Humilite

 Humilite

gouache and gold leaf on goat skin vellum

Several years ago I did a piece entitled The Monster at the End of this Manuscript, a 1:1 piece on vellum where I did my first attempt at gold leaf on vellum rather than perg. Building on what I learned from that piece, I embarked on my second piece - Orientalis. This is the third piece in the project, Humilite

The original piece is from the Somme le Roi - c1279, Add MS 28162 f5v, British Library

http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_28162

Materials: Parchment.
Dimensions: 255 x 185 mm (text space 165 x 125 mm).

As before, this section is part of a 4 square page layout depicting Virtues. The first few pages of this manuscript are carpet pages depicting the Virtues. 

In between these pieces I've continued to be an active scribe for the Kingdom, as well as created pieces for personal pleasure and as parts of fundraisers for various things. 

My piece:

For clarity, I created this piece in early 2020, and stopped in Sept 2020. 

Changes I made:

• Continuing the theme, I chose to create this as a stand alone piece, rather than a part of a larger piece.
• This I kept the same as in the manuscript, because humility is important for an artist to remember as their skill grows. 
• I did remove the fur detail from the inside of her cloak. 
• Also as before, this was painted with Holbein, Windsor-Newton, and M. Graham gouache, and was inked with Pelican ink.
• The gold was underpainted with carmine, and is 24k leaf. 
• The rough outline of the piece was traced, the fine detail was done freehand

Issues I am aware of:

• My blackwork here is messy, and I have determined that the black I have does not rehydrate multiple times. It has become grainy and requires mulling each time. I didn't mull it enough this time. 
• The gold in the original is tooled, and I didn't achieve the look I wanted last time so I wondered if painting would give a similar effect. It does not, but I think the underpainting of carmine did a lot to make the piece richer. On the next piece I will underpaint with carmine and then shell gold, and then apply the gold leaf. I think the underpainting is enough to give a "raised" effect to show the tooling more. 
  
• I got the piece wet. I was in a rush and jostled the fresh paint water I was carrying... and splashed all over the piece. Then I cried. Then I got a towel. In the end, it's crinkled but not ruined. There's a smudge, but thankfully I largely missed the paint. 

For a second piece, I made a lot of the same mistakes again, but I made a lot of different ones too so yay? I know I rushed a little more on this one, my focus wasn't nearly what it should be but I chalk that up to the pandemic, but for all that I rushed in spots I think it's not terrible. I look forward to the third panel in this series which I am now calling A Page in 5 Parts. 

A page from Psalms

For my mother, her favorite Psalm in Latin

A Court Barony for Ruth Baraskaya

 This is the first award of this level I've ever had the honor of painting, and I confess the words put me in a bit of a stressful position! I managed a draft, but the wonderful final draft is the work of master wordsmith Alys Mackyntoich. I am very, very grateful to her for her help. 

The imagery is a woman standing in a field, and in the original she holds an open book in her hand. As Ruth is known for her embroidery, I replaced the book with an embroidery hoop with a few black stitches on it, and a length of thread. I added also a coronet with 6 pearls, evidence of her new rank. 

The source for the scroll is Add MS 54782, housed at the British Library, f.66v for the imagery and various pages for the text. I had to modify the text layout significantly to accommodate the expanded text necessary for a Court Barony scroll, but was able to keep the feel of the scroll in tact. I am quite pleased with how it came together. 

gouache and shell gold on pergamenata, Pelikan ink

8 1/4" x 10 1/4" finished size
3 3/4" x 5 1/2" image size
3 3/4" x 5" text size 

Silver Wheel for Patience Faircloth

 I had so very, very much fun painting this for Patience - when I heard the award was going out, I did ask for the assignment and was thrilled I was able to get it. 

The words are by me, and the reference book for the scroll is Add MS 15281 from the British Library. 

gouache and shell gold on pergamenata
8 1/4" x 10 1/4" finished size
4" x 6" image size
2 3/4" x 4 3/4" text size

When you have to repair your own scroll...

A while ago I was in a relationship with someone who fancied themselves a great artist. Without asking me, they took my AoA scroll and painted on what they thought were my arms. Yes. They painted arms that weren't mine on my Mistress Sarah the Limner Award of Arms scroll. And if that wasn't bad enough, they painted on the scroll with testors and citadel enamel model paints. If I ever see this person again I might actually hit them.

The repair of this has been an interesting two days. First, scraping off the paint resulted in the paint dust beginning to stain the bristol ground... which meant that I stopped immediately, and changed tactic - I did keep scraping, but this time I tilted it so the dust fell straight away. A staedtler eraser took care of what was stuck to the bristol. I couldn't get all the paint because it's soaked into the paper, so I did what I could to rough up the surface. 

Then I painted an even layer of titanium white over the whole area, crossing over onto the paper. It is much, much larger than I think the shield area was every supposed to be... but, I wanted my paint layer to have at least some hold on the bristol, so here we are. 

I let that sit for 24 hours. 

Then, I painted on my arms with the lightest touch I've ever used, in an attempt to not pull up the white layer into my colors. I'm happy to say that it's worked as best it could. 

I let that sit for a few hours till dry, and when back to the the line work. 

I'm happy with the results. It's getting framed as soon as I know it's totally dry and then, hopefully, I never need to worry about repair or correction on this piece again. Yes, I should write my arms in eventually but I think I'll wait till my calligraphy is better to do that. 

AoA, with incorrect arms

AoA, with correct arms

A Silver Mantle in the style of a book of artifacts

It's been my goal for a while now to create scrolls that are both historically accurate in both look and size, as well as decidedly different than what we usually see for scrolls in the East Kingdom. 

I had an excellent chance with the Silver Mantle for Cathain Reiter. 

The source is a Heiligthumsbuch - that is, an itemized record of artifacts in Bamberg Cathedral circa 1508. It is a beautiful book that shows mantles with the arms of various donors and noble families and Saints, as well as semi-detailed watercolors of the actual pieces themselves. I chose two pages that were not connected to create a scroll that encompassed all the elements I wanted to display. 

f.2r: The banners and mantle 

                

f.13r: The reliquary containing a horse and rider

I stayed faithful to the lining and calligraphy style though I admit the calligraphy was the very hardest part. I used a #6 Mitchell nib and even still felt that was too large for the spacing I had - it turned out well, but it was very frustrating to finish. I practiced the calligraphy more for this scroll than any other I've ever done. For the sake of sanity I omitted the ink blotches and bleed through that is seen in the original. 

I used the arms of the East and of the recipient for the banners, and created a Silver Mantle mantle out of the mantle with arms. I'm coming to find I really absolutely love to include fabric on a scroll because I find great pleasure in painting fabric. Most important when you're painting a pattern on fabric that is folded is to follow the direction of the fabric - the mantles that are on the part folded over the bar at the top are upside down. Though the recipient's arms are fieldless, I drew inspiration from a heraldic dress she is wearing in a photograph to create her banner. 

The reliquary in the original shows a horse with rider, and a person kneeling next to the horse. I omitted the people from that imagery and focused instead on the horse. It's shown wearing a drape, as her horse has a drape in the photo from which I drew her banner inspiration. 

Many, many thanks to Mayken van der Alst and Alys Mackyntoich for their help in a, translating the original German for me and b, helping smooth phrasing. 

gouache and Pelican ink on pergamenata

Behold, the standard of the East Kingdom born by the Consules of the East, Magnus Tindal and Alberic von Rostock, come to bestow honors on Herrin Cathain Reiter. 

Behold, the arms of Cathain Reiter, a Champion of Horse, a Champion of Archery, to wit: a drawn Horsebow endwise knocked with a Needle threaded Or.

Behold, the badge of the Order of the Silver Mantle, given for prowess in equestrian arts, first given by our Royal Ancestors Brion III and Anna III in the 51st year of the Society.  

Behold, for her unquestionable skill on horseback and unfailing dedication to this martial pursuit, the Consules do by these present letters bestow and endow Cathain Reiter with the Silver Mantle, this gift to be proclaimed to the world in their Second Ethereal Court in the 55th year of the Society.

Hate has no Home here

 A commission piece for the Barony of Carolingia, and a sentiment I completely agree with.