Baronial Emerald for Pan Mikulaj von Meissen

I was honored to be asked to make the Emerald for a friend of mine, Mikulaj. The Emerald is an Order in the Barony of Concordia of the Snows that is given for a well done creation of persona. Mikulaj and I have talked over the years and he does an incredible Polish persona and is wonderfully knowledgeable in the subject. So when I was asked to make his scroll, I started by searching for Polish documents to inspire me.

I wanted the words to be the more important part of the scroll, and found a few that were documents from royalty giving out land or titles. This worked well for me. So I scoured the words and eventually rearranged and translated and worked out something to read as follows:

"For the eternal memory of things, because human actions are so worthy of memory, this letter will be handled as memory.

Pan Mikulaj von Meissen, who was to us and our predecessors, valuable through due merit, faith and duty, saw the more he tried he did stand out.

That is why we Jean Paul, Baron of Concordia of the Snows, and Lylie, Baroness, hereby declare that for whom this letter is intended, we offer respect for the obedience and famous merit.

Considering that his duties both publicly and privately met weights, his wants to make himself more inclined and willing to Our Barony and Our Kingdom for knowledge and desire of Polish custom was pleasing.

By needs and measures established, as well as duties and burdens of Poland, under which the customs are obliged after all the good this man has maintained, We do this.

Thanks to Our existing Emeralds, unto this Order which is appropriate to the circumstances, with all the same goods and income, all for ever joining, assign and take on the Emerald.

A testimony to our signature is affixed to the document. Make things happen in the Barony of Concordia of the Snows at the meeting of Ceilidh on Saturday, the eve of the 12th in the year of Our Society LI (51), in the presence of many dignitaries, officials, courtiers, and subjects who are dear to us."

I was quite happy with the results and decided, in the end, that the document that inspired the words should also inspire the finished product. So here is a link to the document I had chosen, a Polish document from 1548:

http://tnn.pl/mapy/lublinwdokumencie1548/

And here is my finished product. I kept the pencil lines in this time since they were also very apparent on the original scroll. I was trying to keep it as true to form as I was able with the skills and supplies I have for use.

Sumi ink and gauche paint on parchment.

Compleat Anachronist Cover

I was approached, some time ago, to work on a cover for The Compleat Anachronist by good friend and Capicomico Sophia the Orange.

Of course, if you know Sophie, the focus of her article for CA was Commedia. But not just commedia, but how to work commedia for the modern audience. So not only did I get a sneak peak at what she wrote, but I was asked to make an inspired piece for the cover.

The first thing I did was take into consideration all the magnificent classes that both she and her husband have taught about how to bring commedia to the people. Everything from writing scenari to how to create a stage and lighting when you have nothing.

I then searched for a period illumination that I could work from. In this case, I chose a Flemish painting depicted the Commedia dell'arte troupe Gelosi and Isabella Andreini.

With this in mind, I then decided that I would make the picture a little taller so that I could add Magus's idea of stage lights at the bottom, and to show the make of the curtain at the top being held on a rope. The next part was to place people in the roles of the characters, and at Sophie's request, the capicomico of various troupes took the roles.

As for the manner of drawing style, since the CA is done in black and white, I figured if I drew it to look as if it were a block print, it would look much sharper than if I did painting or shading. So I studied a few block prints of the time period and went to work.

The characters, from left to right, are as follows: Avalina from Vagando Stolti, Abigail from i Scandali, Virginio from i Genisii, Rhonwhen from i Sebastiani, Sophia the Orange from i Firenzi, Katrusha from Le Mezze Lune, Anton from iSebastiani, and Niccolo from i Verdi Confusi.

If you want to know what all the fuss is about, stay tuned for the upcoming issue of the Compleat Anachronist! There is some exciting stuff that awaits within!

Lady Elewys's Ram's Horn, Baronial award for Concordia of the Snows

The words were based off of Sun Tzu's The Art of War:

"In the valor of our warriors, we hear the echo of the wisdom of Sun Tzu.

Defense is a matter of vital importance to the Barony of Concordia of the Snows, for it is the forum of our life or death - the road to our survival or ruin. The resources of those skilled in extraordinary defense are as infinite as the heavens and earth, as inexhaustible as the flow of the great rivers, for their mighty battle motions are cyclical, recommencing as they end, as the movements of the sun and moon.

The musical notes are only five in number but their melodies are so numerous that one cannot hear them all. The primary colors are only five in number but their admixtures are so infinite that one cannot see them all. In defense there are only the normal and the extraordinary forces, but their combinations are limitless, that none can comprehend them all. Lady Elewys of Anglespur sees that these two forces are mutually reinforcing. She knows that their interaction is as endless as the binding of interlocked rings.

When torrential water tosses boulders, it is because of its momentum. When the strike of a hawk breaks the body of its prey, it is because of timing. Thus the momentum of Lady Elewys, as one skilled in the art of defense, is overwhelming, and her attack is precisely regulated. Wise commanders pursue victory through thoughtful selection of their warriors. Thus do We, Jean Paul and Lylie, Baron and Baroness, call this warrior to Our Order of the Ram's Horn, so that one so valiant shall not strive alone, but march in brave company."

I was super stoked about this scroll because, hurray! I could finally use my craft of paper cutting! China had been doing paper cutting since 5 BC at the very least and this woman has a Ming Dynasty persona! So I did my research of paper cutting during the Ming Dynasty. They used everything from brands to pottery designs. So I made a design using paintings and pottery designs and am quite pleased with how it came out. For the calligraphy, I studied a bunch of Chinese symbols and eventually created a flowed hand with brush that were similar to Chinese stylings, but were all our typical ABC alphabet.

Lady Anne's Ram's Horn, Baronial scroll for Concordia of the Snows

The words are based on George Silver's Paradoxes of Defence, from 1598.

"To the noble, victorious, valiant, and most brave Barony of Concordia do We, Jean Paul and Lylie, Baron and Baroness, send greetings.

The noble science of fencing defends the body from wounds and slaughter.
And moreover,the exercising of weapons puts away aches, griefs, and diseases, it increases strength, and sharpens the wits.
It gives a perfect judgement, it expels melancholy, choleric and evil conceits, it keeps a woman in breath, perfect health, and long life.
It puts her out of fear, & in the wars and places of most danger, it makes her bold, hardy and valiant.

Anne De Basillion embodies this knowledge.
Her passions for the art of defence knows no bounds.

We saw her put to trial in proof:
Three bouts apiece with three of the best fencers & three bouts apiece with three unskillful valiant men, and three bouts apiece with three resolute men half drunk.
She did defend herself against these men, and hurt, and won the iron ring of the East.
She is to be honored, cherished, and awarded Our Ram's Horn.

Done this day by Our hand in May of ASLI at Our Wars of the Roses."

The illumination is based on the Ovid, translated by Octavien de St-Gelais in France in the last part of the 15th Century.

Skarphedinn's AoA

Words by Magnus hvmalgi:

"At the Flower-Clash, Skarphedinn inn havi was called before Kenric the king and Avelina the queen. A skald was called to speak on the man's deeds. This is what was said.

Iron-tower

of terrible power

crushes our foes,

his fearsome blows

breaking their ranks,

reddening the banks

of Gjöll - the raven

glutton-haven.

Thunder roars
rankle the boars

to run - a dog

drives through the fog

and the corpse-mud -

cowering from flood,

their hides bear brunt

of Har of the hunt.

Stalwart skilled Skarphedin
stands proud, and skull-laden

This beast of might,

bearing the light

touch of service,

settles the nervous

with gilded voice,

grasping the choice

of peace when force

the plainer recourse.

The wisdom of old -

the ancient gold

breaker's advice -

to bear as ice

the weight of the world

with words furled -

feeds the rowan

a feast to grow in.

Stalwart skilled Skarphedin

stands humble, grace-laden

These things opposed -

proud-strong battle-oak

by fire disposed

to fulsome smoke -

speak of a man

of spear-knowledge

and knowledge-span

like spear-hall edge.

Praise-fit the ash

of ancient roots

that stands in boots

of Bragi and clash

of wounding-poles,

with winding trunk

that battled and sunk

the bravest of souls.

Stalwart skilled Skarphedin

stands - worthy of honor laden

Then all were called to remember the deeds of Skarphedinn and give him his due honor. It was the Time of Remembrance, fifty-one years after the Settling."

The illumination was inspired by the Book of Kells and the Lindisfarne documents. The calligraphy was inspired by the Norse runes, created specifically for this scroll.

I worked the entire thing on a piece of goat skin ... parchment? Vellum? Whatever it is, I was worried I couldn't tame it. The thing was frustrating. Trying to flatten it produced weird wrinkles. Writing on it caused it sometimes to work beautiful and sometimes to bubble as if oil was on the skin. But I didn't give up! Why? Because Skarphedinn is an inspiration and he would be proud and overjoyed to know I wouldn't let this scroll best me! And honestly, I'm quite pleased with the result.

AoA for Léana Doucet

I admit, I don't know everyone. I just don't. So it is no wonder when this scroll assignment came across my desk that I said 'yes, but I don't know who that is!' Thankfully, the description of -why- she was getting the word was so brilliantly inspirational (as they all are, gosh darn it!) and so I knew this was a scroll I wanted to do.

...but I didn't think I had all the time I wanted for the wordsmithing. So I contacted the person who put in the request and words were eventually given to me. In French. Eep! So, then I had to start working on a translation because I don't know French but wanted to make sure the whole scroll had a proper feel to it.

Here are the words that were given to me by Sir Pellandres dit le Frère with a few little tweaks by Dame Bruinissende and Alys Mackyntoich to add in the names of the royalty where they best fit as well as the event place and date:

"Il en est une dont les actes, quoique toujours silencieux, ne laissent aucun indifférent. Du chaos naissent l'ordre puis l'action. D'aucun ne savait ce qu'il devait faire, du coup il accompli de grandes choses. Un sourire en coin, elle sait son travail accompli. Certains voudraient la saisir et définir son influence. Nul ne peut ainsi la réduire. Revestant le haume, elle affronte sans doutes les ennemis du Roiaume et assiste à l'entrainement de ses troupes. Hors de la lice elle s'assure que non seulement sa propre personne, mais aussi sa suite, soient couverts de vestiments honorables. Ce sans oublier son amour pour la gens équine, les activités desquelles elle songe établir en ceste principauté et qu'elle introduit à qui veut l'entendre!  N'osant laisser un tel murmure s'élever trop haut et cherchant  plutôt a le transformer en clameurs de joie de la part de leur sujets, Nous, Kenric, Roi du Royaume d'Orient par le droit des armes, et Avelina, de par le même droit notre Reine, de par les ci-présentes lettres accordons à notre sujet Leana Dosquet le droit de porter les armes suivantes:

 Ainsi ordonné en ce 30 avril de la cinquantième année de notre Société dans notre baronnie du Havre des Glaces."

A space was saved where  arms could be placed when the time came that there were registered.

Here is the translation, to the best of my ability, from French into English:

"There is one whose acts, though still silent, leave no one indifferent. Born into the chaos, she creates order in action. Where no one else may know what to do, she can accomplish a great many thing. Always with a smile, she goes to her work. Some would try to define its influence, but none may invalidate her labors. Wearing a great helm, she faces without doubt the enemies of the Kingdom and attends the training of its troops. From the lists she ensures that not only her own person, but also those around her, are clothed with honorable vestiments. Without forgetting love for equestrians, whose activities she feels important to the Kingdom, she teaches anyone who will listen! Not daring to leave such a murmur to grow too loud and instead seeking to turn it into joyful clamor from Their subjects, We, Kenric, King of the Kingdom of the East by right of arms, and Avelina, by the same right, Queen, by the following present letters grant Leana Dosquet the right to bear the following arms:

Dated April 30 in the fiftieth year of our Company in our Barony of Havre des Glaces."

The illumination of choice in inspiration comes from the Bible of Borso d'Este, circa 1455.

Order of the Bedchamber

So, I had decided if I had managed to get into the third round at King and Queen's Bardic, that I would put on my resume (and hope to get asked) to do an Order of the Bedchamber piece. We know, from documents of the court, that there were two Skomorokhi in Ivan the Terrible's Order of the Bedchamber (which was a list of all his retinue that did the home tasks that were necessary). And we also know from journals of visitors that Ivan often enjoyed having his Skomrokhi regale him with songs, poetry, byliny, and epic tales - whether they were true or not. Sometimes he would have them recite epics that were well known and loved. But Ivan also enjoyed getting drunk and wearing masks and doing improv with the Skomorokhi, so almost anything is up for grabs.

In either case, for quite some time now I have been taking notes on phrases that would make good 'Order of the Bedchamber' glory to the King type of praise piece. And that is what I offered to do. Although I didn't make it into the third round, I finally decided I would like to try my hand at arranging all the phrases and see if I could make a worthy praise poem for the soon to be King Kenric of the East, as he and his beautiful lady have always been an inspiration to me.

So, based off a variety of byliny, but mostly the Lay of Igor's Campaign, here is the praise piece for Kenric that I wrote, something that would rival the Skomorokhi tales that were told while Prince Ivan languished in his bathing tub in the afternoons.

O you guests, invited guests,

Honored guests, warrior guests.

You are to be told a wonderous thing.

A wonderful thing and it is no trifle.

I speak of our King Kenric.

Swaddled to the sound of trumpets,

Nursed beneath helmets,

Fed at the spear's point.

He has girded his mind with fortitude

And sharpened his heart with valor.

King Kenric will speed like an ermine into the rushes,

Like a white duck onto the water.

He will spring upon his swift horse

And leap from it like a white footed wolf.

He will speed towards the meadows of AEthelmearc

And fly like a falcon beneath the mists

Slaying geese and swans

For his morning, midday, and evening meals.

What is this noise?

What is this ringing I hear far away?

He shouts.

The earth rumbles.

The grass rustles.

The tents stir.

The East advances on the great plain with scarlet shields

Seeking honor for themselves and glory for their King.

The roads are known to them.

The ravines familiar to them.

Their bows are strung.

Their quivers open.

Their sabres whetted.

They race across the land like grey wolves.

But a like battle was never heard of.

From dawn till evening,

From evening till dawn.

Tempered arrows fly.

Sabres thunder against helmets.

Lances of steel crash amid the land.

A blood red glow will herald the dawn.

Black clouds come in from the East

and streaks of blue lightning quiver within them.

There will be a mighty thunder.

Rain will come-

A rain of arrows.

Here lances will break.

Here sabres will strike against foreign helmets.

Brave thoughts carry our minds to action- to war.

Horses neigh beyond the shires.

Glory rings out in the baronies.

Trumpets sound in the cantons.

Standards are raised in Tir Mara.

The countryside is happy.

The cities are joyful.

We praise the deeds of the past.
Glory to Brennan!

Glory to Caoilfhionn!

Now we must honor the present.

Glory to Kenric!

Glory to Avelina!

Long live the King and Queen!

Long live the retinue!

Glory to the East!

Klaus Winterhalter's Tyger's Combattant

I have never done a Tyger's Combattant before and, honestly, when I was given this assignment, I wasn't certain where to start. Fighting, in general, is one of the few parts of the SCA I don't know as much about as I would like, but having done one of the AoA level combat awards, I felt excited and confident that I could do this one justice!

When I typically start a scroll, I start by choosing the words that will inspire me and then choose the manuscript based on the words.

For words, I decided on a letter from Ermengard, Viscountess of Narbonne: To view the original letter, click here.

I worked with the words and eventually the scroll wording read as such:

"To Our most beloved populace, by grace of the East, the most illustrious King Brennan, and his gracious Queen Caoilfhionn, greetings, good health and the magnanimity of the Kingdom.

We desire to protect and defend the East and as necessary, We shall not resist the cries of many. It is said that Klaus Winterhalter does strive to deliver up to Us and Ours both commands and service at many times and places. As his arm has taken up the shield of protection and risen in aid of the East, many have willingly and constantly followed behind his arms and his teachings

We do not speak alone, but all our compatriots are consumed by ineffable joy that We see Our Kingdom, on which the vigor of the Eastern Kings and Queens have conferred the tokens of such honors, another is given such recognition.

Let his vigor therefore assume strength and enter into Our Order of the Tyger's Combatant with a strong arm to repress the boldness of Our enemies and give solace to the worthy hope of Our friends. So We conclude at Our time of the Mudthaw in the Barony of Settmour Swamp. Dated this day of April 2, A.S. L by Our very hands."

Once finished, I decided for an illumination choice the Psalter of Saint Louis, circa 1260. I decided to do the whole thing on parchment to give it more of an authentic feel instead of the watercolor paper I often like to use. Here is the final product:

King and Queen's Bardic Champions

It is very important to me to start documenting my performances because I have been working so hard on all of them. I have been working hard on how to stand, how to talk, what to wear, what props to use, how to move, etc.

This past weekend, against previous decisions that my life had been too hectic, I decided that I would compete if for no other reason than to be given a venue in which to teach a little bit more about skomorokhi and what/how they did what they did.

For the first round, I did a piece I call The Brave Youth. I decided to incorporate a lot of the movement I learned taking classes from Antonio Fava as well as an extant find mask I had been wanting to make for a long time.

Here is the 13th century 'buffoon' mask, made of leather and found under the floor boards of a cobbler's shop that was excavated.

And here is the mask that I made, using the same measurements as the mask above (16 x 13 centimeters).

The card I handed to the judges with the documentation for my performance read as follows:

"The Brave Youth
Katrusha Skomorokha Negodieva `Doch

Mask based on late 13th century extant find.

"The first known recording of a Russian folktale was made in the sixteenth century by an Italian historian."
"While the east slavic folktale flourished as entertainment ... folktales were enjoyed among all social classes, including the tsar's family."
Johns, Andreas. Baba Yaga. Peter Lang Publishing: New York. 2004. Page 49.

In 1905, an excavation revealed burial mounds of the 11th -12th centuries that bear a striking resemblance to the tales of Baba Yaga, giving us reasonable cause to believe the skomorokhi told the stories to keep the bodies from being disturbed."

Here are a few photos from the performance to show some of the acrobatics used. I geared the performance hoping for children to come forward and enjoy it. I will post a video of the performance once they are available.

My second round piece I had decided on taking excerpts from the Izbornik, a book written around 1076. My documentation for it read:

"Parental Advice
Katrusha Skomorokha Negodieva `Doch

Excerpts from the Izbornik, circa 1076.

"The majority of the people were largely unaffected by the conversion (to Christianity) ... they continued to practice the ancient cult of their ancestors and to call upon the skomorokhi for spiritual guidance."

Zguta, Russel. Russian Minstrels. University of Pennsylvania Press. 1978. Page 15."

Here is what I read:

"Child, in your lifetime test your soul and see what is bad for her and do not give it to her, for not everything agrees with everyone, not every soul enjoys everything. Entice your soul with gladness and comfort your heart, and remove sorrow far from you so that you will not grow old too soon.

Do not be ashamed to stand against the current of the river, or submit yourself to a fool, or court the face of the powerful, but defend truth to the death.

Do not withhold your mercy even from the dead and do not fail those who weep; mourn with those who mourn and do not shrink from visiting the sick, because for those deeds you will be loved. A sweet throat multiplies friends, and a fair speaking tongue multiplies courtesies.

Child, from your youth up choose instruction, and until you turn grey you will find wisdom. Come to her like one who plows and sows and wait for her good crop. In cultivating her you will toil a little while, yet soon you will be eating the good things of her produce. She seems utterly intractable to the uninstructed and the faint of heart will not remain with her but leave; for wisdom is like her name and is not revealed to many.

Put your feet in her fetters and into her collar your neck; put your shoulder under her and carry her, and let her bonds be not to close. Come to her with all your soul and keep her ways with all your might Search out and seek, and she will become known to you. When you get hold of her, you will not let her go, for in the end you will find her rest: she will be changed into joy for you and her fetters will become for you a strong protection and her collar a robe of glory, for upon her is the beauty of gold, and her bonds are a braid of precious stone. You will put her on as a robe of glory and put a crown of gladness on your head.

If you wish, child, you will be instructed, and if you give it your soul, you will become clever; if you love to listen, you will live, and if you incline your ear, you will become wise. Child, stand in the multitude of elders, and if one is wise, cleave to him. Be willing to listen to every narrative, and the precept of insight will not escape you. If you see a wise man, rise early to visit him and let your feet wear out his doorstep.

Above all, child, remember this. Do not hide your wisdom, for wisdom will be recognized by your word. Be firm in your mind, and let your word be one."

Although I did not make it into the third round, I decided that I would begin documenting my resume as well. So my resume was written as such:

Katrusha Skomorokha Negodieva `Doch

A War Song (not period) written by another
" ... foreign influences enabled the skomorokhi to transform themselves ..." page 21

Order of the Bedchamber (period style) praise poem for the King created on the spot
"Of the 188 persons listed under the general heading of the Order of the Bedchamber ... two were skomorokhi." page 54-55

Traditional Russian historical piece (period style)
" ... skomorokhi became heirs to a rich body of oral heroic poetry ..." page 22

Sing-a-long (not period)
"... on occasion Ivan himself (Ivan the Terrible) took part in their (the smokorokhi) entertainments." page 55.

Zguta, Russell. Russian Minstrels. University of Pennsylvania Press. 1978.


The only other thing to explain is the clothing style choice. Skomorokhi, having been nearly banished by the church, took on a lot of repertoire as well as clothing styles from their European counterparts. They took inspiration from anywhere they could get it: Germany, Italy, Greece, China, etc. So I fashioned my garb after these descriptions and the few illuminations we can find of skomorkhi. And yes, there were female skomorokhi.

Fava Class Day Five: Wrapping up

-There are androgenous masks that can be used by the lovers as social masks (or other un-masked characters) if they want to meet in secret for the purposes of intrigue.

-You can not pronounce the name of the masked person until it is obvious you know who they are.

-Always look away when another person is doing their aparte or you will simply appear like part of the audience

-Capitano boasts: make something so impossible that even the skeptic has to hang on your every word. Make mistakes as you talk so that you can laugh them off.

-Never look at a person face to face during an aparte

-Always take off intrigue mask in one simple motion, holding it gently by your side without showin the back of thumb through the eyes.

-Main business for pantalone and dottore is to speak of marriage (usually)

-Zanni and Pantalone are friends.

Pantalone's strategy for documents is simply 'agree or don't agree' and sign.
Dottore's strategy for documents is to make Pantalone appear like a fool/humiliated

A happy ending in commedia is to return to the beginning balance. AKA starting with a wedding, wedding gets interrupted, return to the wedding. Etc. Everyone happy.

It was a very short day with some teaching as the long part of the day was set aside for all of us, as one company, to do a canvaccio:

In Pantalone's house with Pantalone, Isabella, la Signora, Pedrolino, Columbina, and Zanni as well as Dottore and Flavio. Dottor and Pantalone are about to go through with the ceremony of engagement for Isabella and Flavio. There is a knock on the door: announcement of Capitano's (and his Zanni) entrance. Ceremony is interrupted and  Capitano produces a letter signed by Panalone promising Isabella to him for marriage. Everyone is confused. End scene.

Next scene: First is the duel of the two lovers. Then the duel of the old men. Then the duel of Signora/Pedrolino as she plots how to get the Capitano for herself. Then the desperate servants who just want the food from the ceremony. Then the Capitano and his Zanni talk about how they created the trick of the document. End scene.

Next scene: Engagement ceremony to begin between Capitano and Isabella. Dottore/Flavio are upset. Arrival of a mysterious woman (Columbina) and a baby (Zanni) who is searching for Capitano. Capitano admits to his trick and the engagement ceremony between Isabella and Flavio can happen once more.

Fava Class Day Four: Pantalone, Dottore, Servetta, Infernato, and stage slaps

Pantalone:

- old is NOT an ailiment. It is just a condition that happens. This does NOT mean that Pantalone acts old and decrepit. He merely has a slight body posture change because of age.

-Followed a full life: a lover- most likely in marriage where Isabella/Flavio whomever came from
a zanni: worked hard for a living
a capitano: lived through many wars
This means that Pantalone (and Dottore as well) may be old, but can have the same steps and motions as the other archtypes for a variety of reasons.

In stance:
-World weighs down on Pantalone from age which causes his knees to bend more, his back to round out and rolling his pelvis/belly outwards. He is -not- hunched over. He remains with a good vertical access. This pose will make your thighs burn if you do it right.

-keep loose in the wrists and ankles. Do not drag/shuffle feet. Pantalone may take small steps (almost heel to toe), but he is still filled with energy. Walks heel first.

-When excited, Pantalone will lift foot quickly off the ground as if floor is on fire and then slowly put it back down again. He will do the same kind of step when angry.

-keep elbows out and up. Never fully extend arm, but he can still point and move just fine.

-Loves money. Every coin has a name, a shape, a color, a story.

-Pantalone is not a thief. He will not steal money.

-If not wanting to pay a loan, Pantalone will suddenly remember that he is old (aka- can't hear, aching back, stiff knees, etc.)

Dottore:

-Also weighed down by the world, but it causes instead for his back to arch outward, sticking out his stomache and keeping his knees and arms very open and bent.

-Walks with a similar step to Pantalone, but because of being such a large man (always pictured as a very large man who loves his gastronomy), a nearly small hop has to be inserted just for the effort of getting him off the ground.  Shoulders and elbows will bounce with the hop steps as if a bird (if he is not gesturing)

-Very bombastic. Whole world is his chalk board to draw on, refer to, create visual diagrams with as he answers questions. In other words, he speaks with his hands and his words will change in tone and texture depending on what he is talking about, almost like onomonopiae. (AKA if he is describing how to cook sausage he may say 'then you *makes sounds of frying* and you CRANK up the heat')

-It is always dangerous to ask him a question. It will take him hour to explain anything. He will make up theories and loops and roads and cross himself and follow his own logic that no one else can.

-Often is seen wearing robes and really big hats.

-When he stops walking, he plants his feet with authority as if saying 'I am here, you stupid people. You should be glad I am here.'

Servetta (such as Columbina)

-stands like a more upright zanni. Walks similar to signora.

-Often loves a 2nd zanni

-Often has little flip kicks in her step in order to pop her skirt up

-no mask. Beautiful woman.

Infernato AKA the white face (such as Pedrolino)

-Often has no mask but a face dipped in flour with a small red dot for mouth

-wears crisp, clean, very rich silken white clothing and a red skull cap

-disgusted at dirt, unlike other zanni. Nose often in the air looking down at the other zanni and at filth (which horrifies him)

-More vertical than other zanni. Has a similar step feel as la signora

-feels more important/better than the other zanni

-seen as a master of ceremony and a beauty expert (described in class as seriously metrosexual)

-every movement is a zanni movement, but more graceful.

-servetta and infernato live in the house, unlike zanni who are more of a rent a worker.

-Last scene of a play usually has all weddings being announced. Make sure to invite the audience. This is when everyone gets a small moment to say something to the audience.

-the madness of love can be a time where the lovers can be something other than divas and serious. It can also make the audience cry.

List of stage slap styles taught: punch in the face, full face slapping, small face slaps, grabbing of hair, pulling of ear, pulling of nose, head butts, nose flick, eye gouge, tickling.

Today's cavaccio was:

La Signora is being primped by her faithful servant Pedrolino to prepare for the Capitano's visit. Her husband tries to see her but is turned away multiple times. In the mean time, Capitano slips into the room as the husband decides to disguise himself as a gift to get in the room. Once in the room, he catches the lovers and they quickly need to make a lie as to who the Capitano is.

Fava Class Day Three: Capitano and Signora

First let me start with Fava recommending searching for 'teatro del' whatever language you want to learn. He said that recording himself saying a sentence or two would just not be useful at all for understanding. He also did not feel comfortable recording any of his movements, which I completely respect, so continue to bear with my descriptions.

Capitano

-Same stance as zanni: knees slightly bent, chest out, point and click head, etc, only allow more elasticity in movement. You are showing off, offering a wider stance and expanse with chest and legs.

-When moving, unlike the zanni, there is a pivot/hip torsion. It causes one to walk with more of a strut. Heel should always be the first thing that strikes the floor; move with conviction. Shoulder and opposite leg move when walking.

-Capitano was not always masked. The important features are the nose and mustache. There are times just a nose was put on and then blended in with make up, etc.

-Capitano shows as a man with dignity, but he has none.

-Capitano is filled with a good sense of humor. The lovers, on the other hand, have no sense of humor.

-Capitano laughs off danger unless it is an immediate threat: the war is right there, for example, or he sees his shadow or a mouse.

-kind of a bastard with a lot of bragging. Very easily able to exhibition  with other capitano.

-long names

-often names his sword a woman's name. The weapon is not animated, but he refers to it, looking at it and treating it with respect. Example "Back to battle I go. To fight. To protect. Rosaria, you shall keep me safe. Now. We go."

-Often refers to a horse, but one is never seen.

-Seen as a second lover, also known as the secret lovers or adventure lovers.

-Ways to carry a sword
on hip - traditional
under arm - british
over both shoulders - military
over one shoulder - gypsy
twirled in front - french

-finds good humor in everything - laughs at small mistakes/scares to prove he is good natured/not afraid

-can be afraid of own shadow, reflection, mouse, lover's husband, etc

-he will laugh off momentary fears. example, seeing his shadow. "Aaah! Oh. Haha."
Fears that "I will die" such as going off to fight in the war, he will hide himself or pretend to be someone/something else that would no longer be in such danger. Example: pretending to be sweeping the floor with his broom because no one would ever think a cleaner is dangerous enough to envoke a fight.

-speaks poetic, but ignorant. As if he were a first lover, but with the romantic logic of a zanni.

-his destiny is to fight

-he tries to look dangerous, but he's not
he tries to look powerful, but he's not
he tries to look rich, but he's not

La Signora

-Feet are almost in the shape of a T and walk more in a ballet position on the tips of the toes

-Nose is above the pride line which is a horizon mark. Looks down on everyone

-Arms out and floating because of very full skirts. Not out like wings, but comfortably out and up

-Again, torsion/pivot in the hips when walking

-acts very elegant with movements, tries to be poetic but is romantically naive

-very generous because it is her husband's wealth, but often will not look at or touch the servents

-very authoratative

-tries to look dangerous, and she is
tries to look powerful, and she is
tries to look rich, and she is

-Also is a second lover

-Seen as a young woman who was likely closer to being a zanni than a lover who was married to a pantalone. Either she is married or she is widowed.

-often her walk appears like a grand balancing act as she is often loaded with gold, jewels, large wigs, etc.

-A woman actor would normally start as a lover, and as she ages she would become la signora and then a masked character where age and sex would no longer play a factor on the stage.

-Commedia is NOT physical theater. Physical theater is acrobatics. There may be acrobatic moments, but it is not, fully, acrobatic/physical.

-a traditional set is a city. Often it was made of wood or paintings, two walls and a back, and no religious buildings would be seen.

-Humanist studies- studying new form of theater

-commedia starts the age of professional theater where actors get paid, stay in troupes, and have fixed characters.

-it was not practical to work all year in one place, many troupes traveled to various theaters. In this way, the props were more important than the sets.

-Sometimes the set is just a pedestal in the middle of the stage, but it has to have an importance. Things on stage have to be used for significant importance.

-a list of props in scenari never include any of the things that were traditionally for a character already.
-prop list is only for the particular comedy being read

-first time with a prop is exaggerated and then put back to normal. Example: la signora's wig often would have a theme the first time she is seen, such as war with cannons and such in it... and then it would be a normal wig after the fact.

-props have very precise functions. Know how your props move/work/what they are made of. All props are important. They should not drop on the floor accidentally. They can be thrown, but only with an intended reason (such as capitano tossing his sword so he wont be caught looking so dangerous). Things that are tossed in such a manner can/should be taken up by another character (example, zanni yawning and suddenly there is a sword in their hand. Where did that come from?) Every action with a prop needs to have a purpose.

-zanni and capitano are not always aware of each other

-capitano's servant is normally ruffano - AKA a ruffian

-how fear happens: First hear it. Then see it. Then shock. Then reaction to the fear.

-create disaster for visual effect, but everything is always in control

-final show is an agreement between professionals. Given an idea, each actor has a fixed character - they can create a show in 5 hours.

-Lovers are typically the only ones who can destroy props. Example: thinking their love no longer loves them, they can tear up a letter and have it rain down like snow. Poetic movement of the prop.

-Fixed types of characters: there are 4 archtypes and about 7-8 characters within them.

-Publicity for plays were mistaken as street performance because the publicity happened through parades of the characters.

-Only the best troupes would get play time in theaters.

-A sun was made with a sphere of glass filled with water with a torch behind it.

-Often used candles for lights in the theater

-Commedia is not miming. Props are needed for any object you may want/need in the comedy.

-use the darkness as a solid: it weighs on the characters and their body shows the weight. They have to fight through the darkness: Lovers protect their face by going feet first. Capitano is a hunter and goes nose first.

-commedia is just a moment in the life of a society

-if lovers fall into a severe suffering, such as the loss of a love, they can become mad. Madness shelters them and the are safe in their madness. They can be cured upon seeing their love again.

-The 7 deadly sins are NOT seen in commediay. Comedy is just under these. It is more comic not to have them.


Edit: ARGH I forgot today's canovacci (which I believe I have seen isebastiani perform):

Two lovers meet to plan for a secret elopement. Capitano and signora meet to plan for a secret tryst. That night, Flavio and Capitano get mixed up and climb into the wrong bedroom.

Fava Class, Day Two: The Lovers and further exploration of the Zanni

The Lovers:
-Eyes still follow the nose, even with no mask on. Head is still independents and moves a lot.
-Lead with the sternum. The sternum is the heart. Collapse chest to pull heart away/hide it from breaking.
-Arms out as if you were the statue on the bow of a ship.
-Walk with toes. Ballet feet. Keep your walking feel always about hip space apart.

-Lovers can think about suicide, but they would always find reasons that are too dirty to do it.

-First act: least comic, mistakes are made, symmetry
-Second act: more comic, explosion of mistake, no symmetry
-Third act: very short, few words, crescendo, most comedy, symmetry

-Very hard not to parody the lovers. Let them have their own lives. Do not make them into something else. They are funny because they are naive, not because you make humor with them.

-All commedia characters are good characters. AKA All players play commedia characters well.
- Disguised characters still act as themselves: therefore all characters do not play all characters well. example: Capitano is a horrible Isabella. And vice versa. They can not act the part, only wear the disguise.

- Must always retain contact with the audience. Whenever there is a big change in a character, there should always be a small aside with the audience. The audience is seen as the only true friend of the character and so they are always to be kept in the loop when something changes: someone falls in love, had an idea, finds something, etc. Any change of movement (looking at the word 'movement' as in the art form of music) should be shared with the audience.

-There are no extremes in Commedia. This means no Kings/Monarchs/criminals/villains. No good or evil. And never any religion.

-Scenes must be symmetrical in the beginning as in the end. If two people walk on stage, two people walk off stage. But the stage must never be empty, even for a second. As two are walking off, two are walking on.

-Typically a scene end is an end for EVERYONE on stage. Do not stay as an aside while others leave as it only add dramaturgic that the scene doesn't need and may confuse the audience.

-Zanni know everything about beds. Everything. They know rich beds, poor beds, middle beds, etc. They sleep standing up (lift foot to cross over knee, balance on one leg, put head on fist and slightly cross arms) so they can jump when their master calls. But if there is more than one zanni, they usually all sleep in a cluster.

-We learned the Zanni tired walk: lead with head instead of feet. And the Zanni proud walk: thumbs in belt while leading more with knees and moving elbows slightly like a chicken.

- Servetta is not a Zanni. Zanni are like... rent a servant. Servetta are a little more clever, more beautiful, unmasked, and are a live-in servant.

Today we did three short little scenes:

The first- Two lovers are to meet at the same time and place as another two. Unfortunately the male and female lover, one from each set, meet in the dark and think it is their lover. They are then found by their actual lover and chaos happens (jealousy, anger, upset, etc).

The second- The zanni sleeping machine! Zanni got into a position to sleep, slept together like a machine, and then woke, went back to sleep, etc three revolutions.

The third- Two lovers meet in the dark but there is a problem. They wake a sleeping Zanni who then tries to help them with their problem.

Fava Class Day One: History of Commedia and Masks as well as Zanni work

-Until the 4th century when Romanization took over, masks were primarily used in religious ceremonies. Eventually they became more secular and then disappeared for a time before returning in a more social setting.

-Around 1530 we can see Commedia coming into the scene.  The characters never defined Commedia; Commedia chose the characters.

-Different dialects are seen with different charaters. Dottore usually has a Bolognese dialect as he is from Bologna where the first university can be seen as well as a gastonomic capital. Pantalone, which stands for Plant a Lion (the symbol of Venice), speaks Venetian. In fact, all versions of the Pantalone character come from various different port cities, heavy in trade: Pancrazzio, Magnifico, Stefanello. The lovers spoke the language of Florence as it was the most common, plus had the most Latin and was mostly used for writing. Southern servents spoke Neopolitan and the Northern servents spoke Bergamesk.

-Commedia started in Italian and then went to Spanish, French, German, and then English.

-All Characters are part of the audience. In that sense, all the audience is part of the play. There is no fourth wall.

-Pulcinella stands for chicken, but not chicken like the animal, but more of a bird brain or a rube. In Italian, people will say they will trick that 'pollo' over there, for example.

-You need a zanni 1 (smarter/cleverer) and a zanni 2 (more foolish/stupid) for a play. They are the an integral part of the machine that is Commedia.

-Follow the rules of the mask at all times. If you wear a mask of that character, you are that character. Respect the mask. When it is on, talk and act in character.

-There are six pillars of Commedia: Masks (on principle), Improv (to react with your partner, to know how to react on stage), Engage the Audience, Multilingual (as long as one person in the troupe is understood by each member of the audience, and it can be a different member for each person, you don't need everyone speaking the same language. Commedia is PHYSICAL not VERBAL), Fixed parts (the mask is the character), and the audience must be happy!

-You have to know 1/2 of the character and 1/2 of yourself to have the definitive to improvise.

-Commedia is based on a binary system. You should always be working in pairs.

-The finale of each act should be all actors and big confusion until the finale of the last act, which should be all characters and happy.

-It is not uncommon for the play to end with Dottore coming out and apologizing for the play not being on the same level as such a beautiful audience. Always leave the audience happy!

-The audience can see the creation of a mistake and will follow it to the inevitable conclusion. The goal of the players is to be more creative than the audience so they can make the mistake do things that the audience couldn't have imagined... and then resolve it.

-All scenarios almost exactly the same for the past 2 centuries: not written words but more focused on the physical comedy.

-Everyone in commedia is a protagonist. There is no good and evil. Cruelty and cynisism is not synonymous with evil.

-Typical commedia would be three hours long with 2 intermissions, making the full show time about 4 hours. There would be a tremendous amount of props, sets, and costumes.

-Commedia started on the street because it was an invention of a new type of entertainment and they had to invent and figure out the audience they needed. It could not stay there, though, because 5 minute skits, (which were all someone was allowed) would just confuse an audience.

-In 1560 we see women in public in theater and it was a big success. Immediately we see the professional term for an actress seen in writing.

-Use the language of the country. Italy has over 300 dialects of Italian. Use them all. Some will understand you, some wont, and that's okay. Your body should be telling the comedy.

-Isabella Andrini was a poet and playwright. She invented how to speak in love, upside down, term: mad for love.

-Each actor invents their own names.

-1st Zanni examples: Brighella, Finnocchio.

-2nd Zanni examples: (there are OVER 300 of these names) Alecchino (who is NOT separated from the rest), Pulchinella (who is a survivor of political change in creation and is the only zanni who is typically married to Dona Setza and has lots of children).

-Your mask is your face. It is not a mask. You do not touch, readjust, move your face. That is creepy. Do not speak normally in your mask. When you put it on, you are that person. Follow the rules of the mask.

-An actor is a worker making a mask do what it needs to.

-Social masks were invented to hide people, for secret rendevous. It was the same as if saying 'should I wear a hat today or not'.

-Ancient greek/roman theaters were open. Audience and their reactions were part of the show.

-Lights out theater did not start until Wagner. At that point, the audience was no longer a part of the show. They were simply there to watch the actors.

-Canovaccho is a more elastic term for a single scene as opposed to scenario which refers to the whole play.

Zanni stance and characterization:
-Your head is independent of your body and moves in a camera point and click action. Otherwise, with a mask on, you just look drunk. So small short movements. Your sight follows where your nose is pointed.
-Lead with your sternum. Push it out to accentuate spine curvature. The sternum represents the person. Your body moves in whichever direction your sternum is pointed in.
-Keep your elbows bent and your hands rounded.
-Pop out your butt to, again, accentuate spine curvature.
-Knees bent.
-Feet at oblique angle and kept close together.

-When moving, your arms and legs move opposite directions like a marionette.

-All masked characters follow the point and click so they don't look drunk.

-Actions happen in an upsidedown pyramid shape. You should act like you are floating, barely touching the ground. Take small steps but big movements to take them.

-Kick steps: always land with feet flat or lead with toe. Don't put down heel and stick toes in air.

-Grand Zanni walk - arch back inward and bend down slightly. Slow steps, big arms, high legs. Over accentuated creeping walk.

-Engage audience!! They are part of the cast!

-Masks hold no magic. They are a science and an art. Bad religious mask is still good because it holds magic. Bad commedia mask has no art and hence is a bad character.

-Too finished = naieve/obvious. Do not 'demonstrate' the character.

-Sprizatura = natural and being absolute in a natural way.

-Psychology is not inside the character. Everything is shown on the outside visibly. All wants/fears/etc are shown, visible, outside.

-Commedia is like jazz. Two people at the same time make a cacophony, but the harmony will come.

-When you have a fixed point (ie, two people grab the same thing or each other) all action happens around that point and the point stays as still as possible or the action will feel dirty.

-Disguises go around the character. Do not mask a masked character. Always have part of the character showing so we know who is disguised.

-Feet should -never- make a sound. It distracts the audience.

-La Servetta is LIKE a 1st Zanni. She has no mask. Beautiful. Columbina (dove), Olivetta (named after food), Rosetta (named after flowers), Emeretta (named after precious stones). They are always the first to recognize the imposter or plot.

-Can not couple two 1st zanni because both will want to be the leader. Always love between a 1st and 2nd.

-1st Zanni try to sound clever

-Try to create liberation of disasters. Example: Zanni is upset because he lost his love. So he decides he will try to kill himself and tries to punch himself, but that hurts. He tries to hold his breath, but that doesn't work. Tries to eat himself, but that doesn't work... etc.

-2nd Zanni can not lie

-Masks are not to be made on the actors face or with the mold of an actor. Then the mask will look like the actor.

-Never play as a parody of something else. Each character is serious in their life.

-Play emotions over the top, but you can interrupt for a serious moment. AKA Crying Zanni that can't be understand by audience called by his master. Turns and says 'in a minute' before returning to crying to the audience.

-Ignorance should be dynamic.

-Props are given the same dignity and respect artistically as the actors.

Themes of Commedia:
-Love
-War
-Hunger
-Poverty
-Money
-Richness

-Every character should have their breaking point. Examples: If I don't eat, I will die (Zanni). If I don't marry, I will die (lovers). If I am not seen as knowing all the history of humanity, I will die of shame (Dottore).

-Commedia is the poetry about surviving everyday life



We did two Canovacchio today.

The first was two Zanni, both of them having something that they found/were given/bought/etc. Each one searches their pockets and can't find it.

The other was playing as the Zanni of three different masters all searching Pantalone's basement, in the dark, to find a document (which they may not know what is) and none of them know the others are there.

Kataryn Mercer's Maunche scroll

The second I was asked to do this particular scroll, I knew EXACTLY the inspiration that was pulling me forward. It took me a day or two before I could say yes because I honestly had to weigh my ability against what I was hoping to accomplish. I finally decided that when it comes to friends, any amount of time is well worth my while.

The inspiration that I went with was Aristotle's Nicomachean Ethics, circa around 1500.

I have always wanted to make this particular scroll, having been a fan of the bright and vibrant colors as well as the abstract manner in which it is depicted.

I only planned to do the top half of the manuscript and have the words take up the same amount of space. So the white space on the left that would be left is where the maunche symbol and the signatures would go.

The original is from Italy, where Kataryn's persona is from, although the words are in greek. So I nixed the manuscript writing and went for a bastarda script instead.

For the words, I went to my favorite source of beautiful poetry: Lord Tristan le Chanticler.

He decided on a sonnet and took a lot of time carefully wording it along the lines of the age long debate of the rose vs the holly.

The words read as such:

"Shall we appeach young excellence as passing like the rose?
That bursts in color early, woos, wanes, and leaves us wanting?
We oft prefer the holly that endures through winters daunting.
A frock's one dance leaves much to chance, as time yet onward flows,
But mason's ton is bulwark when every blossom goes.
Then is the seamstress’ hand but ephemera and flaunting?
Like a bud of vain display, void of virtue vaunting?
Or a lasting green that shades suns sheen in natural repose?
Scrutiny of her art reveals this choice is false diversion:
Each careful cut is jewel craft, as long the hours take her,
As chipping at a ruby yields a permanent conversion.
So cast perhaps the dress aside: the true stone is its maker.
This We gather to Us, as a great career is launched,
And with this gem crown We now Our Order of the Maunche.

Done by the hand of Their Royal Majesties of the Laurel Kingdom of the East
Brennan Rex and Caoilfhionn Regina for Lady Kataryn Mercer
at Their King’s and Queen’s Arts and Sciences Championship
in the Barony of Barren Sands this Sixth day of February A.S. L."

With the words created, it was time to work on the manuscript. I wanted it to be as close to the original as possible, so I decided to create a see through overlay to place over the picture of the manuscript and then create a grid work on my paper and work from there. This is what I came up with:

I decided to make the dress after one that I particularly like on her and instead of putting a sphinx on her lap, I placed a cat there instead since she does have and likes cats.

Now it was time to get to work. This is the first time I have ever taken daily photos of my progress, but that is because it took the full two weeks of around 6-8 hours a day of work to complete. But by the time I was finished, I was very happy and felt that it certainly was a scroll that would fit her persona and the inspiration that she is.

Here is the final product:

Arne Ulrichsson's Order of the Silver Tyger

I was requested to make a scroll for one of the premier orders that were just created: the Order of the Silver Tyger. This is the new AoA level award for martial skill and prowess. I know little about such a thing, but I have always wanted to use manuscript 1.33 for a long time now.

Arne is described as 14th century Swedish, and it was requested that his scroll be in a 14th century style. Yes! Manuscript 1.33 to the rescue! Manuscript 1.33 (also know as the Walpurgis Manuscript of the Tower Manuscript) is one of the oldest surviving martial arts manuals, dating to 1300. I felt this suited my needs well.

Or course, I thought finding words would be difficult, but I turned to the manuscript. And there, in the first pages, was what I felt would be perfect wording for a scroll of martial ability! The words are as follows:

"Brennan Rex and Caoilfhionn Regina, King and Queen of the East, to all whom these present letters come: greetings.

It is to be noted, how in general all men holding a sword in hand use these six wards, of which we have these verses:

Six wards there are, under the arm the foremost,
to the right shoulder is given the second, to the left the third,
to the head give the fourth, give to the right side the fifth
and finally, to the sixth, have you the breast.

It is to be noted, that the art is so described as the ordering of diverse strikes. Note that the center of all the art with sword consists of practice, persistence, and prowess. All actions of the wards or of the swords are determined by it; they end in it and not in others. Therefore, do first consider well this above-mentioned.

It is three that precede, the remaining do follow
These seven parts are executed by the common,
but Arne Ulrichsson has the defense and the means.

We find great delight that Arne holds not just the wards, but the knowledge of that art proper to heart. Duly, We find it right and just to award, endow, and authorize Arne Ulrichsson to bear the sign and insignia of a companion in Our Order of the Silver Tyger. Done this day by Our hand,  January 16, A.S. L at Our Kingdom 12th Night in Our Incipient Shire of Midland Vale."

During this time, there was a lot of talk about people carving wood to do block prints on scrolls. The idea was very up in the air. It just so happened that a friend of mine, Kathyrn "Kit" Mercer ((visit her own blog here)), had asked if next time I received a scroll assignment if I could let her know and we could collaborate on something. I felt that this idea would work well for this scroll and sent her towards the manuscript for her to design the two men sparring.

I wanted to keep as true to the manuscript as possible, trying to work my words size-wise around the size of the printing, and then I shaded in the print in the style that it appeared in the manuscript. Eventually I had all of that complete, but I still felt I was missing something. I felt there needed to be some sort of border at the top.

Again I turned to the manuscript, scouring it for ideas, but it only appeared to be writing and form structures of men sparring. Until a friend pointed out a small little design in the corner. And eventually I found another. I decided to alternate the little marginalia at the top and it really pulled everything together quite nicely.

Edit: I decided to add the actual wording from the manuscript for compare and contrast visual.

"Non audet stygius pluto tentare, quod aude[t] Effrenis monachus plenaque dolis anus N otandum est quod generaliter omnes dimicatores, sive omnes homines habentes gladium in manibus, etiam ignorantes artem dimicatoriam vtuntur hijs septem custodijs de quo habemus septem versus ¶ Septem [cust]odie sunt sub brach incipiende Humero dextrali datur alter terna sinistro Capiti da quartam da dextro latere quintam Pectori da sextam, postrema sit tibi l[angort] N otandum quod ars dimicatoria sic describitur Dimicatio est diversarum plagarum ordinatio & diuiditur in septem partes vt hic N ota quod tot nucleus artis dimicatorie consistit in illa vltima custodia que nuncupatur langort pretera omnes actus custodiarum siue gladij determinantur in ea i. finem habent & non in alijs Vnde magis considera eam supradi[c]ta prima Tres sunt que preeunt relique tunc fugiunt Hec septem partes ducuntur per generales Oppositum clerus mediumque tenet lutegerus" Which translates to: "Stygian Pluto dares not attempt, what dare the mindless monk, and the deceitful old woman. It is to be noted, how in general all fencers, or all men holding a sword in hand, even if ignorant in the art of fencing, use these seven wards, of which we have seven verses: Seven wards there are, under the arm the foremost, to the right shoulder is given the second, to the left the third, to the head give the fourth, give to the right side the fifth, to the breast give the sixth, and finally have you the langort. It is to be noted, that the art of fencing is so described: Fencing is the the ordering of diverse strikes, and is divided in seven parts, as here. Note, that the nucleus of all the art of fencing consists in this latter ward which is called langort. Also, all actions of the wards or of the sword are determined by it, i.e. they end in it and not in others. Therefore, do first consider well this abovementioned ward. It is three that preceed, the remaining do follow These seven parts are (also) executed by the common, (but) Brother Liutger has the defense and the means."