Cooking Classes at Lilies by Mistress Giraude and Master Tosten

From Mèstra Giraude Benet:


Küche mit Kachelofen, aus: Kuchenmaistrey, erstmals erschienen 1485 bei Peter Wagner. V

I’d like to share some info about the cooking classes that Master Tosten will be teaching at Lilies this year. They are under my name in the site book, but while I will be helping, he is the main instructor! You can sign up in advance to reserve a spot, which will help him know how much supplies to bring in. Both classes will be held at my cooking table setup across from The Harp!

Cooking in Clay – Baked Apples
Mèstra Giraude Benet
Private Encampment
Sunday, June 9 – 1:00 pm for 1 hour
Audience: Adults Skill Level: Beginner
Age Limit: 8 Fee: $30 (Fee includes a clay pipkin to keep) Max Size: None

Class Description: With Master Tosten du Calais. Explore the process of cooking in clay in the fire. Participate in the history of cooking, and go home with yummy yummy baked apples and your own pipkin. Cut up the fruit, season, and cook to perfection. Class is open to student 8 and above, with parental attendance in the class as well. You may sign up and pre-pay in advance at Tosten’s Pots

Cooking in Clay – Main Dish
Mèstra Giraude Benet
Private Encampment
Sunday, June 9 – 9:00 am for 2 hours
Audience: All Skill Level: Beginner
Age Limit: 8 Fee: $40 (Fee includes a small cooking pot to keep) Max Size: None

Class Description: With Master Tosten du Calais. Explore the process of cooking in clay in the fire. Participate in the history of cooking and go home with hearty main dish and a small cooking pot. Using period ingredients, create a unique combination for you and to share. Simmer your meal in the coals. And share with others, your interest in cooking and period life. You can sign up in advance on Facebook at Tosten’s Pots.  Anyone who might be interested in signing up for the class but who is not on Facebook can email Master Tosten at Dougv@gryph.com , and he will send a PayPal invoice.

Review: The Knowne World Bardcast Features the Music of Calontir

 

Unknown Artist. Minstrels with a Rebec & a Lute.
13th c. Manasseh Codex. El Escorial, Madrid. Public domain in the US

The Knowne World Bardcast is a podcast of bardic performances from across the Society. The typical format is familiar to listeners of radio and podcasts for generation; a playlist of recordings gathered from bards who have recorded their songs and made them available. The production levels of the recordings are spotty, of course, but Lord Gideon ap Stephen does a good job of editing the program and making it interesting. It is a pleasant way to be introduced to the music of other kingdoms, and a good way to pass the time on road trips to foreign wars. Please consider subscribing on your favorite podcatcher.

Lord Gideon is on a quest to publish episodes that showcase each particular Kingdom. His goal is to have episodes for all 20 Kingdoms, and he has done several of them so far. At the time of this article, he had recently posted an episode for Calontir and, for the first time, had to split the episode into two parts.

The Calontir Episode, Part One:  In the Key of Army

“Part One: In the Key of Army” is a documentary-style episode recorded at Gulf Wars. Gideon recorded Calontir singing as a kingdom at the Calontir Party. Standards such as the Battle of Maldon, Benevento, In Praise of a New Knighthood, and many other Calon favorites. Will make any Calontiri heart skip a beat, and long to join the chorus at the earliest opportunity.

The Calontir Episode, Part Two:  The Heart, The Land

This is a more typical episode of The Knowne World Bardcast. After being impressed by Calontir’s group singing, Gideon received messages reminding him that Calontir has its own share of solo bards, songwriters, poets and performers. The call went out and many answered and  “Part Two:  The Heart, The Land” was born. From across time and space, recordings of Calontir bards were gathered and assembled into a playlist:

Lord Gideon’s “The Knowne World Bardcast” is a great addition to the wealth of SCA culture, and this close look at Calontir’s culture of song is most welcome. We will be adding KWB to our SCA Links page under “Arts and Culture”

Where the Falcon Soars Above the Heartland

Tacuina sanitatis 14th C. Public domain in the US

At Gulf Wars XXVIII Lady Elaisse de Garrigues won the A&S Champions Battle, with a project titled “Where the Falcon Soars Above the Heartland:  Musical Compositions Exploring the Development of Polyphonic Organum”

Here are the documentation and accompanying recordings for that winning entry:

 

Ninth Century Parallel Organum:

 

Eleventh Century Free Organum:

 

Twelfth Century Florid Organum:

 

Organum Triplum:

 

 

 

 

 

 

 

800 Medieval Manuscripts

A few months ago the British Library and the Bibliothèque nationale de France made 800 Medieval manuscripts available online. These manuscripts are from the period 700 CE to 1200 CE.

The Bibliothèque nationale de France’s trilingual website allows users to search manuscripts in English, French and Italian.

The British Library website presents a curated selection of these manuscripts.

 

Bibliothèque nationale de France:

https://manuscrits-france-angleterre.org/polonsky/en

 

British Library:

https://www.bl.uk/medieval-english-french-manuscripts?_ga=2.30759167.1156243152.1542793825-416360822.1467021830

Select Videos of Performances at Queen’s Prize 2019

Videos courtesy of Mathurin Kebusso

(Apologies to Elaisse de Garrigues; the video of your performance was lost)

These are clips of the complete performances.

Da’ud ibn al-Kabsh al-Garnati al- Mai’ez, called Maaz, “A hakawati style reading of stories and histories of Abd al-Rahman I”

 

 

 

Melanie de la Tour, “Musical Performance (voice and mandolin) of a John Dowland song, Awake Sweet Love

 

 

 

Pádraigín an Ein i gh, “The Foulest Place of Mine Arse is Fairer Than Thine Face: Them’s Fighting Words, A Demonstration in Taboo Language”

PARENTAL WARNING:  This video contains adult language and themes. 

 

 

 

 

 

Scandinavian Time Measurement During the Viking Era

The Scandinavians lived in and colonized places so far north that the time measuring conventions of continental Europe were inadequate. Not only were the days of winter so much shorter than they were further south, the sun barely rose above the horizon, with a track that arched only slightly higher at noon than it did during the rest of the day.

In the rest of Europe, the day was divided into 12 hours of daylight and 12 hours of nighttime. The length of these “hours” varied depending on the time of year. Only on the equinoxes was an hour of daylight 60 minutes long. In other words, on the summer solstice, in Rome an hour of daylight was 76 minutes long using our modern measurements, and an hour of nighttime was 44 minutes long.

The further north you travel, the longer each hour of daylight becomes. By dividing the hours of daylight into 12 unequal hours, on the summer solstice you end up with a ratio 80 minutes per hour of daylight to 40 minutes per hour of nighttime in Paris, 85 minutes of daylight to 35 minutes of nighttime in northern Germany, 90 minutes of daylight to 30 minutes of nighttime in Stockholm, and 105 minutes of daylight to 15 minutes of nighttime in Reykjavik, Iceland. The reverse was true in the winter, when a daytime hour would measure 30 minutes long in Stockholm and only 15 minutes long in Reykjavik. Clearly the 12-hour convention of southern Europe works poorly in lands nearing the Arctic Circle.

Instead the Scandinavians divided the day into eight equal parts. In the winter the sun would still be below the horizon for much of the day, but “daymarks” (dagmarks) could be measured even during the shortest days of the year. That’s because daymarks relied on the direction of the sun. The Scandinavian system divided the horizon into eight sections by direction (north, northeast, east, southeast, south, southwest, west and northwest).

Of course the most important daymark each day was noon, when the sun was at its zenith. Known as “Highday” or “Midday” (hádegi or middag), it was the mid-point in the sun’s path across the sky. Unlike the geographic locations of sunrise and sunset, which moved significantly during the year, at midday the sun was in the same place every day.

Equinoctal View of the South Horizon from a Scandinavian Farm

Most Scandinavians used a landmark to identify midday, or highday. There are numerous mountains in Norway named Middagsfjället, Middagshorn and Middagsberg, for example, and in Iceland, Hádegisbrekkur (for highday). Other geographic features used to mark midday were mountain passes, bridges, and fields.

Opposite midday was midnight (miðnætti). In latitudes approaching the Arctic Circle it is easy to establish a landmark for midnight by watching the horizon during June. Although the sun has set before midnight, it is so close to the horizon that the twilight is often bright enough to note where the sun is beneath the horizon. When the sun reaches its lowest point, it is midnight. And of course, at midnight the sun is due north, just as it is due South at noon.

Summer View of the North Horizon from a Scandinavian Farm

Half-way between midnight and midday was mid-morning or rise-measure. This is when the sun is due east. On the equinoxes the sun would rise at this point on the horizon. During the summer the sun would rise long before the nighttime sleep period was over, and during the winter people would wake up long before the sun rose. The sun would rise closer to the midnight marker in the summer and closer to the midday marker in the winter, but the geographic marker for mid-morning would be some feature due east, such as a tree, a valley or another mountain peak. Likewise the point half-way between noon and midnight, mid-evening, was located due west.

Winter View of the South Horizon from a Scandinavian Farm

In between these four cardinal points of the compass were four more geographic markers for times of the day. Between midnight and mid-morning was ótta, roughly 3 am, and between mid-morning and midday was day-measure, about 9 am. After noon was undorn, about 3 pm. And at about 9 pm is night-measure. In all eight directions are used to tell the time, a system that makes sense when the sun is in the sky for wildly different amounts of time during the year. The system uses the location of the sun, whether the sun can be seen above the horizon or not, to tell time.

Summer View of the South Horizon from a Scandinavian Farm

In Anglo-Saxon England during the Viking era, they used a system similar to that of the Scandinavians in that there were eight “tides” to the day. But contact with the Roman Catholic Church and European culture in general led to differences between the English tides and the Scandinavian átts. The English tides don’t seem to be tied to a geographic direction the way the Scandinavian time-telling system was.

For more information on this topic, check out the web page “Telling Time Without a Clock: Scandinavian Daymarks” written for teachers by staffers at the Harvard-Smithsonian Center for Astrophysics. The page is at http://hea-www.harvard.edu/ECT/Daymarks/#3back. Another good online source is “Time and Travel in Old Norse Society,” a paper published by Thorsteinn Vilhjalmsson of the Science Institute, University of Iceland.