February 2017 Edition

 

From the Baron...

 

Unto the Populace of Selviergard,

We celebrate the reign of Kennric and Dagmar and welcome their successors, Soren and Alienor as the newest Prince and Princess of Oertha! Long live the Prince and Princess of Oertha!

Thank you to the Autocrat and the team for a incredible Winter Coronet. We all witnessed great acts of chivalry and kindness, we beheld artistic endeavors that inspired us, and we saw glimpses of The Dream that encourages us in our day-to-day life—this past Winter Coronet and Investiture will be one to remember.

The calendar continues with many different activities and venues to look forward to as we move into the new and wondrous year. I urge each of you to take the opportunity to take part not only at our own events but to travel abroad to our Cousin’s events as well. Oertha is diverse and there are many different types of events coming up spread throughout this great Principality.

There are many people within this Barony that are doing good works—in service, or in arts, or in fighting. I relish in hearing of these people; of family and friends as they make this barony and Principality a wonder to behold. Take a moment to offer kind words to those working hard in their various paths…a little notice and some kind words go a long way for everybody. Take the time to make award rec-ommendations for those doing great deeds; either for this barony or for the Principality or the Kingdom as a whole. Our people work hard and should be recognized thusly.

In Service,

Halfdan

Baronos of Selviergard and Servant of the Crown


Cooks Corner: A Chaucerian Feast

Remove 1
Oyle Soppes
Breads baked on site, served with butter

Remove 2
Roast fowl
Bread stuffing
Vegetable fryttors
Baked root vegetables

Remove 3
Roast pig
Rysshews of fruyte
Custard of squash

Remove 4
A selection of tarts
Blueberry
Apple
A custard of eggs and cream

 

Oyles Soppes

Original script from A Forme of Curry:
Take a good quantite of onyons, and myce hem, noyt to smale, & seth hem in faire water, And take hem vppe; and then take a good quantite of stale ale, as .iij. galons, And there-to take a pynte of goode oyle that is fraied, and cast the onyons there-to, And lete al boyle togidre a grete bile; and caste there-to Saffron and salt, And pen put brede, in maner of brewes, and cast the licour there-on, and serue hit forth hote.

Gode Cookery Translation:
Take a good quantity of onions, and mince them, not to small & boil them in fair water, And take them up; and then take a good quantity of stale ale, as 3 gallons, And there-to take a pint of good oil that is fried, and cast the onions there-to, And let all boil together a great while; and cast there-to Saffron & salt, And then put bread, in manner of brews, and cast the liquid there-on, and serve it forth hot.

Onions, cut into medium-sized pieces
Ale, flat or stale
Oil
Saffron
Salt
Day-old slices of bread

Notes to the Reviewer/Eater:
When prepared as directed, the soup had a strong and not very pleasant flavor, exactly that of stale beer and onion soup. A modern palate, not being accustomed to this combination, was somewhat affronted by this taste. To make the dish more pleasant, we substituted a vegetable broth for half of the stale ale. No other changes were made. This single change was very palatable, resulting in a pleasant soup and found to be a reasonable substitution by the reviewers, theorizing that a vegetable broth would be commonly found in a period tavern.

 

Home baked breads with butter

Original script from Platina, Book 1:
“…Therefore I recommend to anyone who is a bake that he use flour from wheat mean
I, well ground and then passed through a fine sieve to sift it; then put it in a bread pan with warm water, to which has been added salt, after the manner of the people of Ferrari in Italy. After adding the right amount of leaven, keep it in a damp place if you can and let it rise…The bread should be well baked in an oven, and not on the same day; bread from fresh flour is most nourishing of all, and should be baked slowly.”

Translation:
1 ½ coup sourdough
1 cup whole wheat flour
2 ¼ cup warm water
5 ¾ cup white flour
1 tablespoon salt

Put sourdough in a bowl. Add warm (not hot) water and salt, mix. Add whole wheat flour, then white, 1 or 2 cups at a time, first stirring in with a wooden spoon and then kneading it in. Cover with a wet towel, set aside. Let rise overnight (16-20 hours). Turn out on a floured board, shape into two or three round loaves, working in another ½ cup or so of flour. Let rise again in a warm place for an hour. Bake at 350 about 50 minutes. Makes 2 loaves, ab out 8” across, 3-4” thick about 1 ½ lbs, or three smaller loaves.

Notes to the Reviewer/Eater:
Desiring a variety of breads, we chose to vary the flours and the sweeteners, including rye, whole wheat, bleached wheat (“white”) flours, and honey, semi-refined sugars or molasses. The breads were baked in smaller sized loaves, to encourage diners to try all of the options, and mix/match their choices with the other dishes served in the various feast removes.  The butter selected is salted, to please a modern palate. It contributes to the overall enjoyment of the newly baked bread.

 

Roast Hen

Original script from Libellus Ded Arte Coquinaria:
One should roast a hen and cut it into pieces. Add to some broth lard, a little garlic, salt and egg yolks, and cook the hen in this.

Translation:
4-6 lbs chicken, cut up
1 cup white wine
1 cup chicken broth
1-2 cloves garlic
2 egg yolks

Place chicken pieces in a roasting pan, add wine and chicken broth, and bruised garlic cloves. Bake 1-1 ½ hours at 350. Baste with broth and turn pan in oven. When done, remove pan from oven, and let chicken rest out of pan. Pour separating juices into a sauce pan. Add egg yolks to thicken and serve.

Notes to Reviewer/Eater:
We chose to use Cornish game hens as they provide perfect portions in addition to the authentic feel of a period Chaucerian meal. The sauce was a combination of the ingredients listed above, but made in a sauce pan, and brushed upon the hens both before and after baking.

The bread stuffing served with it is based upon “Apicius de re Coquinaria” by Apicius; it serves to balance the vegetable dishes served with this remove. The stuffing is comprised of bread, broth, spices (salt, sage, pepper, galingale, and garlic) and vegetables (onion, celery). Be-cause not all diners prefer their poultry stuffed, this accompaniment is served on the side, and not in the bird.

 

Frytour of Pasternakes, of skirwites, & of apples

Original script from The Forme of Curry:
Frytour of pasternakes, or skirwittes, & of apples. Take skyrwittes and pasternakes and apples, & perboile hem. Make a batour of flour and ayren; cast thereo ale & yest, safroun & salt. Wete hem in the batour and frye hem in oile or in grece; do perfo almaund myulke & serue it forth.

Translation from Gode Cookery:
Fritter of carrots, of parsnips & of apples. Take parsnips and carrots and apples & parboil them. Make a batter of flour and eggs; cast there-to ale & yeast, saffron & salt. Wet them in the batter and fry them in oil or in grease; do there-to almond milk, & serve it forth.
Parsnips – peeled and cut into finger-food sized pieces
Carots – peeled and cut into finger-food sized pieces
Apples – peeled and cut into finger-food sized pieces
Flour
Eggs – beaten
Ale
Yeast
Saffron
Salt
Oil
Almond milk – for serving

Dissolve yeast in Luke-warm ale; wait about 10 minutes for the yeast to become activated. Make a thick batter of flour and eggs, beast in the yeast/ale mixture, saffron, and salt to taste. Thoroughly coat each piece of fruit or vegetable with the batter, then drop into the hot oil. Cook until lightly brown and crispy. Remove from oil and drain, place in a serving dish. Cover or drizzle with a thick almond milk and serve.

Notes to the Reviewer/Eater:
This was well enjoyed by all testers, and has been created with smaller pieces of produce, as we found they worked nicely together and had complimentary flavors. You will note that quantities were not included, as we added ingredients until we found a happy place with our flour and ale, that worked well in the hot oil and had a pleasant outcome with taste and texture.

 

Roasted Root Vegetables with Basil and Oil

Original recipe from The Goodman of Paris:
Towards All Saints Day, take large turnips and peel them and cut them into four pieces and set them to cook in water; and when they have been cooking for a short while, take them out and put them in cold water to make them tender, and then set them to dr4ain; and take honey and melt it as you did for the nuts, and be careful to cook your turnips too long. At the season of All Saints you shall take as many carrots as you will and scrape them well and cur them into pieces and cook them like the turnips.

Translation:
Turnips-3 pounds
Carrots – 3 pounds
Beets-3 pounds
Onion-1 pound
Honey-1 pound
We added: butter – 1 pound and salt, to taste
Another, similar recipe from Massimo Mantanari: Translation from A Cultural History of Food in the Medieval Age
3 parsnips, peeled
3 carrots, peeled
3 beets, peeled
1-2 small onions, peeled
2 tablespoons oil
½ tablespoon basil
½ teaspoon salt

Clean and chop vegetables into 1-inch chunks. Cover with foil and roast 45-60 minutes.

Notes to the Reviewer/Eater:
Having made this dish several times in the past, the trick was to remember where it was obtained. The Salt and butter contribute greatly to the enjoyment of the roasted root vegetables, and they become less of a sweet and more of a savory accompaniment to meat.

 

Pygge y-farsyd (Stuffed Roast Pig)

Original text from The Forme of Curry:
.xxxiij. Pygge y-farsyd. Take raw Eyroun, & draw hem porw a straynoure; pan grate fayre brede; take Safroun & Salt& pouder of Pepir, & Swet of a schepe, & melle alle to-gederys in a fayre bolle; pen broche pin Pygge; pen farce hym, & sewe pe hole, & lat hym roste; & pan serue forth.

Gode Cookery translation:
Stuffed Pig. Take raw eggs, and pass them through a strainer; then grate good bread; take Saffron & Salt & powder of Pepper, & Suet of a sheep & mix all together in a good bowl; then put the Pig on a spit; then stuff him & sew the hole (shut), & let him roast; & then serve forth.
Eggs, beaten
Bread crumbs, unseasoned
Saffron or a few drops of yellow food coloring
Salt
Pepper, black or white
Suet, preferably from a sheep, but beef suet will work as well, diced or in small pieces
Whole pig, between 20-35 pounds

In a large bowl, combine all ingredients (except the pig). The mixture should be comprised of mostly egg & bread crumbs with some suet added for richness and bulk. The final consistency needs to be a thick malleable mass, the same as any typical bread stuffing is before cook-ing. Place the pig on a spit, stuff with the bread crumb mixture, and sew the opening shut with butcher’s thread. OR: stuff the pig, sew shut the opening, and places on a large roasting pan. Roast the pig until done. Serve forth.

Notes to the Reviewer/Eater:
Being winter in Oertha, we were unable to find any shoats, and so used a 100-pound pig brought from the far edges of the Barony of Winter’s Gate. The cold weather and size of the animal precluded roasting him on a spit, and so this pig was prepared using the oven method, decribed above, with the change of not stuffing him. This change was made to shorten the roasting time for a much larger pig than described in the original recipe, as well as to accommodate known allergies within our group.

 

Rysshews of fruyt (Fruit fritters)

Original script from The Forme of Curry:
190. Rysshews of fruyt. Take fyges and raisouns; pike hem and waisshe hem inwyne. Grynde hem with apples and peeres ypared and ypiked clene. Do thereto gode powdeours and hole spices; make balles thereof, frye in oile, and serue hem forth.

Translation from Gode Cookery:
Rissoules of fruit. Take figs and raisins; pick them and wash them in wine. Grind them with apples and pears pared and picked clean. Do there-to good powders and whole spices; make balls there-of, fye in oil, and serve them forth.
Figs
Raisins
Red wine-slightly sweet
Apples-peeled, cored, and diced
Pears-peeled, cored, and diced
Good powders-use spices appropriate for fruit: sugar, cinnamon, clove, mace, nutmeg, ginger, etc.
Whole spices-this would probably have been such spices as anise, grains of paradise, etc.

Soak the figs and raisins in wine until the fruit begins to plump; remove from wine. Pass the figs, raisins, apples, & pears through a grinder or food processor. In a bowl, combine the fruits and the spices into a thick, malleable mixture; roll this mixture into small balls. Fry the rissoles in the hot oil; remove and drain. Serve it forth!

Notes to the Reviewer/Eater:
The alcohol was kept to a minimum in observation that many of our diners are youth.

 

Gourdes in juice

Original recipe from Platina, De Hoesta Voluptate (this is an English translation):
Cook a gourd in juice or in water with a few little onions and after it is cut up, pass it through a perforated spoon into a kettle in which there is rich juice, a little verjuice and saffron. Take it from the hearth when it has boiled a little. After it has been set aside and cooled a little, put in a little aged cheese ground up and softened with two egg yolks; or keep stirring it with a spoon so that lumps do not spoil it. After you have put it into saucers, sprinkle with spices.
2 butternut squash
2 acorn squash
2 large onions
1 cup rich juice (vegetable broth)
Verjuice: 2 tablespoons vinegar
Saffron
½ cup cheddar cheese
4 egg yolks
Cinnamon

Peel, de-seed and cut up gourds. Peel and coarsely chop onions. Parboil squash and onions until soft. Drain and mash. Dice cheese. Put squash back in pot. Add broth, vinegar, saffron. Heat. Add egg yolks and diced cheese. Sprinkle with cinnamon before serving.

Notes to the Reviewer/Eater:
We followed this recipe exactly, as it was very tasty.

 

Doucettes (Custard Pies or Tarts)

Original recipe from Platina, De Hoesta Voluptate (this is an English translation):
Take crème a gode cupfulle & put it on a straynoure: thane take yolks of Eyroun & put there-to & a lytel mylke; then strayne it thorw a stray-noure in-to a bolle then take sugre y-now & put there-to, or ellys hony forde faute of sugre than coloure it with safroun; than take thin cofyns & put in the ovynne lere & lat hjem ben hardyd; then take a dysshe y-fastenyd on the pelys ende; & pore think comade in-to the dysshe & fro the dysshe in-to the cofyns & when they dona ryse wel, take hem out & seue hem forth.

Translation:
Take cream a good cupful, and put it in a strainer; then take yolks of eggs and put thereto and a little milk, then strain it through a strainer into a bowl, then take sugar enough and put thereto or else honey for default of sugar then color it with saffron; then take thin coffins (pie shells) and put in the oven empty and let them be hardened then take a dish fastened on the peels end and pour thin comade into the dish and from the dish into the coffins and when they do rise well take them out and serve them forth.
1 cup cream
6 egg yolks, beaten
3 tablespoons honey
1 pinch saffron
1 8-inch pie shell

Bake pie shell for 10 minutes at 400. Remove pie shell, lower heat to 325. Beat all remaining ingredients together. Pour into pie shell. Bake for 45 minutes or until a toothpick inserted into the center comes out clean.

Notes to the Reviewer/Eater:
We chose to use small pie shells (tart shells) to create individual servings.

 

Bibliography

*  Apicius, Libellus Ded Arte Coquinaria.
*  Matterer, James L. A Boke of Gode Cookery, 2000.
*  Montanari, Massimo, ed., A Cultural History of Food in the Medieval Age. Berg Publishing, London, UK. 2012
*  Power, Eileen; The Goodman of Paris (Le Menagier de Paris) c. 1393. Boydell Press, England.
*  Author Unknown, The Forme of Cury, 1390. Richard II of

 

A Chaucerian Feast held at the Principality of Oertha's Winter Coronet and Investiture.  Photograph by Yamano Yuki.  December 21, 2017

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In Period: Special Effects in History

I have found myself branching into unknown territory in researching the use of mechanical devices as used in theatrical produc-tions. I have been asked to support the Winter Coronet Autocrat in bringing his vision of the event to life. No small task, but the more we spoke about his goals and visons of grandeur, I could not help but get pulled into his dream and my brain began to wrestle with how to make this become a reality. Building things is my hobby, but until now they were everyday items like furniture, drinking horns and bone objects, theatrical devices were outside my area of knowledge.

Thus began my research into period me-chanical devices and special effects used in period. This has been very eye opening, our far back ancestors were just as much into special effects as we are, instead of our modern electronics and computers that create the vision we want, they had to use hand powered and water powered mechanical devices to create a dazzling array of visions to satisfy the ruling class of the day. I have found references going back to the 15th century BCE in Egypt.

15th century BC

Amenhotep son of Hapu had made a statue of Memnon, King of Ethiopia, near Thebes in Egypt, which uttered a melodious sound when struck by the sun’s rays in the morning and during sunset. It was suggested that a divine power was partly responsible as the mechanisms were far too simple to sustain the noise.

9th century BC

An unknown designer constructed an elaborate construct for the King of Babylon, he constructed a throne at the top of a long staircase, lining the path were a series of mechanical lions, as the King stepped on the first step each lion bowed to him and ex-tended its paw as a step so he could walk up to the throne at the top.

Theatrical machinery has been in use since at least the 5th century BC, when the Greeks developed deus ex machina, by which an actor could be lowered to the stage. During the Hellenistic period, the Greeks also used movable scenery, mounted on wheels or on revolving prisms called periaktoi (periaktos).

In the 3rd Century BC, Heron of Alexandria made a machine that produced thunder.  Used in a theater to announce the entrances and exits of the gods. Pulling the lever opens a trap door which allows numerous brass balls to cascade down a series of shelves and onto a tin sheet. Heron's thunder-making machine resonated with deep bass tones when the balls were released. Heron is credited with inventing many machines for entertainment, several used water pres-sure to operate mechanical components including an organ. He was also the first to invent complex automated sequencing controls to operate multiple machines.

400 BC

Archytas of Tarentum made a wooden pigeon suspended from the end of a pivot which was rotated by a jet of water or steam. The pigeon simulated flight. Archytas is the alleged inventor of the screw and the pulley. Again given his abilities it seems likely that he did invent a mechanical pigeon.

The need for artificial lighting came during the period of 1200 to 1400, when for the first time performances were given after sunset. The early light sources began with iron baskets full of pine knots and pitch to cast light upon the stage, they then added can-delabras above the stage. By the 15th century small towers were constructed on each side of the stage to light up the actors with a more indirect light. The origins of colored stage lighting is traced back to an Italian stage worker, in 1551 he placed bottles filled with colored liquid of red and blue and added a reflective mirror behind them to intensify the candle flame and project the colored lights onto the stage.

15-18th Century

Although there had a been a steady trickle of automata being produced from ancient times until the 15th century it is not until the 1400 hundreds that we see some truly remarkable and substantiated automata being produced.

1436-76 Johannes Muller was reputed to have made an artificial eagle. It flew to greet the Emperor Maximillian on his entry into Nurem-berg in 1470, when still some distance from the city, then returned to perch on top of a city gate and saluted the emperor on his arrival, by stretching its wings and bowing.

1452-1519 Leonardo da Vinci made a lion in honor of King Louis XII. It advanced towards him, stopped, opened its chest with a claw and pointed to the fleur-de-lis coat of arms of France. It is possible that Leonardo may have made other automata but records are very sketchy.

1500-85 Gianello della tour of Cremona to alleviate the boredom of the emperor Charles the V, Della Tour made several automata. The most notable one was a lute player that walked either in a straight line or a circle, while plucking the strings and turning her head from side to side. He also made mechanical figures of flying birds and articulated soldiers who blew trumpets, beat drums and fought on the table top.

I have discovered that the use of mechanical devices in theatrical works was often a closely guarded secret by the builders, many of the machines being used were one of a kind objects built for a specific application. During the Renaissance the average person had the opportunity to go to a theater and see the latest plays. This movement brought about the modern concept of the arts. There were set designers who painted the backdrops and furniture builders and masons who created the props, one of those behind the scenes craftsman were mechanical engineers who worked with the writers and production staff to help bring complex scenes to life by creating special effects. The use of sound and light to produce effects have been used since at least the 15th century BCE, from simple torches lighting the thrones to mirrors that create a dazzling light, special effects have added to our history of theater.

This brings me to my task of creating a special ambiance for winter coronet. The task is to create or Recreate the Northern Lights inside the hall above the thrones and dance floor. Using 100% period devices will be problematic due to the modern hall we will be using. So some mod-ern elements will be used namely electric light sources. As part of the design plan I will be making a scale model of the period device in a model theater and placing it on display for all to see with design documentation and an explanation of what is different between the model and the actual devices used.

 

The Use of Mechanical devices in Theater and Ceremonies

Stage machinery, devices designed for the production of theatrical effects, such as rapid scene changes, light-ing, sound effects, and illusions of the supernatural or magical.

Theatrical machinery has been in use since at least the 5th century BC, when the Greeks developed deus ex machina, by which an actor could be lowered to the stage. During the Hellenistic period, the Greeks also used movable scenery, mounted on wheels or on revolving prisms called periaktoi (periaktos).

Periaktos on Stage

Detail of Periaktos

The Romans elaborated on these devices, adding traps and underground pumping systems so that their outdoor theatres could be flooded for aquatic shows. The mystery plays of the Middle Ages also used stage machinery, including a trapdoor, or a hellmouth, for the emergence of devils and flying machines for angels. But the art did not reach its zenith until the Italian Renaissance.

Early Paradiso System, 2nd century AD

In the late 14th century Italian artists, architects, and engineers began to design elaborate machinery for spectacles pro-duced in the churches on holy days. One such device was the Paradiso, a system of ropes and pulleys by which a whole chorus of angels was made to descend, singing, from a heaven of cotton clouds. Greek and Roman stage machinery was rediscovered, and Bastiano de Sangallo developed new variations on the ancient method of using periaktoi for quick changes of scenery. Italian stage machinery eventually became so elaborate that it was necessary to introduce a highly decorated proscenium arch to hide it. The early Italian operas were famous for their special effects: ocean waves were simulated on stage by painted spiral columns, laid across the stage in diminishing perspective and slowly turned; mock sea monsters and other fabulous creatures were operated by teams of men inside them; deities mounted on clouds flew on complicated systems of wires; and portions of the theatres could even be flooded for water spectacles.

16th century Italian Stage Surround

Colored Light Projector late 16th century

In the 17th century the English masque designer Inigo Jones and Giacomo Torelli, one of the greatest Italian stage engi-neers, invented many important pieces of stage equipment, some of which are in use today. The most famous was a system for moving the wings at either side of the stage, thus making it possible to change scenery almost instantane-ously. This entailed the use of pulleys to raise and lower the premade backdrops for each scene of a play. This is still in widespread use on stages today.

Italian Theater

The tradition of mechanical spectacle on stage was carried on into the 18th century by court theatres and by the Jesuit college theatre, but there was little new development. When lighting methods improved enormously in the 19th century, with such inventions as the limelight, it became possible to spotlight the actors and to create special effects such as sunlight and moonlight. Magical illusions were also developed to a high art on the 19th-century English stage, which produced great refinements in the use of trapdoors and mirror devices for the simulation of ghosts and apparitions. In general, the “picture frame” stage of the later 19th century allowed the refinement of extraordinarily vivid spectacles, re-alistic and otherwise, by the use of treadmills, moving panoramas, and other stage machinery.

In the early 20th century, particularly in Germany, much use was made of revolving turntables and hydraulically elevat-ed stages, on which complex scenes could be preset and then brought into view when needed, but such machinery was generally found to be too elaborate and expensive. The trend toward increasing intimacy between the actor and his audience led in the second half of the 20th century to the return of open stages and theatre-in-the-round, which require little scenery or stage machinery of any kind.

Making Thunder

Heron of Alexandria made a machine that produced thunder. Used in a theater to announce the entrances and exits of the gods. Pulling the lever opens a trap door which allows numerous brass balls to cascade down a series of shelves and onto a tin sheet. Heron's thunder-making machine resonated with deep bass tones when the balls were released.

Heron's Device for "Sound of Thunder"

Another development from the 14th century used reflected light to create visual effects on a backdrop behind the actors. One of these ma-chines simulated waves on the water. This device used a long trough of water with a mirror set in it at an angle, a shielded light was placed in front of the trough and was then reflected off the water and mirror, a small crew would move the trough back and forth to make waves that were then projected onto the backdrop to create the illusion of waves on the ocean.

Water Reflection Device

Another lighting device being used created colored shifting lights like the Aroura Borealis, This device used a wooden or metal box with a lamp inside, it then had a round lens of multi-color glass mounted on a hand crank. The light would shine through the colored glass and project onto the backdrop of the stage to create a visual effect.

Aroura Borealis projector

Aroura Borealis projector

Modern device

Visual Effects

A modern version of the projector, this still uses light, colored glass and a rotating system (Electric Motor) to create the lighting effects for producing the Aroura Borealis.

In Conclusion

The effects generated for Winter Coronet 2017 will use modern electric lighting, this is being done due to the limited space available to set up the desired effects. Additionally in order to project the desired effects with candles, 6-8 machines would need to be utilized each with a person manning it to turn the cranks to make the light patterns change, there would also be the added fire danger to a modern building. The model I have created, based on written descriptions shows how these effects were done in period and what went into the building of the devices used before electric lighting was invented.

References

*  Wilson, Edwin, and Alvin Goldfarb. Living Theatre, History of Theatre. 6. New York: McGraw Hill, 2012. 149-151. Print.
*  Heron of Alexandria, 3rd century BC
*  The Forgotten Revolution: How Science was born in 300 BC and Why It Had to Be Reborn, Russo Lucio, Levy Silvio (translator), Spring-er, 2004, IX, 487 p., ISBN: 3-540-20068-1
*  Technical works by Heron of Alexandria, Aristides Quintilianus and Johannes Pediasimos, with diagrams, later 16th century. Oxford Uni-versity
*  The History of Stage and Theater Lighting, The Edison Electric Illuminating Company 1929,

 

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Oerthan Arts and Sciences Championship Schedule

March Madness ( 3/?/2017)
Open topic (Research Paper)

Spring Captaincy ( 5/?/2017)
Bone, Antler, or wooden combs (Technological)

 

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Winter Coronet Thank You

I would like to take a moment to personally thank a few key people who helped make Coronet Feast a HUGE success:

Faunus d ’Arden—visionary and autocrat; your ideas were pure GOLD!!
Fergus MacThomais-creator of wondrous things and wizard of making magic happen!
Jon the Cook-chef and autocrat’s ROCK!
Amie, Mia, Remington and Archer Bowles-NEWCOMER ALL STARS—you are AMAZING!
Carmella Doney-your energy was an inspiration!
Fearghus of Ynis Taltraith-chef and head cook’s treasure!
Rosalinda Lopez-server and cheerleader, head hugger-in-charge!
...not to be overlooked, our wonderful, last-minute, Chivalric Cooking Champions: Sir Cyrus Aurelius, Sir Duncan ap Llywellyn and Fellbjorn Gunnarsson.  You gentlemen embody all that is good (and funny!) and it was a pleasure having you in the kitchen!!

It was our intent to show that period food can be both historically accurate and tasty. Thank you to everyone who shared the vision and made it happen. Please enjoy the reci-pes found here, they will be the first installment of a new monthly column, sharing the joy of tasty period fare.

I hope everyone enjoyed feast and helping us all remember why we still do that up here in Oertha—because sharing food and fellowship meets a very basic need! Warm hearts and full bellies make the world a better place.

With my utmost gratitude,
Margarita (still-tired Head Cook)

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Baronial Business

Long Live the Prince and Princess of Oertha!

The Barony of Selviergard celebrates and welcomes Søren and Alienor; our new Prince and Princess of Oertha! Long live the Prince and Princess of Oertha!

Halfdan, Baron of Selviergard

 

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