Clothier’s Guild

N E W S L E T T E R O F T H E B A R O N Y

O F S H A T T E R E D C R Y S T A L

OCTOBER 2018/ AS LIII

Volume 30, Issue 6

Clothier’s Guild

C u r i a C a l l

P a g e 1 T h e S h a r d s

I N S I D E

T H I S

I S S U E :

Ackowledge-

ments 2

Diamond Demos 2

Missives 3

Haematite

Hospice 3

16th Century

Hats 4

Call to (Badge of)

Arms 16

Scroll Roll 17

Skirts 18

Calendar 27

Their Crystalline Excellencies Seneschal

Daimyō Kurro Ookami Baronessa Petrona De Manciano Lady Ástríðr Árnarðóttír

[email protected] [email protected] [email protected]

(618)-910-7130

Pursuivant (a.k.a. Herald) Exchequer

Master Avery Austringer Lady Cellah niTighearnaigh

[email protected] [email protected]

Chatelain Deputy Chatelain and Gold Key

Master Avery Austringer Vacant

[email protected]

Demo Coordinator Knight’s Marshal

Mistress Alphia Biraz-Pars Baron Gavin MacFergus

(see Equestrian Marshal) [email protected]

Deputy Knight Marshal Archery Marshal

Master Avery Austringer Master Bubba Godgodson

[email protected]

Equestrian Marshal Rapier Marshal

Mistress Alphia Biras-Parz Lord Bartelmeu le Wis


Thrown Weapons Marshal Youth Marshal

Vacant Lady Brigid MacCauley

[email protected]

Minister of Arts & Sciences Chronicler

Lady Muirgheal O’Seannaig Tiarna Cináed Ulric, Amhranai tan Briongloid


(618)-722-1339

Web Minister Minister of Youth

“Dafydd ap Llewellyn” Baroness Caroline de Mercier


Master William

Blackfox Award

Winner,

Best Special Edition,

A.S. LI (51)

V e r b a L e g i s

P a g e 2 V o l u m e 3 0 , I s s u e 6

This is the October 2018 issue of The Shards, a publication of the Barony of Shattered Crystal of

the Society for Creative Anachronism, Inc. (SCA, Inc.). The Shards is edited by and available from Jona-

than Thorn, 6120 Leo Dr. Belleville, Il. 62223. It is not a corporate publication of SCA, Inc., and does not

delineate SCA, Inc. policies. Copyright © 2018 Society for Creative Anachronism, Inc. For information on

reprinting photographs, articles, or artwork from this publication, please contact the Chronicler, who will

assist you in contacting the original creator of the piece. Please respect the legal rights of our contribu-

tors.

Cover art, Title design and side scroll work are by Cináed Ulric. The Illumination is of Lorenz

Schneider, tailor, #18 folio piece from the Nuremberg Housebooks, Mendle I book, 1544—1595, and is in

the public domain.

Horizontal Baronial, International People, & Costume Line Horizontal dividers, Scroll Roll Logo, &

Crystal Ball ad artwork are by Cináed Ulric. All other horizontal & vertical dividers are from the web page

Goode Cookery, and their page on Medieval Woodcuts Clip Art collection from the 15-16th centuries.

Their permission-use statement is: “Those who wish to reduce or alter these images for their own use are

welcome to do so.”

Photos from both articles by Ladies James Ainsley and Cicily Bridges are from their article’s foot

note listing and are used under the “Fair Use Act” as the articles and The Shards newsletter serve for

educational purposes and the SCA, Inc is an educational organization.

Photo from the “Scroll Roll” article has been provided by Ástríðr Árnarðóttír.

All articles are written by the folks underneath the article’s title or end.

All Creative Work, Photography, and Model release forms for every article, photo, or artistic graphic

are on file with the Chronicler.

A c k n o w l e d g e m e n t s

D i a m o n d

D e m o s

On Saturday, September 22nd, Mistress Alphia Biras-pars, Master

Bubba Godgodsson, Lord Bartelmeu le Wis, and Tiarna Cináed Ulric did a

demo out at the Boy Scout’s Beaumont Campground’s Fall Fest. There was

some fencing by Alphia & Bartelmeu, usual Q & A about items on the static

displays and what are Society is, and the Scouts & their family members were

able to try out two games: one was the Scandinavian game of hunker hauser

and a training pole arm exercise where one, in numerical order, had to knock

beasties off their pedestals. Great fun was had by all.

Champions and they are being

allowed to return to their homes.

We therefore invite all authorized

fighters; Rapier and Rattan to

declare their intentions and take

the field.

The gathering will be on

the afternoon of Sunday, Octo-

ber 21. It shall be held at Moody

Park (sometimes called Lon-

gacre Park) in the fair city of

Fairview Heights. We expect to

begin gathering at 2 pm and

start the tourney close to 3 pm.

We would enjoy a potluck picnic

following. Park grilles are avail-

able on site to use. Please Join

Us.

We would also like to re-

mind all that at the beginning of

next month is our hosted event,

Crystal Ball. We need all hands

present for set up on Friday, tear

down & clean up on Sunday, and

all other duties in between on

Saturday. Please see Tiarna

Cináed Ulric for volunteer service

sign up.

In service,

Baronessa Petrona de Manicano Daimyō Kurro Ookami

D i a m o n d D e m o s

Baron and

Baroness

Greetings,

We would like to remind

the populace of the fall Baronial

gathering, Court, and Tourney in

which we shall select some of

Our new Baronial Champions.

Alan of Bellwood and Fintan

MacAldin have been thanked for

their gracious service this past

year as our Heavy & Rapier


H a e m a t i t e H o s p i c e

It is with extreme sadness that we must announce that

one of our newest members, Andrew Duncan, was involved in

a horrific car accident on Monday, September 24th, and thus

moved on to the Golden Kingdom.

He was interested in Armored Fighting and was very

happy to learn explore all aspects the SCA had to offer. Al-

though new to many of us, several Baronial members had

known him for upwards of up to fifteen or more years.

In the Kingdom of Mundania, Andrew was also a mem-

ber of both Gothic Lodge #852 & Ainad Shrine, local

branches of the Freemasons & Shriners International. As

such the family had requested that in lieu of flowers dona-

tions be made in his name to the Shriner’s Hospital for Children or Gothic Lodge #852 Scholarship Fund.

Please keep Andrew’s family and friends in your thoughts, and reach out to them in kindness and

support.


1 6 t h C e n t u r y H a t s

T H L J a m e s A i n s l e y & L a d y C i c i l y B r i d g e s

Historical Background:

During the 16th century hats were considered an essential garment and fashion accessory. Men

were seldom seen outside of the home without a hat. Women in the upper and middle classes and coun-

trywomen also commonly wore a variety of styles of hats. Married women in Northern Europe wore their

hair pinned up and covered, usually by a caul or coif. The styles of hats varied by region and women wore

hats similar to those worn by men, often in a smaller or miniature size. Structured hats were made with a

diverse range of materials including silk, velvet, taffeta, leather, felt and beaver. 1

Like all fashion, hat styles varied by region and different styles went in and out of fashion. During

the first half of the 1500’s, sovereign Francis I and his retinue heavily influenced fashion and French

fashions were worn and copied throughout Europe. The French wore large brimmed felt hats decorated

with buckles and feathers and flat black velvet caps decked with a feather. In Germany, wool felt hats

had a tight lifted brim, while the English, not fond of novelties from abroad, remained faithful to large

caps and classic tall and medium felt hats. The Spanish preferred conical hats with tall crowns. In Spain a

wide brimmed felt hat decked with a feather was the preference. Later in the 16th century the French

hood was worn by noble women in France, England and throughout Italy.

The nobility of the 16th century enriched their hats with ribbons and lace. Muslims wore a felt

head dress, called Fez, in the south of Europe. Hats began to be used by nobles as a sign of rank and the

practice spread to the merchant class.

The focus of this class is structured hats. Unstructured (soft) hats such as the flat cap where also

prevalent during the 16th century and there are many portrait examples and some extant examples.

Extant Examples:

Period methods of construction can be derived from the few existing extant examples. A find from

the Little Samford Church in Essex, England used felted wool for the shape and the hat was covered in

embroidered silk. The blue felted wool was molded to form a seamless crown and brim. 2

Figure 1 14th Century Hat, Felted Wool

_______________________________________________________________________________________

1. Janet Arnold (insert reference here)

2. The hat is in the care of the Textile Conservation Center at the University of South Hampton in

England. It can be viewed at concealedgarments.org.


Portrait Examples: Several examples of different styles of hats are found in the portraits and paintings of

the 16th century depicted below.

Attifet:

Figure 2 Mary Queen of Scots

Figure 3 Mary Queen of Scots, by Nicholas

Hillard, 1578


Italian Bonnets:

Figure 4 Mary Queen of Scots, c 1560-1592

Figure 5 The Gripsholm Portrait, thought to be

Elizabeth I of England, c 1563


Brimless Hat:

Figure 6, Mary Queen of Scots , 1551

Figure 7 Margurite De Valois, 1560 3

________________________________________________________________________________________

3. Clouet, Francois. Marguerite de Valois. (c.1560) Musee Condé, Chantilly.

Hilliard, Nicholas.


Figure 8 Elizabeth I: Portrait with verses, 1561 4

Figure 9 Unknown Lady, 1575-1580 5

Tall Hat:

Figure 10 St. Cecelia by Circle of Ambrosius Benson,

c 1495-1550

_________________________________________________________________________________________

4 Lotto, Lorenzo. Portrait with Verses. (c.1565). National Gallery, London

5 Portrait of an Unknown Lady. (1575-80). Artist unknown. Metropolitan Museum of Art,

New York.

Figure 11 Lucas de Heere's drawing of four Lon-

don women from 1570 6

French Hoods:

Figure 12 Portrait of an Unknown Lady, Hans

Eworth, 1557

_______________________________________________________________________________________ 6 http://upload.wikimedia.org/wikipedia/commons/5/5f/De_Heere_Gentlewomen_and_Countrywoman.jpg


Figure 13 Miniature of Claude, Queen of France and her

Children by an Unknown Artist

Figure 14 Miniature of Catherine de Medici attrib-

uted to Francois Clouet, c. 1530-35

Gabled Hat:

P a g e 1 0 V o l u m e 3 0 , I s s u e 6

Gabeled Hat:

Figure 15 Catherine of Aragon in middle age,

c. 1525 7

Figure 16 An Unknown English Woman by

Hans Holbein, c. 1535 8

_________________________________________________________________________________________ 7 Williams, p. 53

8 Williams, p. 203

P a g e 1 1 T h e S h a r d s

Figure 17 Lady Guildford, 1527 9

Other Hat Styles:

Figure 18 Margarethe Elizabeth von Ans-

bach=Bayreuth in Munchen, by Luther Cranach,

1579

________________________________________________________________________________________ 9 Langdon, p. 72


Figure 19 Catalina Micaela de Austria,

Duchess of Savoy, by Alonso Sánchez Coello, c.

1585

Figure 20 UnknownLady 10

________________________________________________________________________________________ 10 http://www.elizabethan-portraits.com/UnknownLady31.jpg


Construction of a Structured Hat

Materials:

Foundation Material (sturdy material such as buckram, heavy felt, heavy paper, or plastic canvas).

Covered Wire

Bias tape

Craft Fleece

Fabric for covering (Velveteen is our favorite)

Ribbon for Hat Band

Feathers

Tacky glue

Thread and Needle

Methods Used for Making Hats:

Structured hats require a foundation material that is covered by fabric. Based on extant garments

it appears that during the 16th century felt was used as the foundation material. The felt was likely

stretched over a form and then stiffened using a shellac or glue, then covered with a richer fabric. How-

ever since we are not period millianers and do not have access to hat forms we will be teaching you to

construct hats using a more modern method with materials that can be more easily obtained.

Any stiff material can be used as the foundation material. Some re-enactors use plastic canvas

because it is impervious to water and difficult to crush. However we like the results that we achieve using

Buckram. Buckram is a stiffened canvas that comes in several different weights. The heaviest weight

material makes the sturdiest hat. For a stiffer material you can fuse of glue layers of buckram together.

After cutting the hat crown, top and brim from buckram, wire is attached to the edges of each

piece. I prefer to use Millinery Wire which is covered and does not kink when bent. The wire provides ad-

ditional structure and allows the brim of the hat to be adjusted to suit the wearer. Wire can be sewn by

hand or by machine. When sewing my machine, use a long, wide zigzag stitch and a stitch length of 2-3.

Line the edge of the brim and the Millinery wire up with the center of the foot. Start stitching at the center

back of each piece, and go slowly. You want to make very, very sure that you don’t hit the wire with the

needle, as it will break the needle. A pin tuck foot is helpful to keep from breaking your needle. About 2″

before you complete the brim, cut your wire so that you will have about an inch of overlap. Where the

wires overlap, you’ll simply continue to zigzag with them right next to each other, again being very careful

not to hit wire with needle. I like to cut the piece of wire off from the main roll after the brim is mostly

wired. (This prevents annoying measuring errors.) I don’t back tack this, because the inch overlap is more

than sufficient to keep things from pulling out.

Once the wire has been attached it should be covered with bias tape. This softens the edge. The

bias tape can be sewn or glued.

At this point the crown and top are usually sewn together and then “fulled” or covered with craft fleece.

The fleece can be glued or stitched to the outside of the hat and to both sides of the brims.

Once the hat has been covered with fleece, the outside covering is sewn together and placed over the hat

form. Then the parts of the hat are sewn together. Finally the lining in stitched to the inside of the hat.

Decorative elements such pearls, gems, or spangles scan now be stitched to the hat covering.

Bibliography:

Arnold, Janet Patterns of Fashion 4

Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914, Abrams, 1996.

Ashelford, Jane: The Visual History of Costume: The Sixteenth Century, 1983

Bätschmann, Oskar, Oskar and Pascal Griener [translation by Cecilia Hurley and Pascal Griener], Hans

Holbein. Princeton, NJ : Princeton University Press, 1997.

Dvorák, Frantisek. Hans Holbein le jeune. Paris : Éditions Cercle d'Art, 1977.


presented by the

Barony of Shattered Crystal

November 9-11th, 2018

Bond Christian Services Camp (Dry Site)

1119 Missouri Blvd. Mulberry Grove, IL 62262 Site opens Friday @ 6 p.m. and closes Sunday at Noon.

Adult Day Registration (18+):

$18 (Event Registration)

$13 (Membership Event Registration)

Child Day Registration (6-17): $7

Youth Day Registration (0-5): Free

Family Cap Event Registration: $50

Family Cap Membership Registration: $40

Tiarna Cináed Ulric (Jonathan Thorn)- Event Steward

[email protected]

618 - 803 - 0395

http://www.shatteredcrystal.org/crystal-ball-xxxv


C a l l t o ( B a d g e o f ) A r m s , C o n t ’ d .

Continuing from August’s Heraldry issue, we’d like the Baronial members to next think on and con-

template the following three awards of the Barony and their badge design:

The Order of the Lapis Rose:

The Order of the Lapis Rose is an Baronial award that is given in the Barony of Shattered Crystal

for extensive service to the barony.

The Order of the Azure Stanchion:

The Order of the Azure Stanchion is an Baronial award for those who support and facilitate the arts

martial & general service.

The Order of the Topaz Barb:

The Order of the Topaz Barb is an Baronial award that is given in the Barony of Shattered Crystal

for prowess and leadership in the baronial archery corps.

Her Excellency, Petrona, invites members of the Barony to come up with ideas for these honors so

that we may get them sent in and finally approved by the SCA heralds. Send ideas to her in description or

art work form, whichever suits one best. Remember designs do not have to be literal in “translation”, and

as we submit names and pictures of the awards, some names may change, and thus the design will too.

Keep thinking, submit, and discuss. Below are some ideas for the above listed awards.

From left to right:

Cináed’s thought for the Order of the Lapis Rose, followed by Master Avery’s

vision for the same honor based off of the tradition of a pirate ship known as “The

Rose” within the Barony (It’s a great story ask folks about it).

Next: Avery’s thought for the Order of the Azure Stanchion.

Finally: Cináed’s thoughts for the Order of the Topaz Barb.


S c r o l l R o l l

On Saturday September 22, the Barony of Three Rivers did host a

wonderful event called Crucible at the Crossroads, in which four groups of

people were invited to participate in a variety of friendly competitions:

Archery, Armored Combat, Banner Design & Making, Cut & Thrust, Saxon

Cooking, Volunteer Service, and Youth Combat. The Kingdom of Calontir

was represented by three groups consisting of the Baronies of Lonely

Tower & Mag Mor, the Barony of Coeur d’Ennui, and the Baronies of For-

gotten Sea & Vatavia. The fourth team was a most gracious invitation and

honorable challenge to us, the Barony of Shattered Crystal.

Knowing that in accepting this challenge, we not only competed for

ourselves but also for the reputation of the Middle Kingdom, our Excellen-

cies, with organizational assistance from Maitre Philippe de Lyon, did as-

semble a most worthy team of members, neighbors, and friends of the Barony to take to the field of com-

petition: Ástríðr Árnarðóttír, Avery Austringer, Briana Morgan, Caroline de Mercier, Christofle Etienne de

Lorraine, Corasande of Starrhill, Fintan MacAldin, Gavin MacFergus, Ixtilixochitl de los Indios, Jake

Ástríðrsson, Jhondo Oakenshield, Khadagan, Kurro Ookami, Muirgheal O’Seannaig, Nessa Von Metten,

Nicholaus De Fonte, Oda Umi, Petrona de Manciano, Philippe de Lyon, Remy De Gevaudan, Robert

Thorne, and Seraphina Masherante,

When the dust from the field, the steam from the pots, and this hiss of the bowstrings became set-

tled and silenced, lo, did our team prove victorious. To which our representatives were called into court

and they were presented with an award scroll which reads:

“Know all ye to whom these present letters shall come that team Shattered Crystal being

inspired by Philippe & its members having demonstrated exceptional chivalry & prowess upon the

fields of combat, arts &

sciences, & service have

proven victorious in the

Crucible at the Cross-

roads on this twenty-

second day of Septem-

ber, Anno Societatis fifty-

three, being two-

thousand & eighteen by

Gregorian reckoning.

Well done, these gentles

please Their Majesties of

Calontir & be declared

Champions.”

For upholding the pride

of the Barony and the Middle

Kingdom, please give a rounding

“HUZZAH!” to these good gen-

tles next time you meet them.


S k i r t s T H L J a m e s A i n s l e y & L a d y C i c i l y B r i d g e s

Skirts can be attached to a waistband or to a bodice. Skirt attachments are very regional and dif-

ferent methods were used during different time periods. You should do some research before deciding

how to construct the skirt for your particular costume. When you are doing research, if you find a picture

of the dress you want to make, take the time to figure out the artist, time period, and country that it

comes from. During my research I have noticed the extensive use of pleating, both rolled pleats and sim-

ple pleats in German portraits. Cartridge pleating has been associated with English Tudor and Elizabe-

than garments. Keep in mind that sometimes it is difficult to see the waistline of the dress in a portrait.

Women often hold their arms at their waist, making it difficult to tell how the skirt was attached to the

bodice. You should find other portraits that are from other artists from the same time and country, which

may provide details that the first portrait may not have fully shown.

When considering which way you want to attach your skirt consider the undergarments. Corsets,

bum rolls, petticoats, and farthingales do help to hold the weight. I am even considering the addition of

the use of suspenders.

In a discussion concerning separate bodice and skirt, we do not like the chemise gap that sometimes

happens. You can use basting, ties, or hooks and eyes to attach the skirt to the bodice to avoid having

your chemise peek out from under the bodice.

Types of skirts Circle skirts:

Commonly used by Middle Eastern dancers, but I have been unable to document use during the

period.

Advantages: No bulk at the waist, skirt swings very nicely.

Disadvantages: Wastes fabric

Gored/Paned skirts:

Advantages: Less bulk at the waist with fullness at the hem.

Disadvantages: Layout to reduce waste can be complex; napped fabrics cannot be laid running

the same way without lots of waste. Also, if you plan to wear a bum roll, paned skirts may not be a very

good choice because they do not have enough fullness at the waist the get the proper effect.

Rectangular skirts:

Advantages: Easy to cut and measure; there are several different ways of to attach to the other

fabric.

Disadvantages: I personally can not find one.

Types of rectangular skirts

Gathering:

Advantages: Easy to construct, rectangular, few measurements, can be machine or

hand sewn.

Disadvantages: it can look bunchy at the attachment

Simple pleats (knife pleats):

Advantages: Lays very flat at the waist

Disadvantages: Construction is more difficult with many measurements to ensure

that pleats are even.

Box pleats:

Advantages: Lays very flat at the waist



Disadvantages: Construction is more difficult with many measurements to ensure that

pleats are even. You also need to make that you fold correctly to keep the pattern.

Cartridge pleating:

Advantages: Looks very historic, well documented, uncommonly used (makes the costume

look very authentic).

Disadvantages: Hand sewn

Rolled pleats:

Advantages: Lays flat at the waist, very historic (regional) .

Disadvantages: Uses lots of fabric, household sewing machines may not be able to handle

the thickness of the fabric required (may require an industrial machine).

Construction Methods

Circle skirts: Depending on the width of the fabric, you may have to sew two sides together first.

Calculate the radius of the circle from the circumference of your waist. Fold into quarters , draw, then cut

the waist, then add length and draw and cut the larger circle. To make the radius, I use a string tied to a

pencil, hold the other string end to the corner and then draw the arc.

Gored/Paned skirts: Sew the panes together, then, ease the skirt waist to the bodice or waist-

band.

Gathering: For the measurement of the width of the skirt I use 3 times the waist measurement.

As I was taught in school with a 5/8-inch seam, baste at ½ inch and at ¾ inch, then using the top threads

pull (gather) tight to center from both sides. Release till the skirt waist matches to the bodice or waist-

band. Sew them together and pull basting threads.

Simple pleats (knife pleats): For the measurement of the width of the skirt I use 3 times the waist

measurement. The easy way for me is to pin the edges of the skirt to the waist, then match centers and

pin. Continue to center and pin until you have the size of pleat that you want. Fold the pleats down and

sew.

Box pleats: For the measurement of the width of the skirt I use 3 times the waist measurement.

This is for a 2” pleat, you can alter to the size pleat you will want in your outfit. The way for me is to pin

the edge of the skirt to the waist, then pin the waistband or bodice every inch. I then pin the skirt every 3

inches. Staring at the end that is pined together I start matching pin to pin. Fold the pleats down one,

one way then the next the opposite and sew.

Cartridge pleating: For the measurement of the width of the skirt I use 4 times the waist measure-

ment. You have to finish the top edge of the skirt before pleating. You should either face or line the skirt

for the pleats to fall properly. You can also add a layer of felt between the skirt and facing (or lining) to

give the pleats more definition. After finishing, measure and mark the skirt into quarters. Finish your

bodice edge and mark it into quarters as well. Cut a very long piece of strong thread (Coats and Clark

Strong Outdoor Thread is recommended). Make even basting stitches approximately ½ inch apart (I use

the edge (width) my tape measure as a guide) from the edge to the ¼ marking. Then go back and baste

at exactly the same place 1/2-inch from the other basting. Do this for each ¼ of the waist. Sew the

each pleat to the edge of the bodice or waistband. I would sew with a very strong thread at both the top

and bottom of the pleats.

Rolled pleats: For the measurement of the width of the skirt I use 5 times the waist measure-

ment. Can be done similar to the knife pleats, but there is a lot more fabric to deal with. Fold the pleat in

half and then fold over (with both folds in the same direction.) You will have 5 layers of skirt fabric that

will be sewn into the bodice or waistband.

This is a good site to show how to do pleating if you have the internet available to you. http://

www.elizabethancostume.net/pleats/

And another one for the cartridge pleating to use is this one find the one is easiest to the way you

think. http://www.renaissancetailor.com/demos_cartridgepleating.htm

The pictures with locations we are showing today are:

Raphael: The Woman with the Unicorn, 1505 Galleria Borghese, Rome http://www.festiveattyre.com/

research/florentine/flor1.html


Portrait of a Lady as Lucretia Lorenzo Lotto, circa 1533 http://www.geocities.com/ailithmac/lotto.jpg


Portraits of Henry the Pious, Duke of Saxony and his wife Katharina von Mecklenburg by CRA-

NACH, Lucas the Elder 1514 http://www.wga.hu/frames-e.html?/html/c/cranach/

lucas_e/5/01duke.html


http://www.wga.hu/art/c/cranach/lucas_e/5/01duke.jpg

http://www.geocities.com/anoria_j/

Medieval_images/Elizabeth_I_1600.jpg &

http://www.geocities.com/anoria_j/

Medieval_images/Elizabeth_I_1572.jpg

Mary I by Hans Eworth, 1554. (Private Collection) http://

www.elizabethan-portraits.com/Mary.jpg


Jane Seymour by Holbein, 1537 http://www.uvm.edu/~hag/

sca/tudor/redjane.jpg

Portrait of Lucrezia Panciatichi http://www.costumes.org/

history/renaissance/boehn/bronzinolucretzia.jpg

Sacred and Profane Love 1514 TIZIANO Vecellio http://

www.wga.hu/frames-e.html?/html/t/

tiziano/08/05sacre.html



Hearn, Karen, Ed. Dynasties: Painting in Tudor and Jacobean England, 1530 1630. New York: Rizzoli

International Publications, 1996.

Langdon, Helen. Holbein. London: Phaidon Press, 1993.

Parker, Karl Theodore. The drawings of Hans Holbein in the collection of His Majesty the King at Win-

dsor Castle. Oxford & London, Phaidon Press, 1945.

Rupp, Gordon. Thomas More: The King's Good Servant. London: Collins, 1978.

Sainct Didier, Henry de, Traicté contenant les secrets du premier livre sur l'espee seule, mere de

toutes armes, 1573

Starkey, David, Ed. Henry VIII: A European Court in England. New York: Cross River Press, 1991.

Williams, Neville. Henry VIII and his Court. New York: The Macmillan Company, 1971

______________________________________________________________________________________

On-line sources:

http://en.wikipedia.org/wiki/1500-1600_in_fashion

http://www.torbandreiner.com/hats_history.htm

http://www.fabulous-hats.eu/hats-renaissance

Millinery Supplies:

Judith M millinery supply house

104 South Detroit Street, LaGrange IN 46761-1806

phone: 260-499-4407 toll free: 877-499-4407

fax: 260-499-3477 email: [email protected]

Need an event where you don’t have to worry about helping to host?

Where you don’t have to pack for camping?

Where you can just sit back and not worry if it’s period or not?

Then remember….

The St. Louis Renaissance Festival

starts September 15th through until October 14th,

on the weekends only

10 a.m.—6 p.m. rain or shine.

Located in Wentzville, Missouri

http://www.stlrenfest.com/ for details & prices.

Guild Halls

Business Meetings Held on the 4th Tuesday of the month at 7:00 p.m. at the

Schnucks in Collinsville, IL at 501 Beltline Rd, Collinsville, IL 62234

Arts & Sciences (classes, free nights, & projects)

Held on the 1st, 2nd, and 3rd Tuesdays of the month

starting around 6-6:30 as folks arrive. At the Marine UCC Church

111 N. Center Street, Marine, IL. 62061

Argent Scriptorium (scribal & Illumination)

TBA

ARMORER’S GUILD/FIGHTER PRACTICE




CRYSTAL ACADEMY—FENCING/RAPIER




CRYSTAL COOKS

TBA

CRYSTAL DANCE TROUPE

Dance practices are sometimes held during the A&S Tuesday times or

on their own on the 1st & 3rd Mondays of the month around 7:00 p.m.

at the LoveJoy United Presbyterian Church, 2550 Rock Hill Rd, Wood River, IL 62095

SHATTERED SOUNDS

Bardic/Music Study on the First A&S Tuesdays of the month

alternating between Story Telling, Songs, and Instrumental.

THREAD THURSDAYS

Held most Thursdays at the home of

Carrys of Caer Rhudd 6 - 9 p.m.

Any textile interest is welcome.

Please contact her regarding directions.

(314) 651-3459

Always check Baronial email, website, or Facebook

page for additions and changes to the schedules.


Baronial and Kingdom events are listed before others, followed by the closest to our Barony. For

events outside of this scope, please see the Midrealm Kingdom Calendar at http://

www.midrealm.org/calendar/ or check the advertisements in your latest kingdom newsletter, The

Pale. For all side “guild” meetings: dance, weaving, etc. Please be sure to check email & facebook

November 1 Thread Thurs-

days 6:00

p.m.Fghtr Prac-

tice 7

2 3 All Souls

Ctn Vanished W

Roselle, IL

4 Marine UCC

Sausage Dinner

11:00 p.m.—

5:30p.m.

5 Dance Practice

7 p.m.

6 A&S, Ar-

mored & Rapier

Practice 6 p.m.

7 8 Thread Thurs-

days 6:00

p.m.Fghtr Prac-

tice 7

9 10 Crystal Ball

HERE!

11 12 13 A&S, Ar-

mored & Rapier

Practice 6 p.m.

14 15 Thread

Thursdays 6:00

p.m.Fghtr Prac-

tice 7

16 17 Fall R.U.M.

Shr Roaring W.

New Haven, MI

18 19 Dance Prac-

tice 7 p.m.

20 A&S, Ar-

mored & Rapier

Practice 7 p.m.

21 22 Thread

Thursdays 6:00

p.m.Fghtr Prac-

tice 7

23 24

25 26 27 Business Mtg

Collinsville, IL

7:00 p.m.

28 29Thread Thurs-

days 6:00

p.m.Fghtr Prac-

tice 7

30

October 1 Dance Practice

7:00 p.m

2 A&S, Ar-

mored & Rapier

Practice 7 p.m.

3 4 Thread Thurs-

days 6:00

p.m.Fghtr Prac-

tice 7

5 6 Foxhunt IV

Ctn Foxvale

Big Rock, IL

7 8 9 A&S, Ar-

mored & Rapier

Practice 7 p.m.

10 11 Thread

Thursdays 6:00

p.m.Fghtr Prac-

tice 7

12 13 Rend@Brige

Riveire Constel

Lincoln City, IN

14 15 Dance Prac-

tice 7:00 p.m

16 A&S, Ar-

mored & Rapier

Practice 6 p.m.

17 18 Thread

Thursdays 6:00

p.m.Fghtr Prac-

tice 7

19 20 Fall Crown

Mch 3 Towers

Ashland, OH

21 2:00 p.m.

Fall Gathering

Moody Park

Fairview Hgts.

22 23 Business Mtg

Collinsville, IL

7:00 p.m.

24 25 Thread

Thursdays 6:00

p.m.Fghtr Prac-

tice 7

26 27 Bard Madnes

Ctn GreyGrgoyl

Midlothian, IL

28 29 30 Special

Crystal Ball

Meeting 7 p.m.

31 Hallowe’en/

Samhain

Camp Dubois’s Fall Rendezvous 27-28

26th is a field Demo at the camp as well

for Roxanna School.

Remember Marine UCC Church’s Sausage Dinner

Sunday, Nov. 4th. If you can help serve or donate cakes

or pies, please help support them.

Clothier’s Guild

Documents

Transcript of Clothier’s Guild