Early days in the SCA

A little while back I was asked by a friend in the SCA how long I had been around. I responded to her in an email a little about my early days in the SCA. Part of that response is below - with a lot of editing.

My first Japanese name - before I ever thought about registering it was Goshin. It is something that I just thought up one day, based on the style of martial art. Not too smart or wise in the ways of things of the SCA, I didn't really give it much thought, and the SCA was still so young then. There weren't many people around to advise you of things like that back in 1977. But the old saying is right - whatever name you first pick is one that people will always want to call you by - it just sticks. And it is hard to change. So when I thought I might like to have an "official" name, I found out that "Goshin" was not an acceptable name. I researched names in medieval Japan, looking for something similar to "Goshin," and came up with Tora-no-Shida Gozen.

Unfortunately, the heralds would not accept that name, citing the only source they had at the time on Japanese names. There were not many of us in the SCA who had adopted a Japanese persona. This was before the days when the mini-series Shogun was aired on TV and started a Japanese craze in the SCA. There was not much information about Japanese naming practices available to the College of Arms, and despite what I thought was sufficient documentation, they rejected the name.  So a year or so later, I went to the Herald's Point tables at the Pennsic War and said to the heralds working there, "Just help me figure out something that sound close." 

That is how I ended up with my present SCA name, Shishido Tora. "Gozen" is a name they wouldn't accept as it was also used as an honorific in feudal Japan. Well "Gozen" can mean "Lady" in Japan or the English equivalent of it, anyway. So I kept using the Gozen part as I had already earned that title in the SCA when I was awarded arms and it was what people knew me as in the SCA. During my wandering to Florida and Arizona I generally just used Gozen the Nomad, because that name described me pretty well at the time.

Actually, when I first joined the SCA in 1977, I used the name Aelfrica.  My first persona was a Teutonic barbarian wench. This was way before the Tuchux were doing their thing, so it wasn't that I wanted to be one of them. I figured that was likely a part of my heritage as I was descended from German stock. I had found the SCA my freshman year at college. I was attending school at Penn State's main campus at University Park and with a few other friends, we discovered the SCA. It was a small group; really just getting started. The local group's name was Nithgaard and it was just struggling to become a shire. That was when I met Master Cormac though he hadn't earned that title yet. There was just a few of us then - none of that first group are still active in the SCA except Cormac and I. We had a Seneschal - Porter I think his name was, or some such. All I remember about him was that he was a big fat dude who stole my membership money that first year. Bastard! He collected the membership money for us and said he would send it in but instead pocketed it. He left shortly after that. Being a college student with little money to spare, it was a big issue for me. But I managed to scrape up the funds again and sent my form in myself.

Michael and I at my first event

I went to my first event in Cherry Hill, NJ. It was the coronation when Fredrick of Holland was stepping down from the East throne. I don't remember who was assuming the throne, but Frederick sure made an impression on me. Now he was the picture of regal! I remember I went with Michael, a fellow I would later get engaged to, but never marry. That was mostly because he later didn't share any of my interests, including the SCA. My friend Mary, who would later be my college roommate, went as well. We slept at the site that night - a whole bunch of strangers shacked up together- crashed in the main hall of the church. Those were the Seventies and it felt like a happy hippy commune party. Nobody worried about anyone doing anything inappropriate or rude. It was love and free will!

Mary and I at Coronation, 1977

After Porter left, leadership of the group fell to Cormac, who was a graduate student in Medieval Studies. I remember going up to visit him in his office in the Towers,( I believe it was.) At one point I was the acting Seneschal for the group, but I don't remember for how long or who took over. I have some old papers identifying me that way, or else I wouldn't have remembered doing that. What I do remember is that Cormac and I formed a PSU student organization -VVV -Vikings Vandals and Visigoths. The plan was that with a student organization, we could utilize more facilities at the University and maybe get some student club funding. I don't think it ever really worked out that way, so we dropped the whole thing. I stayed active until I graduated.  I met some of my oldest friends during that time - Izumi (who was Harold of York then), Dennis (who was still Decadent then), Tryvar, Sugitori (who isn't active anymore), and Cara (though I didn't meet her through the SCA but brought her into the organization).

The battle on Runestone Field, 1981

The first Pennsic War I attended, we camped on the Runestone Hill. The event at that time was very small - about what War Practice is today. The battles were fought on Runestone field below the hill.  And the present day battlefield was the parking lot. The Pennsic Inn was there then and it was a magical place to go at night, and sit and listen to the minstrels and watch the people walk by. Pennsic nights weren't the chaos of partying and debauchery it is now. I remember the one year wandering with Sugi, passing a bottle of plum wine between us, as we walked around the dark quiet camps. 

The group I camped with moved the next year down to Willow Point. We might have returned back to Runestone Hill after that. Or I camped in a different area, as evidenced by this picture on the right, which was taken in 1984. That was my tent, I believe down near the lake.You can see how early it was because there are not a sea of tents, with everyone crowded up against one another. Life got a little complicated for me after that. I graduated from college and moved to south central PA for a job. My relationship with my fiancé went sour and I was trying to make ends meet. I was pretty low key in the SCA for a time. My focus was on trying to make a living. I was working crazy shift work and it was tough to get time off. I was also very involved with horses - showing, training and instructing students and trying to get a business off the ground. I ended up moving again, to Lewisburg, in pursuit of a better job and income.

Even though I wasn't very active in the SCA during this time, I stayed in touch with a few people. When I came back to things, I got involved with the shire in my area which was just getting started. This was the Shire of Abhainn Ciach Ghlais and the year was 1989 (or 1988). I went to Pennsic again that year after missing a few. Since I wasn't sure where my old group was camped, me and my old college room-mate, who went with me, set up a camp down along the bottom of the lake.  It was a rough War for me as I had seriously injured my back right before going out. I didn't know how bad it was until I got home and went to the ER and was told I needed surgery as soon as possible. I had a severely herniated disc with spinal cord involvement. War was only a four day event at that point - running from Thursday to Sunday.

Pennsic War in 1984.
The view from inside the Pennsic Inn.
This is close to where the MidRealm camp is now.
Across the road were tents , now - there are merchants.

All healed up from my surgery, I went out to Pennsic again.  It was the only event I was attending at that point, because of my work schedule didn't allow for weekends off. My sister went with me that year as I had introduced her to the SCA. I moved to Florida for a few years but came home to see friends at Pennsic. It was a chance to reunite, tell tales and catch up. Down in Florida, I started a new shire. We were a small group and things were going fairly well, but when I moved to Tucson, the group fell apart. In Arizona, I wasn't involved with the local group much because of the demands of my job, but I attended a few events. The one event that that I regretted not being able to attend was the Estrella War. It was close by but because of work I couldn't get off to attend. I also couldn't make the trip back east for Pennsic for two years.

After my years of wandering, as I call it, I returned east and was fortunate to live very close to the Pennsic War though not as close to some of my old friends as I would have liked. Seniority in my job meant I had more time off, and a better schedule.  I took another position for a while which gave me guaranteed weekends off which was something I had never had before. So I was able to get much more involved directly in the SCA. And the rest is history from there.

Surnames as a Connection to Royalty

Portrait of King Henry V (1387-1422)
by Benjamin Burnell

It seems that many people with an interest in family history and genealogy turn their attention to the subject of Royalty, curious to discover if their family lines can be traced back to that of Royalty. I was reading a recent blog on Ancestry.com which addressed this issue. The article, “Head of the Class: Do Certain Surnames Indicate Nobility?” was written by Sandie Angulo Chen and can be found here.

The article focuses on how long it takes family members to move up or down the class ladder. In other words, how long can a family be seen to move from the nobility down to the commoner's class, and vice versa. This is really what is at the heart of the matter. Most of us are not in the 1% (or less) group of the world’s royalty. Most of us are in the Middle Class. So if our ancestors were of the Royal Class, how long did it take them to move from Royalty down into the Middle Class?

Chen’s research notes that a recent study of last names indicates that this process takes centuries, not mere generations.  The study was conducted by researchers at the University of California, Davis and the London School of Economics. The results of the study were published in the journal “Human Nature.” The study used several factors as criteria in order to measure the family’s movement through the class ranks. These factors include: income and wealth, occupation, education, and longevity. The study focused on families with unique names because these were easier to track through time using genealogical and public records. The English names they used, for example, included: Atthill, Bunduck, Balfour, Bramston, Cheslyn, and Conyngham.

The study found that it took upper-class families 300 to 450 years (or 10 to 15 generations) before their descendants fell through the class rank structure to be considered a part of the middle class. Additionally, it took poor families an equal amount of time to rise up through the ranks to the middle class. This trend seems to be consistent throughout the world, despite location, politics or social conditions. The researchers could not provide an explanation for why social mobility is so slow.

Chen’s article concludes with a section on American families of wealth and social mobility amongst the classes in this country. As she points out, America as a country is still too new to make conclusive statements about social mobility.

What must be considered is that if your family was from England, for instance, and you search back far enough, you may find a link to the Royal British family. After-all, the people of that class were prolific breeders, and their get were more likely to live to produce children, who in turn inter-breed with other families and classes and produced more children down the line. The numbers grow exponentially, and the chances of Royal blood being mixed with commoner increases. In his article, “Everyone is Descended From Charlemagne,” Jack Lee uses statistics and probability to show that someone of French descent is more than likely related to Charlemagne. Lee is Professor of Mathematics at the University of Washington and his article can be found here.

Similarly, Steve Olsen, in his book “Mapping Human History: Discovering the Past Through Our Genes" claims that everyone in the world is descended from Nefertiti, Confucius, and Julius Caesar. Therefore, we all have a common ancestor within the past 2 millennia. This makes it more likely that, if you look back far and wide enough, you can find a member of a Royal family in your own tree.

The trick is to make a conclusive connection, which is backed up by solid research and documentation, in order to make that claim. There are plenty of trees posted to the internet where the owner purports to be able to trace their family to Adam and Eve, or even a mythological character such as Odin. But if you look at their research, you will find glaring holes in their documentation.

Good genealogy is based on solid documentation.  In the last century, when genealogy was a very popular hobby, family members would sit down with their relatives and collect family facts and names. By attending family reunions, they would gather more information on distant lines and cousins. This information was sometimes passed to later generations by word of mouth or in hand-written or typed documents. They did not have the convenience of the Internet or Family Tree computer programs. While valuable, these documents are not considered adequate by today’s genealogical standards because they lack solid documentation. While they are based on first-hand accounts -what Aunt Sally told Harry, the family historian - we all know that recollection can be flawed and inaccurate. Family legends which are later researched by descendants sometimes do not prove true, or we discover information that was lost to earlier generations.

National Societies such as the Daughters of the American Revolution, who base their membership criteria on their members ability to trace their family line to an American Patriot who served or aided in the American Revolution, will not accept these recorded family histories as proof of familiar connection. Applications for membership must be submitted which include specific documents which back up the statements made on the application. For instance, a statement as to the birth date and place of an ancestor must be supported by a birth certificate, announcement or similar document.

These type of documents become increasingly difficult to locate or obtain as we search for family back through time. As noted earlier in this blog, most church parish records did not exist before 1500. And the problem of surnames complicates matters. Conclusively proving a connection to a member of Royalty becomes increasingly difficult when researching overseas or in areas where records were not well maintained.

But the researcher should not lose heart. The search is certainly well worth the effort. And the likelihood of finding that your family connects to a member of the nobility is greater. There were far more members of the nobility than royalty. And as those of royal blood moved down the social ladder, they passed through the ranks of nobility. So if, as the study above claims, it takes a member of the royal line 10-15 generations to move down through the social ranks to the commoner, perhaps you can locate a member of your family in the noble class within that time frame.

Finding a member of Royalty or Nobility within your family tree surely makes you feel that your research is worthwhile. The fact that you are descended from Royalty brings with it no privilege or rights, as most countries like France, which is a Republic, have abolished royal titles. But it certainly gives one a sense of pride and the right to brag about your ancestors!

Display of Heraldic Helmet Mantle and Largesse Items

These items were displayed as part of an A&S display/competition at (I believe) Fall Coronation in 2013. The competition required that an A&S project be displayed as well as items for largesse. The following is the documentation that was provided with my entry.

Mantles were attached to helmets during the Tournament and on the battlefield.  Originally they were thought to be used to shield the wearer’s neck from the sun, and later were used to denote the wearer’s heraldry. The mantle included the main color and main metal of the wearer’s arms.  Oftentimes, shield shaped appliqued pieces also displayed the arms and related arms of the wearer.  The mantle in this project is based on a heraldic mantle from the Gruyeres castle, dated from the 3^rd quarter of the 15^th century. (This is a castle in Switzerland, used by the Counts of the House of Gruyeres from the 11^th to the 16^th century and remains open as a museum.) Examples of this type of mantle are also found in illuminated manuscripts and other sources.

This is the extant example, a 15^th C  Mantle found at Gruyeres Castle. This pictures was taken from this source.

This project includes the main color (sable) and main metal (or) from my own arms. The shields appliqued on the mantle include my own arms and the awards that I have received. The extant example includes associated heraldry and I thought this would be in keeping with period practice.  The shields are embroidered using the period technique of the Bayeux stitch which came into use during the Norman era and is especially well known for its use in the Bayeux Tapestry. (The figures were hand drawn on linen; stitched; the edges folded over and sewn down using a period stitch, the whip stitch). The mantle is linen which is what would have been used in period and is hand sewn using period stitches (running and hem stitches).

The associated largesse pieces are inspired from pieces which I have received from the Crown or at events in the past. The first group consists of linen trinket holders which are sewn from linen in red and white for AEthelmearc, using period stitches (running and whip stitches). These can be used for holding token, favors, or trinkets or the second part of the largesse offering. These are designed to slip over a belt and are easily held in place in this manner.  A pin can be used to further secure it.

The second part consists of small booklets with an illumination of the Æthelmearc populace badge. These small booklets are made from heavy paper which is illuminated in the traditional manner using watercolor paint. The figures are all hand drawn and outlined in ink and then painted.  In period, the gold would be gold leaf but due to cost and lack of familiarity with working with this material, I substituted an acrylic paint. These can be used to make notes at events, or used by retainers to make notes for Royalty, or various other uses. The original which I used as inspiration for the project was similarly tied together. While not necessarily a period bookbinding method, I thought this was the most practical as it allows anyone the ability to easily replace the pages when full/used by simply untying the strings and substituting new pages. In this way the cover can be retained and reused.  The two simple threads of red and white are strong yet thin enough to reduce bulk.

These items are associated to the main project-the heraldic helmet mantle- by their use of heraldry to indicate the Kingdom of Æthelmearc, and in the use of the main color and metal in the choice of linen colors as used in the mantle.

Note: I made more of the booklets and donated them as largesse for Kingdom 12th Night when the Autocrat made a call for largesse gifts, in the spirit of the tradition of Twelfth Night.

Sources:

“Archaeological Sewing techniques”, 5 Feb 2010, <http://heatherrosejones.com/archaeologicalsewing/index.html>
Barber , Richard & Juliet Barker.  Tournaments: Jousts, Chivalry and Pageants in the Middle Ages, Woodbridge: The Boydell Press, 2000.
Boas,  Adrian J.   Crusader Archaeology: The Material Culture of the Latin East.(Routledge, 1999) available on GoogleBooks at  <http://books.google.com/books?id=IKsJ aVmc1EC>.
Brandenburg Purvsuivant, (1413-1471  Bristish Library-ms Add 15681 Folio154v Neubecker , pg 19), Jan 2009,  http://www.boryssnorc.com/content/view/12/4/
Eve, George W.  Decorative Heraldry: A Practical Handbook of Its Artistic Treatment (G. Bell & Sons, 1908, Original from the University of California Digitized Nov 29, 2007 on GoogleBooks , available at and viewed 18 Feb 2009,  <http://books.google.com/books?id=6MBHAAAAIAAJ>.)
Extant Originals-European medieval, Heraldic mantle, Mar 2013, www.kostym.cz/Anglicky/l_0110.htm>
Hopkins, Andrea.  A Chronicle History of Knights. NY: Barnes and Nobles Books, 2004.
Website, Is this Stitch Period (#5 of a Series): Applique: ALay On! by Christian de Holacombe, West Kingdom Needleworkers Guild Deputy, Feb 2009, <http://www.bayrose.org/wkneedle/Articles/applique.html
 “Period stitches”, Jan 2009, March 2010,  http://jauncourt.i8.com/stitches.htm (referenced information on running stitch, back stitch, and over stitched or over sewn, as well as Hem treatments including running, whip stitch)
“Period stitches and extant examples”, March 2010,  <http://www.personal.utulsa.edu/~marc carlson/cloth/stitches.htm>
Walther, Ingo F and Norbert Wolf.  Codices Illustres: The World’s Most Famous Illuminated Manuscripts, 400 to 1600.  Italy: Taschen, 2001.

Alternate Style Mantle

 In 2013, I completed and entered several pieces in the Ice Dragon Pentathlon. This included two mantles, which were made to disguise my modern riding helmet. Mantles were used in the medieval period to decorate helmets, provide identification of the wearer, and serve as protection in battle. The main project was a heraldic mantle. In addition, I made a second type and this paper is the documentation for that mantle.

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This alternate style mantle was created following the completion of the main mantle for this project. This is based on a heraldic mantle from the Gruyeres castle, dated from the 3rd quarter of the 15th century. (This is a castle in Switzerland, used by the Counts of the House of Gruyeres from the 11th to the 16th century and remains open as a museum.) Examples of this type of mantle are also found in illuminated manuscripts and other sources. Because I was curious about how this mantle might be made and used, I decided to attempt making a mantle of this type.


As noted earlier, mantles came into use in the 12th century and were apparently used to shield the wearer from the effects of the sun on armor. The color of the mantle was directly related to the color and metal of the heraldry of the wearer, usually using the main elements from the arms. In the extant example, heraldic shield-shaped badges showing arms related to the wearer are applied to the mantle.  These would have been either embroidered, appliques, or painted on the fabric, which is likely linen.  (The latter conclusion is based on the fact that the surcoat and barding of the mounted warrior was often made of linen and was used for similar reasons, i.e. protection from the sun and display of heraldry.)

The extant example, from the 15^th C ., Gruyeres Castle. (The picture was taken from this source.)  

Other examples show a heraldic shield applied to the back of the mantle as shown in this example below from the source, Richard Barber & Juliet Barker.  Tournaments: Jousts, Chivalry and Pageants in the Middle Ages. (Woodbridge: The Boydell Press, 2000.) p. 174.

My own personal arms include the following colors: red (Gules) and black (Sable); and the following metals: white (Argent) and gold (Or). In the construction of this mantle, I decided to use Sable and Or, because I had used the other color (Gules) and metal (Argent) for the primary mantle of this project. I decided to make one embroidered shield –shaped badge applique of my arms, which I would apply to the mantle. It is my thought to use this mantle in an additional project in the future. 


Embroidered cloak of Viscountess Rannveigr,
 entered at Ice Dragon 2009

Years ago, I was inspired by a cloak made by Viscountess Rannveigr which displayed her awards.  She had entered this in the Ice Dragon Pentathlon in 2009 and I greatly admired both her work and her innovation in displaying her awards. I intend to embroider additional shields with the arms representing the awards that I have been fortunate to have been given while in the Society. At this time, I used one shield of my arms to closely represent the mantle from the example. 
 

The process of the project:

I cut out appropriately shaped pieces of linen (black and gold) of the size I thought the mantle should be according to the examples. After placing the wrong sides together, I stitched the seams with a period stitch, the running stitch. I left a small section unstitched along the very top. After stitching, I flipped the mantle right side out and pressed it. Folding the seam under on the unstitched portion, I stitched the remaining seam closed with another period stitch, the hem stitch, being careful to hide the thread.

Mantle constructed

The heraldic badge was completed in the following manner:

1.  I cut out a small section of white linen to use as the ground for the embroidery. This was placed in a regular wooden embroidery hoop.
 

2.  I drew the pattern on the fabric using a pencil. The features are free-hand drawn and laid out using a ruler and careful measurement.

3.  I stitched the outline for the shield-shape, and the main figures in black using the stem stitch. I had decided to use the Bayeux Stitch and this style of embroidery is completed in this manner- the figures are outlined in black with the stem stitch. The Bayeux Stitch is a very strong type of embroidery, which is most commonly known by its use in the Bayeux Tapestry. This stitch is a type of couched embroidery where lines are laid down and additional lines of thread are laid down perpendicular to the first set, and are couched down. The Tapestry used linen cloth and wool thread.  I used the same materials in this part of the project.

Figures of bit and eagle finished

4.  Once the outline was finished, I stitched the main figures, the bit in gold, and the eagle in black.  Following this, I stitched the backgrounds of red and white.

5.  Once the stitching was complete, I trimmed the cloth, turned it over and stitched it down to create the shield shape.

Detail showing the red and white areas completed.

 

 

 

6. The shield-like badge was appliqued to the mantle, carefully concealing the stitches using another period stitch, the whip stitch.



Shield applied and project finished.

 

 

 

After this paper was written, the project has been advanced in that several more embroidered pieces were completed and added. The project was displayed as part of an Arts and Sciences (A&S) competition. This is the subject of the next post.

The Revolutionary War and value of family research

American Militia Man, 1775

There was a recent post of the FamilySearch Facebook page which caught my attention. (The FamilySearch Facebook page is operated by the LDS, or Church of Jesus Christ of Latter Day Saints, and can be found here.) The post was by someone who came across a listing of men who were captured during the Revolutionary War. Apparently, Charles Woodson, the son of the man who compiled the list, sent it to Washington and then wrote a letter requesting the return of the originals.  As noted by the poster, you can get a real sense of the son's pride in men like his father who served during this important time in our country's history. I think the note also speaks to the value of the research we family historians conduct, and the reason to continue to do so. The names on the list, like the names in our family trees, stand as a testament to the lives of these people, and their place in history. And by recording them, we proclaim, "You are Not Forgotten!"
These are the words Woodson wrote:

"wiser men than me might care little for such relick, but with me they never fail to bring up in association the contemplation of those by gone times, with the heroic patriotism, and fortitude which induced our fathers to peril everything and to suffer everything--, to obtain the blessing of liberty--Possibly there may be a cost of pride in the contemplation, when the thoughts occur of the son of one of those men who struck the very first blow for Independence in Virginia---and carried it thus with peril and suffering--"

If you are interested in seeing the names of those held prisoner and his letter, you can go to this website.

Double loop buckles

The paper below was written as part of background documentation for a project I made for the SCA - a medieval bridle.
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As noted, throughout the majority of the medieval period, the single loop buckle was the common form of buckling leather straps. During the late period, double loop buckles begin to appear in the archaeological record. Clark, in his work The Horse and Its Equipment, c 1150-1450, notes that he found various buckles of this type, though he admits not including them in his catalogue. Extant examples are available for verification of this buckle style during the medieval period. 

The Claire Museum released information on its latest acquisition of a copper alloy buckle from the late period. 

The Museum’s release on this item indicates that buckles of this type came into use during the 14^th century, and identifies these buckles as double loop or figure eight, or spectacle buckles.  These buckles were made of copper alloy and iron and were cast in stone molds. From the 14^th Century onward, the pins were cast separately.  Buckles of this type were in use from 1485 and 1700 AD

Through the efforts of avid metal detecting hobbyists, many metal finds have been added to the archaeological record. Many have been identified by experts and have increased our access to information on metal equipment used in the medieval period. The following chart is used by detectors as an aid in identifying buckles in the medieval period. It is based on extant examples which have been academically identified.  For instance, the description of Type IIIA includes the following notation:

“ TYPE IIIA - square or rectangular double loop (no's 29-34). Number 29 is a belt buckle with an additional small rectangular loop for attachment of a sword belt via a hooked fastener. Number 31 from Grenstein DMV5 has traces of a white-metal coating. Number 32 from a Lincolnshire DMV has rosettes on each corner and incised chevrons over the rest of the frame. Number 33 has incised lines on the loop and comes from Chelmsford6 in a context of 1550-1590. A similar example in Webb, previously cited, is dated late-16th to early-17thc. Number 34 which is of the same period more properly belongs in Type IIID.”

Source: Buckles, Mar 2013,
 <http://www.ukdfd.co.uk/ceejays_site/pages/bucklepage12.htm>

The information in the chart is based on the following sources:
1. Excavations at Somerby, Lincs., 1957 - Lincolnshire History and Archaeology, 1969
2. Lyveden DMV - Journal Northampton Museum 9, 1971
3. Sandal Castle Excavations 1964-1973 - Wakefield Historical Publications, 1983
4. Grenstein DMV - East Anglian Archaeology Report 10
5. Moulsham Street, Chelmsford - Council for British Archaeology Research Report 54, 1985
6. Excavations of the Manor of the More, Rickmansworth - Archaeological Journal 116, 1959
7. Archaeological Excavations at Jamestown, Virginia - J. Cotter, 1958

(See below for specific information about the buckles in this chart.)

Other extant examples include:

 

Dress hooks, buckles and fasteners found in East Anglia, 16th-17th century: Bronze buckle with Trefoil shaped ends c 1620-1680.

Cast buckles, c 1575-1700.

Sources:

Buckles, Mar 2013, <http://www.ukdfd.co.uk/ceejays_site/pages/bucklepage12.htm>
Buckles, Catalogue.  Mar 2013, <http://www.ukdfd.co.uk/ceejays_site/pages/bucklepage13.htm>
Clark,  John ed. The Medieval Horse and its Equipment, c. 1150 c.1450. NY: Woodbridge: Museum of London, 1995.
Recent Acquisitions – Late Medieval Buckle.  Mar 2013, http://www.clarelibrary.ie/eolas/claremuseum/acquisitions/buckle7.htm
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The buckle chart above shows the various types of buckles in use in the medival period. The following notes on the buckles come directly from this website. 

Buckles continue throughout this period to be used as a practical means of fastening belts and from the 1500's onwards are more commonly used than previously for fastening shoes.The double loop varieties take over from the single loop as the predominant type and by the 17thc this transition is almost complete. Some of the smaller double loops have buckle-plates attached but they are absent from most of the larger examples and this is a continuing trend from now on. The larger frame of the double loop buckle allows for more decorative scope but this does not appear to be greatly exploited until the later 17th and 18th century.

All copper-alloy unless otherwise stated.

TYPE IF - semi-circular or 'D' shaped single loop (no's 1-9). This type is a common form with minor variations in style throughout the Medieval and Tudor periods. Number 1 is a large example from an early-16thc context. Webb1 illustrates one attached directly to a leather strap. Number 2 is a horse-armour buckle of the mid-16thc from The Metropolitan Museum of Art buckle typology. Numbers 3-6 and 9 (which is white metal) are generally of the late-15th to early-16th century.

TYPE IK - square or rectangular single loop (no's 10-12) Although of differing styles all three examples have a notch on the loop for locating the tongue. Number 10 is pewter. Number 12 has lightly incised decorative lines on the loop.

TYPE IP - moulded sides single loop (no's 13-18). This is a new type, the distinguishing features of which are the rounded sides and splayed feet at the junction of the loop and bar. Number 17 is pewter. Number 18 is a continuation into the 17th century.

TYPE IIA - separate strap and tongue bars (no's 19-20). Both these examples are iron and have rotating cylinders on the loop. They are generally of post-Medieval date and their size would suggest use on horse harness rather than for personal adornment. Excavated examples have come from Somerby, Lincs.2 (no.19), Lyveden,3 Sandal Castle,4 and my own collection (no.20).

TYPE IIB - central hinge-bar with asymmetric double loop (no's 21-28). Both numbers 21 and 22 have hook attachments and are therefore spur buckles - in fact most of this group could have been used for that purpose. Numbers 24 and 25 are from the first half of the 16thc. Numbers 26-28 are late-16thc with a continuation into the 17thc. There is an obvious relationship in style between number 26 and double loop variety number 47.

TYPE IIIA - square or rectangular double loop (no's 29-34). Number 29 is a belt buckle with an additional small rectangular loop for attachment of a sword belt via a hooked fastener. Number 31 from Grenstein DMV5 has traces of a white-metal coating. Number 32 from a Lincolnshire DMV has rosettes on each corner and incised chevrons over the rest of the frame. Number 33 has incised lines on the loop and comes from Chelmsford6 in a context of 1550-1590. A similar example in Webb, previously cited, is dated late-16th to early-17thc. Number 34 which is of the same period more properly belongs in Type IIID.

TYPE IIIB - circular double loop. I have been unable to find any examples of this type in dated contexts for the Tudor period. This is surprising, as the type is evident in the earlier and later periods. No doubt as more records are published this anomaly will be resolved.

TYPE IIIC - 'figure-of-eight' double loop (no's 35-64) Double loop buckles begin to predominate over the single loop types in this period and the 'figure-of-eight' or 'spectacle' buckle is by far the most common form in both the 16th and 17th centuries. Chronology of this type is not yet fully determined particularly in the transition from Medieval to post-Medieval types but I have attempted to place these buckles into periods from their dated contexts or style.

15th - 16thc - numbers 35-36; 42; 48; 53; 55; 61. Number 48 is from a sword belt - see also Type IVE numbers 68 and 70.   Early-16thc - numbers 37; 39-40; 52; 54. A buckle similar to no.52 can be seen on a shoe of the period 1510-1520AD.7   Mid - 16thc - numbers 57; 60. Number 57 is from The Manor of the More8 where it is dated 1550-1575AD. Number 60 is from a shoulder belt or bandoleer.  Late - 16thc - numbers 41; 45; 50. Number 45 with rosettes on the loop is a common type. Webb dates one 1570-1600AD. Another from Chelmsford is dated 1550-1590AD.  16thc in general - numbers 38; 49; 51; 56; 58; 62-64. Number 38 has openwork hearts on the loop and much of its gilding remains intact. Number 49 is an armour buckle but the loop is of a very common form which must have been used for other purposes too.  Late-16th to early-17thc - numbers 43-44; 46-47; 59. Number 43 is a common form that continues in the 17thc. Various examples have been excavated on colonial American sites and these are obviously important for dating purposes. Number 44 has also been found in America during excavations in Jamestown, Virginia9 where the type must have been deposited after c1612AD. Examples are also known from excavations in England at Sandal Castle from a context of 1485-1600AD.

TYPE IIID - trapezium shape double loop (no's 65-67). Date range c1575-1650AD+  A new double loop type that extends into the 17thc with the more elaborate openwork spur buckles continuing until the later 17thc. Number 65 is a belt buckle of the late 16thc. Numbers 66-67 are spur buckles with hook attachments and these are also dated to the late 16thc.

TYPE IVE - 'figure-of-eight' strap-slides (no's 68-70).  These 'buckle-like' items are in fact belt-slides for adjusting the sword belt. The belt set would have included true buckles and one is illustrated here at number 48. Numbers 68 and 70 (with buckle 48) have similar designs of vine leaves cast in relief on a sunken ground. Webb illustrates three examples from a context of 1490-1540AD. One from Chelmsford is dated as late-16th to 17thc and one from my own collection was found on a market site that has produced no coins later than Elizabeth I. Number 69 is a similar belt-slide from a Lincolnshire DMV. For an almost complete sword-belt set of this type see the Chelmsford report previously cited where a date of 1550-1590 is given.

The References cited by this source are:
1. Buckles Identified - Historic Publications. John Webb, 1981
2. Excavations at Somerby, Lincs., 1957 - Lincolnshire History and Archaeology, 1969
3. Lyveden DMV - Journal Northampton Museum 9, 1971
4. Sandal Castle Excavations 1964-1973 - Wakefield Historical Publications, 1983
5. Grenstein DMV - East Anglian Archaeology Report 10
6. Moulsham Street, Chelmsford - Council for British Archaeology Research Report 54, 1985
7. A History of Shoe Fashions - Northampton Museums and Art Gallery, 1975
8. Excavations of the Manor of the More, Rickmansworth - Archaeological Journal 116, 1959
9. Archaeological Excavations at Jamestown, Virginia - J. Cotter, 1958

Embroidered belt favor

The purpose of this project was to create something which identified the wearer as an Æthelmearc Equestrian. When not mounted, equestrians are not easily recognized as such by the general populace. In terms of promoting the equestrian program, this invisibility is a deterrent. I believe that through helping identify our equestrians, the program benefits. Something easily recognized also opens the door to conversation. People who may have an interest in the equestrian activities in the SCA often do not know who to approach for information. Wearing a visible indicator may encourage these people to approach the wearer, ask about it, and hence gain access to an equestrian who can provide them with the information they seek. 

It is generally understood in the SCA that the wearing of a belt favor as used in the Society was not a period practice. The use of these favors is an SCA convention and tradition that has been generally accepted because of its long history within the Society. I decided to use this form because it is small enough to be present with the wearer most of the time, and it is such a common practice that it is easily understood for its purpose.


16th Century Italian armor for man and horse,
Nelson-Atkins Museum of Art,Kansas City, Missouri.

In designing the favor, I chose the subject of a mounted knight or warrior. This symbol is easily understood as being associated with a medieval equestrian. The example for the piece is a 16th Century Italian set of armor for man and horse that is in the possession of the Nelson-Atkins Museum of Art in Kansas City, Missouri.

The embroidery style used for this project is the Bayeux Stitch. Since learning this stitch several years ago for my first Ice Dragon submission this has become one of my favorite stitching styles.  It produces a very sturdy product and I especially like how it firms up the cloth. It is also very enjoyable to execute. The Bayeux Stitch is a type of laid work which was used primarily by the Anglo-Saxons. When I wanted to complete that first project several years ago, I sought out sources to learn the stitch. Obviously, I referred to the Bayeux Tapestry. Additionally, I located an excellent website, which clearly demonstrated the technique of the “Bayeux Stitch.” 

The tapestry is constructed of linen stitched with wool yarn. There are basically two different stitches used in the tapestry: Outline or stem stitch, for the lettering, lines and outlines of figures, and laid work or couching for filling in of figures. The latter is what is referred to as The Bayeux Stitch.

                                                          The Bayeux Stitch

Detail of Bayeux Stitch from the Bayeux Tapestry

After laying down parallel lines of thread, coming back up through the fabric close to each stitch before the last (instead of looping back to the beginning of each stitch, which lays down a thread the entire length of the stitch on the underside), the whole mass is held down with the couching thread. This stitch is made by laying down a stitch perpendicular to the first set of threads, and then working back along that thread, to tack it down at evenly spaced intervals. The result is a tightly covered area which will not lift up from the fabric the way satin stitching will. Laid yarns are couched in the same color and in contrasting colors throughout the Tapestry. The latter technique added a unique depth to the figures.

Other period stitches were used in the embroidery and in the construction of the favor.    Additionally, as was common practice during the period, the favor is lined or backed with a contrasting color of linen.

The Process

Obviously the first stage involved conducting research and designing the project. Some of the research I had already done for other projects, such as the Bayeux Stitch and period stitches. I searched for a period subject to embroider as well. As noted above, I decided to use the armored man and horse that is on display at the Nelson-Atkins Museum. I used some left over linen from another project and decided on the size for the project. As noted, the original Tapestry was made of linen and this type of cloth was commonly used throughout the medieval period.  I decided to use wool thread as this was also used in the Tapestry and creates a pleasing effect. After making these decisions on the project materials, I cut out the linen, leaving extra room for a seam allowance. Once this was ready, I hand drew the picture on the cloth, applying details that would help guide in the direction of the stitches to add effect and "shading".

I then began the process of embroidering the project. The first step was to stem stitch around the figures and main features with black wool thread. This was followed by filling in the features including the horse and its armor, using stitch direction to help show features. I chose black for the horse to provide contrast. As was done in the Bayeux Tapestry, I added horse shoes on the horse’s feet. I used light gray wool to indicate the metal of the horse’s armor. Once again, I tried to use the direction of the laid work to help add detail to the piece, and give an illusion of shape and dimension to the figures. I used periodic contrasting white thread to add highlights and further detail and to emphasize parts of the armor. This process was repeated for the mounted warrior. The saddle and cloth was done in brown tones, with a golden colored saddle cloth. I used these colors for contrast but also to indicate leather parts, distinguishing them from the metal armor. Small details such as the stirrups are indicated in black, as are the reins. Imitating the Museum piece, the barding cloth under the armor is red. (The purpose of this cloth is to protect the horse's skin from the metal armor and add padding similar to a man's gambeson.) I extended the black outlines to highlight the contours of the barding cloth to add depth and dimension and then added tassels in gold as indicated in the original. I tried to mimic tassel construction to give these a “real” look of tassels. 

Because I wanted this to be distinctly indicative of an Æthelmearc equestrian, I decided to add the populace escarbuncle. On the original example, heraldic badges are distributed over the barding cloth. I didn't feel there was enough space to add shield like items to the embroidery, so decided to embroider the escarbuncle directly over the Bayeux stitching. I used period stitches –the split and chain stitches which were used throughout the medieval period by various cultures including the Anglo-Saxons. I started with a circle in the middle and stitched out spokes of the escarbuncle.  In order to indicate the fluted ending, I used a single loop of chain stitch to create three loops.  

This was quite difficult to keep consistent and even because I was trying to apply the stitching over the bulky Bayeux Stitch. Additionally, it was not possible to draw a guide on the already stitched surface. I also could not reference the cloth below in the manner most artists use to create small consistent stitches by counting the threads. I sewed five escarbuncles and started on the last as depicted below. I decided not to do more over the rear end for aesthetic reasons.

The picture below shows the back of the completed piece. With this technique, the back side of the embroidery is not expected to be as clean as modern embroideries. In fact, scholars admit that the back of the Bayeux tapestry is quite messy. Additionally, it is clearly possible to see the over-all design through an examination of the back of the Tapestry as shown in the picture on the right. An examination of the rear side of the piece clearly shows how the stitches were completed and confirms adherence to the techniques of the Bayeux Stitch.


Back of Bayeux Tapestry

Back of project piece

After finishing the embroidery portion of the project, I turned over and finished the edges, using the whip stitch, which is a period stitch.

Finished edges of front piece

As noted, it was a common practice to line finished products and is seen in a variety of items from altar pieces and tunics to larger pieces such as horse barding or caparisons. I definitely wanted to line the piece to enhance its appearance and protect the back side of the project. I certainly did not want to leave the stitches there exposed. Therefore, I cut a piece of contrasting linen, black in this case, to match the front piece. This method of construction also afforded me a way to attach the belt loops in an aesthetic manner. After cutting out the black linen, I loosely stitched, or basted, the edges down with a running stitch which is also a period stitch. I made two belt loops of white linen backed by black and attached these to the black backing with whip and running stitches (both period stitches).

Working on the straps

Having done this, I pinned the white front to the black backing and stitched the pieces together with small whip stitches. I used this stitch because it is strong and it is possible to conceal the thread so it doesn't show through either surface if sewn carefully.

This completed the project which is now ready to use.

 Bibliography

Archaeological Sewing techniques, 5 Feb 2010, <http://heatherrosejones.com/archaeologicalsewing/index.html>
Atlantian MOAS site (Embroidery and Needlework), Jan 2009,< http://moas.atlantia.sca.org/wsnlinks/index.php?action=displaycat&catid=56>
The Bayeux Stitch, 1 March 2010, http://imgs.embroiderersguild.com/stitch/pdfs/bayeux.pdf>
The Bayeux Tapestry, March 2010,http://hastings1066.com/
Bayeux Tapestry, Museum of Reading, Berkshire, United Kingdom, March 2010,< http://www.bayeuxtapestry.org.uk/>
The Bayeux Tapestry, March 2010,< http://wkneedle.bayrose.org/Articles/bayeux.html>
Bayeux Tapestry, 31 Jan 2010,< http://rubens.anu.edu.au/htdocs/bytype/textiles/bayeux/>
"Clothing and Appearance of the Pagan Anglo‑Saxons," 24 Jan 2010, <http://mahan.wonkwang.ac.kr/link/med/england/anglo‑saxon/culture/dress.html>
Period Stitches, Jan 2009, March 2010,< http://jauncourt.i8.com/stitches.htm>
(referenced information on Hem treatments including the whip stitch)
Period Stitches and Extant Examples, March 2010, < http://www.personal.utulsa.edu/~marc‑carlson/cloth/stitches.htm>
The Nelson-Atkins Museum of Art, Feb 2013, < http://www.nelson-atkins.org/collections/iscroll-objectview.cfmid=28588>.
Split stitching, Jan 2009,< http://www.bayrose.org/wkneedle/Articles/split_stitch.html>
Wilson, David A. The Bayeux Tapestry.  London: Thames & Hudson, 1985.