24 January 2008

Beginning to Compile The Names

11. Nota Bene on the sidebar there are two sections; one labelled The Yorkists, the other, The Lancastrians. They are now partially complete.

The Wars of the Roses, without going to a complete exposition right now, were the epic struggle between the English noble houses Lancaster and York. Each well-known name supported one side or the other.

Tonight in conversation with my instructor we began collecting the names necessary to begin to track down the heraldry. So, we have the following.

For the Yorkists, the list stands currently:

  • King Edward IV
  • Richard III, Duke of Gloucester
  • Lord Hastings
  • George, Duke of Clarence
  • Anthony Woodville, Earl Rivers

On the Lancastrian side:

  • Richard Neville, Earl of Warwick
  • John de Vere, Earl of Oxford
  • John Neville, Marquess of Montagu
  • Henry Holland, Duke of Exeter
  • A Somerset of some description, but we're a little unsure on this one
  • John Paston

European royalty has always had the reputation of being, regardless of nationality or partisanship, a big extended family which is in one way or another related to each other. It so happens that George, Duke of Clarence was Edward IV's brother, and Richard Neville's son-in-law. Moreover, it's no accident that John Neville's byname is the same as Richards; John is his younger brother.

Richard III was, as a matter of fact, that Richard III, the "Sun of York", the one who the Bard did that play on ... that fellow whose winter was so discontented.

The name John Paston is of some importance outside of Barnet and the Wars of the Roses. The Paston Letters, an important British historical compilation, comprise the correspondence of the Paston family between the years 1422 and 1509, giving an important window on those times.

Amongst other locations we will be scouring for names would be Joseph Foster's Feudal Coats (known under a variety of names), which is a beautiful if rather flawed record (though correct where we need it to be) and Wikipedia's listings on important people of the year 1471.

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22 January 2008

Creating The Roll has Joined ORBlogs

10. A bit of administration is called for, so we'll step out from behind the curtain for a moment and assume modern voice.

I've just been notified that this blog has been accepted as one listed on the ORBlogs omnibus. For those whose connection with local blogs – or any blog – is this one, what ORBlogs (a free service run for the last four or more years by blogGod Paul Bausch, who apparently lives on good karma to our inestimable benefit) is is an aggregation site for blogs by Oregonians – of which I am one (an Oregonian, not a blog).

Principally this will make my blog more easily findable by Oregon and Washington surfers who would be apt to enjoy this content ... for those who like this sort of thing, this would be just the sort of thing they should like.

In the interests of full disclosure, this blog persona (Sebastian zem Sterne) is the same person who runs the vastly underrated The ZehnKatzen Times, if I may be so bold as to say. And I can, because this is my blog. So I do.

Back to the medieval crazyness.

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Email Subscriptions Enabled

9. I've tried the email subscription box myself and it seems to work okay. I noticed an error message on subscribing, but I don't think that will prevent anyone from getting updates.

Coming up, we're going to be taking a deeper look at what goes into the making of vellum. We will be looking in depth at the information the Lady Tegan has graciously provided me. Also, my instructor has directed me to get a first hand view if possible, and that's in the works.

Stay tuned to this scroll for further details.

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20 January 2008

An Example of a Roll of Arms

8. With all the interesting terminology flying about, what a Roll of Arms is is almost surprisingly straightforward. As respects heraldic art, it's a visual listing of coats of arms. This example is from an document known as the Armorial Lebreton, described here by a local SCA colleague of my acquaintance, Zenobia Naphtali in this article as:
L'armorial Le Breton is a collection of armorials from the 15th -16th C, which were bound together and in the possession of Hector Le Breton, Montjoie King of Arms of France. It contains a photofacsimile of over 900 coats of arms, many of which are French. It also contains significant amounts of introductory material by various authors, as well as a detailed armorial, providing not only names and blazons, but historical information about the armigers. All the explanatory text is in French. Emmanuel de Boos (and others), L'Armorial Le Breton, (Somology éditions d'Art, Paris, 2004, ISBN 2-85056-792-2.)

And here's a section of it:

 

This picture was scanned in from the book Heraldry: Its Origins and Meaning, by Michel Pastoureau, a rather prolific heraldic authority and one of the ones you're most likely to run into when researching via the SCA. This particular one, ISBN 0-500-30074-7, is a pocket-sized by highly useful volume, nicknamed "the little Pastoureau" by Collegians; the "big Pastoureau" I only know by reputation, it's in French, and is called Traité d'Héraldique, and is both hard to find and quite expensive, I understand.

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What is Vellum and Parchment, And What Makes Them Durable?

7. In the current phase of my research I am being directed to learn what I can about the basic materials that medieval scribes used to produce the works they produced. The current focus is on the "paper" they drew and wrote on.

I say "paper" because, unlike today, the material that our medieval cousins used to write on, or as we'll say in these discourses the substrate, the more upmarket varieties of said substrate were made from animal skin.

The following comes from the common knowledge as I am aware of it, and as a long time user of artistic-grade papers.

Today we can buy parchment and vellum for our work from commercial vendors, and these are manufactured out of plant products, notably cotton. If we want to acquire something that has archival value, we want as high a "cotton rag" content as possible; one of the by-products of wood-pulp-derived paper substrate is that the resulting paper is of an acidic character, which actuallly causes the paper to essentially consume itself over time. Anyone can check this out for themselves; mass-market "paperback" books that are any more than perhaps ten or fifteen years old have 'gone yellow'; this is the paper in the first stages of this breakdown. Particularly fragile are "pulp" magazines and books made with this paper from, say, the 1950s and before. This are immediately obvious from thier nearly-amber color and the extreme fragility of the paper. There is no saving these in thier original form.

By contrast, parchment and vellum substrates are made from components more akin to cloth than wood pulp, and are as near as possible chemically neutral. 100% rag vellums and parchments have, with proper care, a practically indefinite shelf-life, or as near as makes little difference. They can be damaged with improper handling, and inattentive care can cause them to degrade, certainly; but if attention is paid to handling and storage, they can be considered, for any practical purpose, permanent records.

Medieval Substrates

The medieval scribe and heraldic artist also had vellum and parchment available to them. They were, however, not made from plant product; they were made from animal skin.

Local SCA member Lady Tegan of Conwy, in a very informative handout on the subject, has this to say about parchment:

Parchment, by definition, is the skin of an animal, usually sheep or goat, prepared as a surface n which to write or paint. Parchment has been in continuous use for over six thousand years. Pergamum, in Asia Minor, is traditionally regarded as the place where parchment is said to have been invented in the early part of the second century BC. The source of this tradition is Pliny’s Natural History, Book IV.

Exactly why medieval scribes and artists used parchment when papermaking was, while maybe not widespread in Europe possibly not unknown (with the Egyptians and Chinese having made paper of various kinds from plants for centuries) is a bit beyond the ken of this author, at least for the moment. One of the Lady Tegan's sources provides a clue which we can note in our passing:

During medieval times some of the books produced in English monasteries were written on parchment of outstanding quality, especially in respect of whiteness, even appearance, smooth flexible handle (sic) and excellent writing properties. This was due mainly to the use of modified compositions known as stanchgrain - thin pastes made by mixing lime, quicklime, and flour with egg-white and milk.

Parchment was simply the best writing substrate available, and therefore presumably seen as fitting grounds to support scrolls, heraldic art, and the like.

Defining the Terms

At this time, we figure that a more complete definition of terms would be of use. For convenience sake – and for the moment – we will help ourselves to the definitions provided by Wikipedia.

The definition of parchment is:

thin material made from calfskin, sheepskin or goatskin. Its most common use is as the pages of a book, codex or manuscript. It is distinct from leather in that parchment is not tanned, but stretched, scraped, and dried under tension, creating a stiff white, yellowish or translucent animal skin. The finer qualities of parchment are called vellum. It is very reactive with changes in relative humidity and is not waterproof.

We see here that vellum is more or less simply an upmarket type of parchment. The Wikipedia definition of vellum reads:

Vellum (from the Old French Vélin, for "calfskin") is a sort of processed animal hide that is thin, smooth, durable and was used in the pre-printing age to produce written works in the form of a scroll, codex or book.

An important point to note here also is that the chief difference between parchment/vellum and leather – also made from animal skins – is that leather is tanned, whereas parchment and vellum are not.

Perhaps one can say that parchment has many uses, but vellum is specifically for the making of written works and art, and probably those of great value meant as historical records.

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19 January 2008

The Battle of Barnet: Defeat from the Jaws Of Victory

6. In initially discussing Barnet with my teacher, he seemed to much enjoy pointing out that an heraldic misidentification turned what could have been one of the War of the Roses's pivotal triumphs into an embarrassing, tragic and deadly (at least for Richard Neville) defeat.

My wife, Teceangl, latterly has supplied me with a page out of Stephen Slater's lovely 2002 reference The Complete Book of Heraldry (Lorenz Books, ISBN ISBN 0-7548-1062-3) that gives an excellent thumbnail of who battled and what sad thing actually happened. The information is contained therein on page 29 of that edition. Here, Slater (which ironically, also describes an insect one may find on a coat of arms) lays out the groundwork:

The white mullet, or star, of the de Veres was partially responsible for one famous defeat during the Wars of the Roses. In 1471, Richard Neville, Earl of Warwick, the former friend and supporter of the Yorkist king Edward IV, was fighting against him, having now sided with his Lancastrian rival, Henry VI. The two armies met at Barnet. The royal troops wore the rising sun of York; Warwick's forces were wearing red tunics upon which was the white ragged staff. (The bear and the ragged staff of Lancaster were, initially, two separate badges, combined only in later centuries.)

So we have Lancastrian and Yorkist partisans meeting on the field of battle not only to decide a battle but obviously to settle at least one score, bringing to mind a maxim that would have found a comfortable home amongst the royal houses of Medieval Europe: Fighting never proved anything – except who wins.

We will doubtless come to treat the bear and the ragged staff in future. For now, they are a bit beside the point, so we will note that parenthetical in passing.

The fight is joined and initially it looked as though it would be perhaps a Lancastrian rout of the Yorkists. Sadly, however the famous English weather and any number of conditions we might guess at conspired to snatch defeat from the jaws of Lancaster victory that day. Slater continues:

On that day Warwick was joined by the troops of John de Vere, Earl of Oxford. At the height of the battle, which was fought in thick mist, de Vere's forces managed to drive the Yorkists backwards. After this success they attempted to rejoin the main Lancastrian force, and appeared out of the mist at some distance from their colleagues. Warwick's archers, mistaking the star on Lord Oxford's badge for the Yorkist sunburst, believed they were being attacked by King Edward's men, and let loose a shower of arrows. Oxford's troops believed that their former comrades had turned traitor and what had lately seemed to be destined to be a Lancastrian victory soon turned into a shambolic defeat for them. Warwick was killed and King Edward was able to march on to Tewkesbury and complete the defeat of King Henry's cause.

Awkward, to say the least, not to mention fatal to several members of the then-winning side. And ironically lethal to the Earl of Warwick.

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A Guide for Subscribers And Commenters

5. A commenter, via email remarks, indirectly reminded me that there are more options I could be providing to those wishing to access or be notified of new comment in this blog, and for the act of commenting itself.

As someone who has his own style of content gathering which is as unique as he (it is to be hoped) is, I understand that some who have interest here might not wish to load the blog each time or, say, subscribe via RSS. By adjusting settings I have increased to maximum the ways to stay updated on the progress of research chronicled in this blog:

  1. Naturally, of course, loading this blog is the basic way to see if any new content has been added.
  2. One can subscribe to the RSS Feed to be notified of new posts when they happen. The RSS Feed provides a summary of blog developments as they happen, updated as they occur, in a compact format which can be subscribed to. Many if not most of the current crop of web browsers support it (in Firefox, it's called Live Bookmarks, in Safari, there's an RSS icon in the address bar, and so on). There are also a surfeit of RSS reading software that range in price from free on up.
  3. And, one more exciting option for those who don't care to bother with RSS; thanks to FeedBlitz, who provided a free widget, you can now subscribe to this blog via email. This was just installed, so there may be some debugging, but we will work this out.

Insofar as commenting goes, I have just enabled anonymous commenting for this blog. Previously, you had to be signed in to your Google account to comment. Naturally, this isn't everyone's can of beer, and I'm sympathetic to that ... it seems I have more logins and regstrations for things than a sane person really needs.

Anonymous commenting allows commenters maximum freedom:

  1. If one wishes to sign in to post a comment, one can of course. Just choose the service from the dropdown list and fire away.
  2. You can subscribe to email follow comments by signing in, if you so desire.
  3. If you don't wish to sign in but want to leave your name, click the Nickname radio button and fill in the box. Your comment will be posted with your name. This is a nice quick alternative if being notified of follow up comments is not of-the-essence.
  4. And, of course, there's the anonymous option. Just click the Anonymous radio button and you're off to the races (I'd ask that you'd sign it with your name so that any information added to the common weal gets its due and proper credit, or at least I can take any necessary conversations up with you in email).

Of course, if any correspondent wishes to simply forgo all that folderol and shoot me a comment via email, just feel free to do it that way. All comment will be treated with respect and dignity – though if it's interesting enough to share (or teaches me something, as the last comment via Moreach did), I will share it with the readership, so if it's something you don't want shared, please make sure to tell me.

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Wars and Rumors of Wars

4. This blog is as much about my continuing learning as it is my teaching my revealing what I know. School, as they say, is in.

A person and fellow Dragons Mist citizen of whom I consider a friend of longstanding is Moreach nic Mhaolain. She points out perforce:


I notice on your "Mundane" blog side, you call this conflict "The English Civil War". Certes it was such, if you can call any war"civil". Yet there was more than one of these internacine events and this isn't considered to be "the famous one".There was the Civil War between the heirs of William the Conqueror, starring the "Empress" Maude, King Stephen, and Maude's son and heir - Henry and a cast of confused thousands. (Nearly unknown to moderns, it was so long ago. 12th C) Then there was the later, famous, one starring King Charles, his Late Cranium, the Roundheads, and the Cavaliers. 1642 to 1651 Mayhap "War of the Roses" is less confusing term after all...?
Aside that, methinks this blog is a swell idea!

My impression had been up til now that the "War of the Roses" was a nickname for the English Civil War, but as Moreach says above, that's not quite correct on my part. I gratefully take the point, and thanks for the extra information – all of which go into this glorious public notebook.

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17 January 2008

My "Mundane" Self

3. Another thing that would I think be fair to the readers to do is to establish my "Mundane" identity.

The SCA is as much a state of mind as it is anything else. When in persona, as I am trying to be with this blog (this is the man behind the curtain, stepping out and telling you this ... if this were a show, I'd be breaking the fourth wall) I am a scholar and artist of late-15th Century Germany, specifically a resident of Nürnberg (what latterly we call Nuremberg, an important center of population and culture in northern Bavaria).

It bears mentioning, I think, because my activities pre-school as a budding heraldic artist in the SCA was also an inspiration toward trying to muscle into the field of graphic design; heraldic art, I feel, is the ancestor of what they called "commercial art" which was the father, mother, and grandparents of what we today call graphic design.

If you wonder what I try to get away with in the day-to-day land we call Mundania (from mundane, as in ordinary, rather than in the strict Xanthan sense) follow this link to my mundane blog, The ZehnKatzen Times.

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My Arms

2. The concept of a "coat of arms" is one which is vastly misunderstood in today's world, especially by residents of countries such as the United States of America which does not have a heraldic tradition (we almost had one, but it was stillborn – which will be the subject of a future discourse). As currently understood, a person's arms is what the American public thinks of when they tend to talk of a "family crest" (a crest is merely a part of the complete achievement of arms, a term which will also be defined soon). However understood or misunderstood, the heart of the armorial achievement is the arms, also called a device. Here's mine: There are two ways to refer to any armorial device. The above, the graphical display, has a certain name – technically we call this the emblazon. There is a precise verbal description of the above, and that is called the blazon. The blazon for mine reads as follows: Azure, a bend sinister and in canton a compass star argent pierced azure Perhaps there are some familiar words used in unfamiliar ways here. To an armorial expert trained in unpacking it and equipped with the proper references, the description is a little like a computer program – it will inerrantly produce the above result every time when correctly followed. At the risk of venturing into territory uncharted to the reader, we'll define a few terms here and now. The term azure refers to the background; in Heraldese the word means blue. A bend refers to the fat diagonal stripe and sinister refers to the way that that stripe runs (relative to the viewer) from upper right to lower left. And in canton positions the star; particularly the verbiage and in indicates we are moving on from describing the bend shape, with the atom canton describing the region it occupies; a compass star is what the shape is (as the bend is the name of the diagonal stripe), the word argent is the color of the bend and the compass star (depicted in color illustrations as paper-white) and pierced azure provides us the hole in the compass star. I will admit that while I (and some others) consider myself quite adept at unpacking blazons and creating emblazons, the same cannot always be said for my skills at encoding and explaining blazons. The SCA heraldic community very much distills along right brain/left brain lines; my lady Teceangl Bach specializes is the verbal, or what we call book heraldry which concerns itself with research of names and comparisons of blazons to prevent similar designs from being registered with the SCA College of Heralds. A great many of us prefer to draw, and leave the research to the book heralds. At any rate, the reader is encouraged not to fret (which is an inside heraldic joke whose funny will become apparent in time) too much. We will take many trips around the heraldic shield on our journey, and all will become clear eventually (my intent is sooner rather than later). The point I'm working for here is to indicate that heraldry is a system of technical precision that, like any other technical pursuit, has its cant and jargon, and that standards are important.

Creating The Roll

1. This blog is meant to be the ongoging record of my research into and creation of a battle roll-of-arms for the Battle of Barnet, one of the skirmishes of the English Civil War (known by we Americans as the Wars of The Roses. The Battle of Barnet occurred on 14 April 1471 and pitted King Edward the IV of England and Richard Neville, Earl of Warwick. Of the Battle of Barnet, Wikipedia has this to day:
The main protagonists were King Edward IV of England and Richard Neville, Earl of Warwick, former friends and allies who had fallen out as a result of Edward's tendency to favour the relatives of his queen, Elizabeth Woodville. In October of the previous year, Warwick "the Kingmaker" had driven Edward out of the country, replacing his Lancastrian predecessor, King Henry VI of England, on the throne. Warwick then made the mistake of agreeing to assist King Louis XI of France in his conflict with the Duke of Burgundy. This prompted the Burgundians to offer military aid to Edward, who returned to England on March 14, 1471. The two armies were evenly matched in numbers, but Warwick was expecting support from his son-in-law, George, Duke of Clarence, who happened to be Edward's brother and hurried to make his peace with the latter.
(taken from the Battle of Barnet entry) The principal purpose of this blog is to be an open an public journal of the results of my researches. They will extend into not only researching the content of the roll itself but also researching the materials and how they were created and used. I will be making some (but not all) of the materials I will be using, and sharing the interesting bits about heraldry along the way.
General Blog Policies – Addendum of 17 January AS XLII (2008)
In general, for the sake of clarity, I should set out my ideas about posting and updating.
The posting frequency remains to be determined. Very likely it will be irregular, with new information being mounted as it becomes available to me or rendered in any finished or useful form. I will also be posting interesting things I happen to find in as regards heraldry in general, but will try to restrain myself from posting items with little or no comment (and this may well be the first personal rule I break).
Since my research will include areas germane to medieval heraldry, which is a real-world thing (as opposed to SCAdian) which, in some areas, carries the force of civil law, my findings will touch both on the Current Middle Ages as well as Mundane concerns. I will try to make it clear which sphere I'm commenting in when I do so.