Hi there.

We got a scanner of our very own!!! Yippeeee! And...Color copies scan just fine, so there should be more stuff here soon. I've got limited web space so I plan to showcase a few images at a time.

Scribal art copyright is held by its respective authors (each work is signed and dated). Permission to use the art on this page has been granted, and to use it anyplace else, please contact the artist for permission.


p.s. Click on the thumbnails to see the full images.

Lady Ysolt la Bretonne's Award of Arms

Ysolt-aoa-half.jpg (121282 bytes)

ysolt-mice-detail.jpg (24005 bytes)
ysolt-dancers.jpg (89767 bytes)

Calligraphy and Illumination: Lady Lucia Bellini  © 1998 Susan Lynn Arthur

Finished Dimensions: 11" x 14"

Style: Early Gothic. Based on Manuscript Painting at the Court of France: The Fourteenth Century by François Avril, 1978, George Braziller. Plate 15, The Annunciation to the Shepherds, from The Hours of Jeanne de Navarre.

Media: W&N gouache on Bristol Board, Higgins Eternal ink, 23k transfer gold.

Notes: This scroll is based on the Annunciation to the Shepherds from The Hours of Jeanne de Navarre. The artist is believed to have been Jean Le Noir.

The mice in the text were added to correct a mistake. I finished all the calligraphy first, since it's harder for me. I read and re-read the text to make sure everything was right. I added all the drawing, gold leaf and painting. When I was ready to paint the arms, I decided to double check the blazon-- and found that I had left out the word "sable". After an initial period of panic and much consultation with other scribes, I decided to borrow the mouse from the recipient's arms and draw the mice "stealing" the word. This was a historically accurate way to correct such a mistake.

The illumination style is known as Bar and Ivy, and was particularly popular in France during the fourteenth century. The calligraphy is Early Gothic. On the original manuscript the calligraphy is much closer to Textura Quadrata, with only slight softening of that hand's angularity. With the approval of the recipient, I elected to substitute Early Gothic for its greater readability.

Materials are ink, gouache, and gold leaf mounted with gum ammoniac on acid free Bristol board. Both ink and gouaches are modern formulations of medieval materials. All calligraphy was written with a dip pen and Higgins ink.

Historically accurate materials would be vellum with both ink and gouaches made by hand. A quill pen made from a feather would be a more appropriate tool; I hope to begin working with a quill soon. Bristol board is often substituted for vellum in SCA scrolls due to the expense of vellum and the sturdiness of the Bristol board.

Lady Stephania Herring's Don Quixote

Herring2.jpg (62831 bytes)   herring detail.jpg (51443 bytes)

Calligraphy and Illumination: Lady Genevieve d'Evreux © 1997 Linda Pancrazio

Finished Dimensions: 8" x 10"

Style: Carolingian. Based on a 10th century astronomical manuscript containing the poem The Phenomena of Aratus British Museum London. I found the image on page 79 of "Writing, the Story of Alphabets and Scripts" by George Jean. Published by Harry N Abrams Inc., New York. ISBN 0-8109-2893-0

Media: Yarka St Petersburg Watercolor and Higgins Eternal Ink on Bristol Board.

Lord Jason Kinslayer's Tempest

Jason_Tempest.jpg (84589 bytes)

Calligraphy and Illumination: Lord Tankred Bras de Fer  © 1998 James Springle

Finished Dimensions: 8.5" x 11"

This scroll was my first scroll that I have ever made for somone else in the SCA. This Tempest was written on Bristol Board with a #4 square nib. The hand is Carolingian. The reason that I used the checky is because Jason is a Cuan squire and I liked the effect! I used 24 carat shell gold to outline the J and the K in his name and the word TEMPEST. It was reconstituted from a small tablet that I had for years and never used the last of.

Media: Acrylic Colors, Shell Gold and Ink on Bristol Board

Return to Windmasters' Hill Scriptorium

Last updated 11/30/98