I’ve always had a passion for music. Who doesn’t, really? My parents encouraged me to learn to play instruments and sing at an early age. In the mundane world I have played the violin, the guitar, the clarinet, and the saxophone… though the flute has always been my one true love. I started playing the flute at the age of eight and played through college, till the age of 21.
Despite the way my youth revolved around music, finding a way to incorporate this love within the SCA has been a challenge. I’ve attempted to learn music on more period instruments, though it’s been to little success. I always resolve to try harder and make more time to practice… alas.
I’ve had more musical success in the Society with singing, choir specifically. I’ve been a part of two choir ensembles in Northern Atlantia: The Ponte Alto Singers – our Baronial group – and Laydes Fayre – an interbarional women’s choir.
Ponte Alto Singers Performances
Chalice of the Sun God 2015
Ponte Alto Investiture 2016
A Service of Advent Lessons & Carols (Columbia Baptist Church) 2016
Tournament of Love & Beauty 2017
Yule on the Bridge 2017
Laydes Fayre Performances
Night on the Town 2016
Battle on the Bay 2016
Holiday Faire 2016
Spanish Inquisition 2017
Love & Beauty 2017
Night on the Town 2017
Battle on the Bay 2017
Midwinter’s Feast 2018
Night on the Town 2018
Battle on the Bay 2018
Laydes Fayre 20th Anniversary Concert 2018
Sadly, I have lost the ability to commit to singing with either of these groups for the moment. For now I will sing on my own or at events, when the moment is right. And maybe one day I will finally master a new instrument…
I first learned to finger-loop braid when I hosted a Newcomer’s Fiber Arts class at my home on January 15, 2017. Since then I’ve found it to be an incredibly useful skill to have, as finger-loop braids can be used for practically anything – medallion cords, lacing, ties, loops, etc.
Most of the braids I’ve made have been used for drawstring pouches and garment laces – from early period Roman garb through late period Tudor.
Revenge of the Stitch
On April 28, 2018 I had the great fortune to be a member of a team of people competing at an event called Revenge of the Stitch. The parameters of the competition dictated that an entire period ensemble be made in 24 hours by no more than six people. As if this wasn’t enough of a challenge, we decided to get ambitious.
In November of 2017 we started planning to recreate the garment worn by King Henry VIII in his famous portrait, painted by Hans Holbein the Younger.
The results were as follows:
6 crazy people
10 pre-event meetings
6 yards of hand-couched embroidery
150+ hours of prep and research
52 yards of fabric
108 fabric pattern pieces
74 post-it notes
60 hand-cast and hand-decorated jewels
52 hand-stitched puffs
24 hours of constant sewing with 4 hours (on average) of sleep
One of my many contributions to the project was the creation of some dozen or so finger-loop braided lacing cords, made of silk hand-spun by another member of the team, Lord Stephan Grimm.
For instructions for the lacing cords that I made, please visit:
Secondary: Arnold, Janet: Queen Elizabeth’s Wardrobe Unlock’d. Washington, pp. 220-221, 1988. On these pages are reproduced 3 pages from the following: To make pursestrings, T 313-1960, in the Textile Department, Victoria & Albert Museum; London, England, circa 1600.
I was first introduced to fabric painting by Her Excellency, Countess Brigit of Mercia, at an Atlantian University. Since then I’ve become quite enamored with the idea of painting designs on fabric for use on garb, accessories, largesse, and more. It can be quicker and more precise than embroidery, another passion of mine for which I rarely (unfortunately) have time. Below are some projects that I’ve completed using fabric painting methods.
The Virtue of Chastity
The theme for Spring Coronation 2017 was Vices and Virtues. After being selected as a “team captain” for the Virtue of Chastity, I decided to make a dress based on the writings of the Italian scholar, Petrarch. The final vision for the dress was based on the 15th century painting of Laura de Noves Crowning Petrarch, housed in the Laurentian Library in Florence, Italy. I dressed as Laura de Noves, wearing an Italian cottardita with affrappata (dags), painted by hand with fleur-de-lis or flower of the lily – a traditional symbol of Chastity. My friend, Vadoma, dressed as Petrarch, wearing an Italian mantello, giornea, and hood.
Petrarch, a 14th century Italian scholar and poet known for the Rerum Memorandarum Libri, wrote his work of prose in order to celebrate the cardinal virtues – including the Triumph of Chastity. It is a combination of this work, Petrarch’s Triumph of Chastity, and his personal relationship with Laura de Noves that inspired these garments. The figure of Laura de Noves in the attached painting is the personification of Chastity, crowning the Poet with a wreath of Laurels. For the event, we used a wreath of lilies – as, again, a traditional symbol of Chastity.
One my favorite uses for fabric painting is in making items of largesse – for donation to the Kingdom and various Baronies or other local groups. Again, I find that stencils are often the quickest and most precise way to create intricate designs for pouches, chalice covers, fans, or similar items made in bulk.
Since becoming more comfortable with the art of fabric painting, I’ve taken steps to spread the love by teaching classes at both Atlantia University and Pennsic.
So far I’ve taught “Make & Take a Fabric-Painted Pouch” at both Atlantia’s Summer University, June 16, 2018 and Pennsic University, August 3, 2018.
I look forward to strengthening my painting skills even further and teaching another class when the opportunity arises!