`The East Kingdom Calendar project is a fundraiser for the royalty fund.   I did it last year, and was asked again to do it this year.   The website is here.

The assignment for the 2017 calendar - signs of the horoscopes and I decided that I would love to do Scorpio, my own sign. Many calendars of the period of time that I study (500 AD to 1600 AD) have illuminations of the astrological symbols as well as labors that occurred during that calendar month.  I was assigned October, and Scorpio.   I was provided with some research that Gundormr provided to assist all the artists on this prjecct, and also did my own digging.

RESEARCH:

The medieval visuals for Scorpio showed me that sometimes the artists really didn't know what a real scorpion looked like, and so the representation was on a spectrum of somewhat like a scorpion, or more like an ugly, black bug or a dragon-like creature with pincers for good measure.  Dragons came up frequently.  Sometimes a fierce dragon, sometimes a dragon biting its own tail, and sometimes a two headed dragon.   I collected a variety of medieval visual representations of Scorpio and started to decide what elements I would like to incorporate in the calendar.  The calendar has very particular requirements as to size and includes wording on each month.    So step one, the examples.

Horoscope of Prince Iskandar, grandson of Tamerlane, the Turkman Mongol conqueror. This horoscope shows the position of the heavens at the moment of Iskandar's birth on 25th April 1384.  The scorpion looks like a modern day horseshoe crab than a scorpion.

Close up of the scorpio portion of the Horoscope of Prince Iskandar, grandson of Tamerlane, the Turkman Mongol conqueror. This horoscope shows the position of the heavens at the moment of Iskandar's birth on 25th April 1384.

Scorpio, Book of hours, Italy, probably Milan, ca. 1473, This has a nice color scheme, but this is the epitome of black bug.  What is interesting is that another artist for the calendar project chose this exemplar but for Libra.

Manuscript from 1447, Italian,  Fazio degli Uberti, Dittamondo II.  This is an interesting one, but the color scheme seemed too faded for a calendar assignment.  Here we start seeing the Dragons being included in the text.

 Illustrating the entry in a herbal for the plant called plantain, a man defends himself from a scorpion and a dragon-like viper (adder). Plantain was said to cure the bite of both creatures.   This composition was interesting and had some potential.   As with the previous manuscript, we see a scorpion and a dragon.

Above:    Astronomical treatises [Sufi latinus],  Scorpio, 1250-1275, Italy, possibly Bologna.

I found several examples where a dragon was used in place of a scorpion.    There are additional ones here : www.bl.uk/manuscripts/Viewer.aspx?ref=lansdowne_ms_383_f002r 
and here www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_50000_fs001r

Drawing by Theodoros Pelecanos, in a 1478 copy of a lost alchemical tract by Synesius

The Hunterian Psalter, England, C. 1170, Zodiac, Sign of Scorpio, Folio 5v. Two headed dragon.

Close up of The Hunterian Psalter, England, C. 1170, Zodiac, Sign of Scorpio, Folio 5v

For extra points, I am subscribed to a blog called Medieval and Earlier Manuscripts and is published by the British Library.  They post about calendars on a regular basis and recently on August 22 did a "Which Star Sign Are You?" on their blog.    I was able to use this website to do more research on calendars and styles.

I decided that I loved the two headed dragon in The Hunterian Psalter.  I set up my pictures, reviewed the text and decided I needed to amend the text to include that scorpio appears as a large scorpion or dragon.  I would need to edit the text down to fit into the space I was allocating for the words.

The text ended up :

"Scorpio appeareth as a large Scorpion or dragon.  She is Fleumatik, ruleth ye Priue Parts of Men and Women, and indicateth Subtelte and Deceite.  When the Mone is on the hunt for the Scorpion, She will seke Nouelte when She needeth to be more dependable, and She might ende vp dronk or in a destitute state.   If Iupiter wandreth bi ye Scorpion, then one mai loke to Ipocrisie, possiblie Bitraiel."    Text by Master Christian von Jauergk.

The other adjustment is that I could not use gold leaf for the project (because gold leaf does not photograph well and so we are asked not to use it)and would have to substitute.

LAYOUT

I printed the words and used a sheet that THL Geffrei Maudeleyne provides.  This is the first time that I used this sheet, and it can be used as long as credit is given.

Layout, line drawing on pergemenata.

After many practice runs, calligraphy laid down.   On one of the test sheets I made the entire layout complete with illumination so that I could lay down tests of the colors, inking, etc.

Mixing Rublev Roman black, and some Hematite.   I ended up using the black, but not the Hematite.  I mixed the pigments by taking the ground pigments, grinding them a little finer and then adding a little bit of water to moisten the pigment, followed by a couple of drops of gum arabic as the binder.  I then mixed in more water to the desired consistency and placed the pigment in the shells that I had been collecting for some time.

Color matching.  See the test sheet with color matching in the middle, and then the test sheet on the left is available for laying the color down and checking how well it is mixed, if adjustments need to be made.   This is the messy part of art that many don't see.

Cleaned up artwork, inking in the illumination.   I used a crow quill pen and Higgins Eternal Ink.

Laying down base layer of dark green and starting the greys.

I ground up some yellow ochre (same process as above, extra grinding, adding water, then gum arabic) and laid down a lovely shade of yellow.  Not quite gold leaf, but it made for a nice contrast against the green and gold.

Now for the lovely details.   This is where the roman black came in.  The roman black is post period to the time period that I am studying, however, it is also closer to period pigments than just a nice processed black out of a tube of Windsor Newton.   I felt that the substitution was acceptable, and am working on acquiring lamp black or bone black for experiments later.

Close up of detail of two headed dragon. Note that there is some blending, but use of the period technique of small hatches (not cross-hatching, that is not found in the exemplars that I have reviewed) to apply the shading.

First layer of detailing on illumination. 

Closeup of hatching technique, and layering.

Addition of the red pigments on the initial "S" and on the dragon.  Three different shades of red employed for the details of the wing. Dark greenish black filigree in the green interior around the dragon.  Paint the dragon's toenails black.   More subtle shading of the entire dragon, building up color, shades, nuances of bone and muscle.

Finished piece.  Light circle details in the gold circle, highlights and deepening of the dark areas.   Application of eraser in all areas.

Reflection :

I have noticed that I need to take a step back while working, as there are flaws that I see from afar that I do not see when nose is two inches from the work.  My calligraphy is improving, however, I still need to work on my spacing.  Even six months later from when I was working on this in July, I can see improvement in my calligraphy in my current pieces that I do not see here.  I also need to work on my technique of not so bumpy circles, which is the first thing that jumps out at me when I look at this illumination now.  I will be researching some techniques, and also practicing inking in and painting in cleaner edges.  I love  the dragon.  I think that the body of the dragon is some of my best shading work.

All in all, I am proud of the research, which I think is much more in depth than previous work, and that the level of painting is getting better and better, but I see still see places where I can improve.

Around mid September the lovely Dreda found a book that she thought someone would be interested in.  It was Glasser, Hannelore. Artists’ contracts of the early Renaissance. New York : Garland Pub., 1977.  Now I find this fascinating!  Information on how artists arrange for contracts for their work in Italian during the late 16th and early 17th century.  Score!   Some of you may find this book report quite dry, and for that I do apologize.  There are interesting tidbits that I can use to flesh out my personna development with regard to an artist during the late 16th/early 17th century such as finding out how much the price per ounce of lapis lazuli needed for artistic endeavors and how much would an artist be paid for a nativity fresco (20 florins) or how much for a sculpture of a Pieta by an established artist (150 gold ducats).

Dreda loaned it to me (for more than I thought was proper, but she was very accommodating to my schedule)  and within this dissertation I was able to become much more acquainted with the day to day living of the artists of the time period that I am studying in Italy.

Artists' contracts were essentially work contracts that were not involved with wage or salary, but with the fabrication of a particular object.   In Italy, the contract was known as the allogagione or the allocatione.  Each allogagione had stipulations, descriptions of the artwork desired, the nature and quality of the materials to be used, time limits as to when the piece or pieces were to be finished and price and manner of payment.  There are rules about the authentication of the contract which I will go into later.  There is even detail about what the medieval documents were written on.  Glasser details several allogagione as well as contract stipulations after the initial contract, and the inevitable litigation and arbitration when things did not go according to the contract.  The development of the work contract came into being as the emerging free worker/tradesman appears in just before the 12th century.  No longer were works of art manufactured only in a monastery or under a feudal arrangement, but via a personal contract with the artist.

The author states that the physical contract, contrary to what I thought, was for the most part on paper, not parchment.  There were regional variations, with the Northern Europe artists using parchment and several copies of the contract were written on one sheet of parchment that was then separated. The Italians instead tended to use the notary's contract which was on paper, not parchment, with the notary recording the stipulations of contracts in his own notebooks or prepared a draft on paper.  As a result of the importance of the notary both in social and legal affairs in Italy, the notebooks and paper copies of the contract prevailed in Italy.   The author of the dissertation lists a handful of contracts done on parchment, and even those have notations where they were recopied from an original notary's record, most likely on paper.  The notary served as the educated man, the one that could read and write and whom preserved the format in his formula books of legal concept.   The parties to the contract might not be able to sign their own name, so that the notary's signature made the document valid.  The physical contract would also be written two or three times and then separated, being cut on a line which was written in large letters a word (often Chirographum or Cyrographym - defined as that which is written in one's own hand), said word being cut in half.  The third copy was a safeguard for the parties and was often deposited in a public place.

The form of the contract had distinct parts, including the opening protocol, the contents of the pact and the closing protocol.  The opening protocol would contain an invocation which varied according to location that the contract was being drafted, the most common being "In Nomine Domine" or "Al Nome di Dio" invoking God's presence into the contract.  The  contents of the pact  included in an average contract would be the date of the contract, the parties to the contract, the place where the contract is negotiated, the patron's full name, title or occupation, as well as all the information on the artist.  The artist's name will be written, as well as his father, and sometimes even his grandfather, with the author alluding to the duplication of given names in Italy at this time.  "Magister" or "Maestro" is almost always written after the name of the artist, which is then followed with his specific craft, be it painter, sculptor, goldsmith or woodcarver and followed possibly with the artist's city of origin.  For example, "Michaelangelo Ludovici de Bonarrotis, scupltori et civi florentino". from G. Milenesi Le lettere di Miachelangelo Buronarroti ricordi ed i contratti artistici, Florence, 1875, doc. VI, pp 625-626.   The closing protocol would include the witnesses, and the notary's signature, with his printed name and titles.  The signature alone of the notary was authentication of the acceptance of the contract by both parties in most cases.

One of the interesting features of these contracts were that some of them were commissioned by guild committees known as operai, especially in Florence.  These operai would function on behalf of their city's religious buildings to find the right artists for their specific project, arrange for the contract and see that the work was ultimately done.  They had certain styles in mind, and might even  want an exact duplicate of the original piece that had been in place, but damaged over time, not something in a different style. Often the artist would be required to present to the operai or the individual patron a preliminary drawing (disegno) or model (modello) to represent the commission sought and once the patron approved it, to execute the piece.  According to the contract, the artist would be required to execute the piece exactly as indicated by the modello or disegno.  A description of the type of artistic work, for example:  a Pieta (Mary with Christ in her arms) or la fighura di San Macteo (figure of St. Mateo), is also included in the contract.

The materials were also mentioned and it is not always clear why, whether it merely identifies for all the agreed upon technique, or if it was to safeguard the quality of the art and assure its permanence.  I tend to agree that it was more the later.  Notations regarding the use of blue pigment (lapis lazuli) and gold leaf are explicitly stated along with the price per round so that no cheaper substitution can be made by the artist.  Lapis lazuli in 1485 was costing four florins for an ounce, such that an artist could not use the cheaper copper azurite .  Tempera was not mentioned at all due to it being a common technique, however, oil painting was noted as it was a new emerging technique used by artists during this time period.

The contracts listed time limits as to when the work was to be completed, and these time limits were rarely met.  Most of the commissions took longer and there were sometimes stipulations in the contract regarding residency of an artist during the contract, presumably to keep them on task.  There were stipulations in the contract regarding not taking other work while working on that particular contract or the artist would forfeit deposits or payments.  Some examples of timelines for work were paintings for a carved wooden altar which was to take eight months and took twenty-five years.  An altar specified for eight years took approximately nineteen years.  Another altarpiece which was specified for two and a half years was actually completed in three years, five months, one of the quickest.  Stipulations regarding which work would be done "sua mano", by the master's own hand were also listed in the contract to insure the quality of the work and quite possibly contributed to the lengthening of the time frames as artistic masters were in high demand.  The patrons were also to pay for the work once it was completed and there were a variety of accepted conventions for payment.  There could be a 1) flat rate, 2) price determined after the completion of the work by means of an appraisal, 3) a ceiling price given in the initial contract but still subject to an appraisal, 4) or a minimum price also subject to an appraisal but with an added bonus should the work be especially praiseworthy.  The arguments over who the appraiser would be and once the appraisal were done are similar to our modern day experiences with appraisals.

I found this to be an interesting dissertation replete with details that will aid me in my research of what a 16th/17th century artist would encounter in day to day life.  I hope you found this information useful.  I have also found contracts here on the Accademia de San Lucia.

Bibliography

Glasser, Hannelore. Artists’ contracts of the early Renaissance. New York : Garland Pub., 1977. 

"The History of the Accademia Di San Luca, C. 1590–1635: Documents from the Archivio Di Stato Di Roma." The History of the Accademia Di San Luca, C. 1590–1635: Documents from the Archivio Di Stato Di Roma. N.p., n.d. Web.

Artifacts of Life is the first art event that I have actually entered and competed.  I showed off a piece of art  many, many years ago at GNE and wasn't real keen on doing art competitions.  Two years ago, I entered my first try at the paintbrushes at a small Carolingian event (just display) and then at Artifacts of Life, the first one.  I was scared, hearing about the type of people who judge arts and feeling out of my element.  Baron Jean du Lac, bless his joyous heart, welcomed me in, helped me get situated and made sure that this wasn't going to scare me away.   I have complete faith in His Excellency.   I wasn't competing, just showing the first time.  And it was enjoyable and I liked the concept of delving into a person and what they would have left.    What's more, I was able to speak to people about what I was doing and also try to push myself as to what I should do next. 

As many of you know who have been reading along, I have written about the paintbrushes for nigh on two years in this blog, and this year it was a chance to present the research on this journey.  I wanted to push myself even more and work on the idea of making a person who would have used these things, so I happened onto the idea of a female artist of the 16th century who was a member of an art guild and what she would have had.   Artifacts of Life II was scheduled for September 26 and I actually entered the competition.

Lorenzo Gorla with his living history presentation of a 16th century Italian master of fence.

My presentation of a 1590s Italian female artist, with paintbrushes, quills, apprentice contract.

Elena Hilton's Italian renaissance dress.

Ysabella de Draguignan's ceramics.    It is 15th century Hispano-ware from Valencia Spain.

Lissa Underhill and her beautiful beads and research.

Alesone's won second place in the Elite category with her presentation of a 16th century Grocer's apprentice.

My presentation still could use some work.

First entry:  I entered my latest paintbrushes, but brought all the ones from the beginning to discuss the development.

Second entry:  I also entered an apprentice contract which had several elements in it, but I did it start to finish in a period method using period tools.

I researched the wording and used a piece of vellum (bought at Guild Mirandola this summer), with holes pricked in it so that it would be added to a book.  I wrote the words on the vellum using a quill (which I made and that was the third entry) and oak gall ink (bought at Guild Mirandola also).  I've made oak gall ink a couple of years ago and wasn't prepared to do that again for this one off project. 

Third entry :  I entered several quills that I made.  I brought the oak gall with me so that people could try them out.

Fourth - ish entry: I mixed up some period pigments to allow people to use the paintbrushes.  But seriously, I ground up the pigment, mixed it with water, then gum arabic as a binder.   I also found out that while crushing bugs is really cool to talk about, the scarlet that you get on Wednesday when you crush the bugs does not LAST.  It was a murky brown by Saturday.  Very sad and lesson learned.  The ultramarine though was beautiful.

Close up of the Artist apprentice contract

I learned quite a bit.  My research is coming along.  I think I need to come up with a way to make the presentation look more like an artist's garret.   I included the tri-fold poster to give information, and received feedback that yes it was helpful and another that said no, it detracted.  I think I am becoming far more aware of my information and that is good, but there are some small holes that I can clean up, and of course more research to be done.   I thought that the judging was pleasant but somewhat frustrating as the research that I had printed and brought was not really reviewed.  I, myself, need to make sure that I have time between when I do the presentation and actually read the judge's comments.  I read them right away and it seemed like my presentation wasn't understood, but giving it a week, I was able to decipher some positive ideas that I think will be helpful.

All in all, I might do this again. ;-)

                                  I find it, easiest for myself, if I post the assignment in its parts in front of my work station on the mirror - the inspiration, my practice sheets, any information that is necessary for the project.  The inspirations are to the left and right slightly off of camera, but will be included below.  The sheet on the bottom left is my color testing sheet and paint sheet, and as you can see, it is usually a recycled piece from some other project that did not make the cut.   I am very Yankee in that I don't believe in any waste and from my research of artists of the time period that I am interested in, the artists did the same thing. So I reuse my paper as much as possible as test sheets.   Reflected in the mirror is the practice sheets for calligraphy.

                                As you might be able to see the set of instructions in the middle are far more detailed than I am usually dealing with in a scroll assignment.  The size of the illumination was very specific, the paper needed to be 11" x 8.5" and the illumination would be 10" x 7.5".  There were also restrictions on metallic leaf and inks (they don't photograph or scan well, and certain pigments don't reproduce well with four color printing.  Ultramarine, one of my standbys for my blues would present a challenge.  Also certain yellows and oranges were difficult and would scan brown.   That meant that I needed to do more test sheets with a different palette than I might have normally chosen.  

                                   Below is one example of the many test sheets that I used for this project.  I am experimenting with the colors that I wish to use on the project on the same type of paper that I wish to use.  I want to see how the shading will look, get the right colors and if any adjustments have to be made, I need to do it before the final piece.

                                 I did quite a bit of research for this subject to come up with a historical shark that would fit the parameters of the assignment. It also was interesting finding out the different mythical and not so mythical beasts that dwelled in the sea as seen by medieval eyes.   The assignment was initiated in June of 2015 and would be due September 1.   I received the wording written by my good friend, Alexandre Lerot d'Avigne, current Prince of Insulae Draconis which is below:

"The shark is the laziest of fish, but is fierce when roused.  When hunting, it swims in a circle which it draws tight around its prey.  If its victim remains still, the shark will often lose interest and swim on.  It is the foe of the lava otter, for they are too much alike to live in peace.  It is found throughout the world, but schools most heavily along the eastern shores."

I ended up really enjoying the research and it gave me a better idea of what I wanted it to look like overall and what the medieval person was thinking of when they thought of Shark/Whale/Sea Monster.

I give you the research. Many were found on www.strangescience.com under its gallery on sea monsters.

taken from the vignettes on Olaus Magnus's Carta marina

1514, by Albrecht Durer

1575, Conrad Gesner,  Historia Animalium

Year:  520 - 510 BC, A Ketos in Early Athens: An Archaeology of Whales and Sea Monsters in the Greek World" by Papadopoulos and Ruscillo in American Journal of Archaeology and "Monk Seals in Antiquity" by Johnson and Lavigne in Mededelingen No. 35
_

1569, The True Discripcion of this Marueilous Straunge Fishe

1575, Conrad Gesner,  Historia Animalium

1575, Conrad Gesner,  Historia Animalium

Try as I might, I was unable to find the original manuscript for the above Shark with little hat!  I found it on http://www.medievalists.net/2015/02/09/week-medieval-manuscript-images-19/ which showed several images that had been tweeted.  If anyone has some clues to the original, I would be eternally grateful.

British Library, Harley MS 4751, Folio 69r

                                            I chose the last two for the project because I liked the colors and the Shark eating its prey and it delighted me that there was a reference for a Shark doodle, almost marginalia that I could include in the paragraph about the shark.

Century: 13th, MS. Ashmole 151, folio 086v, 81, 9, housed in Bodleian Library

Above:   Much less colorful paint palette.   We had specific instructions that gold/silver and ultramarine do not photograph well, I had to avoid my usual standbys.  The lovely grey of the shark gave me a different color palette to work from.

I made several test layouts for this one before I settled on the above layout.  Words with illuminated Capital T, with room for words by Alexandre Lerot d'Avigne and calligraphy by Eleanor Catlyng.  I used Windsor Newton Payne's Grey with a 00 and a 1 brush.   I made a gradation of the grey with a dark grey, light grey, lighter grey and then a pot of permanent white. 

Once done with the shark proper, on to the lovely green sea that is depicted in the original.  Holbein green, mixed with black, white and yellow ochre gave me the right look that color matched the original.  Holbein yellow ochre was the surrounding ground, as I could not use mosaic gold or leaf gold for this project. 

Filling up the background, touch ups.

I used lamp black for the waves of the sea, and yellow ochre (again, I could not use gold) to highlight the sea.   Then I painted (not inked!) the shark face upon the Capital T complete with jaunty hat.

At this point, it was handed off to Eleanor to work her magic on the calligraphy.

I was asked to participate in the Bestiary Calendar which is a fundraiser for the Kingdom.   I can't show you the work yet as it is yet to be advertised, however, I can let you peek under the slip a bit..... ;-)  Here is my work space prior to arting. 

So I decided that we should do Calligraphy and Illumination and All Things Scribal at Pennsic during the afternoon in the Artisan's Row.

The setting up was relatively easy to do.  I proposed it at a Carolingian Calligrapher's guild meeting, people thought it was a good idea, and so I submitted a request to the coordinator and she said yes.  Cool. 

Eleanor and I came up with the write up and we sent it out willy and nilly to people.

Afternoon Art: All Things Scribal (2400) @ Pennsic

Nataliia and Eleanor are hosting (along with other members of the Carolingian Calligraphers' Guild) a drop-in scribal afternoon at Pennsic, middle Saturday, 12:30-4:30, Artisan's Row B.   Please feel free to drop in with any scribal questions, beginner or more advanced.  We will have some materials and resources with us, and you are welcome to bring current projects, images of prior work or works in progress, etc to just work side by side or get some feedback and guidance.  This is intentionally a drop-in, with no obligation to come at any particular time or stay for any particular duration, and our topics will depend on those who attend.


Bios

Nataliia Anastasiia Evgenova: Nataliia has been a scribe for the East Kingdom for over fifteen years.  She is mainly an illuminator, specializing in portraiture and the use of period paints. Recently, she has also been experimenting with making her own paint brushes.   Over the years, she has illuminated in many styles, representing a wide array of periods and cultures.  She is a Companion of the Order of the Maunche in the East Kingdom, primarily for her illumination.  She has also been working on her calligraphy in her spare time.  Mundanely, she has a degree in Art History and Art Studio.


Eleanor Catlyng:  Eleanor began working on scrolls for the East Kingdom for over twenty years, but began calligraphing much earlier, when she received a calligraphy kit for her tenth birthday.   She specializes in late period hands, but has done a wide variety of hands from all periods and many cultures (including hieroglyphics on real papyrus!) over the years.   She sometimes illuminates when she cannot talk Nataliia or others into doing it. Occasionally, she stops calligraphing long enough for Nataliia to teach her about painting, too.  She is also a Companion of the Maunche and Laurel for her work in this field.


I only have been able to grab two photos of what happened.   Photos by Brita Svensdottir. 

Eleanor and Eva Woderose were the calligraphy gurus, and I took on anyone needing help with painting, but we both crossed over to help and advise anyone who came in.

The photo below is Eleanor showing some calligraphy examples, with some people working on painting, with paints that I laid out and showing people easier ways to do things. By the looks of things, Brita had just stood up and was taking the picture after she was able to practice some calligraphy and then paint the badge for the Golden Rapier.

Below is Eva and I looking at...............something, with me with my eyes shut. :-)  Unfortunately, I believe that this is an automatic reaction to a camera. 

It went well, we were able to work with several people who were interested in starting calligraphy and were able to give hands on training on things that people just don't even think about, like the Ames Lettering Guide, and using a t-square and the Ames Lettering Guide to set up your calligraphy.  I was also able to get people excited about painting.  It started out slow with only one person arriving the first hour and then departing and then people starting trickling in each hour until we had around 7 people by 2 p.m.

Thoughts for next year: Eva, Eleanor and I kicked around some ideas.  One is to just have the three of us set up working on specific pieces much in a scriptorium style and talk about our pieces, our choices, and show our techniques.  Another thought is to provide a topic each hour (research the first hour, layout the next, inking the next, calligraphy the next, painting the next, etc) so that we have some structure to the time.

I had a couple of scrolls that I collaborated on go out at Pennsic, so I can publish the information now.  The first scroll was a collaboration between Marguerite inghean Lachlainn and Cezilia Raposa on a Silver Rapier scroll for Robert Earlson.  Being a close friend of ours, as well as Marguerite's husband, there was a lot of work that was done under his nose and there was quite a bit of running around in secret, passing the work back and forth.  Plus we were sure that he would kill us DED when he found out.

Marguerite came up with the words and her process is here.  It told the story of Robert's adventures at Mudthaw in a very lovely way.   I am in wonder of her writing ability.  During that time a couple of us worked on the research for an appropriate Scottish manuscript.  I enlisted the help of Aildreda who was able to pull some images, most of them were without any illumination, because the Protestants of the time period had basically shut down all production of manuscripts unless it was purely text.  But we continued to dig and came up with several sources that might work.  

In the interest of sharing with people some of our finds in case they want to go in this direction, the links are as follows:  

http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_88929_f001ar

https://images.nationalarchives.gov.uk/assetbank-nationalarchives/action/viewAsset?id=20095&index=1&total=29&view=viewSearchItem

http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_33933_fs001r

We decided to chose the first one and Cezilia got working immediately on the layout and commenced with the calligraphy.  The manuscript that we chose was done between 1485-1509.  It was a roll containing prayers in Latin and English to the Arma Christi, the Virgin and seven saints.   The particular illumination that I found compelling was the unframed representation of the nails of the Passion, in burnished gold, piercing the Sacred Heart, the feet and hands of Christ, and the Crown of Thorns.   This looked like swords to me, and well because Robert is mundanely a carpenter, the nail thing was neat and could easily frame the badge of the Silver Rapier.  So what I started with as the exemplar is on the left, and what we ended up with at the end is on the right.

And now to the process:

First was sketching out the design and inking it in.  The recipient's animal spirits are spiders, bats and I wanted to include the Northern Army star since he is in the Northern Army Rapier division.

Things I would do differently.  I would position the nails/swords closer together and make the main illumination more unified and closer to the original.  I need to work more with the mosaic gold because it is not laying down like I would like it to.  I suspect that I simply need more practice.  I did get some nice tips from Randthulfr Asparlundr, a Midrealm laurel who came to the Artisan's Row Scribal get together.

So on to the next project.

Today's "Journey to the West" by Wu Cheng'en dates 1500-1582 and well within the time period that we study in the Society.  There is a certain man in my life that fancies himself a disciple of The Monkey King and has read the tales and studied the time period.  Some time ago, I painted his fencing mask based on a Chinese opera mask of The Monkey King. I will admit that I have not done a ton of research, however, there is enough information that supports making such as mask, as there were masked operas as early as the 4th century in China and that one was even done to honor a general who went into battle wearing a mask.  Seems very, very appropriate for Ogedei.  So I found some representations on the web.  It is not easy to find actual historical opera masks, there are plenty of modern ones, but there were enough that would give me an idea to run with.  Some acrylic paint later, and the picture to the left and below.