needed to eliminate bubbles

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Proportions may need adjustment depending on environmental conditions such ashumidity.Some recipes call for white lead. This is used to whiten the gesso and also enhancesmalleability. For most purposes, the lead can be left out without noticeably effecting theresults.

The glue in many gesso recipes is not generally sufficient to use the gesso as a sourceof size except under the most ideal weather conditions. Mostly it binds the gesso itself, sothat it does not brush away when dried on the scroll. Mucilaginous school glue (notrubber cement, although it looks similar) is essentially fish glue and can be used, as cansome forms of hide glue.

Slaked PlasterTake plaster of paris, mix several tablespoons in a large quantity of water (two or morecups) and stir for 15 minutes to prevent clumping. Stir for a few minutes per day for atleast two weeks. Drain and pile or mold to dry in small blocks. Grind on glass cuttingboard with glass mortar into fine powder. Some recipes call for merely mixing theplaster in water. The powder thus generated is usually less fine and slightly chemicallyreactive, which may lead to deterioration over time.

Glare RecipeWhip one egg white until stiff peaks form.Sprinkle approximately 1/3 egg of water over peaks (“1/3 egg of water” means eggshellof water, that is, the volume of water that would fill, in this case, the smaller half of theeggshell).Let stand over night.Egg whites will become frothy and liquid will separate out; pour this liquid out fromunder the froth into a jar. This is the glare. Discard frothy stuff.Stored in the refrigerator, the glare will last for months. It may discolor and get a littlemore yellow or brown. It will also get smelly. So long as the liquid remains clear, it isfine; the older the better for good consistency. If the liquid gets cloudy or milky, the glarehas spoiled and is breaking down chemically—discard and prepare a new batch.

USE OF GOLDA little gold can greatly enhance illumination. Many small spiky leaves can give theappearance of vast amounts of gold, even though it may require no more than a singleleaf or page of gold to cover the area. Expense, therefore, need not be a limiting factor.Still, a book of 25 real gold leaves can cost $40 or more and may be a large investmentfor some. Fortunately, there are many alternatives, several of which are discussed below.

Gold was not used in the Book of Kells; however, it was used even earlier on thecontinent and is appropriate for use with most types of illumination. For a period look,study carefully where and how the gold was used with each style of calligraphy andillumination. Depending on the style and period, gold maybe appropriate for use incalligraphy, on capitols, borders, or as frames for miniatures. It may be raised or flat,textured or smooth, gold leaf or shell gold (ground shell used in a paint). The same pagemay include more than one form of gold.

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To determine where and how the gold was used, and whether the gold came fromleaf, powdered gold in a paint suspension, or shell gold, and even whether the gold wasraised or flat, it may be necessary to dig through the text accompanying sample pages andfacsimiles. Sometimes it is possible to tell by looking at a picture; however, someprinting methods may be misleading. “Full color with gold” usually means that gold hasbeen added in the appropriate places; however, a flat printing method is used, even whenthe original gold would have been raised and textured. The use of shading within the goldgenerally indicates that shell gold was used and paint mixed in to provide the shading. Insome cases, black and white photos may be more revealing, as highlights and shadowsindicate where the gold was raised.

MATERIAL OPTIONS AND HANDLING, ORGANIZED BY PROCESS STEP

0.1. Prepare design. Plan and draw exactly where the gold is to go. Calligraphy can beapplied to the scroll if allowed to dry thoroughly prior to applying gold, but if leaf is to beused, do not paint until afterwards. Gold will stick to paint or damp ink.• On parchment or vellum, pencil adheres poorly, and inking the design is highlyrecommended.• On paper, some people prefer to just use pencil, because it is usually necessary to re-inkafter the gold has been laid. Ink, however, has the advantage that it helps hold liquidlayers in place, and does not rub off.

1. Prepare materials• Gold sticks to just about everything so a clear, clean area is important.• Metal and other washable tools should be cleaned with alcohol, and dedicated for usewith the gold.• Gesso, gloss, and size are hard on brushes so don’t use your good paint brushes. For thesize, a small paint brush whose hairs have begun to spread works, because the size pullsthe hairs back into a point.•Gold sticks to fingers, too, and floats on the slightest breeze, so have cotton swabs,tweezers, and other handling tools ready at hand before you pull the gold out of itspackaging.

2. The under layersa. For raised gold, or to raise gold paint for a leafed look, the first layer is some form ofgesso. Acrylic gesso works, but dries very hard and cannot be burnished or otherwiseshaped; therefore, it is not recommended. Recently, some stores have begun to carry non-acrylic, period-style gesso. These or a homemade gesso are preferred, because they canbe shaped and burnished. (See recipe above.) Mix in a little yellow or red ochre paint.This enhances the color of the gold and makes it more obvious where you have put thegesso.

Regardless of the type used, gesso is thick and cannot be treated like paint. To avoidridges and valleys, do not let the brush contact the paper or vellum. Rather, puddle thegesso and drag the brush over it to spread the gesso to the appropriate areas. Thistechnique can also be used to spread into new areas or blend into sections of gesso that

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are already dry. The gold will take on whatever shape the gesso has when it is finished,so getting a smooth surface is very important.

b. Glare or gloss is used to make the surface paper or parchment for flat gilding (or gessofor raised gilding) shiny; this will result in a shinier gold when completed. It can also beused to provide a nonabsorbant surface under gold paints, such as enamel, to preventbleeding and enhance shine.

Acrylic gloss, like acrylic gesso, dries quite hard and cannot be reshaped after it hasdried. It is also somewhat thick and should be applied without the addition of water in thesame drag-the-puddle method as the gesso. Two layers may be needed, because it willshrink when it dries, pulling away from small spots and edges.

The period version of gloss is glare. Unlike, gesso, it is very thin and can be spreadlike paint. The shininess will show you where you have painted. Usually two or threelayers are needed for thorough coverage; more if the glare is freshly made.

c. Size comes in many forms. Essentially, they are specialized glues to which the goldadheres. Period sizes include garlic juice and some forms of hide glue. Most modernsizes are oil based and designed for use on wood; therefore, they are not appropriate forscrolls. Look for water-based sizes. Most of these are closely related to white glue; theprimary difference is that the tackiness can be reacquired by the addition of a slightamount of moisture, such as from a puff of breath.

Size can be used directly on paper and vellum; however, the gold will show the grainof the paper or artificial parchment and a layer of gloss or glare under the size isrecommended.

Sizes are typically very thin, with a consistency similar to glare. Add a small amountof red ochre paint to see where you have placed it. Usually two or three layers are neededfor thorough coverage. Thin coverage will result in tiny spots where the gold does notadhere. Most sizes can sit on a scroll for weeks and still be used. Some sizes, such asgarlic size, are very sensitive to moisture, and gold may come off easily in humidweather.

3. Gold and gold leaf comes in many forms. Here are a few of the most common. Adetailed description of the application process for patent gold and composite leaf followsthe discussion of the various types. (Please note that this expands somewhat on the“process steps” noted at the beginning of this paper.)

Gold leaf Loose-leaf gold is the most common form in period. Modern gold leaf tends tobe thinner and can be quite finicky to use. A special leather pad known as a gilder’s pad,and a dedicated gilder's or exacto knife are needed for safe cutting. Gold leaf should behandled only through the use of metal implements or cotton swabs (a cotton-tippedmakeup applicator works well) because gold will adhere to fingers.

Patent leaf is also real gold leaf, but it is very lightly stuck to a piece of paper, and thiscan be a great aide in handling the leaf. Scissors (clean scissors dedicated to the job ofcutting gold leaf only) can be used to cut both gold and paper, and with a little care, asmall paper ‘handle’ can be made available to help control the leaf. Touch only the paper,

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and only as much as necessary. Mostly tweezers and cotton swabs are used for handlingthe patent gold, just as with the loose leaf. See below for detailed instructions on layingthe gold.

Composite leaf is not real gold but rather a blend of metals used to simulate gold leaf. Itis thicker and can be handled more easily than gold since it does not stick to skin;however, skin oils can increase tarnishing, so handling should be minimized. Lightpolishing may be needed to reduce tarnishing. The instructions for laying composite aremuch like those for patent, as described below.

Shell gold Contrary to some reporting, period shell gold is not powdered gold, but rathera powdered sea shell. Powdered gold, however, has been used in a similar way, causingsome confusion. Both shell gold and gold powder are mixed in a medium and used aspaint. Like other paints, other colors can be added to create shading and shadows. Thiseffect is most common in the 15th-century style known by several names including‘squashed bugs and flowers’. The intent is to display realistic flowers and bugs as if theyare hanging in front of a gold or other border, casting shadows on the background as ifthey were 3-D. Shell gold is virtually always flat rather than on a raised surface.

Pearl gold gouache is a modern substitute for leaf or shell gold. It is somewhat morefinicky than other gouache paints and must be stirred frequently to keep metals insuspension. Glitter gold has larger metal fragments and will give a more sparkly, lessleaf-like effect. Some brands may use other terms to differentiate ‘pearl’ and ‘glitter’forms.

Gold enamel Until recently, most scribes hesitated to use enamel, because it was all oil-based and could bleed into paper. However, gesso and/or gloss under the enamel willprotect the paper, and recently water-based enamels have become available. Enamel isgenerally more shiny than gouache but also harder to control. Some polishing or aprotective coating may be desirable to prevent eventual tarnishing.

Gold foil for fabric is another modern alternative to gold leaf. It generally comes on rolls,and special glue and protective coating are available for purchase. It is applied much thesame way as gold leaf, but can be stubborn about sticking if the glue is too dry or toodamp. The result is an impressive (though not very period) mirror-like finish.

Yellow ochre paint (sometimes mixed with brown or white or possibly small amounts ofother pigments) was a common period substitute for gold, especially for the techniquecalled trompe l'oiel, where highlighting and shading on yellow ochre were used to givethe illusion of shiny gold leaf. If there are very fine lines of gold, or golden objects thathave fine degrees of shading to indicate depth, there is a very good chance that yellowochre was used. Depending on the color and print quality of the book you may have as areference, yellow ochre and real gold leaf can be very difficult to differentiate.

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To lay patent leaf or composite leaf:For most steps, these two are the same. Though the composite leaf can be handled withthe fingers, it is better to handle both with a tweezers whenever feasible. All metal toolsshould be cleaned with alcohol to prevent sticking. Though gold is known as a heavymetal, leaf is light and is picked up by even the slightest breeze. Good air circulation isnot desirable at this stage!

a. Cut a piece or strip of leaf just wide enough to cover the area to be leafed. Forexample, the width of a bar or the size of one leaf in a leaf-and-vine border.

b. After the size has dried to the barely tacky stage, lightly puff on the area to be coveredwith gold. Some people suggest a paper straw, to control the direction of the moistureand limit bending; don’t use plastic because moisture droplets may condense and drop onthe scroll, causing water spots.

c. Lay the leaf, paper side up for patent, shiny side up for composite, on the area ofmoistened size and gently press into place with a cotton-tipped swab/applicator. Press allover the area to be sure that gold adheres. Gently pull away the paper or trailing ends ofleaf. Some bits around edges or on corners may cling—this can be brushed away later, orlarger pieces can be maneuvered to another area with the aide of a tweezers.

d. Burnish on a padded surface, not a hard board. Burnishing on a hard surface maycause fine cracks in the gold, resulting in a matte rather than a shiny finish. Gilder’s pads,some lap pads, or a fat leg covered in a blanket make good surfaces; be careful not tocrease the scroll.

Several kinds of burnishers are available on the market, but cheaper alternatives alsowork. Store-bought burnishers are generally gem-quality agate and hematite on a handle.These gem-quality stones can usually be used directly on the gold.

For those with a limited budget, agate and hematite rocks are often available atnature and science stores for $1–$2. These are not gem-quality, even though they arepolished, and can scratch the gold surface. Also skin oils will cling to the surface whenhandled. Therefore, burnish by first laying a piece of glassine paper over the gold, thengently rubbing with the stone. Dogs teeth (in period, dogs, in modern times, coyote teethcan be purchased) is another alternative to burnishing stones. They should also be usedwith glassine paper. Glassine paper is not “trace glace” (a tracing paper), which isthinner and courser, but rather a very smooth, glossy paper used for protective envelopesas well as for burnishing. If your local craft store does not carry it, try the post office,which uses glassine envelopes for stamps.

e. Brush away excess gold with a soft brush dedicated to this purpose. Large makeupbrushes, such as those for blush, work well. Hand vacuums can also be used on thecomposite leaf—be careful not to press so hard as to scratch the surface.

f. If there are small spots where the leaf does not adhere, lightly blowing and laying moreleaf may be sufficient to cover. More often, however, this indicates a spot where there is

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insufficient size, possibly due to shrinkage, and more size will need to be added prior tolaying additional leaf.

g. For a thicker layer of gold (at least two are recommended for patent; one is usuallysufficient for composite), lightly puff on the gold already on the scroll and lay anotherpiece of patent leaf on top. Gold will stick to itself if sufficiently pure. For a secondlayer of composite, additional size must first cover the composite already present,because it does not stick to itself.

4. Outlining Outlining gold brings it out visually and makes it stand out from thebackground. It also helps smooth any rough edges that may have developed. If gold dotsand leaves are standing alone on a bare background, the outline is usually in black ink.This is a good time to add ink flourishes such as curlicues off of the design points, andwiggles or spirals off of dots and vines. If the gold is immediately next to a painted color,for example, part of a bar or capitol or the center of a flower, the outline may be done in adark shade of that color.

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Making Your Own Quillby Countess Margarette de Saint Martin-sur-Mer

Materials NeededFeathers

Pen knife or scalpelCutting boardGlass of waterCrochet hook

Ovenproof dishFine sand

Large spoonClean, soft, woolen or linen cloth

HISTORY

The quill pen came into gradual use around 200 B.C. There are many speculations as to whythe quill began to replace its successor, the reed pen. It is possible that the appearance of thequill was closely related to the development of formal Roman capitals that requiredgraduated strokes from thick to thin. The reed pen was far too stiff to accomplish thesestrokes. Another theory suggests that the advent and popularity of vellum as a writingsurface created a need for a more flexible pen that released more ink. Flight feathers fromgeese, swans and turkeys were well suited for this new application. Their hardness anddensity allowed the craftsman to create a finer nib, allowing more ink to flow freely onto thevellum surface and providing the flexibility demanded by the new Roman capitals.

FEATHERS

The feather has three main parts: the barbs, the shaft and thebarrel. The barbs are on each side of the solid part of the quill,known as the shaft. The barrel is the hollow portion of theshaft. The quill also has a top and a bottom. The top side issmooth, while the bottom of the shaft has a slight indentationrunning the length of it. The shaft is made of a substancecalled albumen, which is similar to fingernails.

As with most crafts, the quality of the raw material can affectthe finished product. When possible, try to select a moltedflight feather—one of the first five feathers from the tip ofeach wing—from a mature goose, swan or turkey. The flightfeathers can be recognized by the fact that they have much narrower barbs on one side of theshaft than the other. Use the left wing feathers for right-handed calligraphy and the rightwing feathers for lefties.

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Goose and swan feathers were most common in medieval Western Europe, as turkeys wereonly found in North America. In general, the goose and swan feathers only differ in size,with swan feathers being the larger of the two. Turkey feathers have a stockier, thicker barrelthan goose or swan feathers, meaning that it is often too rigid for small writing. Rigidity alsohampers the smooth flow of ink. Goose feathers are ideal for small to medium writing, as theproportionate thickness of the barrel to its circumference creates a strong yet flexible quill.

PART I—TEMPERING

In their natural state, quills are covered with a greasy membrane on the outside and soft pithon the inside. Before you can cut the quill, you must first alter these two states in a processknown as “tempering” or “clarifying.” The purpose of tempering with heat is to fuse andharden the albumen, so that it will be strong and durable.

Step 1 Cut 1/8 to 1/4 inch off the sealed end of the quillbarrel at a slant. Note: There is a slightindentation running the length of the feather onthe bottom of the quill.

Step 2 Soak in water for at least 12 hours. Remove only what you will be temperingimmediately or the feathers will dry out and need re-soaking. Shake out excesswater.

Step 3 Clean out the membrane with a crochet hook or any long implement with a hookat the end (a coat hanger can be modified). Avoid scratching the inside of the quill.Note: The quill should be soft, pliable, free of excess water, and clear of internalobstructions at this point.

Step 4 Heat sand in an ovenproof dish at approximately 400°F. The sand should be atleast 2 inches deep. Tip: The finer the sand, the better. Fine sand will distribute theheat more evenly and will polish the barrel more gently. It may take someexperimenting to find the right temperature, depending on the individual ovenbeing used. You may also use a hotplate or a frying pan and stovetop, but an ovenseems to be most efficient.

Step 5 Prime the feather by using a large spoon topoor hot sand into the barrel until it overflows, asthis helps conduct heat evenly throughout theinside of the shaft. Be sure to hold the quills at anangle that will prevent the hot sand from pouringonto your hand. Very important: If water is lefttrapped inside of the feather’s shaft, it could reactwith the heat and cause it to create steam or evenexplode.

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Step 6 Thrust the quill into the hot sand at a shallow angle, completely covering thebarrel up to the barbs. Try not to spill any sand you’ve already poured into thebarrel, so that it is evenly heated inside and out.

Step 7 Remove the quill after a coupleof seconds. If the quill isblistered or distorted, either thesand is too hot, or the quill washeld in the sand too long.However, if the quill is“rubbery” after cooling, eventhough it looks clear, either thesand is not hot enough, or the quill wasn’t held in the sand long enough. Repeatuntil desired temper is reached. Note: Ideally, you will know that you have reachedthe ideal temper when the barrel is clear, rather than opaque, and it feels hardwhen pressed between your fingers.

Step 8 Shake the barrel clear of sand. Whilethe quill is still soft from the heat,use the back edge of a knife toscrape off the membrane on theoutside.

Step 9 Finally, dip the barrel in cold water to hasten the cooling and hardening process. Rubthe quill dry with a clean, soft cloth. Only when the knife is tested on the quillwill you know if you are using the appropriate combination of time and heat.

Part II -- Cutting the Quill

You may want to spend some time practicing the cutting techniques used by first taking thinslivers off the barrel. It is important to establish control over the knife before starting tomake a pen.

Step 1 Trim the barb to a comfortable length.Gingerly cut the barb, so as not to damagethe shaft. Note: Barbs should not beinterfering with your hand when holding thequill.

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Step 2 Make a clean slit in the top of the barrel, as closeto the center as possible. If you are dissatisfied with thecut, you can cut off the tip above the slit and repeat thisstep. Note: If the quill was not tempered enough and istoo brittle, this cut will be jagged or the barrel will splitwhen cut.

Step 3 Turn the quill over to the bottom side,and make the first long scooping cut,starting about 1-1/4 inch from the topof the slit. You may have to start with asawing motion to get the knife throughthe barrel. Pare the scoop downcarefully until you have cut abouthalfway through the barrel. Note: Useshort, small cuts until you get the hangof it. You can always cut pieces off, butyou can’t cut them back on!

Safety tip: The knife blade is very sharp and should be treated with greatcare. When making cuts, hold the quill with one hand and make the cutswith your other hand, being sure to keep the thumb of your cutting handunder the shaft for support. Place your thumb far enough back that it willnot be in the path of the blade. It would be a good idea to keep a first aid kithandy in case of accidents. Be sure to wrap used blades in a wad of tape orplace in another container, such as a candy tin, before discarding.

Step 4 Eventually the slit you cut on the top of thequill in Step 2 should be approximately 1-1/2 times the width of the nib. With this inmind, pare out two side-scoops along eitherside of the slit, forming the nib of the pen tothe desired width and allowing for wastageat the tip. Note: You can make the nib as wide oras narrow as you wish, according to yourpreference. Keep in mind that if the nib is toonarrow, it will become flexible and will not holdink well. Once you have completed this step, the barrel should look as though ithas two “stair step” scoops, when viewed from the side.

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Step 5 Cut off the tip to create the desired nib length.Hold the knife at a 90° angle to the barrel. Thiscut may requiresome force.

Step 6 Carefully shaveoff

approximately 1/16 inch from the bottom part ofthe tip, cutting at a 45° degree angle toward thetip. Tip: This step should be done in one swift stroke to prevent splitting orcreating a jagged or rounded edge.

Step 7 Inspect the quill for any imperfections.

Step 8 Repeat any cuts from Steps 3-7 as needed.Remove any rough edges with a very fine sandingpad if desired. Polish the barrel and nib with a clean, soft cloth.

Step 10 Take your new quill for a test run!

BIBLIOGRAPHY

The Art of Calligraphy, David Harris, Dorling Kindersley, New York, 1995, pp. 14–115.

Medieval Craftsmen: Scribes and Illuminators, Christopher de Hamel, University ofToronto Press, Buffalo, New York, 1992, pp. 27–29.

Calligraphy & Illumination: A Historical and Practical Guide, Patricia Lovett, Harry N.Abrams, Inc., New York, 2000, pp. 13–26.

The Complete Calligrapher, Frederick Wong, Watson-Guptill Publications, 1980, pp. 19–25.

The Calligrapher's Handbook, Edited by Heather Child, The Society of Scribes andIlluminators, Taplinger Publishing Co., New York, 1986, pp. 15–33.

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Walnut Inkby H.L. Slaine ni Chiarain

I came across a lot of different recipes for producing a tannin-based ink. They basicallyall include:Tannins oak galls or walnuts Galls create a darker inkLiquid water, vinegar, or wine Any liquid for extracting the tanninsIron copperas, vitriol Rusty nails or an iron pot also worksGum arabic crystals or liquid Adds body and sticking power to the inkHeat is used to get the walnuts to release the tannins into the liquid but letting them rotin a bucket for a few months will work, too.

This is what I used:20 WalnutsEnough water to cover them1 1⁄2 tablespoons vinegar1 1⁄2 tablespoons gum arabic

Crack the walnuts with a hammer or nut cracker and place them in a iron pot. Simmer atlow heat for 2 hours or longer if necessary. Stir often. If the water gets low throughevaporation add more.

Strain the liquid into another container. Dump the walnut pieces and clean out theiron pot. Place the liquid back in the iron pot and simmer some more. Add the vinegarand gum arabic. Stir. Allow the liquid to reduce by about half. Strain it through a coffeefilter into a bottle. You should now have ink!

This process wasn’t as messy as I expected. Spilled walnut juice wiped off the countersand pans easily, even after 2 days.

Web Sites for Making Walnut Inkhttp://vantassle.freetcp.com/walnut.htm. An SCA member’s ink experience. Basis of myrecipe.

http://www.geocities.com:0080/CollegePark/Library/2036/ink.html

Web Sites for Oak Gall Ink or Ink in Generalhttp://www.know.nl/ecpa/ink/. An excellent site. More than you ever needed to know!Since they are concerned about how ink corrosion affects historic manuscripts, there is alot of the background science at this site.

http://vantassle.freetcp.com/gallink.htmhttp://www.meridies.org/as/dmir/ScribalArts/period_inks.html

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BibliographyAgricola, G., De Re Metallica, first Latin edition 1556, Translated by Herbert ClarkHoover and Lou-Henry, Dover Publications Inc., New York (1912). A primary source.

Bayard, Tania, A Medieval Home Companion, Housekeeping in the 14th Century. HarperPerennial, adivision of Harper Collins Publishers; New York: 1992. The last page has anink recipe.

Thompson, Daniel V., The Materials and Techniques of Medieval Painting, DoverPublications, New York, 1956. This is based on Cennini’s 15th century artist’s handbook.

Thompson, J.C., Manuscript Inks, The Caber Press, Portland, Oregon, 1996. I haven’tseen this book, but I’ve heard that it’s very good.

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To Be a Royal Scribeby Duchess Alethea Charle, O.L.

As you mature in your efforts of being a scribe for this Kingdom, it is probable that youwill eventually be noticed and asked to serve as a Royal Scribe. The Royal Scribe servesfor the length of one Reign (including the preparatory time prior to Coronation), workingclosely with the Crown to produce the scrolls that are to be given out.

Before agreeing to be a Royal Scribe there are several things you need to askyourself.

1. What exactly does a Royal Scribe do?2. How much time do I have to devote to being the Royal Scribe?3. Do I have the resources available that will allow me to do the job?4. Am I able/willing to set some limits on myself, and if need be, the Crown?

I will attempt to address these questions here.First off, let me tell you that, depending on the experience of the couple who just won

Crown Tourney, the job of Royal Scribe can be a rocky/very difficult one, or can just bebusy but run very smoothly. You can pretty much count on it always being busy, and youcan count on very few people actually knowing just how much work you will be doing.

Each new Prince and Princess (Coronet) is given a packet the day They win CrownTourney. In this packet is, among other things, a letter from the Falcon Signet entitled“About Scribes and Seals.” It was written primarily for those new to the experience ofbeing Royalty in the hopes of making both Their Reign and Their relationship with thescribes of the Kingdom go smoothly. They are encouraged to choose a Royal Scribe earlyin Their time as Prince and Princess and are given a lot of the same information/advice Iwill be giving you here. Hopefully, this will keep both the Crown and the Royal Scribeon the same sheet of music, and allow for a smoother working relationship.

Ok, let’s get on to question number one . . . “What exactly does a Royal Scribedo?”

Every Crown has different ideas of what it is They wish to accomplish during TheirReign, as well as how much They want to take upon themselves to do. As such the RoyalScribe can be responsible for all or any portion, of the following:1. Designing preprint masters of all AOA, and sometimes GOA, level scrolls.2. Painting, and/or coordinating the painting, of the scrolls mentioned above.3. Adding in the names of the award recipients, reasons for awards, and dates and places

the awards are given on the preprint.4. Creating, and/or coordinating the painting and calligraphy of, all GOA and POA level

scrolls. This includes any specialty scrolls the Crown wishes to give out (Baronages,QED’s, King’s Favor, etc.).

5. Getting the scrolls to the Crown in plenty of time for Them to sign and seal thembefore court. This is something to be worked out between the Crown and Scribe.Decisions need to be made whether the Crown or the Scribe does the actual sealing of

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the scrolls. Depending on the seal being used this may be a process that should bedone before the event.

6. Maintaining the confidentiality of the information that has been entrusted to them.

Number two . . . “How much time do I have to devote to being the Royal Scribe?”

As you can see from the description of what the Royal Scribe (RS) actually does, it takesa lot of time to do this job. Depending on how eager the other scribes of the Kingdom areto help out, and how generous the Crown wishes to be in bestowing awards upon Theirpopulace, the RS could be devoting a considerable amount of their time to scribing eachweek, for up to 9 months (including preparation time). There have been some Reignswhere the scribe literally spent every spare minute of time they had outside of theirmundane work (and some sick days from their mundane work) preparing scrolls.

Number three . . . “Do I have the resources available which will allow me to do thejob?”

By this I mean:1. Do I have enough reliable people I can call on to help with the production of scrolls?2. Do I have access to printing and materials needed for making the scrolls (ink, paper,

paint, etc.)?3. Do I have an efficient, confidential way of communicating with the Crown so that

names and texts can be received in a timely manner (a secure e-mail account iswonderful for this)?

4. Can I get the scrolls to the Crown easily and in an adequate amount of time beforeevents (this is easier if you happen to live in the same area as the Crown)?

5. Do I have an area of my home that I can devote to the job of RS (privacy fromcurious passersby, adequate lighting, table, file cabinet, etc.)?

You do not need to worry whether you have enough money. There is a budget set asidefor the Crown to use in reimbursing Their scribe(s) for material and postage costs (ifneeded). All the RS needs to do is hand these receipts to the Kingdom Exchequer forreimbursement.

And finally, number four . . . “Am I able/willing to set some limits on myself, and ifneed be, the Crown?”

Obviously, by this I don’t mean the RS should tell the Crown what to do. What I mean is,the RS can only do so much. Only you can know how much that is for yourself. It is veryeasy for the Crown to see something that They want to do at the last minute and ask theRS to take care of it. It is also very easy for the overburdened RS to say “No problem”and then be unable to make it happen. This can be embarrassing and disappointing notonly for the people who were to be the recipient of the honor, but also the Crown and theRS.

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What I advise is that the Royal Scribe and the Coronet sit down and discuss exactlywhat they expect of one another. It is not just the issue of confidentiality, or style andsubstance of the scrolls, but also, how much time will be needed for the scribe tocomplete the scrolls. How much lead-time will you, as RS, need from the Crown in orderto complete scrolls for specific events and get them signed and sealed. How much lead-time would you need to make sure that GOA and POA scrolls get done for the occasionsthey are needed. Once the Coronet and RS have agreed on these things, can you stick toit? Will you be able to say, “I’m sorry Your Majesty, but I really can’t get that done bynext week.” Or, “Your Majesty, there are only two more weeks before ***** event, and Idon’t have any names yet. I can’t wait any longer.” Finally, can you keep a secret?

The giving out of awards and scrolls is one of the most important and difficult thingsthe Crown has to do during Their Reign. It is very important that the Royal Scribe has agood, honest and trustworthy working relationship with the Crown they serve.

SO, YOU’VE AGREED TO BE THE ROYAL SCRIBE . . .WHAT DO YOU DO NOW?

1. Schedule a meeting with the Prince and Princess, also known as the Coronet(you might want to include the Falcon Signet, but that is not a requirement). Thereare several things you will want to discuss and decide upon:a. Time period. What time period are the Coronet planning to use during

Their Reign. Do they want the scrolls done in that period exclusively, ordo they want a mixture of styles?

b. Calligraphic hand. Is there a preference? Are you able to do the hand theyrequest? You may want to offer suggestions of hands you feel mostcomfortable with, keeping within the requested time period, of course.

c. Type of paper. I recommend a white, parchment-style card stock. [TheKingdom has been using Skytone white cover stock (manufactured byGeorgia-Pacific); it’s a special-order paper, but well worth it.]

d. Size of the scrolls. What size do the Coronet envision the scrolls being? Irecommend that AOA level scrolls be no larger than 8-1/2 by 11 inches.This allows for ease of copying, obtaining paper and eventual framing.

e. Type of seal. Which kind of seal does the Coronet wish to use? There areseveral options available. Decisions will need to be made as to whetheryou, They or Their Chamberlain will be sealing the scrolls.

f. Signatures. How much space they will want left at the bottom of thescrolls for seals and signatures, or do they have an idea of a differentmethod of signing and sealing the scrolls? Will they need assistancelearning to sign Their names?

g. When will texts be available? What is the last possible minute that youwill need the texts in your hand? Remember that you will need all of thepreprints drawn and printed by one month prior to Coronation. This willallow you time to get a beginning stock painted, and leave you enoughtime not to feel rushed.

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h. Duty expectations. What expectations do the Coronet have of you/howmuch are you willing or able to do/organize? For this there are severaloptions:1. RS is responsible for designing and production of AOA level

scrolls only. This leaves the Crown to arrange for (or find someoneelse to arrange for) the GOA and above scrolls to be done.

2. RS is responsible for designing, implementing and/or delegatingproduction of AOA and GOA scrolls. This leaves the Crown orPeer sponsors to arrange for the POA scrolls.

3. RS is responsible for designing, implementing and/or delegatingproduction of all scrolls for the Reign. For this (and #2) you willneed to obtain a list of the Scribes of Calontir from the FalconSignet. I also strongly suggest you subscribe to the CalontirScribe’s list. It is a great way to get in touch with other scribes.

i. Original vs. Preprint vs. pre-made. Which scrolls will the Crown expect tobe original and persona specific? Are They willing to have a scroll done inthe time period of the Crown when recipient’s persona is unknown? AreThey willing to use borders or pre-painted designs, which allow the textsto be added later by the RS, or designee? Are They going to want originaltexts for each GOA, POA and/or specialty award? If so, are They preparedto obtain them?

j. Time tables. How much time do you need to prepare the scrolls forupcoming events? I recommend that names be sent to you at least 2 weeksahead of time for AOA level preprints and 1 to 2 months ahead of time forGOA and above. Remember, if you are delegating the scrolls you mayneed a bit more leeway.

k. Lists of names. How do you want to go about exchanging names for theawards to be given out? Remember, this has to be a secure/private way ofdoing so. It is very important the Royal Scribe be able to keep these thingsa secret, even from your family.

l. Scroll exchange. How are the scrolls to be delivered to the Crown? Atevents? (This makes signing and sealing the scrolls more difficult, but itcan be done if the Crown is willing.) By hand? (Either the week beforeeach event when traveling, or when you live in the same town.) By mail?(This is the most frequent method, but it can get expensive, esp. if youtend to send them priority mail—be sure to save receipts forreimbursement.)

m. Last-minute scrolls. An agreement should be reached as to whether it willbe expected for the RS to do last minute scrolls at events or at least havethem available should such a need arrive. If you agree to this you willneed to keep a certain number of scrolls with you at all times, pre-paintedand ready to add names to. This also means you will need to do a fair bitof traveling. If you don’t agree to this you will need to stick by it. It’s notmuch fun spending your whole week preparing scrolls and then yourwhole weekend in the privy chamber making more.

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2. Research. Find examples of the styles of artwork/calligraphy that the Coronet hasrequested. Develop your ideas as to layout and which pictures you would like touse. You may want to run your ideas by the Coronet before doing the actuallayout and design of the preprint masters. You will find, however, that most of thetime the decisions will be left entirely up to you. Remember to design pretty, yetsimple, AOA-level scrolls. The more complicated the design (shading,whitework, multiple levels of painting, etc.) the longer they take to paint.

3. Make the Masters. By this I mean design what the scroll will look like. Theoriginal copy of any preprint is called a “Master.” One to two will be made foreach AOA-level award given out during the next Reign. There are a few ways ofgoing about making a master, but I am going to tell you the way I prefer to do it.a. Decide on a graph paper that fits your pen’s nib size. This paper is already

ruled and makes the alignment of your text and artwork much easier.b. The calligraphy and the artwork can be done separately and then cut and

pasted together or done all at the same time. The cut-and-paste methodwill allow you to make more mistakes, or change your mind, in the initialdrawing stage without having to redo everything. This also allows you tohave someone help you with the artwork or calligraphy. (I advise that youremember—a preprint will seem more like an original if the person whodid the calligraphy on the “master” is also the one who fills in the namesas the Reign progresses). If a cut-and-paste method is chosen, rememberto leave the appropriate space on your paper, when doing your calligraphy,for the artwork to be added in later. For example: I’ve been asked to doCeltic Knotwork on the scrolls this reign. I can do the hand just fine butdesigning knotwork makes me crazy. I give a rough size estimate to mybuddy Tatiana and ask her to draw up some designs for me, which sheagrees to do. After I have received the drawings, I then block out thenecessary space on my graph paper and proceed to do my calligraphyaround it. Ok, so maybe I had to do it a couple of times to get it right, butthat is no problem; I haven’t actually added the drawing yet. When I havethe calligraphy to my satisfaction, I then cut out the drawing (or a copy ofthe drawing if I want to use it in another scroll) and tape it onto my graphpaper in the appropriate place. I make another copy of that and now I havea “master” from which to make the preprint.

c. When doing the calligraphy on your master you may want to spend sometime before hand writing down some of the more common reasons forawards and some long and short names that you know. Measure howmuch space these names take up and leave that much space on your“master.” For example: do one “master” for the Torse scroll with enoughspace for a short name and a short reason, and another with enough spacefor a long name and reason. It is also helpful if you can arrange for one orthe other to be at the end of a line. If you do that you can use a “filler,” ifthe name/reason is not long enough, to complete the line and flesh out thescroll.

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d. Your preprint will not have graph lines on it after the copies are made. Atleast it shouldn’t if you have been using the correct graph paper and yourcopy center knows what it is doing. You will need to pencil in some linesin the open areas to serve as guides when adding in the names, reasons,dates and places. (BTW, I like to leave the date and place area completelyblank if they come at the end of the text. It is easier for me to callig in acomplete sentence than to fill the awkward spaces left for days, monthsand groups. In case you haven’t noticed, none of these things need thesame exact amount of room and the scroll starts to look sloppy when youtry to make the words fit in the wrong sized spaces.) Here’s a hint on howto get your penciled-in lines straight and even: leave a small mark (morelike a dot) on your “master” at the end of each graphed line. (You know,the ones you will be adding the pencil line to after the copies are made.)These marks will show on your preprints, but that is all right. They will actas a guide to line up your ruler. After you have no further need for them,scrape them lightly with an exacto knife, to loosen them, and then simplyerase them away.

e. You can actually make a “master” of artwork only for some of the GOAlevel scrolls if you like. These pictures can be painted by anyone and thenyou can callig in the text later. This is a technique best used when youhave willing painters who can’t draw, or when you want to have a largerpicture available to add a last minute text to, for the last minute award. Ifcolored ink is used for part of the text no one will know that the entirething was not an original scroll, made just for them.

4. Get yourself organized.a. Get the paper you will be using to copy the preprints. You will most likely

have to buy your own ream of paper and supply it to the copy center. Asstated earlier I recommend a card stock (the paint doesn’t cause it to warpand it doesn’t get destroyed easily in transport home from the event). Myfavorite is the white parchment style. Check with the Royal Scribe whopreceded you; they may have some left over paper they can give you.

b. Make sure you have a private work area set aside, complete with adequatelighting, and the appropriate paints, pens, inks, pencils and rulers.

c. Get a file box or cabinet to keep the painted preprints/scrolls and the listsof names given to you by the Crown. I strongly discourage leaving thesethings lying out on your desk. It is much too easy for the casual passerbyto see, and let’s face it, most people love knowing what is going to happenbefore it actually does. I like to arrange my file box with separate foldersfor each award. I place a brightly colored piece of paper between eachdifferent style of preprint to differentiate them but leave them in the samefolder. You should find a system that works for you.

d. Contact the Falcon Signet for a list of the scribes of the Kingdom.e. Join the Calontir Scribe’s list, if you haven’t already. This is an invaluable

way to get to know which scribes are active and willing to help out.(http://groups.yahoo.com/group/CalontirScribes)

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f. Assemble a group in your local area to help paint preprints. You may evenwant to make an example sheet with the colors that should be used for thestyle of artwork you’ve chosen, as well as some pictures from periodpieces to use as reference.

g. Think about taking your show on the road. You will find that there are alot of people who would love to help out but don’t know how to start.These people will flock to your table at events if only you set one up. Youmay want to work with the Falcon Signet or the Scribe’s Guilds in othergroups to help facilitate this at events. You will need to pack up somesupplies to share with those wishing to help out at events as well as someextra preprints to hand out. Remember that all of this does not need tocome out of your pocket. There is money budgeted each reign forreimbursement of the scribes. Consult with your Crown and They may beable to help defray some of your expenses using this fund. The FalconSignet may be able to help out with this as well.

Being the Royal Scribe is a lot of work. On that I am sure we can all agree. TheRoyal Scribe works behind the scenes, and is, at times, unrecognized (althoughthat is changing). Being the Royal Scribe is also, however, a wonderful chance togive to your Kingdom, to hone your skills as an artist and calligrapher and a wayto make an awful lot of people very happy. It can also be very rewarding. I can’tadequately describe the feeling I get when I travel to the homes of many of thepeople of this Kingdom and there I see scrolls, that I did, proudly displayed ontheir walls. It’s wonderful!

PART IV

MISCELLANEOUS

4.1 The SCA Calendar 107

4.2 Royal Lineage 108

4.3 Practice Sheet 112

4.4 Calontir A&S Criteria 113

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THE SCA CALENDAROn scrolls, dates are used according to the SCA's calendar. This calendar reckons time from the firsttournament, held on the first of May, 1966, of the Gregorian calendar.

In SCA reckoning, years are traditionally read as Anno Societatis (Latin for "year of the Society") followedby a number. In writing, the year usually appears as the initials A.S. followed by a roman numeral. Forexample, the day Calontir was made a Kingdom (February 18, 1984) is reckoned as the 18th day ofFebruary, A.S. XVIII.

1 May through 30 April A.S. Lilies War (June)1966 1967 I (1)1967 1968 II (2)1968 1969 III (3)1969 1970 IV (4)1970 1971 V (5)1971 1972 VI (6)1972 1973 VII (7)1973 1974 VIII (8)1974 1975 IX (9)1975 1976 X (10)1976 1977 XI (11)1977 1978 XII (12)1978 1979 XIII (13)1979 1980 XIV (14)1980 1981 XV (15)1981 1982 XVI (16)1982 1983 XVII (17)1983 1984 XVIII (18)1984 1985 XIX (19)1985 1986 XX (20)1986 1987 XXI (21)1987 1988 XXII (22) 11988 1989 XXIII (23) 21989 1990 XXIV (24) 31990 1991 XXV (25) 41991 1992 XXVI (26) 51992 1993 XXVII (27) 61993 1994 XXVIII (28) 71994 1995 XXIX (29) 81995 1996 XXX (30) 91996 1997 XXXI (31) 101997 1998 XXXII (32) 111998 1999 XXXIII (33) 121999 2000 XXXIV (34) 132000 2001 XXXV (35) 142001 2002 XXXVI (36) 152002 2003 XXXVII (37) 162003 2004 XXXVIII (38) 172004 2005 XXXIX (39) 182005 2006 XL (40) 192006 2007 XLI (41) 202007 2008 XLII (42) 212008 2009 XLIII (43) 22

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Royal LineageWARLORDSThe warlords were (unofficial) rulers of Calontir while Calontir was a region of theMiddle Kingdom. Each winner of the Calon Tourney served as champion of Calontiruntil becoming warlord at the next CalonTourney. Some of the warlords had consorts.

1. Brummbär von Schwarzberg (i)21 April 1979–2 September 1979

Brummbär was champion 3 September 1978–21 April 1979.

2. Ternon de Caer Liant (Ternon de Caerleon)2 September 1979–26 April 1980

3. Brummbär von Schwarzberg (ii)26 April 1980–27 September 1980

4. Chepe l'Oragere (Chepe l'Orageux)27 September 1980–25 April 1981

5. Humpk d'Bohunk (William Vatavia)25 April 1981–26 September 1981

Cristofre Cynwyd was champion during this last period, but declined becoming warlordto allow Calontir to more quickly become a principality.

THE PRINCES AND PRINCESSES OF CALONTIRThe first prince and princess were invested at the first coronet tourney in Forgotten Seaby King Hugo and Queen Caitlin of the Middle Kingdom. Subsequent rulers were heirand heiress for a few months from each coronet tourney until a separate investiture event.

1. Ternon de Caer Liant (Ternon de Caerleon) and Ghleanna Meghan of Kirkcaldy26 September 1981–27 March 1982

2. Humpk de Bohun (William Vatavia) (i) and Mammara Leona of Egypt (i)27 March 1982–2 October 1982

3. Brummbär von Schwarzberg and Valmai Arcalien2 October 1982–21 May 1983

4. Humpk de Bohun (William Vatavia) (ii) and Mammara Leona of Egypt (ii)21 May 1983–5 November 1983

5. Cire Greymoor Al-Akrab (Edward Cire of Greymoor) and Elisabeth de Rossignol5 November 1983–18 February 1984

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THE KINGS AND QUEENS OF CALONTIRThe first king and queen were crowned at the first crown tourney in Mag Mor by KingAlen and Queen Genevieve of the Middle Kingdom.

1. Chepe l'Oragere (Chepe l'Orageux) and Arwyn Antarae (Arwyn Antaradi)18 February 1984–15 September 1984

2. Thoman Shadan Secarius (i) and Erzebet von Schachendorf15 September 1984–30 March 1985

3. William Vatavia (i) and Mammara Leona of Egypt (i)30 March 1985–31 August 1985

4. Edward Cire of Greymoor and Elisabeth de Rossignol31 August 1985–15 March 1986

5. Asgeirr Gunnarsson and Miriam bat Yehudah15 March 1986–30 August 1986

6. Gabriel ap Morgan ap Hywel (i) and Hywela Frech ferch Wyddel (i)30 August 1986–14 March 1987

7. William Vatavia (ii)and Mammara Leona of Egypt (ii)14 March 1987–19 September 1987

8. Valens of Flatrock (i) and Susannah Griffon (i)19 September 1987–12 March 1988

9. Thorvald Anlafsson the Golden and Branwyn Whiteraven12 March 1988–17 September 1988

10. Llewellyn Lorell of Shrewsbury (i) and Zenobia of Rebelswood17 September 1988–11 March 1989

11. Thoman Shadan Secarius (ii) and Alix Coeurbois11 March 1989–23 September 1989

12. Volkmar Katzbalger and Isadora of Orangewood23 September 1989–10 March 1990

13. Tomiki Mahood Washi Yamiran Ta'if and Fionna nic Alisdair10 March 1990–15 September 1990

14. Gabriel ap Morgan ap Hywel (ii) and Hywela Frech ferch Wyddel (ii)15 September 1990–16 March 1991

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15. Roderick of Mandrake Hill and Brayden Avenel Durrant (i)16 March 1991–7 September 1991

16. Conn MacNeill (i) and Cadfael the Mordacious7 September 1991–7 March 1992

17. Rorik Galbraith and Morgana of Raglan7 March 1992–19 September 1992

18. Steffen Albert Rheinbauer and Lile ni Mhordha19 September 1992–6 March 1993

19. Chrystofer Kensor (i) and Brayden Avenel Durrant (ii)6 March 1993–25 September 1993

20. Llewellyn Lorell of Shrewsbury (ii) and Iliya Sergevna Raskochnikova25 September 1993–5 March 1994

21. Conn MacNeill (ii) and Sile O'Kyan5 March 1994–17 September 1994

22. Eringlin Aldhelm (i) and Eleanor Isabeau D'Autun17 September 1994–4 March 1995

23. Valens of Flatrock (ii) and Elspeth of Stonehaven4 March 1995–30 September 1995

24. Gilligan of Eire and Adelith of Horton Cum Studley30 September 1995–2 March 1996

25. Chrystofer Kensor (ii) and Salamandra the Whitesmith2 March 1996–21 September 1996

26. Eringlin Aldhelm (ii) and Alethea Charle (i)21 September 1996–5 April 1997

27. Cuthbert Aldhelm (Cathyn FitzGerald) and Branwen ferch Rhael5 April 1997–13 September 1997

28. Dongal Ericksson (i) and Aislinn MacInnes (i)13 September 1997–4 April 1998

29. Valens of Flatrock (iii) and Susannah Griffon (ii)4 April 1998–12 September 1998

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30. Luther Ambossfaust and Lenore de Troyes12 September 1998–3 April 1999

31. Eringlin Aldhelm (iii) and Alethea Charle (ii)3 April 1999–11 September 1999

32. Joseph Angus Wilson of Clan Gunn (i) and Phaedra of Grimfells (i)11 September 1999–1 April 2000

33. Thjothrekr Eiriksson and Yrsa Guthbrandsdottir1 April 2000–9 September 2000

34. Fernando Rodriguez de Falcon and Lyriel de la Forêt9 September 2000–7 April 2001

35. Valens of Flatrock (iv) and Comyn Hrothwyn af Guilden Acumen7 April 2001–13 October 2001

36. Dongal Ericksson (ii) and Aislinn MacInnes (ii)13 October 2001–6 April 2002

37. Martino Michel Venneri and Ariel of Glastonbury Tor6 April 2002–12 October 2002

38. Chrystofer Kensor (iii) and Margarette de St. Martin Sur Mer12 October 2002–5 April 2003

39. Valens of Flatrock (v) and Susannah Griffon (iii)5 April 2003–6 September 2003

40. Joseph Angus Wilson of Clan Gunn (ii) and Phaedra of Grimfells (ii)6 September 2003–7 March 2004

41. Siridean MacLachlan and Sile O’Kyan7 March 2004–[scheduled 11 September 2004]

42. Garick Von Kopke and Yasamin Al-Hadiyya[scheduled 11 September 2004]–

43.

44.

45.