Alias Ela

Pearl

Design by Hláford Bran Mydwynter

27 March A.S. LV at Defending the Gate and Baronial Investiture in Our Barony of Stierbach in the Canton of Sudentorre

This was the most fun collaboration I've ever taken part in to date. The talented designer Bran Mydwynter and wordifier Ollam Lanea verch Kerrigan are both spectacular partners in shenanigans. 10/10 would do again. I was just the scribal robot.

Design

Bran Mydwynter

Calligraphy & Illumination

K ValravnRoxbury MillAtlantia

Text

"She is the voice on the wind--the verse--The scop whose lyre calls us to the hearth,Her stanzas shaping the land. Melody’s lift and rhythm’s drop she marks. Call her untangler of tongues, Wrangler of sheep,Spinner of yarns and tales,Weaver of cloth and truth,Embroiderer of silk and story--Lore-thane.Who is the scholar at the slate?The poet with her pen?The dyer at her vats? Students aid and drummer’s muse? What more loyal friend to Caedmon and Gawain?What kinder ally to the wolf and mare? Who better to be draped in Pearls?
Ealawynn Maeru, bard and artist, called Ela by her friends,We recognize as a Companion of the Order of the Pearl, And grant her arms so blazoned: Vert, a horse passant contourny Or between three lozenges argent.Done by Anton Rex and Luned Regina From Stierbach’s Walls where gates remain secureThis 27th of March, Anno Societatis LV."
Ollam Lanea verch KerriganRoxbury MillAtlantia

Materials

Parchment - Gift of Ollamh Ruaidhri an CuKuretake gold mica inkKuretake silver mica inkIron Gall Ink by Greenman Calligraphy and Supply - Batch 20210108 - Most of the outlinesYasutomo Sumi Ink - Spirals and ink on goldNoodler's Red Ink - Mixed for right page groundNoodler's Violet Ink - Mixed for right page groundWinsor & Newton GouacheNikko G Nib - Calligraphy (Brause nib would NOT let go of the ink)Nikko mapping nib

Substrate Size

2 x 10" x 12.5"

Completion Date

March 2021

Script

Artificial Uncial, Insular Majuscule

Source

Codex Aureus Around 750 C.E.http://libris.kb.se/bib/17848380 https://www.wdl.org/en/item/17185/
Codex AureusCodex Aureus is one of the most opulent of all surviving English medieval manuscripts. It was produced around the year 750 in the south of England, probably at Canterbury. The manuscript was written on alternate purple and uncolored leaves in uncial script in black, red, white, gold, and silver inks. Two of the four full-page portraits of the Evangelists have survived, made in Anglo-Saxon style with strong Byzantine and Italian elements. The uncial script, arranged on certain pages in patterns known as carmina figurata (figure poems), the miniatures of the Evangelists, and the use of purple parchment all emulate the splendor of imperial manuscripts from late antiquity. Three of the leaves are mutilated; half or the major part of each has been cut away, but without any missing text. The manuscript originally had at least a further five, and probably more, leaves. One endleaf is at the front, added perhaps after medieval times; the back endleaf is missing. According to an Anglo-Saxon inscription from the ninth century, the Codex Aureus was carried off by Vikings during a raid, but about a century later it was restored to Christ Church Cathedral in Canterbury. It is presumed that the codex subsequently remained at Canterbury Cathedral throughout the Middle Ages. Its postmedieval history is unknown until almost the end of the 17th century, when Johan Gabriel Sparwenfeld (1655‒1727), Swedish envoy and distinguished linguist and philologist, bought the manuscript in Madrid in 1690 from the famous library of Gaspar de Haro, seventh Marqués del Carpio (1629‒87). Sparwenfeld donated the Codex Aureus to the Royal Library (National Library of Sweden) in 1705.

Progress