I entered the historical reenactment costume contest over at Fabrics-Store.com, which has taken more of my money than I care to mention. Please, if you have the time…every day…for the next 16 days…to vote for my entries once per day, please do!
Tag: roman
Operation: Whiter Shade of Pale. The Coronation of Brennan and Caoilfhionn and my journey to become a Vestal Virgin.
There’s a great deal that I could say about what goes on behind the scenes at events. I’m unsure how in-depth other kingdoms go, but here in the East, we like to be rather grandiose with coronations. I’ve autocratted royal progress events before, but I’ve never really been apart of the research and development strike team, so to speak, so this is a summarized post of my experience working on the spring coronation here in the East Kingdom.
Several months ago, I was approached by Master Steffan ap Kennydd about aiding him in designing a unique coronation ordo for the incoming heirs. It was going to be wildly anachronistic, as we were replacing 7th Century Saxons with 1st Century Romano-Hibernians, and I agreed, knowing that this could be a lot of fun.
I’m not too well-versed in early Irish culture, in fact, the Romans did not really interact with the Hibernians that often, and described them as basically crazy, so I knew that this was going to be tricky. Initially, I was brought in to help Steffan with the Latin, and things ballooned from there. We needed a story, we needed a good reason for Kenric II to abdicate, because court schtick is the best schtick. This involved a secret Facebook group, a Google document, and a conference call. Lots of discussion was had to be able to pull this together between about 8 people. @_@
Since Kenric II is the cousin of the martyred Kenric I, who was killed mysteriously by an archer bearing black arrows, visions of this sainted king have been plaguing his cousin. We had the benefit of working with 3 very superstitious cultures, so this was going to work. It would be far-fetched and as anachronistic as we could muster transitioning smoothly between time periods without a TARDIS, but this was going to rock.
Mistress Aife was brought in to help with the Irish, and I focused on the Roman. What else could we do to make this work? Steffan came up with the idea of taking it a dark route, and bringing in seers to proclaim Kenric’s doom during court. Aife wrote up a doom as follows, that we translated into Gaelic and Latin:
“King of the East! I speak your wyrd.
I see it in the flight of birds,
in the rising smoke, in the curling clouds.
King of the East, I speak your wyrd.
The wolf is coming, cloaked in splendor.
The eagles scream above his stride.
King of the East, I speak your wyrd.
The pale horse falls from the high place,
the victorious wolf hard at his heels.
King of the East, I speak your wyrd.
The three pale moons crowned by courage
are swallowed by the shadow of the wolf bearing the eagle.
King of the East, your wyrd is spoken.”
“Wyrd” from what I understand, is a very Anglo-Saxon concept, so is the white horse. The Irish revered wolves, while the Saxons found them to be bad omens. In this case, the wolf is also in Brennan’s arms, so it worked. The Eagle of course, is Rome. So Brennan essentially became, “The wolf bearing the eagle.” The “three pale moons” are Kenric’s arms. It’s vague, it’s spooky, and it was perfect.
Steffan and I translated it into Latin, and this was the result:
“Rex Orientis, fatum tuum dico.
Video in volatum avum, in fumo oriente, in nubibus volventibus.
Rex Orientis, fatum tuum dico.
Lupus venit, palliatus fulgore. Aquilae clangunt super passibus suis.
Rex Orientis, fatum tuum dico.
Equus albus descendit de loco alto, lupo victorioso vincendo.
Rex Orientis, fatum tuum dico.
Tres lunae pallidae virtute coronatae umbra lupi aquilam ferentis voratae sunt.
Rex Orientis, fatum tuum dictum est!”
This was more of a geek-fest for us rather than everyone else, but we enjoyed it.
Next came the performance aspect. Aife and myself were conscripted into duty as the seeresses, and I took on the role of a Vestal Virgin, the most well-known and recognizable Roman priestess. I’m hardly virginal material *cough* but for the day, it would be well worth the project.
Vestal garb is relatively simple, with some twists. I reached out to Maestra Julia Sempronia of An Tir, who had recently received her Laurel while donning the robes of the Vestal, and she was a great source of help, as well as others from the Romans of the SCA Facebook page.
In addition to wearing all white, the most important part of the Vestal was the headwear, the infula (fillet) and suffibulum (veil.) Other than that, I needed white sandals, a white chiton, and a white palla. Those pretty much took care of themselves. However, I need to proudly display my sandals for a bit, becauseย even though they’re modern, I found a pair that had a trinity knot as part of the design. So not only was I Roman, I was wearing what could be considered a rather Irish symbol, that could easily stand for all three cultures represented in the ceremony: Saxon, Irish, and Roman. Gods, I’m a NERD.
Back to the headwear. The infula was going to be the worst part. I needed to make funky round bands of funkiness in red, long enough to wrap around my head 5 times and have 2 loops over my shoulders. What I did on Maestra Julia’s suggestion was purchase cotton cording used to edge pillows, and dyed it red. It took me two dye baths to get it the right shade, and the dying process did leave the cotton looking a bit weathered and raggy, almost like felted wool. So I got the right look. It even faded just a bit like period red dyes do.

The final result:
I was still missing pieces to the puzzle. The infula slipped off of my short hair very easily, so I was reminded that I needed a vitta, or a plain white fillet to keep it in place. I simply cut and hemmed a small rectangle of white linen, and that did the job. Next was the suffibulum, or veil. This took a bit more troubleshooting than I thought it would. I needed to get the right shape to have it drape across my shoulders evenly. I tried a few rectangles, and then had a moment of pure “derp” when it was suggested by Domina Vestia on the Romans of the SCA page that it should be semi-circular. That did the trick. I trimmed it in deep reddish-purple bias tape, and made a brooch out of a huge shank button I found at Joann’s, and the headwear problem was solved.
I put together the whole kit, scared Lord Geoffrey, and made him take pictures:

Of course, that was just the beginning, now the fun began. We had the words, we had the garb. I couldn’t memorize the lines entirely, so I cheated and taped them into my wax tablet. It did the job. Let’s spook the Eastern Populace.

But wait, there’s more!
You can’t have a victorious emperor of Rome come into court without showing off! It was my idea that Brennan and Caoilfhionn have a Triumph to begin their First Court. And although I couldn’t convince his Imperial Majesty to paint his face red, what resulted was an epic, and I do mean EPIC parade of regalia and pomp into court unlike anything I think the East has ever seen. Brennan paraded in after the kingdom champions, and I stood behind him, holding one of the Eastern crowns over his head, and chanting, “Respice post te, hominem te memento.” This translates to, “Look behind you and remember that you are but a man.” This was done typically by a slave with a laurel wreath, on the triumphator’s quadriga (4 horse chariot.) It reminded the emperor or general that they were still mortal, and not a god, and to control their hubris and pride. I have several reports that I gave members of the populace chills by doing this.
Her Imperial Majesty Caoilfhionn was carried in on a lectica, surrounded by the artifacts and relics of the East Kingdom, as well as amazing displays of heraldry as Roman vexillae. I missed the second half of the show because as soon as I got to the dais, I bolted to the royal room to change into less…conspicuous clothing so that I could enjoy court and be called upon as a member of the Queen’s Guard.
A fantastic gallery of the day can be found here, taken by the talented Baroness Cateline la Broderesse: https://plus.google.com/photos/107530822403255590361/albums/5999165371424216881
In closing, thank you everyone who came to Coronation and enjoyed our little performance. Thank you to their Majesties Brennan and Caoilfhionn, and their Graces Kenric and Avelina for playing along with our crazy idea. I’m looking forward to a nice, Roman summer. ๐
Addendum: For those interested, here is the doom in Klingon. Generously translated by a poster on the Romans of the SCA Facebook page:
“ta’ chan! mu’qaDlIj pejatlh
vIlegh qaStaHvIS cha’par HIv,
qaStaHvIS Hu’DI’ loD tlhIch, qaStaHvIS chen.
ta’ chan, mu’qaDlIj pejatlh.
paw Qongbogh chalDaq tlha’ Dat, qaStaHvIS ben law’ batlhmey So’.
jopbe’ jach wovbe’ mIw.
ta’ chan, mu’qaDlIj pejatlh.
pum Sargh meqlaHchaj vo’ jenwI’ Daq,
Qap Qongbogh chalDaq tlha’ Dat let yISum.
ta’ chan, mu’qaDlIj pejatlh.
mIv’a’ toDuj maS meqlaHchaj wej
ghup pong Qongbogh chalDaq tlha’ Dat toQDuj SIQ QIb.
jatlh chan, mu’qaDlIj ta'”
Hot dang, another video!
Because of the impending doom, er, Coronation, I’ve been getting pinged a lot here in the East on how I tie my chiton and get my Roman clothing to drape properly. So, I made this handy dandy 10 minute vid to help explain my method, as well as give a brief look at my new dark blue stola. I hope it helps.
The Roman Matron: How to belt a chiton and an intro to the stola. from Anna Dokeianina Syrakousina on Vimeo.
East Kingdom Coronation Garb – Vir.
The hubster needed Roman garb.
The hubster got Roman garb.
Isn’t he adorable? ๐ He looks so amused for a highly displaced 11th Century Norman!
Our upcoming coronation here in the East Kingdom is Roman-themed, so naturally, I needed to make sure that we were both properly attired. Rufus here (I’m calling him that because of his lovely ginger hair, good cognomen) is wearing a basic man’s tunic with green clavii and some machine embroidered Greek key on his hems, his kidney belt for fighting, sandals we found at Salvation Army (real caligae will be coming in the future since he’s quite bent on being authentic) and a 6 yard toga in the semi-circular cut. Nice and lightweight and easy for someone not familiar with the feeling. He still says he feels naked. ๐
JACKPOT.
I recently joined Academia.edu to see what I can maybe dig up there. It didn’t take me long. Holy chao!
https://ucy.academia.edu/MariaParani
Her profile is LOADED with sources on Byzantine dress from ceremonial garments of military to bridal costume to even eunuchs! I nearly fell off my couch! They’re RECENT also, and free! FREE. I had to share! The only way Byzantine personae in the SCA will grow is by the continued research and study of the subject. Bamf. You’re welcome. Now if you excuse me, I need to go download all the things to my Kindle Fire. โค
…Now I need a eunuch to dress. Please.
Byzantine patterns! THEY ARE HERE!
They aren’t scanned fabulously, but heck, you get how they work. These WILL be posted on my Eastern Roman Garb page as well, but I wanted to get these on a blog page and tagged for searchability as I plan a better layout for the current page, but this is a huge step in the content direction.
HERE GOES.
Also, let’s try to start using the Greek terms, Kamision and Delmatikion, for Tunica and Dalmatica respectively to help disseminate Greek over Latin.
Annaโs Quick nโ Dirty Byzantine Kamision (tunica) and Delmatikion (dalmatica) Patterns!
These patterns are pretty self-explanatory for folks that are used to basic medieval clothing. Byzantine garb is basically all t-tunics, with only a few minor twists. The biggest issue is really the width of your fabric allowing for the nice curved underarm seam, thatโs about it. These blocks are not the be-all-end-all ways to make these garments, but rather one interpretation to show you the pieces needed. Once you get a handle on the basic construction, all thatโs left is embellishment and sleeve variations.
My pattern is based off of the 7th Century tunic in the permanent collection โUnder the Stairsโ at the Metropolitan Museum of Art in New York City.
Kamision (Tunica) instructions:
Recommended fabric: linen or very light wool
Recommended yardage: 4 yards of 60โ wide
First, assess your fabric, and see if you can use this pattern layout, note the positions of the folds. This pattern is not to scale, and the average sized person may not have enough extra fabric on the sides to warrant the inclusion of the gores. This is okay, as they can be cut separately.
A breakdown of the measurements you will need as laid out in the patterns, they DO NOT include seam allowance:
A: Tunica length. Measure from the nape of your neck to where you want the tunic to end.
B: 1/4th Chest measurement + ease. Typically what I do is take a chest measurement, divide it by 2, add 2 inches, and divide again by 2. That is your number.
C: Upper arm length has everything to do with the width of your fabric and not your arm. If you can fit the length of your upper arm (shoulder to elbow) here, thatโs awesome, but itโs not necessary, you will want at least to the half-way point between your joints, otherwise your underarm will not fit.
D: ยฝ Bicep measurement. Remember your fabric is on the fold at the top for your sleeves here, so you donโt want this to be very wide against your body. Tunicae were fitted as dalmaticae were not, so you will want to adjust ease here as necessary.
E: Lower arm length is the difference from where your upper arm length ends to your wrist.
F: ยฝ Wrist circumference is actually ยฝ the measurement you get around a closed fist. You want to get your hand into your sleeve, after all.
G: Gore length is the measurement from the top of your hip to the desired hem of the tunic. Now, if you have a fine derriere, so to speak, feel free to elongate that gore to your waist, but the original tunic’s gore comes off the hip.
Thereโs a variety of formulas out there to make a neckline. I have a small neck at 13โ, so my go-to cut is 4โ from the center point on each side, with a 1โ dip in the back and 3โ dip in the front, but a 2โ dip in the back and a 4โ dip in the front should fit most people. A boatneck, or basically just a slit, is also a common style for this period. The tunica at the Met has a keyhole neckline with the opening on shoulder seam. Iโve done that before as well. I recommend finishing your neckline with bias tape or a narrow hem before moving on.
Before any piecing of the pattern takes place: GET YOUR EMBELLISHMENT DONE. There is no way to apply clavii to a tunica once those side seams are in place. Get any roundels or segmentae you want on as well. Itโs just easier to handle at this point.
Follow the diagram on the piecing. If you are going with the smaller gores if you were able to cut it from the folded fabric, follow the illustration at top, if you cut gores from a separate piece, follow the bottom. Apply trim over the seams where the upper sleeve joins the lower sleeve.ย This is definitely something else you want to do before you sew up the side seams.
Now all that is left is to join the front to the back along the side seams, hem the sleeves and bottom, and finish trims, and youโre done!
Delmatikion (Dalmatica) instructions:
Recommended fabric: Linen, silk, damasks/brocades, light to medium weight wool
Recommendedย yardage: 5 yards of 60โ wide
Think of the Dalmatica as an oversized tunica, but as the tunica can be worn by itself as one layer, the dalmatica is an overtunic only. This is a unisex garment, and sometimes for women you may see it referred to as a โgunna.โ Either way, this is where you really get to jazz up your wardrobe. They can be floor length or short enough to show off your tunica embellishments.
Sleeves can be short, long, or extra-wide as was the style in the 11th and 12th centuries when my persona lived. The only real difference is that typically the dalmatica was cut from one piece of fabric, including the skirt width, whereas the tunica had gores. However, gores are still a perfectly period option in the event of a smaller bolt width. Follow the instructions as laid out above for the tunica, and you should be in good shape. As far as embellishments go, the best way to go about this is to follow some period examples.ย Clavii didnโt seem as popular on dalmaticae as the centuries progressed, and richness was displayed not so much with embroidered bands of trim but rather in the heavy silk damasks and brocades that were in fashion. My drawings including clavii to better illustrate how to embellish.
Note that I included a curve at the edge of the skirt portion in order to better facilitate trim application on the dalmaticaโs hem. This is optional, especially if separate gores are chosen, but note that wide trims will require careful piecing and pleating to better conform to the hem.
Just like in the Tunica instructions, remember you NEED to add any embellishment such as clavii and other appliques BEFORE you close the side seams.

Once your garments are completely sewn, then itโs time to go in and add all the really rich goodies to your pieces, such as hundreds of pearls and other gemstones. ๐
Happy New Year!
I’m hanging out down in Trimaris for a while to beat the winter up north. All sorts of new wonderful Byzantine and Roman goodies coming soon after the new year!
The illusive Dover dress debunked.
I can’t tell you how many times I’ve seen people emulating this look from the “Byzantine Fashions” Dover Coloring Book by Tom Tierney and “Ancient Greek, Roman, and Byzantine Costume” by Mary G. Houston.
First of all, I want to say I have no issue with the images presented by Dover. They usually do a good job, but they have a hard time backing up their sources. When asked about that particular clothing style, especially the belt, I had no idea what their source was, and upon asking others, I got a lot of shrugs and odd statements such as, “Oh, the book says it’s a princess/prostitute/ancient Roman goddess.” Which only led to me getting more confused.
I’ve had the Tierney books for a while, both “Byzantine Fashions” coloring book and the paper dolls of Justinian and Theodora, which are adorable. They do provide a pretty solid idea of Byzantine styles based on artistic record. So don’t knock them, but don’t run off with them as a primo source, either.
This particular style intrigues me. Mostly because it’s almost always done with a V-neck. This seems wasteful, especially for the opulent, fabric hoarding Byzantines. So, I ran a brief Google search on “Bamberg textile” and…
Well that wasn’t very difficult to find. I yanked it right from Wikipedia. The note on the image reads:
The so-called “Bamberger Gunthertuch“, a Byzantine silk tapestry depicting a Byzantine emperor on his triumphant return from a campaign. He is crowned, bears the labarum and rides a white horse. Originally identified as Basil II (by A. Grabar), it is now accepted that he represents John I Tzimiskes on his return from the campaign against the Rus’ in Bulgaria. He is flanked by two female tychae, who personify Constantinople’s two demoi, the Blues and the Greens. The one on the right offers [possibly] a crown, and the one on the left a triumphal toupha headdress. The silk was acquired by Gunther, bishop of Bamberg, in 1064-5, and re-discovered on 22 December 1830 in his grave. The silk is now on display in the treasury of the Bamberg Cathedral.
Well, there you have it. They aren’t princesses, they’re political parties.
Now, moving on. What are we looking at here as far as clothing goes? This is 10th Century, so it’s 100 years prior to my period (not that it’s ever really stopped me or anyone else in the SCA about being anachronistic with their anachronism.) And what I see, instead of any sort of fitted short sleeveless tunic, is the trusty stola. A woman’s garment that was somewhat carried over from the Classical period, only cut like a classical tunica, or “Roman Rectangle” as my friends and I like to call it. Here’s a Coptic-Byzantine stola:

You’re looking at an insanely simple garment. Almost tabard-like in nature, with minimal decoration. The ones depicted by the ladies in the textile fragment only have trim on the bottom, and it’s short enough to show off ornately decorated tunicae underneath, which seemed to be a popular look. This would explain the heavily gathered appearance on the Bamberg piece.ย After trying a stola for myself before, I can see why women would rather opt for the look portrayed in the Dover books, it’s a lot more flattering. Yeesh.
As far as that double hanging belt thing goes…uh…it doesn’t look like anything depicted in the textile at all. The woman to the right is wearing a belt, but that looks more like the end of a buckled belt than any extra ornamentation, and they certainly don’t have the spacing shown in the Dover illustrations. So that’s something that is certainly open to interpretation as far as design goes.ย I also really like the pink pallas, as I have a pink palla. ๐
It’s hard to say exactly if this was a commonly worn fashion. Much like the sideless surcoat debate, it may have been something only worn for ceremony and therefore depicted in art, or, as is common with Byzantine motifs, it’s hearkening back to the classical period of Rome. Either way, I hope that women looking for more information on this dress style have at least been able to get what they’re looking for from this little blurb. ๐
So it’s been like a month since my last post…
Oops.
Anyways, the boozes did well at Great Northeastern War. My conditum paradoxum and rose-lavender cordial were paneled and both scored relatively well for my first foray into the guild scene. My mead and cordial both one best in their division. There was only one cordial, but…hey, there were 8 meads. That counts for something.
Nobody showed up to my Roman garb class except for my friend Elinor Strangewayes (see also: woman who makes Roman phallus beads,) but my Varangian Guard class had a good group, even though I didn’t prep a good lecture, we sat there and talked for an hour and I spewed what I could from the top of my head. They loved the extensive biblio I put onto my handout. I think I will be posting that in the future.
The Byzantine garb page is almost finished, I hope to get that up in a day or so. I basically copy-pasta’d my handout, but I’ll also be adding more stuff. Since my persona is 11th Century, I need to focus on finding more information about that more rather than the generic “Throw clavii on a tunica and call it Byzantine” look. At least there’s lots of fun vocabulary to learn, right? @_@
I am also going to be playing with some Norman garb for upcoming events this fall and winter. The boyfriend is Norman, and technically so is half of my persona, so I get to wear Western European garb for the first time. Ever. I don’t count my Viking, that’s Northern. ๐
Oh, and a gallery, must put up a gallery!
IN VINO VERITAS VI: There is truth.
The Muscat is in the fridge. The Conditum Paradoxum is upright and settling out. (It clarified while cellared.) I will need to re-rack it before Great Northeastern War this weekend. I am EXTREMELY excited about my first chance to panel in the East Kingdom Brewer’s Guild. I’ve been dabbling with my local guild: The Smokingbridge Guild of Libation Brewers, for a while now, but I never thought to bring it to the Kingdom level until I got these beverages done. I will be paneling my Conditum Paradoxum along side a short mead, rose and lavender cordial, and my pomegranate balsamic sekanjabin if there are enough slots open for all 4. I’d like to thank Mistress Bess Darnley for taking a moment to look over my documentation and providing feedback.
The next panel I’ll probably make will be at Birka in January, and these shinies will be good to go:
YES! The Rosatum and Retsina are done and bottled and delicious! I can’t wait til these age. They’re going to be remarkable.



















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